November 2023—ISSUE 259

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

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SANTI
DEBRIANOMIKI
YAMANAKALESMCCANN“PUCHO”
ESCALANTE

Managing Editor:
Laurence Donohue-Greene[Co-Founder/Editor Emeritus:
Andrey Henkin]

To Contact:
The New York City Jazz Record
66 Mt. Airy Road East
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628

November 2023 – ISSUE 259
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW: SANTI DEBRIANONate Dorward (Copy Editor):ndorward@nycjazzrecord.com

ARTIST FEATURE: MIKI YAMANAKA

Marilyn Lester(Associate Copy Editor)

ON THE COVER: TREVOR WATTS

Advertising:advertising@nycjazzrecord.com

ENCORE: LES MCCANN

Keith Hoffman(Event Calendar Manager):calendar@nycjazzrecord.com

LEST WE FORGET: “PUCHO” ESCALANTELABEL SPOTLIGHT: BLUJAZZ

Suzanne Lorge (VOXNews):
voxnews@nycjazzrecord.com

VOXNEWS

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Staff Writers
Duck Baker, Matty Bannond,
Fred Bouchard, Daniel A. Brown,
Stuart Broomer, Marco Cangiano,
Thomas Conrad, Ken Dryden,
Pierre Giroux, Kurt Gottschalk,
Tom Greenland, George Grella,
Jason Gross, Andrew Hamlin,
Keith Hoffman, Terrell Holmes,
Marilyn Lester, Suzanne Lorge,
Kyla Marshell, Francesco Martinelli,
Jim Motavalli, Russ Musto,
John Pietaro, John Sharpe,
Elijah Shiffer, Elliott Simon,
Thomas Staudter, Anna Steegman,
Scott Yanow, Zachary Weg
Contributing Writers
George Kanzler, Ken Waxman
Contributing Photographers
Matthias Creutziger, Martina DaSilva,
Peter Gannushkin, Cem Gultepe,
Alan Nahigian, Lawrence Sumulong,
Robert Sutherland-Cohen,
Adrien H. Tillmann, Chris Woodard

nycjazzrecord.com

FESTIVAL REPORTALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY
IN MEMORIAM

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by keith hoffman
by ken dryden
by daniel a. brownby jim motavalli
by suzanne lorge
by marilyn lester
by suzanne lorge

by thomas staudter

Letter from the Editor
With each issue of TNYCJR we are reminded of the far-reaching, international scope of this music. Jazz is
freedom—democracy at its best—regardless (and sometimes due to the influence) of background andgeography. It invites dialogue, even through wordless communication. And most anyone from anywhere cancontribute to the musical conversation. This month’s features are a multi-generational and multi-national casein point, with musicians hailing from England (saxophonist Trevor Watts), Panama (bassist Santi Debriano),
Japan (pianist Miki Yamanaka), Cuba (the late trombonist/arranger Pucho Escalante) and the Kentucky-born
pianist/vocalist Les McCann. This month’s Festival Report and Album Review sections offer further proof thatjazz’ tentacles stretch around the globe: from Argentina, Chile, Finland, Germany, and Israel to Philippines,
Portugal, Spain, Turkey and Ukraine. So, whether you’re traveling or just staying put, let TNYCJR be your jazz
Zagat and Tripadvisor. And be sure to check out the extensive Event Calendar listings in the back pages forfurther details on the musicians you’ll soon be reading about, as well as plenty of other concert recommendations.
Get out and be global without even having to make a trip to the airport! Onwards and outwards—happy
reading and listening, and see you out at the shows.
On a somber side note, we are saddened to report that veteran jazz advocate Robert Bush—a valued
TNYCJR contributor for the last seven years, as well as esteemed colleague and radio host—recently passed
away (d. Oct. 20, 2023). Even through his battle with cancer, he continued reviewing and covering the music heloved, including his last review for TNYCJR which appeared in last month’s issue. Our condolences go out tohis friends and family and all the musicians he so deeply cared and wrote about.

On The Cover: Trevor Watts (photo by Peter Gannushkin)
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 November 2023 | THE NEW YORK CITY JAZZ RECORDNEW YORK @ N IGHT
At the second-story Hudson Eats food court in Battery Melissa Aldana, the Grammy-nominated Chilean-bornsaxophonist and composer, celebrated the music fromher 2022 Blue Note release 12 Stars at Smoke (Oct. 5),backed by a youthful unit: her frequent bassist Pablo
Menares and drummer Kush Abadey (both on lastyear’s album) and pianist Lex Korten, who proved aformidable partner with a spritely technique suggesting
an evolution of stride piano. Aldana switched from alto
to tenor when she first heard Sonny Rollins, who would
become a mentor. The opener, “Falling”, revealed herstyle as Rollins-based: succinct, sustained form with an
added proclivity toward meditative composition. 12
Stars was inspired by the tarot deck (think Mary Lou
Williams’ Zodiac Suite). “Falling” began as a meditation,
opening to an arc of bop/modal improvisation. It was fullof signature Aldana features, including an explorationof the horn’s full range, from low to high, an area she
mines like Cat Anderson’s high-note trumpet wailing.
“Falling” also built a pronounced arc, with climax anddenouement. “Intuition” was largely melodic, witha recurring phrase, and showcased the saxophonist’s
stylistic preference for fluttering alternation on the keys.
Although a prolific composer, the leader also regularly
touches base with standards. In this case, it was “I’m
Getting Sentimental Over You” (George Bassman),arranged in 1932 by saxophonist Noni Breernardi for
Tommy Dorsey, with Aldana mostly responsible forthe melody and ending with a dramatic, extended low,
bellowing note.
— Marilyn Lester

PHOTO BY ADRIEN H. TILLMANN

R.I. SUTHERLAND-COHEN/JAZZEXPRESSIONS.ORG

Park’s Brookfield Place, gridded picture windows
overlook luxury yachts and sailboats moored in North
Cove Harbor, the Jersey City skyline and Colgate Dock
visible just across the Hudson River. It was an ideal
backdrop for drummer Johnathan Blake’s mid-week trio
gig (Oct. 4), as an early autumn, late afternoon sun eased
westwards over the course of two sets. With Dezron
Douglas (bass) and Morgan Guerin (tenor), the leader
was perched high on his drum throne, in contrast to the
low-lying kit, drums and cymbals all positioned at thesame level. He was a study in contrasts. Somehow, withlittle obvious physical motion—his sticks often sweeping
sideways instead of vertically—Blake nevertheless
was able to discharge fulgent cascades of polyrhythm.
Even during his most brilliant outbursts of percussive
bravado, though, he was fully attuned to what the others
were doing. Douglas, without resort to such fusillades,
captivated with his robust tone, soulful solos and loose
but locked timekeeping, providing a flexible anchor overwhich Blake could work his magic. Guerin, the youngest
lion in the pride, lacked the gravitas and charisma of
his more seasoned colleagues, but showed promise andpoise in his intelligent, cliché-free playing. The two sets
mixed Blake’s originals with eclectic covers including
The Police’s “Synchronicity I”. The second set, longer
and more energetic, culminated in several prodigious
bass/drum exchanges between Douglas and the nominal
leader.
— Tom Greenland

Johnathan Blake @Brookfield Place

Melissa Aldana, Pablo Menares @Smoke

It was Friday the 13th last month when multi- The 31st iteration of the Herbie Hancock Institute’s Jazz

instrumentalist Peter Apfelbaum assembled a quartet
edition of his Hieroglyphics ensemble (trombonist/tubist
Josh Roseman, bassist Mali Obomsawin, drummer J.T.
Lewis), at Harlem’s Mount Morris Ascension Presbyterian
Church, to offer a meditative musical palliative to, as
he put it, “heavy stuff going on.” Surrounded by highvaulted ceilings supported by classical columns and apalisade of organ pipes, the musicians lofted tentative,
suspiring tones up into the sanctuary’s joists. Apfelbaum,at the grand piano, built an impressionist modal piece,
Roseman switching between tuba and trombone,often off-mic but to intimate effect. Another hymnlike
piece initiated on piano sounded Chopin-esque, like
Abdullah Ibrahim, before the leader switched to tenor
saxophone and expressed a string of strangely cohesive
musical ideas. “Chimes” (his tribute to Roscoe Mitchell)
was notable for collective interactivity, Apfelbaum’s
flute tète-à-tète with Lewis’ malleted toms ending so
delicately that entranced listeners took a moment to
respond. Another highlight was Apfelbaum’s solo piano
tribute to Harlem stride players, which, though it beganwith characteristic stylistic moves, was soon de- and thenreconstructed into something else entirely: a sui generis
mash-up of gospel, African-tuned percussion and other,less definable, influences. All served to introduce thecatchy serpentine theme of “Titiwa”, Apfelbaum cueing
a series of cascading accents like a snake charmer with a
red melodica.
(TG)

4 November 2023 | THE NEW YORK CITY JAZZ RECORDAward, this year an International Piano Competition(Oct. 14-15) at Perelman Performing Arts Center, was aslice of jazz heaven, if a very long one. On awards day,hosted by Dee Dee Bridgewater, jazz royalty gathered
for a gala concert honoring Dianne Reeves (Maria
Fisher Founder’s Award) and architect Frank Gehry(Herbie Hancock Humanitarian Award). But before
this particular extravaganza, on day one, eleven younginternational jazz pianists competed at the semifinals,
judged by Don Sickler, Orrin Evans, Herbie Hancock,
Hiromi and Danilo Pérez. On day two of the finals, Paul
Cornish (Houston, TX), Connor Rohrer (Mechanicsburg,PA) and Jahari Stampley (Chicago, IL) each played twoworks, accompanied by Rodney Whitaker (bass) andCarl Allen (drums). But before the reveal, a host of
A-list jazz artists, including Ambrose Akinmusire, John
Beasley (Musical Director), Terri Lyne Carrington, Anat
Cohen, Joe Lovano, Helen Sung and many, many more,
performed magnificently in small groups, highlights ofwhich were an astounding “Rhapsody in Blue” duet bypianists A Bu and Hélène Mercier and Reeves’ version
of “You Taught My Heart to Sing” with guitarist
Romero Lubambo. The awaited reveal: third place to asoulful, subtle Cornish and second to the conceptuallyassertive Rohrer. Stampley, who nearly accelerated off
the keyboard with exaggerated body movements andthundering pyrotechnics, captured first place for his
passionate “on steroids” playing.
(ML)One of the wonderful things about hearing veteranbassist Ron Carter perform is the generous way heinvites the audience into the music, with anecdotes about
the composer-legends who happened to be his friends,
and peeks into his own creative process. Returning toBirdland with his great Big Band (Oct. 11), one week ofa three-week residency of Carter-led groups, he guided
the large ensemble through sprightly arrangementsof tunes by John Lewis of the Modern Jazz Quartet(“The Golden Striker”) and Sonny Stitt (“The Eternal
Triangle”), whom Carter met as a college senior, revering
him as “the closest thing we had to Bird.” This group, ina slightly different formation, released the album Ron
Carter’s Great Big Band in 2011. He described the music
then as “what people who like big bands would like tohear.” And that’s exactly what they brought to Birdland:a set of mostly straight-ahead, upbeat numbers. His own
pieces, including “Loose Change” (“Dedicated to April
16 of any year”) and “Wait for the Beep”, reflected asimilar tone of whimsy and play. Carter himself never
took a solo, but did take the opportunity to showcase
almost every musician on the bandstand. One suchhighlight: James Burton III (trombone) as soloist acrossthe entirety of “Lover Man” (Jimmy Davis, Roger “Ram”
Ramirez and James Sherman). Carter, of course, knew
at least one of the composers personally. Through his
famously gentle demeanor, the bassist/bandleader
managed to leave us with a sweet note of thanks: “We
don’t mind being adored by you.”— Kyla MarshellStanding solitarily center stage, spotlighted in adarkened Rose Theater, Samara Joy gracefully intoned
the verse to her original lyric of Charles Mingus’ classic“Reincarnation of a Lovebird” to open her second of twonights at Jazz at Lincoln Center (Oct. 7). Her voice wasboth arresting in its beauty and gripping in its range, as
she garnered resounding cheers from the sold-out crowd.
As the stage lights came up, revealing the septet thatwould back her for the rest of the evening, she kicked up
the tempo to deliver a spirited interpretation of the wellknown melody, spurred on by the noticeably young band:
Jason Charles (trumpet), David Mason (alto), Kendric
McCallister (tenor), Donovan Austin (trombone), Connor
Rohrer (piano), Michael Migliore (bass) and Evan Sherman(drums). Demonstrating a thorough awareness of jazz
vocal repertoire, Joy put her own stamp on “A Kiss FromYou”, “Three Little Words”, “Sweet Pumpkin” and “YouStepped Out of a Dream”. She sang of love convincingly
on Austin’s “A Fool in Love Is Called a Clown” andwordlessly with spellbinding purity of tone on “Five
Stages of Love”. It was off to the races on “Linger Awhile”,
on which the vocalist acrobatically traded choruses withthe band. She swooped and soared through tempo andregister changes on a medley of Monk’s “San Francisco
Holiday (Worry Later)” and “‘Round Midnight”, swung
like mad on Betty Carter’s “Tight” and was passionate on“Guess Who I Saw Today”, ending with Horace Silver’s“Nica’s Tempo” before a raucous standing ovation
brought Joy back for “Day by Day”.
— Russ Musto

The moment has finally arrived. Tzadik Records (est. 1995) has
recently offered its catalogue to streaming platforms. Founder John
Zorn has been celebrating his 70th birthday by giving his fans thebest gift of all: 800+ gems (which up to now have eluded online
streaming) to discover or rediscover. Start with “B” and “C”: Derek
Bailey, Aram Bajakian, Steven Bernstein, Borah Bergman, Anthony
Braxton, Anthony Coleman, Jacques Coursil, Marilyn Crispell… andeventually work your way to “Z”, where you may spend eternity with
Zorn’s bottomless Masada songbook output—from Masada String
Trio, Masada Quartet, Electric Masada, et al. to the recent New
Masada Quartet. For more info visit tzadik.com. (“John Zorn at 70:
Barbara Hannigan + John Zorn” is at Miller Theatre Nov. 16.)
The 2023 Baltic Film Festival takes place Nov. 8-19 at Scandinavia
House, during which Copenhagen-based Estonian vocalist Maria
Faust will make a rare Stateside performance Nov. 9 (following the
documentary What Would You Take? on the plight of Ukrainian
refugees); on Nov. 10 is the North American premiere of Machina
Faust, a documentary on Faust. For the full schedule and more info
visit balticfilmfestival.com. (Faust also performs solo at Zürcher
Gallery Nov. 9.)
The 2023 Jazz Forum Arts (JFA) Fundraiser is at The Fifth Avenue
Hotel Nov. 14. Founded in 1985, JFA is a 501(c) nonprofit
organization that presents concerts throughout the New York
metropolitan area, including at its intimate Tarrytown club just northof NYC and via outdoor free summer concert programming
throughout Westchester along the Hudson River. Performers at thebenefit will include trumpeter James Sarno and tenor saxophoneveteran Houston Person. For more info visit jazzforumarts.org.
The Jazz Loft and Long Island Music and Entertainment Hall of
Fame posthumously honor bassist Lloyd Trotman (1923-2007)
with the “Sideman in Jazz” award. Trotman, a former resident ofHuntington, NY, was the house bassist for Atlantic Records, andplayed with Duke Ellington and Billy Strayhorn, Dinah Washington,
Big Joe Turner, Ray Charles, Ruth Brown and many others. The
award ceremony takes place Nov. 3 with a performance by bassist
Santi Debriano’s septet. For more info visit thejazzloft.org.

PHOTO BY LAWRENCE SUMULONGPHOTO BY ALAN NAHIGIANW H AT ’ S N E W S

Ron Carter Big Band @Birdland

Samara Joy @Jazz at Lincoln Center’s Rose Theater

Rained on but not rained out, an eclectic slate ofperformers gathered at Richard Rodgers Amphitheater inHarlem’s Marcus Garvey Park for the second annual John
Coltrane Miles Ahead Festival (Oct. 6). The brainchildof State Senator Cordell Cleare, Jazzmobile, Harlem Late
Night Jazz and others, the evening (officially proclaimed“Jazz Appreciation Day”) featured Bertha Hope, T.K. Blue,
Wallace Roney, Jr., Alvin Flythe, Patience Higgins andmany others in rotating ensembles. The Reggie Workman
Group encompassed the spirit of the day, the bassist aformer Coltrane bandmember and drummer Billy Harta Miles Davis alum; their guest, emerging pianist andsinger Zacchae’us Paul, recited a Psalm before delivering
a tune with an arresting presence that belied his youth.
Mujib “Satchmo” Mannan is nicknamed as such for goodreason—he sings just like Louis Armstrong. Though it was
odd hearing that voice come out of someone else, Mannanbrought his own flair, playing alto and singing refreshing
lyric versions of Coltrane’s “I Want to Talk About You”
and “Beautiful Friendship” (Donald Kahn, Stanley Styne)
alongside vocalist Nikita White. Overall, the feel of theevening was relaxed, loose and, perhaps, a little underrehearsed. But there was also an energy of celebration, inhonor of two of the greatest and most famous innovatorsof Black American music and its many offshoots. At theslightest hint of an uptempo number, couples jumped up to
partner dance down front. It was music meant to be engaged
with, not just passively listened to, a glimpse of what jazz
once was and can be, with the right crowd.
(KM)

As a teenaged pianist already steeped in the jazz
tradition, Eric Reed had the opportunity to sit in with
Art Blakey and the Jazz Messengers. And as the great
drummer often declared, if you played with the band
just once you were a Messenger for life. It was in thatspirit that Reed assembled a fiery sextet comprising
Jeremy Pelt (trumpet) and three Blakey alumni—
Bill Pierce (tenor), Steve Davis (trombone) and Peter
Washington (bass)—with Carl Allen (drums) in the
hot seat from which Blakey powered dozens of units
featuring many of jazz’ finest. Presented under thebanner of Mission Eternal, the group began the second
set of their opening night at Dizzy’s Club (Oct. 6)
already fired up, delivering a tour de force renditionof Cedar Walton’s “Mosaic”. Reed introduced it,
quoting Blakey, as featuring “no one in particular”,
opening the door for incendiary solos by himself andthe horns, before Allen closed with a Blakey-esque soloof his own. The set continued with similarly spirited
performances of Wayne Shorter’s “Ping Pong” andWalton’s “Plexus”. Throughout the evening the pianist
spoke knowledgably of the Messengers’ history and theindelible impression the bandleader made on him. He
recalled a conversation with Blakey about Bud Powellto introduce his original dedicated to the pianist,“Dear Bud”, which showcased the rhythm section. An
extended Allen drum solo, replete with iconic Blakey
licks, kicked off the set’s soulfully swinging closer,
Benny Golson’s “Blues March”.
(RM)

Of annual jazz competitions… The 12th Sarah VaughanInternational Jazz Vocal Competition has announced its top five
finalists (pared down from almost 300 contestant entries). On
Nov. 19, Daryann Dean, Bianca Love, Tyreek McDole, Ekep
Nkwelle and Emma Smith will perform and compete at New Jersey
Performing Arts Center in front of a live audience and panel ofjudges including Jane Monheit, Madeleine Peyroux, Lizz Wright,
Christian McBride and Mack Avenue Records Executive Vice
President, Al Pryor. For more info visit njpac.org. And pianist Jahari
Stampley took home honors for winning this year’s Herbie Hancock
Institute’s International Piano Competition Jazz Award (held at
downtown NYC’s swanky and stunning, new Perelman Center for
the Performing Arts), with runners-up Paul Cornish and Connor
Rohrer. For more info visit hancockinstitute.org.
Straight Ahead: The Omni-American, co-hosted by co-directors
Greg Thomas and Aryeh Tepper, is a brand-new podcast (launchedin late-September) from the founders of the Omni-American Future
Project, a coalition of Black American and Jewish leaders joining tofight racism and anti-Semitism through jazz and culture. For more
info visit bit.ly/m/StraightAhead.
George Lewis (Edwin H. Case Professor of American Music at
Columbia University and, since 1971, member of the Association for
the Advancement of Creative Musicians) and Harald Kisiedu(Lecturer in Music at Osnabrück University of Applied Sciences) willtalk about their bilingual English-German edited publication
Composing While Black: Afrodiasporische Neue Musik Heute/
Afrodiasporic New Music Today. The book offers uniqueperspectives on the lives, works, aesthetics and methods ofAfrodiasporic contemporary composers (including opera, orchestral,chamber, instrumental and electroacoustic music, sound art,
conceptual art and digital intermedia) whose works have largely
been ignored by academic inquiry, concert programming andcritical/journalistic accounts. The event is free and open to the public
Nov. 16 at Columbia University’s The Center for Science andSociety’s Fayerweather Hall (Room 513). For more info visit
scienceandsociety.columbia.edu. Another event this monthfeaturing Lewis, “The AACM: Power Stronger Than Itself—A Talk by
George Lewis”, takes place at Park Avenue Armory Nov. 18, part ofthe venue’s Artists Studio events (April through December 2023)
spotlighting the AACM and curated by pianist Jason Moran. For
more info visit armoryonpark.org.

THE NEW YORK CITY JAZZ RECORD | November 2023 5

PHOTO COURTESY OF ARTISTI NTERVIEWSANTIDEBRIANO
east new york bembéthat blanket. Sometimes he called tunes (and) a few of
my favorite tunes are his.
TNYCJR: And where did you play with that trio?
Debriano: All over Europe. But he was really big
in the East—then East Germany and (now former)
Yugoslavia. They heard something in that music that I
think resonated with them. It was freedom, but it was
really rebellion too. We were playing for large rooms,
full theaters, and people would come up to us on the
breaks and whatnot and they just adored Sam Rivers.
(CONTINUED ON PAGE 33)

BY KEITH HOFFMAN
Bassist Santi Debriano has been a first-call bassist for five
decades. Born in Panama and raised in East New York,
Debriano first cut his teeth in the late ‘70s with tenor
saxophonist Archie Shepp and then in the early ‘80s withSam Rivers. In his long career he has anchored ensembles
featuring avant garde, straight-ahead and Latin takes on
the music. A partial list of his impressive associations, inaddition to Shepp and Rivers, gives an idea of his versatility:
Don Pullen, Pharoah Sanders, Billy Hart, Oliver Lake,
Larry Coryell, Chucho Valdés, Hank Jones, Cecil Taylor,
Randy Weston, Kirk Lightsey, Freddie Hubbard, et al. His
2023 leader date Ashanti (JoJo) is an excellent exploration ofthese many influences, informed by his graduate studies in
ethnomusicology at Wesleyan University. TNYCJR recently
took the opportunity to speak with him about his remarkable
life and work.
TNYCJR: How did your musical journey begin?
Santi Debriano: My father was a musician, a composer.
For a short period, he was one of the top guys in
Panama, but he was a young man. My grandfather had
been an organist and my father learned some piano
from him and developed on his own. He started writing
for the popular music at the time, which was mamboand calypso because we’re Afro-Panamanians on myfather’s side. His family came from Jamaica to work on
the Panama Canal. But he couldn’t get any traction in
New York, and gave it up.
When we were in New York, we had one of those
Grundig Majestic stereo consoles. He would put astack of records on. Like Miles’ ‘Round About Midnight
I probably heard every day of my childhood, withPaul Chambers on bass. Ahmad Jamal, Brubeck, Bill
Evans, you know. He would stack ten records on in themorning, and they’d be playing all day.
I loved my childhood. We were in the projects inEast New York. In the public schools, I was in a youth
orchestra. They gave us violins, violas, cellos andbasses and I chose a bass. Or my teacher chose a bass
for me because I was one of the tallest kids in the class.
Around seventh grade I started playing guitar, because
I loved Jimi Hendrix.
As a young musician, I was kind of shielded fromall the rough stuff because people in the neighborhood
recognized me as a musician. They were friendly andthey approached me that way because I had some kindof a promise or something. My friends tended to beother kids that were involved in the arts and we started
this band. We used to get together at the church every
Sunday for years. So it was like a little clique inside of
all that other crazy stuff that was going on in the ’60s.
There were riots going on in other parts of Brooklyn,
especially out there in East New York, but away from
where we were living.
TNYCJR: What was your father’s attitude on this?
Debriano: Well, he had given the music up. He went

back to school and was teaching science in the schools.
He and my Mom tried to discourage me from music, I
think because of his experience. Plus New York in the’60s, the junkies, it was a mess. The scene was dying.
But I got into it because I got accepted into this special
program that allowed me to have academic subjects
in the morning and youth orchestra in the afternoons.
And I did that three days a week and then the othertwo days they taught me painting in the afternoons. So
I had a wonderful program. I just loved my childhood.
I loved school.
TNYCJR: After Archie Shepp in the late ’70s (and yourdebut recordings with him in the early ’80s), you moved
to Paris where you began to play with Sam Rivers there
and throughout Europe.
Debriano: I had been playing with Archie Shepp fora few years. By the time I was hitting with Archie,
we weren’t doing avant garde like he used to. It was
inside, you know. Archie’s career was interesting thatway. Archie’s always been a student of the music.
Even when he was doing his avant garde thing, you
could hear his sound always had some Ben Webster,and sometimes he’d be doing things in the band thatsounded like New Orleans street parades. He wasalways historically referential that way. Nobody could
play changes like him. So during that time I was living
here in New York.
But I met this woman, a French lady, a painter anda beautiful girl. And we fell into a love affair. That’sAnna, my first wife. She’s a painter and she actually
did the covers for a few of my records. So I left Archie
and went to Paris to stay with her. Sam Rivers would
come to Paris quite often. His first connection waswith Steve McCraven, a great drummer who wasover there. Steve’s son is that great Chicago drummer
making all kinds of waves, Makaya McCraven. Steverecommended me and then the three of us started
doing gigs on the road.
TNYCJR: What can you tell us about that experience?
Debriano: It was the early ’80s. The first thing I learned
was endurance. It was high energy all the time—you
would start high and then you’d push up against it.
It was chordless. Always chordless. Well, Sam would
play the hell out of the piano. He played piano the way
he played saxophone. He could play all the changes,
everything, but he liked to really take it out. We would
start out with him on tenor. We’d go through all kindsof feelings and stuff, and he’d take his long solos, thenI’d take my solo and then he might come back and takea piano solo. Then there’d be a drum solo.
But Sam’s mind, it’s kind of like Cecil (Taylor’s). So
fast and so gone. What you tried to do as a bassist was
just give him a blanket of notes that he could bounce
wherever he wanted off of, and we could play free timethat way. But the free time had to be dense to give him

6 November 2023 | THE NEW YORK CITY JAZZ RECORD

HOCTOBER 31ST - NOVEMBER 5THH

TYSHAWN SOREY TRIOAARON DIEHL - MATT BREWER
HNOVEMBER 7TH - NOVEMBER 12THH

KURT ROSENWINKELCHOPIN PROJECT
JEAN-PAUL BRODBECK - LUKAS TRAXEL - JORGE ROSSYHNOVEMBER 14TH - NOVEMBER 19THH

JOE LOVANO& MARCIN WASILEWSKI TRIOHNOVEMBER 21ST - NOVEMBER 26THH

JASON MORAN& THE BANDWAGONTARUS MATEEN - NASHEET WAITSCOMING IN DECEMBERHMARK TURNERHHCHRISTIAN MCBRIDEH
HKENNY BARRONHMONDAY NIGHTS ARE RESERVED FOR

THE VANGUARD JAZZ ORCHESTRA

PHOTO BY MARTINA DASILVAARTIST F EATURE

P ianist Miki Yamanaka took an unconventional
path to becoming a jazz artist. Exposed to jazz by
her parents while growing up in Japan, she explains,“You hear jazz a lot, it’s everywhere. Jazz musicians
go to Japan at some point in their careers. My parents
liked to go to cafés that played jazz on vinyl.” Yetjazz was not Yamanaka’s primary focus in school. She
took jazz band in middle school but after that classicalchoir. As a science major in college she found a groupof people who liked jazz, and played some sessions
once or twice a month. Fate then stepped in when she
took a break from working on her master’s degree tovisit New York: “I saw Cedar Walton, fell in love withjazz and decided to quit science and move to New
York!”
Yamanaka cites two mentors who helped her along
the way: Jeb Patton and Larry Goldings. She studied
with Patton at Queens College for her master’s andsays, “Patton is an incredible pianist and educator. He
is soft-spoken but when he plays, he has a lot to say. I
love the gab. He may not tell me what he wants to tellme, but when he shows me stuff, ‘Ahhh!’ He can talkto me in music so precisely.” One especially valuablelesson he passed along was how to accompany themusicians around her: “He turned me onto comping…
if you want to work as a pianist, you’ve got to know
how to comp.” Yamanaka has also taken lessons from
Goldings, who wrote the liner notes for her debut
album Miki (Cellar Music). She recollects visiting
him at his house in L.A. and playing with him in his
studio: “We became good friends during my month
touring out there… he encouraged me to write newmusic, which is very inspiring.”
Yamanaka’s writing technique is unique. “I liketo write about food, thinking about it or making food,then I come up with some melodies or chord changes.
Food inspires me in a funny way. I think everybody
takes a shower and starts singing nonsense. My
composing process is like that—random hummingor playing like I was practicing, going through ideas
until I like something. I rely on spontaneity. If I likean idea, I use my phone to record, then come backto it. When I listen to it a few days later, I may see it
going someplace else, so I need a few days to write acomposition. Some ideas became tunes immediately,
though.”Yamanaka talks about leading an ambitious octet
project, and says, “I’m asking my friend Vickie Yang
to be a composer. She brings a couple of compositions
every time we get together to play.” The two haveshared gigs at The Jazz Gallery in April, and lastmonth at BRIC JazzFest. “We (recently) rehearsed andI brought a new composition… For this one, I have to
get grants: a lot of people are involved and I would
like to compensate people right. Until then, I don’t
feel that I can record them. I’m still woodshedding,practicing writing for bigger ensembles, and hoping I
will get better at it within a few years and record withthem as well.”

MIKI
YAMANAKA
spontaneous explorer
BY KEN DRYDEN
In addition to appearing on albums by Roxy Cossand playing with other saxophonists such as Antonio
Hart and Nicole Glover, Yamanaka has five albums as
leader, including her latest, Shades of Rainbow (Cellar
Music), a quartet with Mark Turner (tenor), Tyrone
Allen (bass) and Jimmy Macbride (drums), whichcame out in September (a quick turnaround, given it
was recorded just over six months prior). The pianist
speaks of the special bond she particularly shares withveteran saxophonist Turner (he has appeared on twoof her albums to date), whose playing she has been a
big fan of since her college days in Japan. “Working
with Mark is an experience. He’s a very studioushuman being who loves the music. The only things hedoes is eat, sleep and practice. A single note he plays
shows me everything… it is a dream to work withhim.” The saxophonist reciprocates the compliments:“She is a fine player with a joyful, deep sense of swing,
reverence for the masters and is not afraid to show it...
One example might be her open admiration of Horace
Silver, one of my personal favorites in compositionand piano playing, which is evident in her style andin some of her writing, too.”
Veteran vibraphonist Steve Nelson (who recordedwith the pianist on her Miki album) is also enthusiastic
with his praise for Yamanaka: “She’s extremely
talented (and) has been growing, developing andplaying with all the great players in New York. She
is highly respected amongst all musicians (and) has
many bright moments ahead.”Though Yamanaka has used a number ofdifferent musicians on recordings and gigs, she has
settled on her drummer of choice. “I used to not hire
my boyfriend, Jimmy Macbride (husband since 2020),
but then COVID-19 happened and I had no choice!”
The two hosted the live-stream “Live From Our
Living Room” series during the months of COVID
lockdown, usually featuring a different bassist eachweek. “It was just the two of us at first, but then we
started hiring bass players (and) we began creating aband sound.” With talk of recording for Cellar Musicagain in the near future, she’s already thinking about
making her first piano trio album, with a focus onjazz standards.

Celebrating 88 Years of Bruno Spoerri

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For more info visit mikiyamanaka.com. Yamanaka is at
Brookfield Place Nov. 8, Cellar Dog Nov. 24 and Smalls
Nov. 27. See Calendar.

 
      

Recommended Listening:• Miki Yamanaka—Miki (Cellar Music, 2017)• Roxy Coss—The Future Is Female (Posi-Tone, 2017)• Miki Yamanaka—Human Dust Suite(Outside In Music, 2020)• Miki Yamanaka—Stairway to the Stars(Outside In Music, 2020)• Pete Zimmer—Dust Settles (Tippin’, 2022)• Miki Yamanaka—Shades of Rainbow(Cellar Music, 2023)   
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visit dottimerecords.com to order

THE NEW YORK CITY JAZZ RECORD | November 2023 7

ON THE COVER

PHOTO BY ZIGA KORITNIKTREVOR WATTS
PLAYING OUTSIDE FOR INSPIRATION WITHIN

by daniel a. brown
A protean figure of the U.K. jazz scene, saxophonist Trevor
Watts is part of a cadre of musicians who turned their backs
on codified and conventional forms and squarely faced
the measureless space of free jazz improvisation. Overthe course of six decades as a leader and collaborator, hismusical approaches have run the gamut from fiery improv
shakedowns to African-inflected ensembles. Watts has left
a deep impression on jazz and, in the process, widened thegates for subsequent players.
Born in York, England, on Feb. 26, 1939, the alto andsoprano saxophonist began his musical journey in his early
teens. “It was the sax, that was the cheaper option at thetime in the shop,” says Watts from his longtime home in
Hastings, U.K. That same year, Watts left school to live in
Halifax, a market town in industrial West Yorkshire. Watts’father was a baker and found Watts a job in a bakery. Before
Watts was born, his father lived in Canada and would visit
America and discovered early jazz recordings. “[He hadrecords] like Nellie Lutcher, Nat King Cole, Ellington, Tex
Beneke, Fats Waller, Bob Crosby,” recalls Watts. “This was
my early inspiration to want to become a musician.”
Watts was largely self-taught. This autodidactic
approach arguably prepared Watts for playing purely
improvised music. “I learned everything by ear for starters.
The more methodical type of learning came later, as I felt that’s
what I must do. So I realized later that by teaching myself
to read and write music, I became slightly more inflexible
within the more purely improvisatory explorations.” Watts
also notes that his environment influenced his development.
“One has to remember that I was entirely in isolation at
first. Halifax in England is no New Orleans or New York.
However, the sense of determination needed to learn and tocarry on stood me in good stead over the years.”
Like many post-WWII musicians, Watts met musicalallies while enlisted in the military—in his case, the RoyalAir Force. “I’d met [drummer] John Stevens and [trombonist]
Paul Rutherford in the Royal Air Force School of Music at
Uxbridge, London in 1960, and we all had an interest in
jazz,” recalls Watts. He mentions the trio’s shared passion
for Ornette Coleman, John Coltrane, Cecil Taylor and Sonny
Rollins, as well as “wider interests” like Japanese gagaku
music. “We had an ‘open’ and similar interest, too. So fromthe get-go, as you say, we were interested in pushing thatmusic forward.”
In 1965, this trio coalesced as the Spontaneous Music
Ensemble (SME) in London. Listening through discerning
21st-century ears, it can almost sound like the SME always
existed. With the sheer availability of archival and current
recordings, longtime and newer venues consistently willingto host the music, a devoted and equally receptive audienceand the ongoing overlap of free jazz and underground rock,the principles of improvisation, sonic exploration and pureavant garde intent can sound as familiar as a proverb. Yet
the core U.K. players who assembled as the SME, and those
who joined in after hearing the clarion call, were absoluteradicals. Watts recalls, “We needed a place to play regularly
and develop the music, and it was pianist Veryan Weston’ssister [singer] Armorel Weston who found the place for
us: the Little Theatre Club in St Martin’s Lane.” The club
opened January 1966 and was initially open every night.
“The group felt somewhat of an ‘outside’ force at thestart. It really was the place that you could go to and literally
try anything you wanted.” The nascent experimental musicscene in London began to bloom. Concurrent to the SME, thetrio AMM (guitarist Keith Rowe, saxophonist Lou Gare anddrummer Eddie Prévost) were also working with freeformmusic, while the original Pink Floyd were melting rock-song
structures into longform psychedelic sprawls. The audience
feedback wasn’t immediately positive. “There was quite a
bit of hostility, and quizzical looks regarding even thinkingof playing like we did,” says Watts. “John and I played as a
duo at the Speakeasy Club in London, an ‘after hours’ place
for rock and pop stars. They gave us the money at half timeand asked us not to play anymore.”
Watts also sees a parallel between the British andEuropean free jazz explosion and the similar restlessgroundswell in America. “For instance, we had never heardof the Art Ensemble of Chicago. We were working within ourown bubble.” The club and SME attracted similar English
musical seekers, players inspired by Coltrane and Albert
Ayler, yet who were imprinting an ineffable and indigenous
British energy into jazz. Musicians including guitarist Derek
Bailey, bassists Barry Guy and Dave Holland, singer Julie
Driscoll and trumpeter-flugelhornist Kenny Wheeler foundsolidarity in the free London scene.
“I remember Evan Parker asking if he could sit in withus,” says Watts. “Evan had come down from Birmingham
and he took to the music like a duck to water.” Decades
later, Parker now describes the era as “fractious times” andviews himself as an “interloper” in iterations of SME. Alongwith Bailey and Guy, Parker augmented the original line-upof Watts, Rutherford and Stevens.
“That sextet quite quickly fragmented into SME under
Stevens’ control,” says Parker. “[The band] Amalgam
being Trevor’s response, and Iskra 1903, formed by Paul
Rutherford.” Guy describes himself as the “greenhorn” of
the group. “Their combined passion for the music became thedriver for totally new musical experiences… I found the whole
scene exhilarating, but as always with committed artists,
there were heated discussions concerning the semantics ofthe how, why and what we were doing to further the music.”
The SME releases recorded in this era featured both small
and larger ensembles, offering generally longform pieces that
could sound confrontational or intimate, at times in the same
song. “We stuck our necks out at a time when it felt like thatis what you were doing,” says Watts.
From 1969 through the late ‘70s, Watts fronted
Amalgam, their sound a potent, evolving blend of freeplaying and funk-fusion, and was a founding member of
Guy’s London Jazz Composers’ Orchestra. There remains awellspring of solid work by Watts from this era, as he andhis cohorts expanded the jazz vernacular. “I have noticed amuch greater feeling of confidence when I am taking partin what you [might] call the full state of improvisation,”says Watts, when pressed to articulate any interior shift that
occurs during his improvisations.
In 1982, Watts took African rhythms into the fold withhis Moiré Music project, which found him working with
Ghanaian musicians and 10- to 14-piece drum ensembles.
Well into the ’90s, Watts led these groups through rollicking,syncopated performances. Like Amalgam, these projects
found Watts working in more of a compositional aspect: “I

8 November 2023 | THE NEW YORK CITY JAZZ RECORD

always had jotted new ideas down on paper practically every
time I picked the horn up, and even today if you look in mymusic room there’s absolutely reams of used manuscript
paper. So although improvisation was important to me, it
was also important to write music, and even a juxtapositionof the two.” From the ’90s through the early 2000s, Watts
continued with his mercurial creative projects.
Beginning in the mid ‘80s, Watts has enjoyed a longstanding, fruitful collaboration with pianist Veryan Weston,with albums and concerts that are a counterpoint gradientto the grand impact of Moiré Music. In recent years, theEternal Triangle—a trio featuring Watts, Weston and theirlongtime collaborator, percussionist Jamie Harris—has
further distilled Watts’ most durable interests: European
free jazz and African rhythms. Harris has played withthe saxophonist since 1999. A fan of Watts’ music since
his teens, Harris grew up in Hastings and would “kind ofhassle and bug” him in local pubs. The younger musician
was originally a singer; it was Watts who pushed him toplay the drums. In the duo format, the pair can be heard
as a microcosm of the Moiré Music sensibility. “The Moiré
concept was like rhythmic lines interchanging,” says Harris.
“And Trevor’s traditional big bands had an impressive andlarge sound. What we’re trying to do as a duo is to make italways sound a bit bigger than a duo should usually sound,using principally rhythmic concepts.”
From last month into this month, Watts and Harris are
doing a 16-date stateside tour which includes a Hudson
Valley concert at Tubby’s in Kingston, NY (Oct. 29) andculminates locally at The Jazz Gallery (Nov. 18). The 84-yearold saxophonist concedes that the NYC show will indeed be
his final performance in the States. It will be an opportunity
for longtime fans and curious listeners to witness the fearless
improviser who, in all of his global travels, has always
enjoyed a particular relationship with American audiences.
“This year, there was a celebration at Café Oto in
London of the continuing influence of SME and AMM on
improvised music. But I was never asked to take part as aplayer. It never came into anyone’s mind, perhaps because
I have been very eclectic over the years, and not a stalwartof that improvising scene. I have noticed that in the U.S., I
think there’s more openness to what an artist wants to do,rather than a solid expectation of what [the audiences] aregoing to get. Therefore to me, that is much more preferable
and feels more like the people listening are more willing togo with the flow.”
For more info visit rdbf.org. Trevor Watts is at The Jazz Gallery
Nov. 18. See Calendar.
Recommended Listening:• Spontaneous Music Ensemble—Challenge(Eyemark, 1966)• Spontaneous Music Ensemble (John Stevens/Trevor
Watts)—Bare Essentials 1972-3 (Emanem, 1972-3)• Amalgam—Wipe Out (Impetus, 1979)• Trevor Watts/Liam Genockey—
The Art Is In The Rhythm (Jazz in Britain, 1989)• Trevor Watts—A World View
(Fundacja Słuchaj, 1996-2019)• Trevor Watts—The Lockdown Solos (Hi 4 Head, 2020)

RARE NYC PER

Trevor Watts& Jamie Harris

FORMANCE

ONE NIGHT ON

LY ! ! ! !

November 18
The Jazz Gallery
Co-founder of the Spontaneous Music Ensemble
in 1965, legendary saxophonist Trevor Watts
makes a rare New York City appearance with his
long-standing duo partner, percussionist
Jamie Harris, for an evening of African-inspired
grooves and creative improvisation. Two sets

Trevor Watts — alto & soprano saxophone
Jamie Harris — congas & percussion

The Jazz Gallery

Sets at 7.30pm + 9.30pm ET

1158 Broadway,

Cabaret seating: $40/$25 members

5th floor, NYC

General admission: $30/$15 members

jazzgallery.org/

Large photo: Žiga Koritnik; inset photo: Graeme Williams

only. Limited tickets available. RESERVE TODAY!

PHOTO BY ALAN NAHIGIANENCORELESMCCANNMORE FROM LESBY JIM MOTAVALLI

Pianist Les McCann, 88, bedridden in California
with some serious health issues for the last five years,
remains quite energetic and bristles at any attempt tosum up his long history of playing music. “Does thatmean my career is over?” he asks. “Actually, I would
say no one could have had a better life than the one I’ve
had—it happened exactly the way I planned it.”
McCann, a soulful keyboard man from Lexington,
KY, remembers hearing seminal influences like Ivory Joe
Hunter, Ray Charles and Nat Cole on the radio when he
was growing up. His first instruments were drums andtuba in the marching band, and he’s largely self-taught
on the piano, with only a few weeks of lessons.
After turning down an offer from Cannonball
Adderley because he wanted to be the leader, McCannrecorded more than a dozen albums for Pacific Jazz
between 1960 and 1964. He is probably best known
for Swiss Movement, the 1969 live-in-Montreux album
he made with saxophonist Eddie Harris as co-leader.
As McCann tells it, the lineup came together at thelast minute—he hadn’t played with Harris before thatdate, and expatriate trumpeter Benny Bailey was a lastminute recruit after Clark Terry turned them down.
They were seeing Harris’ “Cold Duck Time” for the firsttime that day.
When he returned to his hotel after the performance,
McCann was distraught. “They told me there were
mistakes made with the equipment they were using,that it hadn’t been recorded well,” McCann said. “Andthen they called me to come back, because they couldn’t
believe how well it had turned out. That night was
magic, it really was.” And Gene McDaniels’ “Comparedto What”, with McCann’s impassioned vocal, becamea huge hit, a protest song heard all over America—
and from every dorm window—that year. The album
reached number one on the Billboard jazz chart and wasnominated for a Grammy.
Asked about his favorite among his recordings,
McCann invariably cites Invitation to Openness, from1972. It all goes back to hearing church congregations

singing in Lexington. “Half of them would be outof tune, but the other half was doing something
unbelievably beautiful,” McCann said. A clear direction
crystalized after a party at Frank Zappa’s house. “After
getting out of the Navy in the ’50s I got to know a lotof people, and Zappa was one of them,” McCann said.
“I was invited to a party of his, along with 300 otherpeople, and we were each handed instruments—bells,
drums, tambourines. No one knew how it would soundbut when we began playing I heard something in the
middle of it, exactly what I’d been looking for—the
hidden treasure.”That’s why Invitation to Openness, led by the
26-minute “The Lovers”, has 14 players on it.
“Everything about it was spontaneous, and it is what
it is, a phenomenal piece of work,” McCann said.
“[Drummer] Alphonse Mouzon was the last one to show
up at the session in New York, and he had a bad attitude.
He said, ‘You’ve got all these other motherfuckers, why
do you need me?’ And I asked him, ‘Can they do what
you do?’ and he said no, so I just said, ‘I hired you tobe you. If you want to solo through the whole thing,fine.’ He ended up fitting in well.” Yusef Lateef, who
had never played with McCann before, made a major
contribution on saxophone, oboe and flute.
And there was a harpist, Corky Hale. “She had aregular gig with Tony Bennett and said she couldn’t
stay long because she needed to get over to the Waldorf
Astoria to play a duet with him,” McCann said. “Butonce we got into the music, she just couldn’t leave, so
Tony ended up singing the song by himself. The nextday, Tony fired her.”
McCann cites his very first album under the Les
McCann Ltd. banner, Plays the Truth (1960), with great
fondness. “It’s called Plays the Truth, and that’s what itis,” he said. “I had a long and happy relationship withPacific Jazz. You can’t make that many records without
it being a good relationship. It was a dream to have arecord company sign me, because I was still trying tofind my way back then.” A few years later (in 1962),
McCann’s trio recorded Stormy Monday with singer
Lou Rawls, and he remembers a long night at Capitol
Records’ studio in which some 33 songs were recorded.
“I’d heard the gospel groups that Lou was in back in
Kentucky. So when we met, we hugged each other, andthen got to work—he called out a blues in whatever
key, and we were off.” There were only 10 tracks on
the original Capitol album, and three more were added
when Blue Note reissued it in 1990. So much may
remain in the can.

A more recent happy chapter in McCann’s life ismeeting a young protégé, pianist Joe Alterman, in 2010.
Alterman fondly recalls, “I loved his music, and was so
happy to open for him at the Blue Note, where I was
an intern… He was doing all the things I was told not
to do as a pianist, and he sounded so good. He said tome, ‘Play some blues, boy.’ He liked what he heard andthe next day I got a call from Les saying, ‘It was nice tomeet you, please keep in touch.’ Since then we connect
on the phone almost every day—I talk to Les more thananyone else.”
In addition to their personal friendship, theAtlanta-based Alterman is a great admirer of McCann’scompositional skills, and recently self-released the trio
album Joe Alterman Plays Les McCann: BIG MO & little joe.
“No, I didn’t include ‘Compared to What’, even though
it turned so many people on to jazz, because I wanted toshowcase some of my favorites from the whole span of
his career,” Alterman said. “Les’ tunes aren’t heard asoften as they should be.”Asked about the tribute album, McCann adds, “I’mtotally thrilled with whatever Joe does, because he does
it with love.” And he adds, “We talk all the time and say
what’s necessary. It feels like we’re related.”
McCann is also an avid photographer, and his
Invitation to Openness: The Jazz and Soul Photography of
Les McCann was published by Fantagraphics. In late
September, the pianist celebrated his 88th birthday,and later this month (on Record Store Day), Resonance
Records will issue a triple set called Never a Dull Moment!
Live from Coast to Coast (1966-1967), recorded at Seattle’s
Penthouse Club and New York’s Village Vanguard. In
the notes, singer Roberta Flack points out that McCann’s
recommendation of her to Atlantic “was a pivotal
moment in my career.” And she echoes a sentiment thatsums up McCann best: “He is a giant in (my/the) worldof music—a limitless creator, inspiration and friend.”

Somavilla. Pucho was the group’s dedicated trombonist
and one of its principal arrangers.
“Actually, Luis did something very special for me
when I was 16 years old,” reported Sandoval in a phoneinterview with TNYCJR. “He was the first trumpet in
the best orchestra that ever existed in the history of
Cuba. And when he left, he put me in a spot. Everybody
was against that. I was such a risk because I [had] justcome out of school and didn’t have any experience atall. But he had a lot of confidence in me—he had thevision that he saw something.”
Sandoval’s brief but formative tutelage with the
Escalante brothers would end in 1971, the year that
Luis died, at age 56. Soon thereafter, Sandoval andfellow OCMM alums pianist Chucho Valdés andclarinetist Paquito D’Rivera founded Irakere—thehistoric ensemble that introduced Cuban-based jazz
fusion to the world.
One can trace Irakere’s musical lineage directly
back to the Escalante brothers and their ready embraceof the jazz innovations that were pouring into Cuba fromthe U.S. in the first half of the 20th century. Growing
up near Guantanamo, the brothers started their musiceducation early, with Luis teaching himself the trumpet
and cornet and Pucho studying the trombone moreformally. At the time, these brass instruments werecrucial to the sound of Cuba’s popular dance bands, andthe brothers had barely reached adulthood before they
were gigging at Havana’s finest clubs and cabarets withsome of the country’s most prominent bandleaders.
Luis, too, aspired to conductorship and soon
parlayed his growing reputation as a premier big band
trumpeter into a leader role: in 1940, he and Romeu
formed the Bellamar Orchestra, the house band for the
upscale cabaret Sans Souci, with Pucho in the trombone
chair.
While much of their careers overlapped, Luisand Pucho didn’t always work side by side. As Luis
continued to work as a sideman or leader within Cuba,
Pucho began to accept opportunities abroad. In the ’40s
he moved to Panama to play with Armando Boza’s
famed big band for several years, later relocating to
Venezuela, where he worked with Luis Alfonzo Larraín,
the beloved Venezuelan composer, and Billo Frómeta,

Joe Alterman’s BIG MO & little joe Les McCann tributealbum release concert is at Birdland Nov. 27. See Calendar.
Recommended Listening:• Les McCann Ltd.—Plays The Shout (Pacific Jazz, 1960)• Les McCann Presents Richard “Groove” Holmes—
Groove (Pacific Jazz, 1961)• Les McCann Ltd.—But Not Really (Limelight, 1964)• Les McCann & Eddie Harris—Swiss Movement(Atlantic, 1969)• Les McCann—Invitation to Openness (Atlantic, 1971)• Les McCann—On The Soul Side (Musicmasters, 1994)

LEST WE FORGET“PUCHO”
ESCALANTE
THE ESCALANTE BROTHERSBY SUZANNE LORGE

A year ago October, Leopoldo “Pucho” Escalante, aheralded trombonist from the golden age of Cuban
jazz, passed away in New York City, two months shyof his 102nd birthday. Though largely overlooked
today, Pucho and his older brother Luis made a lasting
imprint on Latin jazz, not just for their forward-looking
musicianship, but for their mentorship of the next
generation of influential players. It was Luis who firsttapped a teenaged Arturo Sandoval, in 1967, to playtrumpet in the Orquesta Cubana de Musica Moderna(Cuban Orchestra of Modern Music, OCMM), theground-breaking Cuban big band that Luis formed
along with conductors Armando Romeu and Rafael

10 November 2023 | THE NEW YORK CITY JAZZ RECORD(CONTINUED ON PAGE 33)

L ABEL SPOTLIGHTBLUJAZZA LABEL’S BUFFET OF SERVICES
BY MARILYN LESTER
Blujazz may have the term “jazz” in its name, but intruth the alternative label, now around 25 years old, has
become a smorgasbord, a “label for everything to hangyour hat on,” according to founder Greg Pasenko. The
foundational concept was (and remains) that an artist
can release his/her work for a one-time fee without
giving up the rights to the intellectual property.
Consequently, a visit to the label’s website reveals acatalog that spans jazz, blues/roots, and even pop tocontemporary and progressive sounds. Amazingly,
Pasenko alone manages the label’s operations, including
artist contracting, distribution and booking. Until very
recently, he was aided in radio and press promotion
by Ralph Lampkin, whose sudden passing earlier thisyear was a shock to many. “We worked together on the
vocal area of Blujazz for many years, and there wasactually hardly a day that went by that he and I did nottalk on the phone,” Pasenko says. “We also spent a lotof time encouraging each other to believe that [even if]
what we were doing might not always be a ‘home run,’we were helping artists further their careers.”
Cabaret and concert artist Liz Rubino is a musician
who came to Blujazz through Lampkin, part of thegenre expansion of the label. Like many artists, her
experience included “trudging through the muck”
and dealing with an array of disappointments fromworking within an industry that tends to be short on
big hearts and open minds. She first met Pasenko andButcher Block Ballet
Jeremy Manasia Trio

Songs My Mother Loves
Dee Alexander

Lampkin several years ago at the New York City APAP
conference. “I was struck with the care and kindness
that Greg had for the artists he represented. Blujazz put
its artists at the forefront, and that particular conference
showed me that we were all important to both Greg andRalph, and that it was their mission for us to be seen
and heard not just as artists but as humans. Blujazz andGreg get that. And that is a beautiful thing.”
Pasenko, a native of Springfield, IL, is himself amusician, a vocalist and guitarist who has played jazz,
blues and R&B. He’s worked with the likes of Ramsey
Lewis, Eddie Jefferson, Maynard Ferguson, Buddy Guy
and Junior Wells, as well as rock groups Rush, Canned
Heat and Blue Oyster Cult. As a jazz producer he has
worked with George Mraz, Ed Thigpen, Frank Wessand Lew Soloff. His background also includes a stintin publishing, working for United Artists Records in
L.A. during the Blue Note period. With this kind of
background, running Blujazz as originally conceived
has continued to make sense. As the label grew and thegenres widened, so did the possibility of working witha wider variety of artists. “I have always believed thatmost promoters put out too many releases in any one
genre,” Pasenko explains, “and radio and press can only
take so much from any one promoter.” One of Blujazz’
early releases was 2002’s Sunday in New York by Abbey
Lincoln protégé Libby York. The album was recorded at
The Studio on Spring Street with Renee Rosnes (piano),
Todd Coolman (bass) and Billy Drummond (drums).
“We had some fun doing CD release events at theMetropolitan Room,” York remembers. “It was great
working with Blujazz and renowned jazz publicist
Peter Levinson, who had worked with Sinatra.”The buffet of services that Blujazz offers is a

90 Going On Amazing
George Freeman

spectrum from the proverbial soup to nuts. And what’s
unique about the arrangement is that an artist’s music
can be on the Blujazz label, or not. In the latter case,artists can utilize the services that fit their needs in
the U.S. and beyond. “Working with Greg Pasenko
and Blujazz has been a wonderful experience,” says
pianist Jeremy Manasia, whose Butcher Block Ballet was
released last year. “As an artist in this new landscape of‘artist share’ deals with record labels, I found Blujazz
offers the most freedom to the artist. I was given a
blank canvas to make my record exactly how I wanted
it. That included the cover art and layout, song order,
length, material, mixing and mastering, etc. I had freerein to do whatever I wanted.”High on the list of Blujazz services is digital and/or
physical radio and press promotion. Blujazz utilizes the
PlayMPE Platform with “digital fingerprinting”, which
covers radio (terrestrial, internet, syndicated), blogs,
trades, magazines, web mags and more internationally.
Results can be received in real time via streams,
downloads, clicks and views. Because the label was
founded prior to the digital age and the subsequent
revolution in the record business, Blujazz initiallyrelied on the Jazz Week U.S. Jazz Chart stations andpress and U.S. Living Blues/Roots Stations for physicalCD promotion. For physical distribution, the label
continues to recommend CD Baby or Distro Kid Digit.
With the rise of social media, Pasenko makes use of allof the relevant platforms, including Spotify, Instagram,
Tik Tok, Facebook and Google Ads.
Twenty-five years from its inception, Pasenko andBlujazz carry on with energy and optimism despite the(CONTINUED ON PAGE 33)

Sunday in New York
Libby YorkA Reunion Tribute to Erroll Garner
Ernest McCarty, Jr. & Jimmie Smith

VOX NEWSVOZES
BRASILEIRASBY SUZANNE LORGE

F all in New York means spring in Brazil, where soft
breezes carry even softer voices, engaged in song.
Singer/composer Ivan Lins is responsible for a great
number of these songs: “after Jobim, [Lins] may be themost recorded Brazilian songwriter outside of Brazil,”
writes music journalist James Gavin in the liner notes
to My Heart Speaks (Resonance), the new tribute album
to the renowned musician. Couched in resplendent
orchestral arrangements (by Kuno Schmid), these
Brazilian classics remain as heart-stealing as ever.
Lins has help from three prominent American jazz
vocalists in this effort. Dianne Reeves’ deep contralto
taps into the regret of lost love on “The Heart Speaks(Antes e Depois)” and Jane Monheit lends a lush
romanticism to “Rio (Rio de Maio)”. Notably, Monheit
wrote the English lyrics for these two selections. And
Tawanda Suessbrich-Joaquim, the 2020 winner of the
Sarah Vaughan International Jazz Vocal Competition,
burnishes each vowel with warmth on “I’m Not Alone(Anjo de Mim)” (lyrics by Will Jennings).
Of course, Lins’ interpretation of these tendercompositions is the focus of the album, which revisits
his 1996 collaboration with trumpeter Terence
Blanchard, The Heart Speaks (Columbia). Of the 11
tracks in the collection, two derive from that release—
the Reeves selection and the Afro-funk tune “Congada
Blues”. Some of the tunes are straight vocalese pieces(“Missing Miles”, “Easy Going”), but most feature Lins’
own emotive vocals. The standout: 1975’s “Corpos”,
a cheery jazz waltz that holds to account Brazil’s
then-dictatorship for the scores of dissidents who“disappeared” during its reign. While Lins doesn’t
seem to be playing New York anytime soon, Reeves
will open the Exit Zero Jazz Festival in Cape May, NJ(Nov. 9), and Monheit headlines Birdland (Nov. 7-11).
Four other recent Brazilian jazz releases also
demand attention: São Paulo native Luciana Souzacelebrates her homeland with the piano-based
Trio Corrente on Cometa (Sunnyside), a happy
agglomeration of originals and Brazilian favorites.
No fewer than six solo singers front the Gafieira Rio
Miami big band on the ecstatically danceable Bring
Back Samba (Brazilianaire Music). On the FrancoBrazilian release Songs for My Daughter (Sunnyside),
Camille Bertault (and pianist/father Paul) tackle some
Brazilian classics—including Lins’ wistful “Começar
de Novo (The Island)”, along with Jobim’s “Dindi” and“Luiza”. And on their Franco-Brazilian release, Entre

eux deux: The Paris Sessions (Decca), vocalist Melody
Gardot and pianist/vocalist Philippe Powell deliver
a powerfully sad rendition of “Samba Em Prelúdio”,
arranged by Alan Broadbent.
NEA Jazz Master Dee Dee Bridgewater will join
pianist Bill Charlap to kick off the 12th Annual TD
James Moody Jazz Festival (Nov. 3). The festival, led
by bassist Christian McBride, always brings exciting
singers to the NJPAC stage—this year’s roster includes
such diverse talents as the vocal powerhouse Lisa
Fischer, Cuba’s Omara Portuondo, the acapella group
Take 6 and R&B star Gladys Knight. But the main
event for singers is always the Sassies. The five finalists
in this year’s Sarah Vaughan Competition square off(Nov. 19): more than 280 singers from 37 countries
applied, but only Darynn Dean (Los Angeles, CA),Bianca Love (New Orleans, LA), Tyreek McDole (St.
Cloud, FL), Ekep Nkwelle (Washington, DC) andEmma Smith (London, UK) made the cut.
Jazz super-scatter Louise Rogers and pianist Mark
Kross, founders of WaHi Jazz in upper Manhattan, will
host the 6th edition of the Annual Washington Heights
Jazz Festival (Nov. 2-5). Among its many impressive
headliners is Sheila Jordan, at Le Cheile (Nov. 4).
While in town, Jordan also will celebrate her free-bop
collaborator Jay Clayton at Pangea (Nov. 8), alongside
Judy Niemack, Andrea Wolper, Erli Perez and Kendra
Shank. Jordan wraps up the month’s gigs at Birdland
Theater (Nov. 19).

THE NEW YORK CITY JAZZ RECORD | November 2023 11

F ESTIVAL REPORTMONTCLAIRJAZZ FESTIVAL

SOMMERFEST: UNSERBABY WIRD 80!

Regina Carter @Montclair Jazz Festival

BY FRANCESCO MARTINELLIPHOTO BY CEM GULTEPE

Gunter “Baby” Sommer @Sommerfest

BY KEITH HOFFMAN

PHOTO BY CHRIS WOODARD

PHOTO BY MATTHIAS CREUTZIGERBY JOHN SHARPE

AKBANK
JAZZ FESTIVAL

Ilhan Erşahin @Akbank Jazz Festival

While Fall might not seem the right time to put on a The streets were flowing with water, as people fled the The 33rd edition of the Akbank Jazz festival took place

three-day “Sommerfest” (Sep. 22-24), the explanation
was simple: the event was in honor of celebrated German
drummer Günter “Baby” Sommer’s 80th birthday
year. He curated the program in his beautiful home cityof Dresden, Germany at the prestigious Semperoper
Dresden opera house’s Semper Zwei modern wing on thefirst two evenings, while the intimate Jazz Club Tonne
basement space (just around the corner from the historicFrauenkirche) hosted the third.
A fixture in East Germany’s more adventurous
outfits, Sommer subsequently formed fertile connectionsin the West, as evidenced by recordings with Wadada Leo
Smith and Cecil Taylor. But in spite of his reputation in
the European free scene, Sommer loves to swing. In that
respect at least, his kinship with Dutchman Han Bennink
is evident. His nickname stems from his affection forLouis Armstrong’s drummer Warren “Baby” Dodds.
Indeed, his consequent command of the rudiments—with
their echoes of Prussian march music—have come to form
the basis of his expression in even the most unfetteredsettings. Allied to that is an impish sense of timing anda finely honed ear for precise explosions of tuned pitches
that add both drama and fun to any show.
Each of his three appearances constituted a highlight.
First was an outing for his Brother & Sisterhood ofBreath, a dozen-strong company that channeled thespirit of Chris McGregor’s famous big band of almost thesame name. Indeed, two of McGregor’s charts featured
alongside others by Sommer, pianist Ulrich Gumpert andsaxophonist Raymond MacDonald. Sommer energized
the band with a fierce drive that Art Blakey would
have coveted. Punchy riffs intersected, counterlines
uncoiled and glorious horn polyphony intermittently
erupted, buoyed by Gumpert’s off-kilter bluesy comping
and bassist Robert Lucaciu’s surefooted propulsion.
Sommer’s “Karawane”, which incorporated trumpeter
Martin Klingeberg declaiming Dada poet Hugo Ball’s
1916 nonsense verse over a cantering funk, opened up fora sequence of impromptu duos and trios, with Matthias
Schubert’s choked tenor cries particularly notable. The
stirring intensity of McGregor’s “Do It” segued into themore exotic terrain of his “Night Poem”, where trombonist
Gerhard Gschlössl pontificated and burbled affectingly
over flutes and percussion. Other outstanding moments
included the triumphant processional of Gumpert’s“Japan Suite”, which framed an a capella outburst from
Gebhard Ullmann’s tenor, full of burnished sinuosity,
bleating false fingering and frayed multiphonics, while

downpour. Even those who at first insisted on standing
their ground were rushed inside by public safety
personnel, who told them to take shelter from the vicious
lightning strikes in the area. Occasional strong thundershook the ground, the tents and the confidence of theorganizers.
Thus, the survival of the 15th Montclair Jazz Festival
hung in the balance during a wet Saturday afternoon(Sep. 9). The Montclair streets that are the grounds for thefestival, an annual one-day long event that has become thebest-attended and most prestigious gratis jazz festival on the
New Jersey music calendar, were entirely bereft of people.
“There was not a soul on the street,” Melissa
Walker, the executive director of Jazz House Kids,
recalled recently. “I was not confident.” But then Artistic
Director Christian McBride, Melissa’s husband, steppedin with his booming basso profundo: “The people aregoing to come back.” It was not so much a viewpoint
as a pronouncement, and so the decision was made: theorganizers vowed to keep both main stages open, and to
put on as much of the planned show as humanly possible.
That’s exactly what happened.
As soon as the technicians assured everyone they
could proceed safe from electrocution, vocalist MelanieCharles was free to make jazz trill again on one stage,
while the majestic Regina Carter, one of the world’s great
violinists, held forth on her own stage, blocks away up
Bloomfield Avenue.
And, of course, McBride was right. Not only did
they come back, but they came back in such force thatboth stages were more densely attended than ever before.
There were well over 15,000 attendees, according to police
estimates. “It was really a testament to how important
this is to people,” Walker noted. “This is their festival.”
Indeed, prior surveys have shown that more than half
the people who come to the festival are return attendees.
An outgrowth of the venerable Jazz House Kids, theMontclair-based music education program now in its
20th year, the festival began 15 years ago as merely theend-of-the-workshop student concert, with of course theaddition of professional instructors, including McBrideand Walker, herself a talented vocalist. To say that the
beginnings were “humble” would be an understatement.
Back then, McBride—now the successor to George Weinas the driving artistic force of the Newport Jazz Festival—
was not even aware one needed a permit to take over a
public space for the day.
“Christian and I just started driving around the(Sep. 23 to Oct. 8) in the Turkish metropolis of Istanbul.
Subtitled “The city’s jazz situation”, the event takes
place all over the sprawling city, from the bohemianYeldeğirmeni on the Asian side to the renovated Taksim
Square’s Ataturk Cultural Center. Founded by the brothers
Mehmet and Ahmet Uluğ with Cem Yegül, Akbank has
been instrumental in introducing cutting edge jazz in
Turkey, Sun Ra Arkestra’s parade on Istiklal Caddesi
being its symbolic event. The same trio of entrepreneurs
established the record label Doublemoon in the late ‘90s;
they also opened the original Babylon club in Beyoğlu,which has now moved to Bomonti; the Sun Ra parade
pictures are still proudly displayed in the new location.
The first week of this year’s festival included
trumpeter Terence Blanchard’s new project (with theTurtle Island String Quartet) and guitarist Al Di Meola,
while the second took place in a representative selectionof venues on the European side, including the venerable
Ses Tiyatrosu, where a performance by alto saxophonist
Lakecia Benjamin was enthusiastically welcomed by
the audience. The cozy auditorium of the bank’s cultural
center, AkSanat, hosted a Wayne Shorter tribute with aquartet of top Turkish musicians: Engin Recepoğulları(tenor), Can Çankaya (piano), Alper Yılmaz (bass) and
Ediz Hafızoğlu (drums). U.K. pianist Zoe Rahman had
excellent support from Alec Dankworth (bass) and Gene
Calderazzo (drums) in music that was elegant but gripping
only in the rare ripples appearing on its smooth surface(the stage patter, however, was admittedly overly cutesy).
A Turkish band led by Bulut Gülen (trombone) featured
the bright new talent of Barış Doğukan Yazıcı (trumpet).
The unique combination of Ballaké Sissoko (kora),
Vincent Segal (cello), Vincent Peirani (accordion) andÉmile Parisien (saxophone) charmed the audience inthe stately Cemal Reşit Rey Concert Hall. At Babylon,
Immanuel Wilkins’ trio (its bassist missing) had
some issues with the sound system and their closing,
meditative piece was the best on an evening where too
often drums were overwhelming. Hidden Orchestra’s
trippy electronics and pulsating rhythms were a hit withthe younger crowd, gathering for a night out where music
was only one element of the turbocharged networking
live and on social media.
The overlapping of events prevented my checking
out the “Tribute to Ella & Louis” at the Nardis Jazz
Club, for decades the haven of live jazz in the city. I
regularly visited Bova, a very hip live music club withgreat atmosphere, and which featured the excellent trio of(CONTINUED ON PAGE 32)(CONTINUED ON PAGE 32)(CONTINUED ON PAGE 32)

12 November 2023 | THE NEW YORK CITY JAZZ RECORD

MariaFaust
IN CONCERT + IN FILM

THURSDAY, NOV 9, 7:00 PM@SCANDINAVIA HOUSE
Faust takes the stage for a live
performance in support of Ukraine.
Featuring the short documentary “What
Would You Take?” (Mille Sina võtaksid,
dir. Heilika Pikkov, Estonia, 2023, 23
min.), followed by a panel discussion.

FRIDAY, NOV 10, 6 PM
@SCANDINAVIA HOUSE“Machina Faust” (dir. Kaupo
Kruusiauk, Estonia, 2023, 77 min.)offers an unfiltered glimpse into thelife of Maria Faust as a composerand feminist at the North American
premiere of the documentary.

More information:
balticfilmfestival.com

Special Audiences and Musicians, Inc.
Benefit Concert

Anticipated artists to perform: George Coleman,
Jimmy Owens, Peter Bernstein, Scott Robinson, Ron McClure,
Virginia Mayhew, Javier Arau, Ehud Asherie+ more surprise guests

Sunday December 10th, 2023

National Jazz Museum in Harlem
58 W. 129th Street, NYC (2 – 4PM)
Tickets $35
www.specialaudiencesandmusicians.org
RSVP: Jeffrey.nussbaum@gmail.com"Creative music is for everyone, not just an elite few. Expanding accessto the beneﬁts of a creative life, for all people, is so important. I salute
Special Audiences And Musicians for their efforts in carrying on thislife-changing work.” – Scott Robinson

New York Baltic Film Festival
2023 highlights the talentsof renowned Estonian jazzsaxophonist Maria Faust
with a documentary and alive performance.

ALBUM REVIEWS

Lover to You
Hayes Greenfield/Dean Johnson (Sunnyside)by Ken Dryden

Alto saxophonist Hayes Greenfield and bassist Dean
Johnson’s friendship goes back to their days at Berklee
in the ’70s, and they have worked together in various
groups since the ’80s. Greenfield has pursued diverse
projects, including film scoring and solo performanceutilizing electronics, and created the Jazz-A-Ma-Tazz
interactive show to introduce jazz to kids. Johnson has
pursued a more conventional career, making a namefor himself in the latter-day Gerry Mulligan Quartet
and becoming a first-call accompanist for vocalists.
Over the past few years, the two discovered that they
preferred playing as a duo. They have performed
regularly in this format, particularly at Brooklyn’s
Soapbox Gallery (owned by the saxophonist’s brother,
Jimmy Greenfield), and this album contains material
recorded at the venue over a three-month period.
Greenfield’s “The Music Never Dies” is a solid
opener, the saxophonist utilizing the full scope of hishorn; Johnson’s creative accompaniment and brilliant
solo suggest Milt Hinton’s humor and percussive effects.
The extended exploration of Thelonious Monk’s “Ask
Me Now” makes great use of space, and the musicianstake the tune into unexpected places. “Secret Love”, asong long part of their live repertoire, is thoroughly
reworked. Beginning with a staccato introduction andcontinuing with creative solos, the performance hasa sassiness rarely present in interpretations of thisstandard. Their playful setting of Fats Waller’s “Jitterbug
Waltz” showcases the duo’s humor: Greenfield’s veiled
song quotes elicit whimsical responses from Johnson.
The saxophonist’s “I Can’t Make You Love Me Like I
Wish I Could” has a tongue-in-cheek air, while his
bittersweet ballad “Lover to You” conveys heartbreakwithout a lyric.
For more info visit sunnysiderecords.com. The album release
concert is at Mezzrow Nov. 14. See Calendar.

Live at the Village Vanguard
Kris Davis’ Diatom Ribbons (Pyroclastic)by George GrellaThis new live double album from pianist andbandleader Kris Davis is a distillation from sets in May
2022 at the Village Vanguard. Davis’ Diatom Ribbons
band is already a unique ensemble, with Trevor Dunn(bass), Terri Lyne Carrington (drums) and Val Jeanty(samples and turntables), and for these gigs Julian
Lage joined on guitar. The result: ambitious music thatdemands and rewards close critical listening.
The main flaw in the album concerns Lage. There’s
no weakness in his playing, but rather in how he fits
into the stretches of free playing. Those are neither
numerous nor bad per se, but have the feel of everyone

being mutually accommodating, when something more
focused and determined would bring the freer playing
up to the level of the more structured music. And on
those tracks, the music is often brilliant.
There are two takes of Wayne Shorter’s “Dolores”;
the rest is new repertoire from Davis plus her
arrangements of Geri Allen’s “The Dancer” and Ronald
Shannon Jackson’s “Alice in the Congo”. Sampled
spoken word bits from Sun Ra, Stockhausen, Paul
Bley and Messiaen establish and extend modern music
traditions. The album’s peak is the two-part “BirdCall Blues”, which include the pianist’s version of
Messiaen’s bird song transcriptions. These aren’t justreferential but work musically. “Nine Hats”, on theother hand, unconvincingly references both Dolphy’s“Hat and Beard” and a Conlon Nancarrow player
piano study.
The album’s other flaw is the sound, which likethe free improvising is warm but begs for more space
between the instruments and sharper definition. Withmusic so full of essential and fantastic details, one longs
to hear them jump out of the speakers. Still, this remains
a formidable, intriguing set of music that’s ultimately
one of the highlight releases of 2023.
For more info visit pyroclasticrecords.com. Davis is at The
Jazz Gallery Nov. 11. See Calendar.

Joe Alterman Plays Les McCann: Big MO & little joe
Joe Alterman (s/r)
by Pierre Giroux

J oe Alterman Plays Les McCann: Big MO & little joe is acaptivating journey through the multi-faceted career ofjazz legend Les McCann via the elegant touch of Joe
Alterman, who skillfully translates the dynamic rangeof McCann’s work into an intimate piano trio setting.
With Kevin Smith (bass) and Justin Chesarek (drums),
this trio album is a heartfelt homage from Alterman tohis mentor and friend McCann.
The eleven-song set spans the length and breadth of
McCann’s career, with all but one of the compositions
attributed to him. It begins with a boisterous gospelinfused number, “Gone On and Get That Church”,
on which Alterman’s playing is joyful and inventive.
“Someday We’ll Meet Again” is definitively funky, withthe leader delivering a powerful, bluesy message. On“Could Be”, the pianist creates an Erroll Garner-esquegroove chock full of block chords and flourishes. “Ruby
Jubilation” brings him back to a gospel-swing sound,
his playing scrupulously tailored.
The relationship between Alterman and McCanngoes back to 2010. It is an acknowledgement of thelasting force of mentorship and a personal relationshipbased on respect for each other’s musicianship. On the
lovely ballad “Doreen Don’t Cry”, Alterman builds
layers of nuance derived from deep intimacy with thecomposition. The closing track, “Don’t Forget to Love
Yourself”, was jointly composed by the two pianists.
For years, McCann had used the phrase as part of his
voicemail message, as he believed that everything inlife can be boiled down to either love or fear.
This is an elegant, economical and sure-footed
piano trio album and Alterman shows he thrives in themainstream setting.
For more info visit joealtermanmusic.com. Alterman’s
album release concert is at Birdland Nov. 27. See Calendar.

14 November 2023 | THE NEW YORK CITY JAZZ RECORD

New American Hymnal
Dave Meder (Outside In Music)
by Anna Steegmann

As a child, Dave Meder played piano in a Southern
Baptist church where the hymns often brought tears to
his eyes. However, don’t expect any traditional religious
hymns from New American Hymnal, his third album as aleader. This is a concept album with a central narrative.
Each of the eight tracks is a musical meditation on an
aspect of American civil life. Meder is an adventurous
postmodern composer who has assembled a group ofgifted musicians to get his message across: Marty Jaffe(bass), Michael Piolet (drums) and the outstanding
Philip Dizack (trumpet).
The exuberant opening tune, “modern gothic”,
showcases the band’s great chemistry. “invocation(call to worship)” is ephemeral and contemplative,
and its melody later surfaces in “chant (our collective
inaction)” and “chorale”, becoming a unifying
through-line. “chorale” starts with the words of Robert
F. Kennedy announcing the death of Martin LutherKing Jr. Jaffe’s gorgeous bass lines create a somber,profoundly moving atmosphere. The most heartfelt
track is “chant (our collective inaction.)”, an expressionof anger at the lack of political mobilization against• JD Allen—THIS (Savant)Arbenz—Conversation #10: Inland
R • Florian(Hammer)e • John Butcher/Marjolaine Charbin/Ute
Prévost/Jennifer Allum—c Kanngiesser/Eddie
The Art of Noticing (Matchless)
Carroll (Baikida E.J. Carroll)—o • Baikida
Orange Fish Tears (Palm-Souffle Continu)m • Jeff Coffin/Jordan Perlson/Viktor Krauss—
Coffin/Perlson/Krauss (EarUp)m • Hilario
Durán and His Latin Jazz Big Band—CryMeA River (Alma)e • Tomas Fujiwara
7 Poets Trio—Pith
Of Your Head)n • (Out
Griffin—Live at Ronnie Scott’s 1964
d Johnny(Gearbox)
Heberer/Joe Fonda/Joe Hertenstein—e • Thomas
Remedy, Vol. 2 (Fundacja Słuchaj)
Koppel/Scott Colley/Brian Blade—d • Benjamin
Perspective (Cowbell)• Thelonious Monk—The Classic Quartet(Candid)n • Amina
Claudine Myers—Song For Mother Ee • (Leo)
Nachoff—Stars and Constellations
w Quinsin(Ahdyaropa)

r
e
l
e
a
s
e
s

• Angelica Niescier/Tomeka Reid/
Savannah Harris—Beyond Dragons (Intakt)• Ernst-Ludwig Petrowsky—Luten at
Jazzwerkstatt Peitz (Jazzwerkstatt)• Matana Roberts—Coin Coin Chapter Five: In
the garden... (Constellation)• JC Sanford/Anthony Cox/Michael Cain—
New Past (Shifting Paradigm)• Sex Mob—The Hard Way(Corbett vs. Dempsey)• Frank Swart—Funkwrench Blues(Soundtrack For A Film Without Pictures)(Need To Know Music)• Hein Westgaard Trio—First as Farce(Nice Things)

climate change. Dizack makes his trumpet weep, thencreates dissonance and chaos before all instruments
go back to the slow, somber melody. “adoration (of allthat is good)”, an ode to multiracial democracy andthe progress made in racial reconciliation since the
Civil Rights Movement, gives drummer Piolet room
to stand out. The most unique track might be “hopeis the thing with feathers”, which features vocalist
Isabel Crespo Pardo singing Emily Dickinson’s poem
in a voice that sounds as if it could easily break likeglass.
New American Hymnal is strong and commanding,even if short at 38 minutes. Meder has createdcompelling compositions and brought together a greatquartet performing non-religious songs of worshipwhich directly address our American civic and culturalexperiment.

jazz treatment; it’s a sweet rendition, and for thosefamiliar with Durante, echoes of his trademark signoff, “Good night Mrs. Calabash, wherever you are,”will come to mind. Closing track “Airmail Special”
was, of course, a swinging, uptempo showcase forGoodman’s clarinet prowess. In the DIVA version,
the arrangement is heavy on rhythmic variations andharmonic alterations that overlay the straight-ahead
melody.
The DIVA Jazz Orchestra will surely go down injazz history as comparable to the greats such as Basieand Ellington. This collection of tunes celebrating 30
years is a small yet representative window into theirhigh level of creative musicianship.
For more info visit divajazz.com. Sherrie Maricle is at
Mezzrow Nov. 5. See Calendar.

For more info visit outsideinmusic.com. Meder’s album
release concert is at Mezzrow Nov. 1. See Calendar.

30: Live at Dizzy’s ClubDIVA Jazz Orchestra (DIVA)
by Marilyn Lester

In 1992, drummer/composer/manager Stanley Martin“Kay” Kaufman founded the DIVA Jazz Orchestra,
led by the drummer Sherrie Maricle. Kaufman passed
away in 2010, leaving DIVA fully and capably in
Maricle’s hands. She continues to be a force of nature,
powering this hard-driving group of 15 female
musicians. For the band’s 30th anniversary, marked bythis performance recorded at Dizzy’s Club in August
this year, Maricle chose band and fan favorites. The
first track, “Something’s Coming” (from Bernstein’sWest Side Story, here arranged by Michael Abene) is
a fast freight train ride, opening with assertive drum
statements and moving among thrilling meter changes
and reharmonizations. Also from West Side Story, “I
Feel Pretty” is one of the most trad orchestral cuts,with a trumpet solo dominating the tune’s mid-section.
Duke Ellington is well represented with a fun and witty
arrangement by Dennis Mackrel of “In a Mellow Tone”,
featuring a bass-horn duet and a shout-out section.
“I’m Gonna Go Fishin’”, from the score of Anatomy of a
Murder (composed with Billy Strayhorn), was originallyconceived by Stanley Kay with bass trombone as the“main character.” Rich Shemaria’s chart preserves thenoir quality of the piece, with tenor saxophone, bass
and drums serving as other “characters” in this musicalreflection of the film.
Kay is also represented by his “A Tribute to
Ella Fitzgerald”, arranged as an instrumental incollaboration with Tommy Newsom. This version
features vocalist Sue Giles, who introduces the trackwith personal statements about her feelings for Ellaand her legacy. She begins with “The Object of My
Affection”, accompanied only by piano, then powers
on through “How High the Moon”; the band swings
through several more numbers to reach the finale of“Oh, Lady Be Good”, with all five choruses of Ella’s
scat solo intact. Kay’s first composition for DIVA,“Three Sisters and a Cousin”, was a tribute to Woody
Herman and his Four Brothers. Baritone saxophonist
Leigh Pilzer has reworked the original John LaBarbera
chart to feature all five saxophones. The 1933 novelty
song “Inka Dinka Doo” became Jimmy Durante’s
theme song. The tune’s quirky syncopation gets a slow

11.1.23
7:30 & 9:30 PM

RON BLAKEMISTAKEN IDENTITYALBUM RELEASE SHOWLIVE AT DIZZY’S CLUB NYC

Songs and Symphoniques: The Music Of Moondog
Ghost Train Orchestra/Kronos Quartet(Cantaloupe Music)
by Jason Gross

Blind composer/poet/mystic Louis Hardin (19161999) was the dictionary definition of an American
original. The mid-20th century saw him busking in
midtown Manhattan in Viking outfits, but he would
later perform at Carnegie Hall, collaborate with
Julie Andrews and have his proto-minimalist works
performed by everyone from Janis Joplin to orchestras.
After moving to Germany in the mid ‘70s, he still madehis unique percussion-heavy, big-band meets Baroque/
Romantic music right up to his death. Sadly, most of
his catalog was out of print for years; however, there
was a revival of interest in his work shortly before hedied, resulting in several reissues.
Fittingly, two adventurous groups are looking
to revive his work yet again—the storied classicalensemble Kronos Quartet and Brooklyn jazz/chambergroup Ghost Train Orchestra. Though they mostly
skimp on his later albums, this new collection gives
a wonderful tour of Moondog’s early works. The
composer’s love of nursery rhymes comes throughon “Coffee Beans” (with Karen Mantler’s overlapping
voices), “Choo Choo Lullaby” (featuring producer/
Ghost Train leader Brian Carpenter’s exuberant
harmonica), “Be a Hobo” (a jolly rollicking time led
by singer Rufus Wainwright) and “The Viking of 6th
Avenue” (jaunty horns over tinkling marimba, withlively strings). The music also features many stylistic
shifts, from Latin rhythms (“Caibea,” “Down Is Up“,
“Fog on the Hudson”) to vocal chorales (“See theMighty Tree” with Petra Haden’s layered vocals, theghostly “Why Spend a Dark Night with You?” with Joan
as Policewoman) to Irish folk music (“Behold”). There
are also some graceful, moving moments: the heartbreaking “Speak to Heaven” and “All Is Loneliness”.
The album is capped by three extraordinary vocal
pieces: Jarvis Crocker croaking on “I’m This, I’m That”,
Mantler reciting the animal kingdom as the strings andhorns dance around her on “Enough About Human
Rights” and Marissa Nadler’s stunningly sensuous
take on “High on a Rocky Ledge”.
This tribute album is an important reminder of how
pretty, joyous and catchy Moondog’s music can be.
For more info visit cantaloupemusic.com. The album release
concert is at Roulette Nov. 18. See Calendar.

featuring
RON BLAKE - SAXOPHONESBOBBY BROOM - GUITARREUBEN ROGERS - BASS
KOBIE WATKINS - DRUMS

Tickets and more info:www.jazz.org/calendar

THE NEW YORK CITY JAZZ RECORD | November 2023 15

NOV 1RON BLAKE QUARTETNOV 2Earth Rebirth
Colette Michaan (Creatix Music)
by Anna Steegmann

NOV 3–5

A native New Yorker of Egyptian–Syrian heritage, flutist

CLAUDIA ACUÑA
CELEBRATING EDDIE PALMIERINOV 6–7

LOUIS HAYES QUINTETNOV 8BILL O’CONNELL QUINTETNOV 9JACQUES SCHWARZ-BART PRESENTS“THE HARLEM SUITE”
NOV 10–11

THE HEAVY HITTERS WITH MIKE LEDONNEAND ERIC ALEXANDER
NOV 12–13

PAPO VÁZQUEZ MIGHTY PIRATES TROUBADOURSNOV 14

TERELL STAFFORD: BETWEEN TWO WORLDSNOV 15WILL CALHOUNNOV 16–18

THE MUSICAL WORLD OF LENNY WHITENOV 19SONGBOOK SUNDAYS: CY COLEMANNOV 20RUFUS REID PRESENTS CAELAN CARDELLO (7:30PM)
DON BRADEN’S 60TH BIRTHDAY CELEBRATION (9:30PM)
NOV 21

ARMSTRONG NOW: LOUIS AT NEWPORTNOV 22–26

Colette Michaan heard a flute solo by Eric Dolphy on theradio when she was 12 and was awe-struck. Beginningin the ’70s, she embarked on a musical journey, studying
the solos of famous Latin flute players and the flute
traditions of many cultures and playing with musiciansin Thailand, Sumatra, Borneo, India, Indonesia, Senegal
and Morocco. She may have a formidable range of crosscultural influences, but her heart belongs to Latin music,
especially Cuban son and charanga.
For Earth Rebirth, her fifth album as a leader, sheassembled a remarkable group of musicians: Leo
Genovese (piano/keyboard), John Benitez (bass), Luisito
Quintero (timbales), Yusnier Sanchez Bustamante(congas/cajon) and, for two tracks, Mireya Ramons(vocals). Michaan plays flute and bamboo flute.
The opening title track is a group improvisation
representing
Earth’s
awakening.
The
listenerfeels transported to a rainforest teeming with life:
humming insects, crickets, fluttering leaves, gushingwind, chirping birds and a lively stream. Michaan’s
adventurous playing rises above the rich instrumental
tapestry, creating a unifying effect.
“Campiña” is a terrific take on the Cuban classic byOrlando “Maraca” Valle. Ramos’ voice soars above therhythm section and alternates delightfully with Michaan’s
flute. “Ni Contigo Ni Sin” (Jose Manuel Ortega Heredia)
is sensual and joyful, enticing us to dance the habaneraor danzón. There’s excellent chemistry here between
the leader, pianist Genovese and the rhythm section.
Two jazz classics, Charles Mingus’ “Reincarnation of a
Lovebird” and Abbey Lincoln’s “Throw It Away”, aregiven surprising, fresh arrangements steeped in Latinrhythms, which make the listener feel like they arehearing these pieces for the first time.
Michaan’s work is, as she says, “always inspiredby something traditional, something original andsomething new.” Earth Rebirth, her excellent new album,
is proof of it.
For more info visit colettemichaan.com. Michaan performs
at Teatro Latea on Nov. 4. See Calendar.

HERLIN RILEY QUINTETNOV 27

MANHATTAN SCHOOL OF MUSIC JAZZ ORCHESTRANOV 28–29

ROMERO LUBAMBO, HELIO ALVES, EDU RIBEIRO& REUBEN ROGERSNOV 30ANTONIA BENNETT

JAZZ.ORG/DIZZYS
7:30PM & 9:30PM
SUNDAYS 5PM & 7:30PM

212.258.9595
BROADWAY AT 60TH ST.

All OneBen Wendel (Edition)
by Zachary Weg

Ben Wendel is a wonderfully restless musician
and his new, six-song All One album puts the tenor
saxophonist’s inquisitiveness on full display.
“I Loves You, Porgy”, featuring vocalist Cécile McLorin
Salvant, is the album opener and establishes the leader’splayful quality. As Salvant honors the romance of the Porgy
and Bess original, Wendel complements her with honeyed

16 November 2023 | THE NEW YORK CITY JAZZ RECORD

horn lines, a sweetness that noticeably carries over to therest of the selections. A generous leader, he commonlylets his featured artists shine. “Wanderers”, which sounds
like a ‘40s film score, pairs him with trumpeter Terence
Blanchard (no stranger to film scores), and is full oftenderness and warmth. And on “Throughout”, Wendel lets
Bill Frisell unspool guitar lines like strings of shiny pearls.
“Speak Joy” is one of the most festive jazz performancesin recent memory, in no small part due to Wendel’s wise
choice to allow a certain amount of freedom of expression
to flute player Elena Pinderhughes: she not only conveys
the intended drama from the saxophonist’s originalcomposition, but also with an unabashed merriment. With
his deep timbre, José James sings the line, “I can’t forget
how two hearts met” on “Tenderly”, preserving Wendel’s
serious but also tenderhearted side. On album closer “In
Anima”, featuring pianist Tigran Hamasyan, the tenor
saxophonist’s refreshingly light playing includes thick,buttery notes, revealing once again that Wendel excels as asentimental romantic.
True to its album title, from beginning to end,
Wendel does no less than unite listeners in the sorrowand joy of existence. The fact that he has some fun in
the process only makes the record that much more
enduring and endearing.
For more info visit editionrecords.com. Wendel is at The Jazz
Gallery Nov. 29-30. See Calendar.

An Offering
Photay with Carlos Niño (International Anthem)by George Grella

There’s a saxophone (more than one) here, but that’s
arguably the only link to “jazz”. Heavily processed
and layered, there’s some lovely John Klemmer-likesax multi-tracking on the second cut, “C U R R E N T”,
but it is used to create a looping sonic context forplucked and whooshing harp and voices plus deep
bass tones. This points out the direction for this releasefrom last year by Evan Shorenstein, a/k/a Photay, andpercussionist Nińo: electronic and ambient.
The context is the kankyō ongaku style ofenvironmental ambient music: An Offering features thesame kind of glimmering, shimmering sounds, the sameuse of regular, repeated rhythms and clear melodic linesthat are very different than Brian Eno or Tim Hecker.
This is also ensemble music, which enlists the servicesof Mikaela Davis (harp), Nate Mercereau (guitar
synthesizer) and various singers and saxophonists.
The results are lovely, more active and forceful thanthe Japanese style—there’s even a groove of a kind on“P U P I L”—but with pleasing timbres and resonance.
The tracks are full of motion and atmosphere, but aren’t insong form—they flow from one section to another or circle
around a core idea, and may even reach for magnificence,but there’s no going from start, to development, toconclusion. The music is all about the vibes.
And the vibes are good. There are always details tograb the ear, and the music casts a spell. Then the spell
breaks with the last track, “E X I S T E N C E”, a spoken
word piece from an artist named Iasos, accompaniedby ambient washes. Abandoning the music brings thealbum down to earth, but the text is clichéd New Age
woo-woo that betrays the previous music.
For more info visit intlanthem.com. Photay is at Public
Records Nov. 12, part of Durations Festival. See Calendar.

SATURDAY • NOVEMBER 11 • 8 PM
HOSTOS CENTER FOR THE ARTS & CULTURE IN ASSOCIATION WITH JOE CONZO, SR.

THE ULTIMATE CONCERT

Main Theater

Hostos Comunity College / CUNY
450 Grand Concourse, at 149th Street
Bronx, NY 10451
to 149th Street & Grand Concourse

TICKETS: $65, $55, $45
TO PURCHASE & MORE INFO(718) 518-4455 | hostoscenter.org@hostoscenter

NOV 10–11 ROSE THEATERSTEVE MILLER:
THE FUTURE OF THE BLUES

Renowned blues-rock guitarist, multi-platinum selling singersongwriter, Rock and Roll Hall of Fame inductee, and 2022
Songwriters Hall of Fame inductee Steve Miller continues his
exploration of the blues at Jazz at Lincoln Center with special
guest Christone “Kingfish” Ingram.

NOV 17–18 THE APPEL ROOMJOURNEY THROUGH JAZZ: THE JLCO WITHWYNTON MARSALIS

Return to The Appel Room for the latest installment of thisintimate concert series, in which members of the JLCO tellstories that illuminate their personal connections to musicalscenes around the world.
Part of the Lynne and Richard Pasculano Jazz Series.
This is a pay what you wish performance.

DEC 13–17 ROSE THEATERBIG BAND HOLIDAYS

Featuring soulful big band versions of classic holiday tunes,
this perennial favorite features the Jazz at Lincoln Center
Orchestra with Wynton Marsalis and emerging star singer
Ashley Pezzotti.

JAN 19–20 ROSE THEATER

MAX ROACH CENTENNIAL: THE JLCO WITHWYNTON MARSALIS

Celebrate the centennial of the great drummer, bandleader,and activist Max Roach (1924–2007), a leader in the civilrights and social justice movements whose no-limits
virtuosity and endless musicality made him a legend ofmodern jazz drumming.

Estrellero
Leo Genovese (Sunnyside)by Matty Bannond

Wild horses dragged these musicians into the studio.
Together, they created a free-ranging album inspired byEstrellero, the Argentinian word for a four-hoofed friend thatcan never be trained—always yanking the reins and gazingat the stars. The band feels close kinship with this animal
and considers it a metaphor for their musical journey.
Pianist Leo Genovese leads the herd, with fellow
Argentinean Demian Cabaud (bass) and Portugal’s Marcos
Cavaleiro (drums) galloping alongside. In the liner notes,
Genovese says the band is searching for answers andchasing madness. The opposite might be true, too.
“La Cueva Del Viento” is one of several tracks wheremadness abounds. Genovese mined it from a cave behind
Niagara Falls, hurrying home from a visit to pen thisturbulent piece. A deluge of percussion rushes throughout.
Rising patterns from bass and piano build tension, then build
it some more. It’s music with boundless kinetic force. There
are a handful of gentler moments on the album. Cabaud
composed “Dia De La Madre” on Mother’s Day while feelingthe absence of his mother, wife and children. He uses thebow to weep and groan across the strings of his bass. The
percussion is lighter here and the piano hangs behind, after
charging out in front on the rest of the record. For the title
track, Genovese discovered an ancient pump organ tucked ina shadowy corner of the studio and took it for a two-minutecanter around the metaphorical paddock. Dense, accordionlike chords boom beneath spiraling right-hand patterns.
Estrellero regularly rears up in anger, but spends time
pawing the earth with head lowered too. It’s an album withstars in its eyes and madness in its heart. Listeners must
decide for themselves if the band found the answers it
searched for. Yay or neigh?
For more info visit sunnysiderecords.com. Genovese is at Bar
Bayeux Nov. 1. See Calendar.

Between Two Worlds
Terell Stafford (Le Coq)
by Ken Dryden

For this session, trumpeter Terell Stafford recruited a

STEVE MILLER
Photo by Lawrence Sumulong

212.721.6500
BROADWAY AT 60TH ST., 5TH FL.

number of old friends, including Tim Warfield (tenor/
soprano), Bruce Barth (piano), David Wong (bass),
Johnathan Blake (drums) and Alex Acuña (percussion). The
album kicks off in high gear with drummer Victor Lewis’“Between Two Worlds”, where Stafford’s searing trumpet
glides effortlessly over the driving rhythm section, buoyedespecially by Blake’s powerful drumming.
Stafford has been outspoken about his faith since thebeginning of his career, so the inclusion of the hymn “Great
Is Thy Faithfulness” is hardly a surprise. But the trumpeter
gives it a breezy Afro-Cuban setting, blending his rich hornwith Warfield’s tenor. The leader’s engaging “Mi a Mia” isan Afro-Cuban masterpiece, showcasing the saxophonist’s

18 November 2023 | THE NEW YORK CITY JAZZ RECORD

ethereal soprano playing. The leader’s muted trumpet
blends beautifully with Barth’s soft accompaniment in thelush ballad “Two Hearts as One”, while the pianist steals
the show with an inventive solo during the full band’sforceful dive into hard bop on Horace Silver’s “Room 608”.
For a change of pace, Barth contributes a somber
arrangement of Billy Strayhorn’s final composition, “BloodCount”, conveying the pain and anguish of the composer’s
losing battle with esophageal cancer. Wong is prominent
in the foreground, delivering a heartfelt solo, and Stafford
is beautifully understated, letting the song speak for itself.
The theme to Barth’s “Manaus at Dark” has an air of
mystery, buoyed by a potent Afro-Cuban undercurrent.
McCoy Tyner’s gorgeous “You Taught My Heart to Sing”
has become a jazz standard that will easily stand the testof time. The band brings out the nuances within Tyner’s
arrangement, while making it their own.
Between Two Worlds is yet another valuable addition to
Terell Stafford’s impressive discography to date.
For more info visit lecoqrecords.com. Stafford’s album release
concert is at Dizzy’s Club Nov. 14. Stafford also is at Smoke withCharles McPherson Nov. 2-5. See Calendar.

Uncle John’s Band
John Scofield (ECM)
by Daniel A. Brown

Recorded during COVID lockdown, John Scofield’s

self-titled solo release from last year found the mercurial
guitarist exploring his country, jazz and rock influences.
On the new Uncle John’s Band he is joined by his trio forarguably an even deeper dive into similar waters.
Over the course of the double-album’s 14 tracks, thefamiliarity and empathy between Scofield, Vicente Archer(bass) and Bill Stewart (drums) is evident and in full force.
For the opening salvo, the band delves into The Byrds’
arrangement of Bob Dylan’s “Mr. Tambourine Man”. The
performance unfurls with the guitarist picking out ideas
over a droning Eastern-tinged guitar loop. Archer andStewart carry the tune along and the leader dials down
his penchant for funk into an intimate low boil. Midway
through, he pushes Dylan’s classic into gentle altered scales
and, during his solo, peels off a lightning run that is anobject lesson in Scofield’s all-encompassing technique andsavvy harmonic choices.
Jazz standards are well-represented, too. The band playsa languid take on “Stairway to the Stars” and a spirited stroll
through “Ray’s Idea”—both featuring understated solos byArcher. On Miles Davis’ “Budo”, Scofield turns in a dizzying
guitar performance, refocused by Stewart’s poking andprodding; the drummer finally shuts the song down with a soloon the outro. Scofield’s composition “The Girlfriend Chord” isbuilt around a Major7#5 chord over which the band multiplies
and subtracts ideas over an already-nebulous theme.
Yet, while it’s hardly a nostalgia trip, in some ways Uncle
John’s Band is the sound of Scofield adding more ’60s folk androck into his playbook. Aside from the Dylan tune, he also
covers Neil Young’s “Old Man”, and closes the record withthe album’s Grateful Dead title-tune. Nearly 20 years ago,
Scofield toured with Dead bassist Phil Lesh, and that particular
iteration of Lesh’s band left some scorching live shows in theirwake. In lieu of ballroom psychedelia, Scofield’s trio morphs“Uncle John’s Band” into a mellow glow, encapsulating the
Dead’s “space” into a minute-long microcosm.
For more info visit ecmrecords.com. Scofield’s album release
concerts are at Blue Note Nov. 21-26. See Calendar.

Live at Hostos Center for the Arts & Culture

HOLIDAY
JAZZ & LATIN JAZZPARRANDA

Papo Vázquez with

Mighty Pirates Troubadours
Camille Thurman

Vocals & Tenor Sax

Jesús “Super Chu” Rivera
CuatroRodney Jones

Jazz Guitar

Repertory Theater

SAT · DEC 9 · 8:00 PM

Tickets: $10 All Seats

Hostos Comunity College / CUNY
450 Grand Concourse, at 149th Street
Bronx, NY 10451
to 149th Street & Grand Concourse

TICKETS & INFO:

718-518-4455 | hostoscenter.org@hostoscenter

DROP THE NEEDLE

Olympia Concert
Art Blakey’s Jazz Messengers (Fontana-Sam)by Duck Baker

I t’s surprising to realize that tenor saxophonist

Benny Golson’s tenure with Art Blakey was only
a matter of months, probably because his firstrecording with the Messengers was the iconic
Moanin’, and also because several of Golson’s tunes
remained in the band book for decades. Moanin’
was recorded on October 30, 1958, and three days
later, Blakey added three percussionists to thequintet (Lee Morgan, trumpet; Golson, tenor; Bobby
Timmons, piano; Jymie Merritt, bass) to record
Drums Around the Corner. A couple of weeks later,
the Messengers embarked on a European tour thatwould last until late December, and we are lucky tohave several concert recordings from the tour, notleast because these mark the end of Golson’s timewith the group. There are other reasons, of course,
starting with Morgan’s transcendent soloing and theexemplary rhythm section accompaniment, without
which the Jazz Messengers would not be the Jazz
Messengers. Golson and Timmons were both in fineform as soloists as well, the former drawing on his
Don Byas roots to match the trumpeter’s firepower,
and the latter coming into his own as a torchbearer
for the soul jazz style. Olympia Concert is the best
known of these European concert records, though to
be fair they are all pretty great. The Olympia Concert
music (we celebrate its 65th recording anniversary
this and next month) was actually recorded not at
one concert but two: the first three tracks date from
November 22; the remaining four from December
17.
Golson’s tunes were heavily featured on this
tour, and no less than five of them are heard here,
including three of his most famous: “I Remember
Clifford”, “Blues March” and “Whisper Not”.
One reason for this may be that the band wasdue to record the soundtrack to a film called Des
Femmes Disparaissent, on which short versions of“Whisper Not” and “Just by Myself” are featured.
The two non-Golson pieces are “Justice” (actually
Monk’s “Evidence”) and Timmons’ “Moanin’”. It’sa hell of a program, easy to recommend to fans ofBlakey, Golson, Morgan, Timmons or hard bop.
The beautifully produced vinyl version sounds
terrific, and encompasses the two bonus tracks thatappeared on some CD releases by including a onesided LP, something this writer hasn’t seen in manya decade.

nwog records presents

Odesa: A Musical Walk Through a Legendary City
Vadim Neselovskyi (Sunnyside)by Anna Steegmann

N ow based in New York City, pianist and composer

Vadim Neselovskyi grew up in Soviet Odessa (theRussian spelling) as a child prodigy, the youngest
student ever admitted into the famous Odessa
Conservatory. While training as a classical pianist, hefell in love with the music of Keith Jarrett, Chick Coreaand Thelonious Monk. At 17, he moved to Germany,
continued his classical studies and became known as ajazz pianist. In the United States, he collaborated with
Gary Burton, John Zorn and Pat Metheny, to name afew. Odesa, his fourth and most recent recording as aleader, is an album tribute to his hometown, written
before Russian forces’ brutal invasion of Ukraine.
The music has since then taken on new depth andsignificance.
The 13 tracks show Neselovskyi’s brillianceas a pianist and improviser: he’s an extraordinary
virtuoso, able to spontaneously create elegiac tone
poems, impressionistic moods and lively, upbeat
motifs. He opens the solo piano travelogue throughthe streets and history of Odesa with the vibrant“Odesa Railway Station”, which perfectly depicts a

50 years of jazz recordings
Complete catalog: www.steeplechase.dk

CD - download - streaming

previously unissued
concert recordings

SCCD 36501 Goodman

SCCD 36502 Mulligan

SCCD 36503 Eldridge/Fitzgerald

SCCD 36504 Blakey

SCCD 36505 Adderley

SCCD 36506 Mulligan

SCCD 36508 Hodges

SCCD 36508 Basie

36509 Guiffre/Krupa

Jazz, like art and life and trees, has always been a family affair.
A tiny seed blooms and one day out of its trunk come branches
then twigs, and before long the leaves on these tender shoots are
as fresh and green and pleasing to the senses as was the youthfultree itself. Renewal of the old, the reinventing of the creative act,
eternal variation encapsulated in universal forms – all of these lofty
themes are gently brought down to earth and reiterated in the jazz
Ahmet Shabo
Shabo 2023
2023
of The Pristine Sound of Root70. Ahmet
nwog-records.com

20 November 2023 | THE NEW YORK CITY JAZZ RECORD

US distribution:www.statesidemusic.com email: info@statesidemusic.com

bustling train station with its arrivals and departures.
“Winter in Odesa”, gorgeous and poetic, conveys thestillness of winter. “Acacia Trees” allows us to takea contemplative, slow walk under the shady trees ofan Odesa boulevard. “Waltz of Odesa Conservatory”,
based on Neselovskyi’s memory of being accepted to
the famed institution, is buoyant and playful, as is “MyFirst Rock Concert”.
The pulse changes with “Potemkin Stairs”,
full of drama, intensity and sharp tempo changes.
Neselovskyi, who is Jewish, explores the horrors, fear
and violence of the Holocaust in “Odesa 1941” and“Jewish Dance”. The former recalls the massacres of thecity’s Jewish population and evokes the devastation ofwar. The mood is tense and terrifying, ending suddenly
in profound stillness as if the world has ended.
All proceeds from the album’s sales and the
pianist’s live performances will be donated to Ukrainian
relief organizations. So far more than $200,000 has beenraised. That’s just one more reason to purchase thismagnificent and heartfelt album.

on the album). The “Fife & Drums Theme” delivers
exactly that, a sweet, short echo of the Pilgrim-era
past. Reprises and alternate takes introduce evenmore new subtleties to the music: finger-snaps arrivein “Charlie Brown Blues”, for instance; the electric
keyboard is more prominent on “Peppermint Patty”,
while “Thanksgiving Interlude” becomes very much
more bass-driven across multiple takes. Guaraldi wellunderstood his end-goal when soundtracking theCharlie Brown features: to capture the mood and actionof the story while remaining upbeat, even when there
was tension in the plot points. He succeeded brilliantlyin this task. You don’t have to know or have seen the
cartoon to love this music. Tragically, Guaraldi died atage 47 from a heart attack. Happily, he left behind amusical legacy that’s as joyful as it is innovative.
For more info visit mvdaudio.com

PreludesAdam Birnbaum (Chelsea Music Festival)
by Elliott SimonJ azz pianist Vince Guaraldi may be best remembered
for his work on Peanuts animated films, but his
signature sound was developed and lauded wellbefore, especially after the 1962 release of his Grammywinning hit composition, “Cast Your Fate to theWind”. Guaraldi’s unique chord progressions in thatpiece, suffused with joyous uplift, are indicators of
why he was tapped to compose several Charlie Brown
soundtracks. The 50th anniversary release (timely forthis month’s family gatherings) of A Charlie Brown
Thanksgiving is all about that piano, especially thethematic motifs that define and unify the music (which
was pretty much wall-to-wall during the 25-minuterun time). A Charlie Brown Thanksgiving originally airedon the CBS network on November 20, 1973, the third
Peanuts holiday special after A Charlie Brown Christmas.
The album features the original music plus previously
unreleased bonus material, which includes a window
into the recording sessions with Guaraldi heard
working out the piano voicings. The music has beenremastered from the original 16-track source tapes, andinstruments previously buried in the mix now pop.
Compared to previous releases of the more straightahead Charlie Brown soundtracks, this one is funkier andgroove-oriented. The musicians are: Guaraldi (piano,
keyboards, guitar, vocals), Tom Harrell (trumpet
and brass arrangements), Chuck Bennett (trombone),
Seward McCain (electric bass) and Mike Clark (drums).
The first three tracks, “Charlie Brown Blues”,“Thanksgiving Theme” and “Thanksgiving Theme(Reprise)”, are short but swiftly set the joyous mood of
the entire soundtrack. With the uptempo “Peppermint
Patty”, various instruments come forward, including
the surprising introduction of a flute. Brass leadsa counterpoint on a sprightly “Linus and Lucy”,
featuring a new four-chord climb at the end of eachverse’s fourth measure. On the funky blues “Little
Bird”, with its echoes of bird-speak and tuba voicingsin the background, Guaraldi sings (the only vocal

HOLIDAY RESIDENCY
Celebrating Blue Note Records
Album Release: VOL. 1

For more info visit sunnysiderecords.com. Neselovskyi
performs at The Stone Nov. 8-11. See Calendar.

A Charlie Brown Thanksgiving (Original Soundtrack)
Vince Guaraldi (Lee Mendelson Film Productions)by Marilyn Lester

CHRIS
BOTTI

Bach’s Well-Tempered Clavier is a set of preludes
and fugues in all 24 major and minor keys, and wascomposed to illustrate the potential of well-temperedtuning systems. The preludes vary: some are relatively
short, with a freer structure, and others more substantial
and intricate. They offer a rich and fertile setting,with plenty of room for improvisation. Pianist Adam
Birnbaum’s Preludes invites listeners to rediscover thismusic from his jazz-inspired perspective.
Long a source of inspiration for musicians, thesepieces have also stirred controversy, as many classicalmusicians have downplayed or eliminated theirimprovisatory aspects. This is exemplified by a famous
comment from harpsichordist Wanda Landowska tocellist Pablo Casals: “You play Bach your way, and I
will play it his way.” Birnbaum’s way is characterized
by clever alterations in rhythm and meter. Thistransformation is clearly evident in “Prelude in C
Major”, as the original 4/4 meter is changed to 7/8,
infusing it with a fresh and invigorating pulse.
Similarly, in “Prelude in D minor”, Birnbaum shifts
from a slow, introspective beginning to a breakneck
tempo, filling the space with spontaneity and urgency
and culminating with an impassioned climax.
Birnbaum’s trio (Matt Clohesy, bass; Keita Ogawa,
percussion) shines on “Prelude in E Major”, where
the original 12/8 melody is skillfully reimagined as
an enthralling ballad. Gradual transitions not only
reveal Birnbaum’s versatility but also highlight thegroup’s exquisite interplay. A Latin beat invigorates“Prelude in D-flat Major”, while “Prelude in B-flat
minor” uses Bach’s original bass-line as the foundation
for new melodies that pay homage to the original
while birthing a gorgeous jazz structure. “Prelude in
C minor” undergoes a powerful reconstruction, taking
the listener on a melodic rollercoaster.
Although Preludes is a jazz interpretation, it
reflects Birnbaum’s profound respect for Bach. This
music—marked by moments of frenzy, reflection andmelancholy—allows Bach to leap across three centuries
into a modern jazz setting, with wonderful results.

DEC 11
thru
thru
JAN 7

For more info visit chelseamusicfestival.org/records.
Birnbaum is at Village Vanguard with Vanguard Jazz
Orchestra every Monday. See Calendar.

THE NEW YORK CITY JAZZ RECORD | November 2023 21

UNEARTHED GEM

Boppin’ in Baltimore
Sonny Stitt (Jazz Detective)
by Scott Yanow

Because he could sound like Charlie Parker’s twin
brother on alto, Sonny Stitt spent much of his life
being criticized for being a Bird clone. Stitt, who often
doubled on tenor, where a Lester Young influence
could also be felt, claimed that he came up with his
ideas completely independent of Parker. While thatis a bit doubtful, he was a true master of the bebop
vocabulary. Unlike Parker, who unquestionably
would have sought new musical paths if he had lived
past 1955, Stitt stuck to the style of his youth andsounded largely the same in 1980 as he had in 1950.
He could play an endless number of licks in every key,
tossed off speedy double-time passages with ease,and often extended songs with long closing vamps.
He spent much of his career playing his favorite
standards with local rhythm sections or with all-stargroups. But even when Stitt was put in a commercial

setting, reluctantly performing current pop songs, healways sounded like an uncompromising keeper ofthe bebop flame.
Boppin’ in Baltimore, a two-album set, is a wellrecorded and previously unreleased concert (recorded
exactly 50 years ago on Nov. 11), with the leader
joined by Kenny Barron (piano), Sam Jones (bass)and Louis Hayes (drums). This was a particularly
prime period for the saxophonist, who the previous
year had recorded such classic studio albums as Tune
Up, Goin’ Down Slow and Constellation. Stitt stretches
out on four standards, “The Theme” and three blues,
including the 20-minute “Baltimore Blues”. While
there is a certain amount of predictability, Stitt neverruns out of ideas or enthusiasm.
An unidentified tenor saxophonist sits in with
the quartet on “A Different Blues” and “Stella byStarlight”. He is not mentioned at all in the liner
notes, oddly enough, but fares well and might havebeen a local player since he does not sound familiar.
(A discussion on the online jazz board Organissimo
reached the conclusion that it is probably Baltimore
tenor legend Mickey Fields.)
Since this is a Zev Feldman production (and coproduced by Cory Weeds), an extensive booklet isincluded that has fine liner notes by Bob Blumenthal
and interesting stories from interviews with Barron,
Hayes, Charles McPherson and Stitt (from the early’70s). Sonny Stitt fans will want this one.
For more info visit elemental-music.com

InterchangeDavid Janeway (SteepleChase LookOut)
by Ken Dryden

There are numerous talented jazz musicians aroundthe country who might have pursued a full-time careerin music but had another skill that enabled them tomake a living via another route. Pianist David Janeway
balanced his career as a psychiatrist with playing jazz
whenever possible; being based in New York City foran extended period (before moving to Hastings-onHudson, north of the city, in 1996) enabled him to workon his own terms, even if his discography as a leader
hardly does justice to his many decades as an artist. Thispreviously unissued studio date (from 1993) finds him
in top form, and features the forceful rhythm sectionof Harvie S (bass) and Steve Johns (drums). The strong
opener is the Janeway-composed title track, a driving
post-bop vehicle with a bit of Afro-Cuban rhythm
worked into the mix. The pianist’s moody “Return” hasa bittersweet air that is accented by Harvie S’ arco bass
introduction and his outstanding pizzicato playing in
the body of the arrangement, while Janeway’s lush yet
introspective performance also has a powerful impact.
The pianist’s inventive approach to standards andjazz classics is also noteworthy. The Latin-flavored
setting of Branisław Kaper’s “Invitation” features
the late alto saxophonist Pete Yellin delivering asearing, playful solo. Janeway’s interpretation of Tadd
Dameron’s “The Scene Is Clean” is a rollicking affair,displaying his considerable bop chops in a breezy
performance. Franz Lehar’s ballad “Yours Is My Heart
Alone” was a favorite of Oscar Peterson’s, but it has
all but vanished from modern jazz piano repertoire.
Janeway’s arrangement of it is straight-ahead without
unnecessary frills, embellishing the melody sufficiently
to keep it swinging. Bill Evans’ “Very Early”, which
wraps the session, is in good hands: Janeway doesn’trush the tempo as the composer did in his final years,
but instead engages in intricate interplay with his
bassist and drummer. It is a shame that this session
remained hidden from the jazz audience for three
decades, as it reveals Janeway as a creative force, evenback in his early thirties.
For more info visit steeplechase.dk. Janeway’s album release
concert is at Mezzrow Nov. 27. See Calendar.

Updraft
Silvan Joray (Ubuntu Music)
by Andrew Hamlin

Silvan Joray grew up in a musical family in Switzerland
and honed his chops with eight years of classical guitar
studies before picking up an electric. Wes Montgomery
was an early idol, but he found new directions
studying with Austrian guitarist Wolfgang Muthspiel
at Jazzcampus Basel.

22 November 2023 | THE NEW YORK CITY JAZZ RECORDOn this, his second album as a leader, Joray leaps
in on quarter tones to unfold his harmonies into new
dimensions; he uses some deft and tasteful tapping,and has a knack for answering chords with single
notes. He darts, lags and shimmers, always with asure sense of where he’s landed, and how to go on anddevelop his ideas.
On “Updraft”, a Joray original, his fleet fretboard
work finds him in conversation with himself, the sortof thing where one person insists on a narrative, astory, a dominant tone—but someone else appears
in the background, sometimes agreeing, sometimes
hesitating. The internal dialogue continues even during
Nadav Erlich’s bass solo, although here they evolve
into short, soft licks of praise. Joray and drummer
Jeff Ballard trade eights, Ballard favoring an almostconstant pulse on a cymbal as he reaches around therest of his kit.
Two brief, freely improvised tracks provide uniquetimbres: “Morning Breeze” finds Joray confident,
Erlich imitating someone who just woke up very early,
Ballard eliciting industrial squeak and scrape from his
metal bits; by “Evening Breeze”, everyone’s conscious,
lucid, like three old friends reflecting on a setting sun
and what’s transpired.
Pianist Andrew Hill laid out his tune “Subterfuge”
in a confident but slightly sinister manner, a seriesof chordal jumps underlying both the head and his
soloing. This pianoless trio moves the jumps over toErlich’s strings, while the leader sails through legato
and staccato, cheerfully heedless of bar-lines; thebassist plays like he’s talking to himself, over andaround the continuo. “At Long Last Love”, the signoff
and only standard here, stakes out its territory as antiSinatra—the opposite of the Chairman’s declaiming.
The quiet fire dies down even further here. Joray
distinguishes the head from his solo by playing just a
few more notes (with answering, sometimes quartertoned chords). They sound like they’re playing forthemselves, late and alone. Be glad they let us in.
For more info visit weareubuntumusic.com. Joray’s album
release concert is at Threes Brewing Nov. 8. See Calendar.

s/t
Nite Bjuti (Whirlwind)by Kurt Gottschalk

T he remarkable self-titled debut of the trio Nite
Bjuti—pronounced “night beauty” and comprising
singer Candice Hoyes, percussionist Val Jeanty andbassist Mimi Jones, all also employing electronics—
doesn’t feel new, it feels timeless. Their sound—in
which filtered and pitch-shifted loops fill a lot of whatis still fairly empty space—is certainly contemporary,
but draws from an eternity, deriving strength from
Billie Holiday and Nina Simone, Gil Scott-Heron and
Massive Attack.
The fact that their music is all improvised wasunderscored at their all-too-short performance during“[at] The Intersection: The Apollo’s Festival of Art &Ideas”, a weekend-long conference curated by journalist
and scholar Ta-Nehisi Coates. The uninterrupted
30-minute set began with Hoyes intoning “Apollo,
Harlem,” repeating and working the syllables andlooping her voice over soft electronic beats. It soon
became a poem, a song: “My ancestors walk withme through the streets of Harlem.” Then, “The most

unprotected being in society is the Black girl.” She sat
with those words, repeating and varying the phrase. It
would return before the half hour was over.
Hoyes held her place at the microphone with
dignity and gravity, like the powerful women who
have held the position before her (Eartha Kitt andAbbey Lincoln come to mind). She was dressed in apeach, floor-length dress, with a silver fringed elbowlength glove on one arm, her hair relaxed and cropped
in a severe line, extending her jaw. Jones struck an
Afrofuturist profile in black and shining red, a uniformthat would befit Michael or Janet or any member of theArkestra crew. Jeanty didn’t just suggest a priestess inappearance—head shaved clean, trim black uniform—
but carries it in her genes, in her Haitian upbringing.
The presentation is relevant. Nite Bjuti is on a mission
to represent and embody diasporic histories and how
dark-skinned women have moved through the world,with strength under duress.
On the album, their music issues forth in songs,
11 of them, some lasting a friendly three to sevenminutes, some passing in slow flashes. Opener “Mood(Liberation Walk)” is built from a schoolyard song; thequick “Soursop” is an island dance that’s over far too
fast; the final “Singing Bones” is an invitation to keepon keepin’ on, or to start the record over again. It’s
alluring and inviting music, but be clear, the invitationis on Nite Bjuti’s terms.

Standout originals include “Swingin’ Machine”, “Your
Molecular Structure” and the iconic “Your Mind Is On
Vacation”.
One note of caution: a 1996 release called Pure
Mose contained a live 1978 set that is virtually identicalto this, and anyone in possession of this now hardto-find release might not see any need to seek thisone out. Other Mose Allison fans can proceed withconfidence, though. The audio isn’t perfect, but themusic is excellent.
For more info visit liberationhall.com. The Mose Allison
tribute band Anything Mose is at Bar LunÀtico Nov. 30.
See Calendar.

For more info visit whirlwindrecordings.com

Live 1978
Mose Allison (Liberation Hall)by Duck Baker

F rom the time his first LP came out in 1957 through to
the release of Western Man in 1971, pianist/singer Mose
Allison (whose birthday and deathaversary are thismonth: b. Nov. 11, 1927 – d. Nov. 15, 2016) averaged
more than one new studio album per year. Then thingsslowed down dramatically. His next studio release,Your Mind Is On Vacation, appeared in 1976, and thenext, Middle Class White Boy, not until 1982. Live 1978,
then, helps to fill a gap, showing how this uniqueartist’s musical world was evolving towards the shapeit held for his last decades, especially with regard to
his piano playing. His ’50s style was for the most part
direct, uncluttered and winningly melodic, reflecting
the influence of such modernists as Al Haig. But by themid ‘60s, his instrumental breaks were getting busier
and more idiosyncratic (one writer described his ’70s
style as sounding like a cross between Roosevelt Sykes
and Paul Hindemith). This comes through loud andclear on Live 1978. The piano is higher in the mix thanon the 1972 live date Mose in Your Ear, and we hearclearly how he intersperses his singing with quirky,
harmonized chromatic runs that seem to come out ofthe piano at an angle.
Some jazz playing is described as being informedby the blues, but in Allison’s case it’s more like blues
that’s informed by very modern jazz thinking. It’s
tempting to also say that his songwriting introduced asophisticated kind of ironic humor to blues, but to doso would understate how sophisticated blues writing
could be. A listen to his version of Willie Dixon’s “ILive the Life I Love” underlines the point. Anothergreat cover here is “Meet Me at No Special Place”, a1947 hit for another early influence, Nat King Cole.
THE NEW YORK CITY JAZZ RECORD | November 2023 23

G LO B E U N I T Y

Fobia
Violeta García (Relative Pitch)
Acoustic Reverb
Guilherme Rodrigues(Creative Sources)
Sound of Music
Fink 70s Revisited (Jazzwerkstatt)by Fred Bouchard

V ioloncellohasundergonelight-year
transformations across decades and continents
since the diverse innovations of jazz masters, fromFred Katz to Erik Friedlander to Tomeka Reid, andcomposers Dmitri Shostakovich, György Ligeti and
Mauricio Kagel. Listen here to three practitioners
from Argentina, Portugal and Germany.
Violeta García plays traditional tango at
Buenos Aires dance clubs, but in her scorchingsolo set of white-hot cameos she stretches alltechnical
parameters—amplified,
prepared,extended, expanded—to riveting effect. She plays
not a tuneful or ingratiating note in her deadly
fierce tour-de-force (abrupt track endings suggest
intentional rough-cuts from master tape). García
clears an ominous black stage with a buzzing

drone, her lone electronic bit. She draws deep fromher medicine bag: deft scrapings, quick arpeggios,
pizz snaps, harmonic squeaks. Thumbs bang wood,rubbed C and G strings groan. She unleashes all-out
energy with ‘flamenco’ cello, heavy metal scraping,and firmly articulated pizzicato. She does show an
intimate (not soft) side with will-o-the-wisp arcoand dreamy, resonant double-stops. And ferocity:
quavery, unrelenting stops and crackling, rosiny
tremolos. Fauna creep in: plaintive fly-buzz, batlike squeals, anguished baying (triple-stopped),
rustling katydids. She closes with droning ‘organ’
chords in octaves, and the shrieking of a tortured
El Greco angelic host.
If García scratches furiously as a badger in abarrel, Guilherme Rodrigues on Acoustic Reverbslinks like a cat into a cathedral. The Lisbontransplant blithely tours rococo churches in his
adopted Berlin, cello in hand, playing urbane
tonal improvisations with classical technique anda modicum of modern effects (scratchy harmonics,
radio static, bird twitters). Even as Rodrigues
groups dozens of nobly mournful snippets fromeach church session (each one or two minutes inlength), one senses a growing detachment, asa Baedeker tourist checks off a laundry-list ofsights. The Passionkirche group includes tarttoned melody, languid legato lines, nails-on-ablackboard, forest bird calls, a sad klezmery tune.
At Zionkirche fluttery arpeggios float up thetransept. Other bits coddle phrases of a somber

24 November 2023 | THE NEW YORK CITY JAZZ RECORD‘Bach’ sarabande. But threads of whale-song weave
immediately in Christopherkirche: pleasing legato
bowed ‘arches’, moody blow-hole sighs, whiny
double-stops, spooky nasal arches, sharp “krk!”
sforzandi, Morse-code tapping. It’s as restful aswatching clouds in a slow breeze: patterns evolve,
and who knows what’s next?
On Sound of Music, Berliner Johannes Fink,
bassist but here exclusively as five-string cellist(and savvy composer), leads a sophisticated,amiable trio with suave altoist Silke Eberhard
and tidy drummer Tilo Weber, in nine tightlycrafted, eclectic originals. Fink’s conventional jazz
chops show flair and wit as he goes chameleon:
he underlines the alto to create a ‘sax section’,pecks out funk (even wah-wah) bass, sparkselectrified glissandi. Lighthearted tributes to
Monk (“Misteriöser”) and [Steve] “Lacy” bookend
the date and feature Eberhard’s pinpoint alto andWeber’s fancy brush/cymbal work. Fink playssmooth pizz lines in unison with Eberhard andbows easy arco on samba “Moscatel de Setubal”,
whips out lightning arpeggios and multi-stop
harmonics to perk up “Speaking Birds” and, on“Chicken 1970”, does Rufus Thomas’ “Do The
Funky Chicken” mean. Adopting new techniques
imaginatively and effortlessly into swinging jazz,
Fink unearths a cheery, down-to-earth gem.
For
more
info
visit
relativepitchrecords.com,
creativesourcesrec.com and jazzwerkstatt.eu

VesselManuel Valera Quintet (Criss Cross Jazz)
by Ken Dryden

W hile pianist Manuel Valera was born and raised in

Cuba, there is much more to his music than Latin jazzand Afro-Cuban jazz. As a high school student, Valera
immersed himself in bop, cool jazz and hard bop,though Latin music remained an important part of his
playing. This 2023 session features both old friends andnew, including John Ellis (tenor, flute, bass clarinet)
and Alex Norris (trumpet), along with Hamish Smith(bass) and drummer Mark Whitfield Jr. (drums).
Many of the nine originals played on this dateare dedicated to those whose music inspired Valera,
starting with “Blues for Kenny K” (dedicated to the latepianist Kenny Kirkland), an uptempo post-bop blues
that crackles with energy and punctuated by explosive
solos from Norris and Ellis. “Pablo” is an emotional
ballad honoring the late Cuban composer and singer
Pablo Milanés; the leader’s solo introduction is very
moving, and there’s also a potent duet between the
pianist and the young bassist (Smith is a recent arrival
in New York). “Crisis” is a tense, diverse composition
that is suggestive of the great post-bop bands of the’70s. Ellis’ passionate playing on tenor, Valera’s
volcanic solo and Whitfield’s powerful drumming
carry the day. “Remembrance” was written ten years
after the terrorist attacks of 9/11; while the mood isserious, it isn’t a dark work per se. Valera’s constantly
shifting theme utilizes Ellis’ overdubbed flute andbass clarinet, while Smith’s inventive bass line stands
out. “Mr. Henderson” honors tenor saxophone master
Joe Henderson with an intricate post-bop chart thatincorporates Latin rhythms; it is easy to imagine
Henderson digging into the piece had he lived to hear
it. The sole cover is Kirkland’s “Chance”, an overlooked
gem from the pianist’s sole recording as a leader. Theband delivers its theme with precision, and Norris andValera contribute expressive, to-the-point solos.
Manuel Valera is deserving of wider recognition,
and Vessel provides ample proof.
For more info visit crisscrossjazz.com. Valera is at The
Django Nov. 8. See Calendar.

The Intrinsic Nature of ShippMatthew Shipp (Mahakala Music)
by George GrellaThis solo album from pianist Matthew Shipp is easily oneof the most beautiful, wide-ranging and richly expressive
he’s ever made. The title, which strongly implies astatement about Shipp’s artistry and ideas, and thequality of his playing (and how it expresses his thinking),
feels like a culmination of his career to this point.
Through the decades, one is used to hearing a great
density and mass in the music passing through Shipp’s

hands. That mass—the total amount of musical ideas
within a given duration—is still there, but the density
has fallen away and now there’s an extraordinary
articulateness. Every note is crystal clear (it’s abeautifully engineered recording), even when things
come in a rush or when he’s playing his trademark
thick, dark chords. The inner voices are all present
and significant, and his pedaling—especially with thesostenuto pedal—is fantastic, modulating with purpose
and setting up a new musical idea.
This matters because there are so many ideas here.
The title track alone seems an extended history ofmodern jazz piano, as if Shipp were looking back on
Bill Evans and reshaping that influence into something
free. “Crystal Structures” rumbles and spills forth likea waterfall of notes over a lament-like bass line. Even
if this music eludes translation into words, there’s still
logic and purpose everywhere.
Though Shipp is a singular player, he comes outof the tradition of modern pianists, and it’s fascinating
to hear fleeting glimpses of these influences, including
Chick Corea in “The Essence” and the flashes of Cecil
Taylor, as well as Monk’s “Little Rootie Tootie”, on“Jazz Frequency”. It’s like watching a train go by at highspeed and catching a glimpse of faces in the windows—
surprising and fun. More than fun. Shipp sounds both
serious and giddy—it’s an exhilarating album.
For more info visit mahakalamusic.com. Shipp plays solo at
The Clemente’s Flamboyán Theater Nov. 11 as part of the“Pianos & Poets Festival”, presented by Arts for Art. See
Calendar.

abrupt changes, but they feel organic, as opposed to thedizzying effect of ’70s prog rock. Palmer, a real treat,has some good moments on this one, as does Staaf
with an extended, ultra-lithe piano solo. She’s also
featured on the particularly lovely “Water” (with its
audible parallels to the Kurt Weill/Maxwell Anderson“September Song“).
“Hudson” gives Scheinman’s violin a poignant
workout and showcases Golberg’s klezmer clarinet
overtones. Listen to “Fierce” on headphones—is that
Scheinman plucking the violin strings and dancing
around in your head? The clarinetist takes a low, lowsolo, again on the rarely heard (at least in jazz) contraalto (actually pitched below the bass clarinet favoredby Eric Dolphy) and is additionally heard on the
instrument playing a rather dissonant unaccompanied
intro to “Shipyards” before Staaf relieves the squallwith Halloween-ish piano.
“For the Fish” starts with a minute of
unaccompanied hoofers before clarinet and trumpet
join the dance. “Blue Wild Indigo” has a captivating
melodic line (which should become an instant standard)
and features Staaf and the leader, who solos to end thepiece. What? You were expecting that earworm head toreturn? No such luck. “The Dancing Tide” doesn’t getaround to its lyrical theme until two minutes in, but
proves to be well worth the wait.
This new album by Miller never lets go of its highlevel of ambition and invention, and the players are
unflagging. Rivers In Our Veins is on my Top 10 list
for 2023. The distressingly polluted East Coast rivers
Miller researched, by the way, are: the James, Delaware,
Potomac, Hudson and Susquehanna.
For more info visit royalpotatofamily.com. Miller’s album
release concert is at Roulette Nov. 25. See Calendar.

Rivers In Our Veins
Allison Miller (Royal Potato Family)
by Jim MotavalliThis new album by Allison Miller (commissioned by
the Mid-Atlantic Arts Organization and the Lake Placid
Center for the Arts) is a 12-song cycle about the role ofrivers in our lives. The title echoes Langston Hughes,
whose poem “The Negro Speaks of Rivers” contains
the line, “I’ve known rivers, ancient as the world andolder than the flow of human blood in human veins.”
Alto saxophonist Gary Bartz set the poem to music for
his NTU Troop in 1973.
Miller’s album is brilliant and thrilling. And it’s notnecessary to know it’s part of an ambitious multimedia
extravaganza to enjoy the music on its own. She has
put together an all-star band featuring some frequentcollaborators, including Carmen Staaf (piano), Jenny
Scheinman (violin), Todd Sickafoose (bass) and Ben
Goldberg (clarinets), the latter three all members ofMiller’s Boom Tic Boom ensemble. And Jason Palmer(trumpet) proves to be a valuable addition, as are thefive tap dancers. It’s a small band that feels like a big
band.
There are no arid stretches on this recording.
It’s inventively through-composed and played bymusicians up to the task. “Of Two Rivers, Part One”
takes off, the whole group following the leader’smarch cadences, clarinet and trumpet skating on top.
Goldberg unsheathes his contra-alto clarinet to state
an attractive theme, supported by Scheinman, while
Palmer hits some impressively high notes.
In “Part Two”, the tap dancers take center stage
with ensemble interjections before Sickafoose’s
propulsive bass takes it up a notch. There are frequent,

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THE NEW YORK CITY JAZZ RECORD | November 2023 25

I’m All for You: Ballad Songbook
Joe Lovano (Blue Note)by Pierre Giroux

TED NASH
KRISTEN LEE SERGEANTHOLIDAYS
SSC 1731 / AVAILABLE 11/24/23

Grammy Award winning multi-instrumentalist, arranger, and composer Ted Nash and singular singer/
songwriter Kristen Lee Sergeant havebrought something of this high caliber
to the party in Holidays: a markedly
distinctive record for the season.

T

ed Nash is well known as a bandleader and as a member and arranger for
the Jazz at Lincoln Center Orchestra. He
is paired with Kristen Lee Sergeant, a
vocalist and songwriter who has been
singled out for her intelligent lyrics anddramatic styling of song.

Holidays capitalizes on the best ofwhat a coupling like this can bring.
Nash’s memories of holidays spent
making music with his family of legendary Hollywood studio musicians infuse many arrangements with a gravitas and depth which Sergeant treats
with an actor’s grace; and as Nash’s
more adventurous arrangements buckat conventionality, Sergeant clearly relishes the opportunity, and occasionallysupplies original lyrics that add bracing
clarity.

www.sunnysiderecords.com

I ’m All for You is a beautiful and intimate doublealbum (recently reissued on vinyl) showcasing
Joe Lovano’s exceptional tenor saxophone talent,
accompanied by a stellar rhythm section consistingof Hank Jones (piano), George Mraz (bass) and Paul
Motian (drums). This quartet format allows the leader
to take center stage as he delivers one masterfulperformance after another: his tone is warm andinviting, his phrasing both lyrical and expressive.
There are nine tracks in this ballad-themed
album (originally issued on CD almost two decadesago), beginning with the title track which is basedon the chord changes to “Body and Soul”. It is abeautiful example of straight-ahead jazz at its bestwith Lovano and Jones creating a musical synergythat is both timeless and captivating. The following
track, “Don’t Blame Me”, opens with a sleek, brief
statement from the pianist; Lovano’s solo is full of
elegance and sophistication. Thelonious Monk’s“Monk’s Mood” works well with the saxophonist’s
hesitant tenor lines, while Jones is, as expected,
captivating and technically impressive. “Stella byStarlight” is taken at a medium tempo; Lovano has
a low-gloss tone and an elliptical sense of phrasing.
In 1947, Ralph Burns and Woody Herman
collaborated on a multi-part composition called“Summer Sequence”. Its fourth segment, “Early
Autumn”, featured a young Stan Getz and became
a massive hit for the Herman band. Here, Lovano(a Herman alum) demonstrates his respect forthe original construct with beautifully resonant
playing, while infusing personal touches into hisinterpretation.
The closing track is John Coltrane’s “Countdown”,
which the composer performed at warp speed.
Lovano chooses a different route, though, taking thetune at a moderate tempo, propelled by Motian’s
unique steady drumming, and yet he still manages tocapture the underlying beauty of the melody and its
rhythmic drive.
For more info visit bluenote.com. Lovano is at Village
Vanguard Nov. 14-19. See Calendar.

The Love Suite: In Mahogany(Live at Jazz at Lincoln Center)
Roy Hargrove (Blue Engine)by George Kanzler

I n 1993, Roy Hargrove was cresting a wave as thelatest 20-something trumpet phenom in jazz, in thefootsteps of earlier trumpet wunderkinds Clifford
Brown, Lee Morgan and Wynton Marsalis. Invited topresent an original work at Jazz at Lincoln Center,

26 November 2023 | THE NEW YORK CITY JAZZ RECORDHargrove brought this suite, now released by
JALC’s inhouse label, Blue Engine. For the occasion,
Hargrove expanded his working quintet of thetime—Ron Blake (tenor), Marc Cary (piano), Rodney
Whitaker (bass), Gregory Hutchinson (drums)—with
Jesse Davis (alto) and Andre Hayward (trombone).
Consisting of six movements, The Love Suite: In
Mahogany works its way through sections with various
tempi and time signatures to culminate in a 20-minutelong, medium-fast hard bop blues with a bridge. That
final movement, “Into the Outcome”, features crowdpleasing (and rousing) saxophone and trombone
solos, before Hargrove takes over, first as a scat singer(shades of Dizzy Gillespie’s vocalizing) and then as abravura trumpeter, climaxing with a series of four-bar
trades with Hutchinson. Hargrove is just as impressivein the more restrained earlier movements. “Young
Daydreams (Beauteous Visions)”, the opening, finds
his trumpet on top of shifting time signatures andbroken rhythms, reigning magisterially and flowing
into a solo capped with sumptuous smears. His
trumpet swings through the second, 4/4 movement,“Obviously Destined”, then steps back for the
saxophone solos on the Afro-Latin “Stability”. “The
Trial”, a ballad, begins hauntingly with hight-pitchedalto saxophone, arco bass and tom-toms, setting up
features for the trombonist and leader, the latter’s solo
reminds us that he had already mastered the difficult
art of ballad improvisation during his initial years ofjazz stardom.
This recording reveals Hargrove’s nascentambition to write for and lead larger jazz ensembles,
an ambition that culminated in his later big band
efforts. Though Hargrove has since passed, his bigband is still active and remains well worth hearing.
For more info visit jazz.org. The Roy Hargrove Big Bandis at The Jazz Gallery Nov. 2. See Calendar.

Live at Scholes Street Studio
Stephen Gauci/Matt Shipp/William Parker/
Francisco Mela (Gaucimusic)
by Elijah Shiffer

E ven if Stephen Gauci was not the powerhouseentrepreneur of New York free jazz that he is—if
he did not organize countless weekly and monthly
concerts and document the best of them on his
Gaucimusic label—he would still stand out as oneof the scene’s most distinctive tenor saxophonists.
His vocabulary of swooping lines and high-overtone
shouting is instantly recognizable in any setting. In
his own groups, he joins like-minded individualists
for powerful, memorable collective improvisations.
The November 2021 recorded installment of theGaucimusic “Live at Scholes Street Studio” series
features Gauci, Matthew Shipp (piano), William
Parker (bass) and Francisco Mela (drums). This set
is a striking example of just how free a quartet can
get while still retaining their respective instrumentalroles with such standard jazz instrumentation.
Despite their far-flung abstraction, Shipp, Parker
and Mela form a tight rhythm section for Gauci towail over while also following their many shifts in
intensity. These are four master improvisers whoreally know how to listen. It’s no surprise that thisset contains some exquisite moments of connection
between the players, such as Shipp and Parker’srhythmic interlocking at the very beginning. Though
Mela can be a bombastic drummer, he displays a
flexible sensitivity throughout the album. The pianist
takes up a lot of the aural space, but he always
makes room for the others even at his densest. If thetenor sounds distant at times, it’s through no faultof Shipp’s; Gauci moves around a lot as he plays,
making him difficult to record but adding a uniquespatial element to his music.
This is an unbroken set, divided into two tracks
with the breakpoint occurring at the most extremechange of texture less than five minutes from theend. Though there are plenty of dynamic peaks andvalleys, the quartet keeps up a high level of energy
throughout virtually all of the 33-minute opening
track. The second track is entirely different; quiet andfragmented, it shows another side of all four players
while being no less of an interconnected statement.

aching unaccompanied folk-inflected air opens“Bloom” (named for Amelia Bloomer, the popularizerof bloomers), before a variously fluttering, brittle andpastoral ensemble joins. As things turn darker andmore uncertain, Pavone ushers in a short emphatic
theme to finish an intriguing recital, which is bothexperimental and emotionally freighted.
For more info visit outofyourheadrecords.com. Pavone’s
album release concert is at Pioneer Works Nov. 12. See
Calendar.

Presenting

NEXT GENERATION
JAZZ
Presenting
Monday Nites ft. Up & Coming Talent!
NEXT
GENERATION
JAZZ
2 Sets of Shows—7:30pm& 10:30pm Every
Week!

For more info visit gaucimusic.bandcamp.com. Gauci is at
Main Drag Music every Wednesday. See Calendar.

Monday Nites ft. Up & Coming Talent!

Arba
Itamar Borochov (Greenleaf Music)
by Marco Cangiano

ClamorJessica Pavone (Out Of Your Head)
by John Sharpe

T he String Ensemble is just one among a varietyof outlets for violist and composer Jessica Pavone,
who first came to prominence with Anthony Braxton
and Braxton colleagues such as Taylor Ho Bynum
and Mary Halvorson. While solo performance
also looms large for Pavone, Clamor presents whatmight be seen as a concerto for string sextet andthe bassoon of another Braxton alumnus, Katherine
Young. Completing the outfit are Aimee Niemannand Charlotte Munn-Wood (violins), Abby Swidler(viola), Mariel Roberts (cello) and Shayna Dulberger(bass). Pavone uses the idea of “women’s work” as
the inspiration for the four constituent pieces, which
she titles after women’s inventions from aroundthe world through which they have subverted therestrictions imposed by male-dominated society.
That idea of expression in spite of obstacles
also informs a compositional practice in which she
establishes various fixed parameters, particularly
duration, within which her talented crew must
operate. Pavone’s fascination with concentrated long
tones permeates her writing; the four pieces each
exemplify a chamber minimalism of architectonic
heft. Thus in “Neolttwigi” overlapping drones
slowly modulate and interweave, at times ominous,
triumphant or anxious. Latterly, Dulberger bowsa pulse foundational to a series of rising pitchescrowned by a ringing flourish. It promises a stately
march, which never quite materializes before
increasing dissonance summons a return to the initial
terrain.
Young begins “Nu Shu (part 1)” with a juddering
bellow. Here and on “part 2” she establishes
her instrument as a sound generator, producing
undulating reverberations, tabla-like thumps,
slobbered groans and gradually fragmenting
harmonics as much as flute tones and more expectedbassoon timbres. By so doing she suggests alienation,
protest and resistance to convention. Around suchsingular outpourings, Pavone conjures eddying
string waves, from which she emerges at one point
to exchange abrasive textures with Young. Roberts’

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W ith Arba, his fourth album, trumpeter Itamar
Borochov confirms he is a force to be reckoned within today’s jazz scene. He is a compelling player, withfull control of the instrument’s range, from an almost
breathy sound at the lower range to scintillating trills
and runs at the opposite end. It is also worth notingthat Borochov performs on a custom-made Monette
4-valve quarter-tone trumpet, to further emphasize
his sound.
Such ability as a player matches his flair ascomposer. Many of his tunes take the form of songs
inspired by the Jewish Sephardic tradition with an
added impressionistic twist. In a piece like “Wasabi”,
based on a repeated pattern, a modal approach canalso be heard that derives from the maqams or modes
found in the music of North Africa and the Middle
East. Although the use of his voice is an element ofnovelty in this album, it comes across as a naturaland integral development of Borochov’s musicalvision and tradition, adding a sense of drama thatundoubtedly also reflects the pandemic period aroundwhich the bulk of this music was composed. Further,he has an innate capacity to assemble empathic
and congenial partners very much at ease with hismusical palette—all of them were present on his 2018
Blue Nights album. Rob Clearfield (piano) sounds attimes majestic and parsimonious, while Rick Rosato(bass) is the true anchor to this complex yet greatly
enjoyable music, freeing up Jay Sawyer (drums) andhis supple rhythms to fill up and complement the
space left by the others. The addition of Borochov’s
brother Avril (oud) in “Ye Sahbi” brings back dense
atmospheres à la Omar Avital.
The result is a set of compositions of rare intensity
ranging from the inspired opening “Abraham”
to the tense “Dirge” and the more jazz-inspired“Bayat Blues”, where Clearfield’s Chicago roots andrhapsodic style take over, with Rosato and Sawyer
setting a nerve-racking pace. Borochov’s whispering
trumpet can be fully appreciated in the poignant“What Broke You?” and the medium-tempo ballad“Truth”, where Sawyer’s inventive hand drumming
can also be savored. “Who Shall Give Me Flight” is adelightful duo between the leader’s wordless singing
and the pianist’s delicate arpeggios. “Farewell”
appropriately rounds off the album with its gospellike feel.
One hopes there is more to come from Borochov
and his partners.
For more info visit greenleafmusic.com. Borochov’s album
release concert is at Joe’s Pub Nov. 7. See Calendar.

2 Sets of Shows—7:30pm & 10:30pm Every Week!
WED
7:30pmJohn Sneider Quintet
11/1
10:30pm
Ashley Pezzotti Quartet
WED
7:30pmJohn Sneider Quintet
11/1
10:30pm
RonPezzotti
Jackson Quartet
Trio
AshleyTHR
7:30pmJoe Strasser Quartet
11/2
10:30pm
Ron Jackson Trio
THR
7:30pmJoe Strasser
11/2
10:30pm
Jason
TiemannQuartet
QuartetFRI
7:30pm
Craig Handy And 2nd Line Smith 10:30pm
11/3
Jason Tiemann Quartet
FRI
7:30pm
Craig Sheryl
Handy Bailey
And 2ndLine Smith 10:30pm
11/3
SAT
7:30pmQuartet
11/4
SAT
11/4
SUN
11/5
SUN
11/5
MON
11/6
MON
11/6
TUE
11/7
TUE
11/7
WED
11/8
WED
11/8

Matt Chertkoff Quartet Feat. Houston Person

10:30pm

7:30pmSheryl Bailey Quartet
JedQuartet
Levy Quartet
6:30pmMatt Chertkoff
Feat. Houston Person 10:30pm
Neal Miner Trio
9:30pmJed Levy Quartet
6:30pmNealGheber
Miner Trio
9:30pm
7:30pmNaama
Quartet10:30pm
Akili Bradley Quartet
7:30pmNaama Gheber Quartet
Akili Bradley
QuartetConrad Herwig
And The Latin
Side All-Stars 10:30pm
7:30pmConrad Herwig And The Latin Side All-Stars 9:30pm
Conrad Herwig And The Latin Side All-Stars 7:30pm
ManuelValeraAnd
AndTheNew
Cuban
ConradHerwig
Latin
SideExpress
All-Stars 9:30pm
7:30pmItai Kriss Quartet

10:30pm

Manuel Valera And New Cuban Express
7:30pmItai
Kriss Quartet
THR 11/9 IS
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FOR A PRIVATE EVENT
10:30pm

A PRIVATE EVENT 7:30pm
FRI THR 11/9 IS
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Quartet10:30pm
11/10
Ben Stivers Quartet
7:30pmFRI
Ed Cherry Quartet
10:30pm
7:30pm11/10
Ben
Stivers
QuartetSAT
Spike
WilnerTrio
10:30pm
11/11
Nick Hempton Band
7:30pmSAT
Spike Wilner Trio
10:30pm
11/11
SUN
Nick Hempton
Band
6:30pmAlexander
Claffy Quartet
11/12
9:30pmAntonio Ciacca Quartet
SUN
6:30pmAlexander Claffy Quartet
11/12
MON
9:30pm
7:30pmAntonio
Ciacca Quartet
QuartetShane Allessio
11/13
10:30pm
David Yee Quartet
MON
7:30pmShane Allessio Quartet
11/13
And
TheQuartet
Latin Side All-Stars 10:30pm
TUE Conrad Herwig
7:30pmDavid
Yee
11/14 Conrad Herwig And The Latin Side All-Stars 9:30pm
TUE Conrad Herwig And The Latin Side All-Stars 7:30pm
7:30pm
11/14
And The Latin
Side All-Stars 9:30pm
WED Conrad Herwig
Tyler Blanton
Quartet10:30pm
11/15
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THE DJDINNER, LIBATIONS & LIVE JAZZ!
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LIBATIONS & LIVE JAZZ!
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THE NEW YORK CITY JAZZ RECORD | November 2023 27

ON SCREEN

Inside Scofield
Joerg Steineck(I’m Filming Productions/Steineck Films)
by Anna Steegmann

I nside Scofield, the in-depth portrayal of John Scofield(available on Prime, Google Play, Vimeo and on DVD)is a must-see. For 86 minutes, the German filmmaker
Joerg Steineck provides a fascinating journey into
the acclaimed guitarist’s musical mind and soul (thedocumentary is narrated entirely by Scofield) and his
development as a musician.
Scofield calls himself a road dog: he has been on
tour for at least half of each year since 1975. Following
this band’s tour, the first stop is Seattle’s Jazz Alley.
Scofield, Gerald Clayton (piano), Vicente Archer(bass) and Bill Stewart (drums) set up, perform
sound checks and play for the audience. There’s great
chemistry, and everyone is given equal space to shine.
The guitarist states, “It is my band, but when I start toplay, I’m just another member of the band, even when
I play a solo.”
We learn about the jazz world and its changes.
The engagement in Seattle lasts four days, a rarity

because many jazz clubs don’t hire bands for morethan a night. The band travels by van, bus, train andplane, revealing the exhausting schedule of a busy
musician which doesn’t leave much room for family
life (Archer’s wife gives birth during the sound checkin Portland!). Scofield cherishes his time at homein Katonah, NY. We see him making his coffee andpracticing in the morning; even after 40+ albums anda lifetime spent performing, he feels that he needs topractice every day to play well.
Scofield grew up in the suburbs of New York
City, before moving there in 1975. As a young man,he saw Jimi Hendrix perform and decided he could
never match that. He settled on jazz and calls B.B.
King his biggest inspiration. We see the guitarist
walking the streets of NYC, meeting saxophonist Joe
Lovano, and the two reminiscing about jazz clubs
replaced by trendy stores and the disappearanceof many to most guitar shops. He speaks about his
work with Charles Mingus, Gerry Mulligan, Joe
Henderson, Chet Baker and his “gig of gigs”: thethree years with Miles Davis, and forming his first
regular band in 1986.
The captivating film is interspersed with archival
footage, unfolding at an unhurried pace to experience
the joy and fatigue of musicians while on the road.
“Jazz is not popular. It’s a serious kind of music,” hesays. “You have to be well known to make a living…”
For more info visit scofilm.com. Scofield is at Blue Note
Nov. 21-26. See Calendar.

Mistaken Identity
Ron Blake (1733 Prods.)
by Ken Dryden

During his long career, tenor saxophonist Ron Blake has

made his mark recording with Art Farmer, Roy Haynes,
Roy Hargrove, Christian McBride and others, as well
as playing baritone saxophone in the Saturday Night
Live Band for 18 seasons. His discography as a leader,though, has been unjustly sporadic. The self-released
Mistaken Identity is his first album in 15 years, and it
is easy to hear what jazz fans have been missing. Theband he put together includes old friend Bobby Broom(guitar), Nat Reeves or Reuben Rogers (bass) and Kobie
Watkins (drums). The saxophonist’s strong sound has
matured to the level where he makes his improvisingseem absolutely effortless.
The program begins with a trio of lesser-known
works by jazz masters. Blake transforms Duke Pearson’s
bop gem “Is That So?” as he glides effortlessly aroundthe theme with the support of the highly interactive
rhythm section. The leader makes Sonny Rollins’ rarely
heard “Allison” his own with an intricate, soulful soloand beautiful interplay with Broom. The saxophonist’s
treatment of Johnny Griffin’s lush ballad “When We
Were One” is a poignant affair that conveys the sorrow

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of a lost love without the need of a lyric.
Benny Golson’s upbeat “Stablemates” has long
been a favorite among jazz musicians. Blake finds new
ground here in his spacious, playful solo that grows
in intensity with each chorus. Broom contributed thehip, swaggering “No Hype Blues”, which lives up to
its title: it’s a master class in how to develop a simple
blues riff. The guitarist takes the lead with his inventive
solo, never losing steam, before passing the baton on
to the leader. Blake switches to baritone for two tracks:“Grace Ann”, a duet with Rogers who constantly shifts
direction; and Victor Provost’s “Mistaken Identity”, an
engaging calypso that could get any audience on its feetand dancing—no surprise, given that Blake, Rogers andWatkins are all natives of the Virgin Islands.
For more info visit ronblakemusic.com. Blake’s album release
concert is at Dizzy’s Club Nov. 1. See Calendar.

speed explosion, a miniature that someone, amidst
the applause, compares to Strayhorn’s “Take the ‘A’
Train”.
For more info visit 577records.com

In Solitude
Steven Lugerner’s SLUGish Ensemble(Slow & Steady)by Ken Waxman

New York and New Orleans top the list of cities

On a Clear Day Like This
Scatter (Pat Thomas/Phil Minton/Dave Tucker/
Roger Turner) (577 Records)by Stuart Broomer

Scatter—the quartet of Pat Thomas (piano, synthesizer),

Phil Minton (vocals), Dave Tucker (acoustic and electricguitars) and Roger Turner (drums)—is a longstanding,
if rarely recorded, all-star collective of British free
improvisers. Originally assembled by Thomas in 1992,
their sole previous release was the eponymous Scatter(FMR), a collection of mostly short pieces from London
recordings, released in 2007. On a Clear Day Like This wasrecorded one decade later live at Café Oto.
As anyone familiar with the work of these musiciansmight expect, the group’s dominant characteristic is its
ability to produce the unexpected. There’s no trace ofthe conventionally supportive, the complementary lick,the rhythmic or harmonic reinforcement. This groupdoesn’t want to make conventional music assembled
by empathetic free improvisation; nor does it aim forany deliberate disorder; rather, the individuals behave
individually, contributing tangentially, each sonicallydecorating time. Like bees, mysteriously connected,
they sometimes swarm, a sudden hive of sound arisingthat will soon disappear; similarly, there are passages inwhich silence stretches to include quiet, isolated sounds,
individual contemplations finding a common volumelevel.
On the 34-minute “On a Clear Day”, each musician
mines a unique gestural territory. Turner is very fast, withmachine-like precision applied to press rolls and sudden
intrusions that contrast with his own randomizing fields
of assorted and disconnected sounds. Tucker produces
both dissociative lines of electronic bits and a kind offolksy, near-acoustic strumming that comes off as equally
weird in this context, as if busking a touristy London
landmark; it reinforces the sense of a journey that admitsof only the barest association among band members.
Thomas, playing synthesizer as well as piano, sometimes
suggests the most dream-like ancient keyboard music,
like serene modal memories. Minton (who celebrates his
83rd birthday this month), not just free improvisation’s
greatest singer, but seemingly the singer for whom it wasinvented, chatters like an accelerating tape, channelingimaginary languages, opera, music hall and diverse
social gatherings.
That’s the main event, a work of collective genius.
The concluding three-minute “Like This” is a high-celebrated by jazz musicians. But here’s a disc describing
San Francisco in sound. Conceived by the multiinstrumentalist Steven Lugerner during wanderingsin his neighborhood during COVID-19 lockdown, thisseven-part suite features canny arrangements of swinging
themes that at times may be a bit too immaculate.
The music often comes across as a less colorful versionof The Headhunters’ work. The tunes are embellished by
the leader on bass clarinet, baritone saxophone and alto
flute. Javier Santiago (acoustic and electric piano) adds
rhythmic struts, flowery wriggles and coordinated linear
ambulation, and Steve Blum (synthesizer) adds texture
and occasional spacey sparkles. Justin Rock (guitar)
lives up to his name with forcefully ringing but not
overbearing licks, while Giulio Xavier Cetto (bass) andMichael Mitchell (drums) maintain a smooth flow.
Despite the declared focus, tellingly the mostemotional and righteous sounds turn away from the city
travelogue. “No Justice, No Peace” is dedicated to theindividuals whose deaths sparked the Black Lives Mattermovement. Across a rolling landscape of shuffling
percussion and shattering, shrill keyboards, Lugernerembellishes his reed tones with altissimo screams toexpress anger and pain. Thumping drums and keyboard
clanks inject excitable undulations into “Myra” (namedfor pianist Myra Melford), another standout.
Other tunes, although interrupted at points byringing guitar twangs, heavy drum smacks and intense,
pressurized saxophone, are all played with faultless
professionalism, but lack the heated passion and grit thatwould make them more memorable. Overall, Lugerner’s
program is pleasant and effervescent, but more risktaking would have been welcome.

and chance interactions. It aims to capture New York’s
transformative lightning in a twelve-track bottle.
The lineup of Mäensivu’s band has also altered since
she established it in 2015. This second album brings oldfriends and new buddies into the studio. Eden Ladin(piano), Max Light (guitar) and Joe Peri (drums) are
long-term co-conspirators. The new members are Tivon
Pennicott (tenor) and Sasha Berliner (vibraphone). The
recording took place in New York. Where else?
Subway sounds inspired “Floating Light”. The
bassist carried a rhythm back to street-level andexpanded it in the warm light of day. There’s sunshine in
Pennicott’s twisting melodic line and clear sky in Light’s
echoey guitar that joins it.
Berliner’s vibes are the focus of “Gravity”. Her
mallets ping, pop and hop across a spine-tingling solothat fills half of the track. A looping bassline in 9/4 fuels
the forward momentum until the band leader gets a turnin the spotlight. From there, a funky new feeling carries
the group home.
A trio of short, sparse interludes connects the album.
“I” showcases Mäensivu’s bass for just 40 seconds, her
percussive patterns bouncing out through the speakers.
“II” pulls more instruments together, with cymbals
hissing and guitar singing. Pianist Ladin is all alone on“III”, even when surrounded in the studio’s tight space.
There’s something of NYC in that, too.
Taking Shape strides through sonic neighborhoods
with rich, diverse properties. Mäensivu’s upright bass
exudes a swaggering charm and her compositions arebold and busy. This album is a colorful snapshot of her
relationship with the city that never sleeps.
For more info visit greenleafmusic.com. Kaisa’s Machine’s
album release concert is at Rizzoli Bookstore Nov. 16. See
Calendar.

For more info visit slowandsteadyrecords.com. Lugerner’s
album release concert is at Owl Music Parlor Nov. 19. See
Calendar.

Taking Shape
Kaisa’s Machine (Greenleaf Music)
by Matty Bannond

When Kaisa Mäensivu moved to New York in 2016, theFinnish bassist had straight-ahead sensitivities. The Big
Apple kicked her off course. This latest release documentsthat change with compositions marked by abrupt shifts
THE NEW YORK CITY JAZZ RECORD | November 2023 29

The Industrious Tongue of Michael Foster
Michael Foster (Relative Pitch)
Vanished Pleasures
The Ghost (Relative Pitch)
by John Pietaro

T hough the title The Industrious Tongue of Michael

Foster may raise an eyebrow among the delicate set,
Foster’s claim remains unchallenged by those in theknow. While the saxophonist can be a championof “straight” musicianship (shhh, he enjoys Bechet
in private settings), Foster revels in open-ended
experimentalism. A New Yorker who left some years
back for the sunshine of L.A., he must have decided
to be as artistically productive as possible since his
return here a couple of years ago. He’s now one of
the busiest reed-players on the downtown scene.
This album of terse solo works is an aural galleryof extended tonguing and the use of tubes to further
extend—figuratively and literally—his instrument.
The first two cuts are brief forays into purely acoustic
sound art, while “Function Smothered in Surmise”
draws on New Thing free jazz. “Following the Brush”
features a lengthy, flexible rubber hose in place ofa mouthpiece, stretched and pulled by his feet tocompletely reshape embouchure and pitch. His is a
jaw-dropping soundscape. Foster, a founder of the
Gay Free Jazz genre and half of the ensemble the NY
Review of Cocksucking, clearly loves a provocative

title: tracks include “Spirit as Organ”, “The Invisible
Prick” (burning distortion), and “Vibrator Torture”.
The brief opening track, “For Naomi Tami”, refers to
the noted Japanese “pink movie” actress, while closer“The 3 Positions”, a 13+ minute journey, is dedicatedto French New Wave director Jacques Rivette.
Foster’s “queer jazz” trio The Ghost features
Jared Radichel (bass) and Joey Sullivan (drums,
percussion). Their album Vanished Pleasures, fromthe bondage imagery on the cover through the final
sounds emitted, serves as a statement of LGBTQ
culture as much as a powerhouse example of free
improvisation. Opening cut “Is This How Long
the Pleasure Lasts?” wonderfully confounds each
instrumentalist’s timbre and role, offering a new
vision of harmolodics, pensive yet as avant as you
want to be. “PsychoTwink” is a sizzling, uptempo
Ornette-like piece that explodes into a fully liberated
free section; listen for the rhythm section’s bold
capture of the aural space. This album includes
versions of “The Invisible Prick” and “Vibrator
Torture”; Foster’s tenor saxophone on the former
dips deep into Radichel’s harrowing arco bass as
Sullivan’s drumming stealthily colors the spacearound the newfound melodies groaned by the
saxophonist. Radichel, hailing from Philadelphia
and still residing and thriving in that circuit, at times
reflects bassist David Izenzon’s work with Ornette,
but one can hear Haden and Mingus, too. Relentlessas his drive is, there is serenity at heart. And Sullivan
is a drummer of rare taste and ability. It would be tooeasy to cite Milford Graves here, yet this influence
seems too authentic to overlook, as is the artfulelegance of a Paul Motian. This all comes together inthe lengthy “La Touche”, which evokes Ayler’s trios;
Foster’s tenor and soprano reign over the ensemble
with a special fraternalism deriving from an activism
that goes beyond the music.

vast array of sonorities that can emanate from a drum
kit in the hands of a creative practitioner: minutedetails, myriad tonalities, boundless dynamics, stark
melodies, shifting moods and volatile energies.
The time spent with this album changed theexperience of hearing Gray live. In late September,he performed in duo with alto saxophonist Caroline
Davis at Endless Life Brewery in Brooklyn. On the
one hand, in his physical presence, it was possible
to more fully perceive and appreciate the plethoraof percussive events he generated. On the other
hand, he fulfilled a different role as a collaborator
rather than one-man band. He surrounded the alto
saxophone with a drum orchestra.
Davis responded to this deep, rich, securesetting by cutting loose and running wild.
She presented a very different figure from thethoughtful conceptualist of her own albums. She
postulated melodies in shrieking cries, burned
them into the air, then wrung them dry. Her lines
whirled in circles, repeating obsessively, spinning
off variations. Reverberating in the brewery’s small
space, her sequences became maniacal incantations.
Her first “song” lasted 45 minutes. It was a private
stream of consciousness that she chose to share. The
best moments came when she suddenly arrived atshattering lyricism. Within the overarching form
created by Gray, Davis was able to portray both her
demons and her dreams.
For more info visit rataplanrecordsnyc.bandcamp.com

For more info visit relativepitchrecords.com. Foster is at
Sisters with The Ghost Nov. 20. See Calendar.
Procession Along the Aciga Tree
PRISM Quartet with Susie Ibarra (XAS)
by Terrell K. Holmes

P ercussionist/composer

Most Definitely
Devin Gray (Rataplan)by Thomas Conrad

T here has been a distinct movement in recent jazz

toward solo albums, perhaps due in part to the years
of COVID-19 lockdown. The rarest of these singleinstrument releases is the solo drum record. Devin
Gray, throwing caution to the wind, has just releasedone.
For over a decade, Gray has been a factor in theleft-of-center scenes of two major cities: New Yorkand Berlin. He is a skilled and imaginative artist who
understands that many people will initially resist theidea of a solo drum record. In his liner notes for Most
Definitely he says, “The world needs more listening.”
He is right. When you truly listen, you hear these 23
tracks as distinct expressive entities: quick rivetinggestures like “Upstate Berlin”; violent outbursts like
“Tailgate Lunches”; drummer-to-drummer tributes
like “Blackwell Magic” and “Soldier on Milford”;
secret codes like “Only the Poets”. The strangest andmost haunting piece is “Tough Love”, a 19-minuteinteraction with silence.
By eliminating all other distractions, Gray takes
us deep inside his drum station. He immerses us in the

30 November 2023 | THE NEW YORK CITY JAZZ RECORD

Susie Ibarra joins the
PRISM Quartet (Timothy McAllister, soprano;
Zachary Shemon, alto; Matthew Levy, tenor;
Taimur Sullivan, baritone) on the dynamic suite“Procession Along the Aciga Tree”, which explores
the imperiled relationship between humanity andthe environment. McAllister’s soaring, flute-likesoprano begins the journey through various musicallandscapes. The saxophones flutter and bicker until
a steady workman-like rhythm emerges, inspiringa spirited call-and-response. A vivacious marchrhythm leads to an ostinato, with Sullivan’s baritone
at the center of the other horns chirping around him.
There’s a lighthearted, almost comedic passage thatbursts with harmonics; the ensemble works out onwhat sounds like a Celtic folk song. These momentsof joy, however, are countered by the suite’s somber
theme, a pensive melody that bridges each segment.
It’s Ibarra’s multifaceted percussion, though, that’s“Aciga’s” connective tissue. The coda is measured
and hopeful, an ending as solemn and beautiful asa prayer.
“Aciga” was part of a program presented lastmonth at the DiMenna Center for Classical Music(Oct. 10). The program was curated by Ibarra, andshe performed with PRISM (Shemon, Sullivan, and—sitting in for Levy and McAllister—guests Julian
Velasco, soprano and Robert Young, tenor). In asoft voice that was just audible in the small concert
space, Ibarra described the music as “environmental
spirituals.” The concert began with her composition“Walking on Water”, inspired by the recordings

she made of the sound of glaciers melting. She
set the mood with tom-toms, then switched tosticks to lay down foot-tapping funk grooves. The
saxes engaged in cross-conversations and looping
dialogues, moving to cyclonic riffs that recalled John
Coltrane, even Philip Glass. Another Ibarra original,“Marienda” (a Tagalog word meaning “snack”), wasperformed twice. For the first version, she stood infront of the quartet and conducted. The saxophonists
blew soundlessly into their mouthpieces, rendering
the sound of the wind. The overall sonic tapestry wasstunning, particularly the way that Sullivan mimicked
Tibetan monk chants with his baritone. On the second
version, Ibarra’s hand drumming supplemented the
dialogue between Sullivan and Young, while Velasco
and Shemon used slap-tonguing to make their points.
“Spring in New York” was composed by Indonesiancomposer Gardika Gigih; this was its New Yorkpremiere. The quartet supplied their own type of
percussion by rattling their sax keys, and Ibarra usedbells to add sonic mystery. She used every percussive
element in uncommon, inventive and effective ways.
One inspiration for “Aciga” was the processionalmusic of the north Philippines. When the ensemble
performed the march segment live, they left the stage
and danced around the concert hall as they played.
By the time this “Nawlins”-inspired second line
did another circuit, audience members had happily
joined the line, the culmination of a tour-de-force
performance.
For more info visit prismquartet.com

Timeless
Adam Rudolph Hu Vibrational(Meta Records)
by Tom Greenland

A n audio auteur who’s developed a distinctive
circular approach to writing, building pieces inthick yet transparent layers of melodic percussion,
percussionist/composer Adam Rudolph’s latest
effort, Timeless, suggests a jazz/world music versionof Jamaican producer Lee “Scratch” Perry’s innovative
studio concoctions, where myriad colors and textures
are punched in and out of the mix, dub-style.
One of the album’s greatest accomplishments
is its complementary melding of acoustic andelectronic textures, as if a painter were to mix oils,
charcoals and watercolors on one canvas without
confusing the composite image. Based on modal
grooves, several in odd or uneven meters—“Hittin’”
in 5; the title track in 7, then 6 with elongated final
pulse; “Jammin’” in 10, “Honey Honey” in 4+5+6—
the tracks are eminently dance- and trance-inducing,holding interest as new sounds emerge, billow, thenfade. Quoting Don Cherry, Rudolph claims “theswing is in the sound”, an apt description of themesmeric effect caused by the staggered entrancesand exits of a rotating cast of percussive/melodic
characters.
Rudolph handles an impressive array of
instruments himself—hand drums, bells, gongs,
shakers, mbiras, flutes, double reeds, horns,
mallet instruments, harps, zithers, mouth bowsand keyboards—overdubbing this menagerie as
taste dictates, with sparse but able assistance from
Hamid Drake (drums on five of the nine tracks),
Eivind Aarset (guitar, electronics) and Alexis
Marcelo (keyboards), among others. Damon Banks(bass) plays on two tracks, drummer/percussionists
Brahim Fribgane, Harris Eisenstadt, Munyungo
Jackson and Sameer Gupta each feature on a trackor two, but there are few melodic lead instruments,
except occasional flutes. Over its course, the album
plays like a night-into-day-into-night of a palpitant
rainforest, suffused with bird calls, hidden animal
rustlings and other unexplained movements andcommunications, some suggesting encroachment
by human hunters and man-made machinery—ascenario epitomized by the latter half of “Jammin’”,when two mouth-bows call and respond, driven byscraping snare strokes.
For more info visit metarecords.com. Rudolph’s album
release concert is at Public Records Nov. 18. See
Calendar.

B OXED SE T

Changes: The Complete 1970s
Atlantic Studio Recordings
Charles Mingus (Atlantic-Rhino)
by George Kanzler

T wo of bassist-composer Charles Mingus’ mostimportant 1950s albums—Pithecanthropus Erectus
and The Clown—were on Atlantic. The label again
signed Mingus to a recording contract in 1973,
resulting in his last seven studio albums before his
death in 1979. Those albums (plus several outtakes)
are all included in this boxed set, released last year
to commemorate his birth centennial.
The set can be neatly divided into three groups.
The first three discs, Mingus Moves, Changes One
and Changes Two, chronicle two of Mingus’ last
three working (quintet) bands (missing is theedition with baritone saxophonist Hamiet Bluiettinstead of a trumpeter). These included his quintet
with Don Pullen (piano), George Adams (tenor,
flute), Ronald Hampton (trumpet, disc one) or Jack
Walrath (trumpet, discs two and three) and Dannie
Richmond (drums). The next two, Three or FourShades of Blues and Cumbia and Jazz Fusion, represent
Mingus’ growing ambitions as a composer andleader of larger, more diverse ensembles. The last
two were recorded after Mingus was diagnosed
withALS(amyotrophic
lateralsclerosis);wheelchair-bound, he could no longer play bass.
The recordings feature his extended compositions

for large ensembles, arranged by others but with
Mingus supervising in the studio.
The quintets on the first three discs, especiallythe one with Walrath, were among Mingus’ finest
and most distinctive small working bands. In
Pullen and Adams, Mingus had adventurous,
cutting-edge musicians, versed in avant gardeand free jazz. With his unique compositional
forms reining in their freest impulses, their solos
were wonders of controlled chaos. Pullen founda home for his dense, arpeggiated clusters, as did
Adams for his perfervid blowing. Mingus shared
the composer spotlight with his sidemen in thisgroup, but the three discs contain some of his more
important later works, especially on Changes One,
which includes the enduring masterpieces “Sue’s
Changes” (whose head runs nearly 70 measures inlength, including multiple tempos and themes) and“Duke Ellington’s Sound of Love”.
The next two discs find Mingus exploring
fresh sounds, tones and timbres, including electricguitars (new to his ensembles), woodwinds andAfro-Latin percussion. Three or Four Shades of Blues
employs a pair of guitars (Philip Catherine witheither Larry Coryell or John Scofield) along with
one or more saxophones, trumpet plus rhythm
section. The guitars bring a new dimension to
Mingus chestnuts like “Better Git Hit in Your Soul”
and “Goodbye Porkpie Hat”. But the gem here is
the title track, a kaleidoscopic, episodic journey
through everything, including Mendelssohn’s“Wedding March”, that Mingus considered “blues”.
The disc is also the last time, before the debilitating
effects of ALS set in, that we hear Mingus’ bass infull flower. His ability to lead the beat and drive an
ensemble, as well as his clarion bass tone, comesthrough loud and clear, especially on the uptempo
closer, “Nobody Knows (The Bradley I Know).”
The fifth disc brings us two of Mingus’ bestlate, full-length large ensemble compositions: thetitle track of Cumbia and Jazz Fusion and “Music
for Todo Modo”, a film soundtrack recorded in
Italy that included local musicians, but was neverused in the film. Cumbia is the national rhythm ofColombia, a lilting two-beat adopted naturally by
Mingus, whose piece, close to half an hour long,
features sizeable percussion and horn-woodwind
sections, including a welcome return of trombonist
Jimmy Knepper, a mainstay of the bassist’s late
‘50s and early ‘60s groups. The piece ambles
through diverse rhythmic and thematic sections,and is well worth reviving. The Todo Modo music
is more lyrical and contemplative, featuring long
introductory sections for solo or duo brass before
the ensemble joins in. It is a unique item in the
Mingus discography.
The last two discs (both recorded in 1978,
the year prior to Mingus’ passing) feature large
ensembles (approximately two dozen strong)
playing pieces suggested by Mingus to arrangers,
who in many cases did the actual composing.
Among them were Walrath, Paul Jeffries and Sy
Johnson. Me, Myself an Eye features “Three Worlds
of Drums”, a long track showcasing five drummers/
percussionists (Richmond, Joe Chambers, SteveGadd, Ray Mantilla and Sammy Figueroa). Twoearly compositions are also reprised by the large
ensemble: “Devil Woman” and “Wednesday Night
Prayer Meeting”. Mingus’ continuing obsession
with the music of Charlie Parker finds full flight on
the last disc, Something Like a Bird. The title track is
a Mingus contrafact on the song “Idaho”, but witha typical Mingus touch: a nine- instead of eight-bar
bridge. The two-part, 31+ minute title track features
four alto saxophone soloists: Charles McPherson,
Lee Konitz, Akira Ohmori and Ken Hitchcock.
For more info visit rhino.com. Mingus Big Band is atDrom every Monday and at Birdland Nov. 1-4. See
Calendar.

THE NEW YORK CITY JAZZ RECORD | November 2023 31

(SOMMERFEST CONTINUED FROM PAGE 12)
Silke Eberhard’s pneumatic phrasing and strangulated
alto shrieks emerged from a string of joyful blasts on thelast number before a standing ovation ensued.
Bassist Robert Lucaciu also featured alongside
Sommer with his brothers, Antonio Lucaciu (alto) andSimon Lucaciu (piano), drawing their repertoire fromthe award-winning Karawane, issued like so much of the
drummer’s output on the enterprising Intakt imprint.
Although two generations younger, the siblings havedeveloped a remarkable rapport with the drummer.
From the annunciatory Albert Ayler-tinged theme of“Impressions of Little Bird”, Sommer was ultra-attentive
and ever-ready to shift dynamics or complement theothers.
For the festival’s finale, Sommer convened an “AllStar Band” quintet. In a testament to his talent, Lucaciu
returned on bass, joined by Till Brönner (trumpet),Nils Wogram (trombone) and Daniel Erdmann (tenor).
They leapt into Manfred Schoof’s sprightly “Like Don”,
the three horns melding wonderfully in tight unisons,interspersed with bebop drum breaks. Thereafter, theirmagnificent interweavings and pithy interjections,suggesting a Mingus frontline, framed some tasty
soloing. With his incisive note placement and elegant tone,
Brönner (Germany’s best-selling jazz musician) showed
he was also more than capable of the sort of spontaneous
invention familiar to Wogram and Erdmann. One of thepeaks was a duet between Lucaciu and Sommer, by turns
playful, syncopated and responsive.
Although Sommer played in only the final set each
evening, his fingerprints were all over the preceding setsfrom a variety of collaborators chosen to showcase thebreadth of his interests. Some he placed in unfamiliar
combinations. Gunda Gottschalk (violin) and Xu Fengxia(guzheng: a sort of zither, and sanxian: a three-stringedlute) joined Italian Fabrizio Puglisi (piano) to morph
across a series of on-the-fly structures. More rhythmic
than the instrumentation might suggest, they touchedon martial grooves, lilting ditties and madcap swirls, alllaced with humor and impetuous virtuosity. None of thethree participants in Clarinet Summit had played together
before, and only Italian veteran Gianluigi Trovesi had
played with Sommer. Dutch bass clarinetist Joris Roelofs
held center stage, flanked by Trovesi (alto clarinet) andJulius Gawlik (Bb clarinet). The encounter turned sinuous,conversational, excitable and disputatious, though
Trovesi’s love of folksong led to some mournful airs andanchoring pedal points during the freeform exchanges.
The opening sets on the first two nights alluded to otherstrands of Sommer’s work. Representing his dialogues
with writers, including Nobel Prize winner Günter Grass,
Nora Gomringer gave a vivacious solo performance.
One of Germany’s foremost contemporary poets, she wasmischievous and piercing. Wolf Biermann, the 86-year
old dissident singer-songwriter, launched the second
evening, and was altogether more gruff. A colleagueof Sommer since the ’60s, when tapes of the pair were
smuggled to the West, he undercut the seriousness of hissongs by comical voices he adopted.
All three sold-out nights led to an outpouringof love from the large assembled crowd for one of thecity’s favorite sons. It probably wouldn’t have matteredwhat he did, but the vital, engaging music he presented
gave no indication that he was slowing down yet, andpromised yet more to come.
For more info visit intaktrec.ch(MONTCLAIR CONTINUED FROM PAGE 12)

MONDAY, NOV. 27

For further info
visit
davidjaneway.com

New Album

Elijah Shiffer

CITY OF BIRDS

Volume I
releases November 6th on Star Jelly Records
Elijah Shiffer's All The Birds Quartet
is at Lowlands Bar Nov. 7th (8/9:30 pm)
elijahshiffer.com

town, looking for a good space. We settled on NishuanePark.” Walker noted that the park, in the historicallyBlack section of Montclair, the only part of town where
the practice of redlining permitted African-Americans
to live, was perfect. There was no stage. There was no
permit. But 200 to 300 of McBride and Walker’s friends,
neighbors and parents of students came out to listen.
The next year Monty Alexander headlined, using
an electric piano, because they still had no stage andcertainly no acoustic piano. But 1,200 people came. He
refused payment, insisting that they use the money tocontinue to grow their vision of access to all, both with
their educational programs and festival. It is that visionthat drives everything that Jazz House does.
As Carter and young bassist Liany Mateo bowed
through the beauty of Ellington’s “Come Sunday”, astroll around the festival this year demonstrated just
how successfully they have fulfilled that vision. The
festival-goers were a broad cross-section of America:
all shades of skin, all ages, all backgrounds. Multiple
languages could be heard in the air. “This is the melting
pot, America,” Walker said. “This is the best of who
we are. People can’t be cut out of culture because of
economic circumstances.”
Noted flute and saxophone player Erica von Kleist(now director of performance and education at Jazz
House’s New York extension), took in the scene aroundher: “This is the summit of all that is right in jazz educationand performance,” she reflected.
While festivals are always about the culture, thevendors, the camaraderie, they are also always about
the music. So when Christian McBride’s New Jawn,
with Marcus Strickland (tenor), Josh Evans (trumpet)
and Nasheet Waits (drums), tore into “Obsequious”, theenergy level was palpable on the stage and in front of it.
It was a particularly appropriate tune to play for the New
Jersey crowd, with two of Newark’s finest responsible
for the original: composer Larry Young and trumpeter
Woody Shaw.

32 November 2023 | THE NEW YORK CITY JAZZ RECORD

Curators McBride and Ted Chubb always want theclosing set to be electrifying, to be a party. “Look, there
has to be a tie to the cultural tradition of jazz. But within
that, we want the party energy, to send everyone homewith that,” Chubb said. The festival certainly succeeded.
On one stage the closer was the dance-friendly Afrobeatof Antibalas, honoring Fela Kuti with every pulsing
hit. On the other stage, the closer was Mwenso and the
Shakes, clearly intent on shaking every bit of what God
gave them.
By the time it was all done, and folks were finallypacking up to go home, it was considerably later thanoriginally scheduled. In fact, the music scraped rightup against the time allowed by the permit, which yes,
the organizers now obtain. All who took part, all who
persevered through the rain and lightning, knew they
had been involved in something special. “By the time
we were back up and running, we had a sense that thiswill just be part of the festival’s lore: the music won’t be
stopped,” Walker concluded.
For more info visit montclairjazzfestival.org(AKBANK CONTINUED FROM PAGE 12)
Cenk Erdoğan (guitar), Alper Yilmaz (bass) and Nedim
Ruacan (drums).
At the comfortable Zorlu Theater in Levent, an allfemale cast performed under the banner of “Ladies and
New Standards”. Singers Randy Esen, Ece Göksu, Sibel
Köse, Ülkü Aybala Sunat and Deniz Taşar presented
original interpretations of contemporary songs by someof the usual suspects (The Beatles, Sting, Radiohead),
together with Gizem Dal (flute), İpek Ektaş (guitar, flute),
Kamucan Yalçın (clarinet), Yasemin Özler (cello), Esra
Kayikçi (bass) and Nihal Saruhanlı (drums). Just seeing
a stage full of women, each with her own style, was quite
meaningful, especially in Turkey. Notably, almost all the
instrumentalists were also impressively adept singers. In
the same venue the new trio of Tord Gustavsen (piano),with Steinar Raknes (bass) and longtime associate Jarle
Vespestad (drums), presented his mixture of folk motifs
and classical-inspired pieces, the focus on delicate
interplay and rich piano voicings.
Babylon and Pozitif visionary founder MehmetUluğ (who prematurely passed ten years ago) wascommemorated by saxophonist (and NYC’s Nublu
founder) İlhan Erşahin with a specially assembled
group: Tolga Bilgin (trumpet), Korhan Futacı (sax),Çağrı Sertel (piano), Turgut Alp Bekoğlu and Alican
Tezer (drums), İzzet Kızıl (percussion), Özgür Yılmaz
(guitar), Umut Arabacı (bass) and DJ Mercan Dede.
Later trumpeter Erik Truffaz’ quartet joined, as did Alp
Ersönmez (bass), running from a gig he had with pop
superstar Tarkan. Babylon was full and grooving again
for the full set by Truffaz’ quartet, sharp, focused andenergetic, with Marcello Giuliani (bass), Alexis Anérilles(Fender Rhodes) and Raphaël Chassin (drums). Closing
day featured the unusual duo of Alara Tütüncü (harp)and Özgün Bora (bass), in the Saint Benoît Church in
Karakoy, amidst a visual art exhibition. The soft sounds
were in sharp contrast with the dramatic images projectedin the ancient church—an inspiring combination. The
final party was held at the airy, green Bizim Tepe, therecreation and sports club of the Robert College alumni
association, in Kuruçesme on the Bosporus. Singer Seçil
Akmirza performed with Alp Ersönmez’s band again
with energetic renditions of classic pop songs.
The jazz culture magazine Loft, free and exclusively
an imprint, devoted ample space in its October issue tothe festival, and boasted articles on Hermeto Pascoal,Peter Brötzmann and Emily Remler—even if you don’tread Turkish, pick it up for the cool design if you’re in
town. It’s a cousin to TNYCJR!
For more info visit
akbanksanat.com/en/jazz/30-akbank-caz-festivali

(INTERVIEW CONTINUED FROM PAGE 6)
You don’t know how that music is going to reachpeople until you get it out to the people. I don’t think(Rivers) necessarily thought of his music as rebellious.
I did. He didn’t have any political point of view that hewas trying to get across. He was only thinking music,
but they heard something in him in that spirit, and theygravitated.
TNYCJR: I’m surprised the authorities even let you doit.
Debriano: It was during that time when the Russian
soldiers were all over East Germany and you had theStasi that were watching the German people. There wasa lot of tension and military presence on the trains. You
could feel that when you traveled in eastern Europe,
Poland, the old Yugoslavia.
TNYCJR: How were you treated, as African-American
artists?
Debriano: I think the fact that we were doing what wewere doing over there created its own sort of spectacle.
They treated us with respect and I enjoyed this altarthat they kind of placed us on, because we werecoming from so far. We were Black people and there
was respect for the art. Sam’s music was fast. It wasmuscular, very explosive. They responded because it
was probably just the opposite of their lives.
I have traveled as an ambassador of this country
and ambassador of our music throughout the world.
And I can tell you that the rest of the world is mystified
the way we’re treated here.
TNYCJR: Well, thanks for all that history. And to morecurrent events: you are presumably happy with yourlatest release, Ashanti with your Arkestra Bembé?
Debriano: Very, very happy. The sound is really
excellent—they captured the sound of the band. Dave
Kowalski is a great engineer. Andreas Meyer did themix. They both did great jobs.
TNYCJR: You gained so much with that clean, openmix.
Debriano: Absolutely. (Guitarist) Adrian (Alvarado)
plays an important part in the whole harmony, andyou really hear that on the record. We’ve been working
on that with our live performances, too, to make itsound more prominent. Adrian is from Brazil by birth,
but he lived a long time in Spain. So he brings both of
those traditions to his playing. It’s so authentic. The
response has been really wonderful, really positive.
Just last night we brought a pared-down version of
the Arkestra into Clement’s Place (in Newark, NJ), andthey just loved it.
TNYCJR: And what are some things you are mostlooking forward to in the coming months?
Debriano: I’m playing with Joe Lovano. That’s going
to be nice. We were rehearsing the other day and wemade a demo and it’s fantastic. Boy, what a saxophone
player he is. And he’s got a great mind for music too.
He wrote some of the most interesting compositions
that have been put in front of me ever in my career. It
reminds me of when I was working with Oliver Lake.
TNYCJR: Is it a chordless trio?
Debriano: No, he’s got Julian Lage (guitar) and Will
Calhoun (drums). Julian can play some guitar. But Joe
Lovano, boy, he just amazes me what he can do withthat saxophone.
I’ve known Joe Lovano for decades. He came tovisit me and my first wife, Anna, when we were living
in Paris. But we just never put two and two together toplay together and now we are. And it’s been a joyous
thing, because we think alike.
For more info visit jojorecords.com/santi-debriano. Debriano
is at Mount Morris Ascension Presbyterian Church Nov. 10
as leader, at Dizzy’s Club with Bill O’Connell Nov. 3 and at
The Jazz Loft with his Septet as part of the “Lloyd Trotman
Bassist Series“ Nov. 3. See Calendar.
Recommended Listening:• Archie Shepp—I Know About The Life (Sackville, 1981)• Bobby Battle Quartet—The Offering(Mapleshade, 1990)• Santi Debriano/Billy Hart/Arthur Blythe—3-Ology(Konnex, 1993)• David Murray Quartet—
Long Goodbye (A Tribute to Don Pullen) (DIW, 1996)• Roni Ben-Hur/Santi Debriano/Duduka Da Fonseca—
Manhattan Style (Jazzheads, 2014)• Santi Debriano & Arkestra Bembé—Ashanti(JoJo, 2021)(LABEL SPOTLIGHT CONTINUED FROM PAGE 11)
twists and turns of the business. New releases include
those by vocalist Marieann Meringolo, drummer Mike
Clark, alto saxophonist Donald Harrison and organist
Jerry Z. “We have releases coming out this year by
Dianne Fraser, L.A. cabaret/jazz vocalist, and Seattlecrooner David Francis (who has a Christmas show in
New York City Dec. 15),” Pasenko reports. As to theManasia Trio’s Butcher Block Ballet: the album recently
reached #14 on Jazz Week—a good omen for thecontinued success of Blujazz.
For more info visit blujazz.com. Blujazz artists performing
this month include Judy Niemack at Pangea Nov. 8. See
Calendar.

(LEST WE FORGET CONTINUED FROM PAGE 10)
the founder of the Billo’s Caracas Boys ensemble. In
these rich musical environments, Pucho thrived.
In 1959—the year that Batista’s government fell—
Pucho decided to move back to Cuba, again working
prolifically as a sideman and composer. But, like his
brother, Pucho had the skills to lead, and in 1963 heformed Noneto Cubano de Jazz, a vehicle that made fulluse of his innovative musicianship. Here, the brothers’
usual roles were reversed, with the younger Escalanteon the bandstand and the elder following. This nonet,
as much as any other ensemble, would lay the creative
groundwork for the formation of OCMM in 1967.
(An aside: Following the success of the film Buena
Vista Social Club in 1999, record label EGREM released
the album Sentimiento, identifying pianist Rubén
González—one of the film’s featured artists—as thealbum’s principal performer. In fact, this album was are-release of the 1964 LP by Pucho Escalante y su Grupo
Cubano de Jazz, on which Pucho was the producer,
musical director, primary composer and trombonist.)
After Luis’ death, Pucho returned to Venezuela,
where he found ample work in television, the recording
studio and jazz performance. By the mid ‘80s, he had madehis way to New York—still performing and recording,but less visibly. His most prominent appearance in the
U.S. from that time was, arguably, the 2001 recording
Generoso Que Bueno Toca Usted (Pimienta), which
received a Grammy nomination for “Best Traditional
Latin Album” in 2003. Most poignantly, this record
would reunite Pucho with D’Rivera and Sandoval in thestudio—to pay tribute to another trombonist from thegolden age of Cuban jazz: Generoso Jimenez.
(TNYCJR would like to thank Patrick Dalmace and Rosa
Marquetti for their extensive research on Luis and Pucho
Escalante)
Recommended Listening:• Leopoldo “Pucho” Escalante Y Su Grupo Cubano De
Jazz Del I.C.R.—Jazz Cuba (Palma, 1964)• Orquesta Cubana De Música Moderna—
Cuba Que Linda Es Cuba, Vol.II (Areito, 1969)• El Trabuco Venezolano—Vol. 1-3(Integra YVKCT, @1977-81)• Nano—Nano Y La Salsa Cubana, Vol. 1(Antillana Musical, 1979)• Irakere/Trabuco—En Vivo Poliedro De Caracas
Mayo 14-15 ‘81 (Integra, 1981)• Gran Afro Cuban Orchestra de Generoso Jimenez—
Generoso Que Bueno Toca Usted(Termidor/Pimienta, 2001)

U

SE

EW

D

N

236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Criss Cross, ECM, Enja, ESP,
Fresh Sound, High Note, Pi, Savant,Sunnyside, Venus and many more.

THE NEW YORK CITY JAZZ RECORD | November 2023 33

CALENDAR
Wednesday, November 1• Leo Genovese and Quilombo Bar Bayeux 8, 9:30 pm $20
Barbès 8 pm $20• Andy Statman Trio
Birdland 7, 9:30 pm $30-40• Mingus Big Band
• David Ostwald’s Louis Armstrong Eternity Band; Frank Vignola with Henry Acker

ê = Recommended Shows
êMatt Mitchell with Brian Krock, Laura Cocks, Madison Greenstone,

Sara Schoenbeck, Erica Dicker, Joanna Mattrey, Mariel Roberts
The Stone at the New School 8:30 pm $20
êTyshawn Sorey Trio with Aaron Diehl, Matt Brewer Village Vanguard 8, 10 pm $40• Allan Harris with Arcoiris Sandoval, Marty Kenney, Norman Edwards
Zinc Bar 7, 8:30 pm $35

Saturday, November 4

Birdland Theater 5:30, 8:30 pm $20-30• Robert Glasper with Yasiin Bey, Chris Dave, Derrick Hodge, DJ Jahi SundanceBlue Note 8, 10:30 pm $60-85
êNir Felder 3
Brookfield Place’s Waterfront Plaza 5 pm
Cellar Dog 7, 8:30 pm $5• Chris Beck TrioêRon Blake with Bobby Broom, Reuben Rogers, Kobie Watkins
Dizzy’s Club 7:30, 9:30 pm $20-50• John Sneider Quintet; Ashley Pezzotti Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Mareike Wiening Quintet with Rich Perry, Alex Goodman, Glenn Zaleski,
Jakob Dreyer
Jazz Gallery 7:30, 9:30 pm $20-30
Local 92 7:30, 9 pm
• Enrico Granafei• Kaelen Ghandhi, Michael Larocca; TJ Borden; Todd Neufeld, Samuel Ber;
Barbara Kasomenakis; Stephen Gauci, Adam Lane, Colin Hinton; Hery Paz,
Kenneth Jimenez, Willy Rodriguez; Nick Gianni, On-ka Davis, Rich Rosenthal,
Hill Greene
Main Drag Music 7 pm $15
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• David MederêCraig Harris: “Brown Butterfly” National Sawdust 7:30 pm $20• Stan Killian Quintet with Paul Bollenback, Yukako Yamano, Will Slater,
Russell Carter
Nublu 151 8 pm $22.66
êTeri Roiger Trio with Bill Ware, John Menegon Pangea 7 pm $25• Harlem Jazz Session with Peter Brainin Room 623 at B2 Harlem 8, 10 pm $20• OCEANS AND with Tim Berne, Hank Roberts, Aurora NealandRoulette 8 pm $25• George Papageorge Trio; Curtis Nowosad Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9 pm $25-35
êMatt Mitchell with Brandon Seabrook, Kim Cass, Kate Gentile
The Stone at the New School 8:30 pm $20
êTyshawn Sorey Trio with Aaron Diehl, Matt Brewer
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band
Zinc Bar 7, 8:30 pm $35

Thursday, November 2êHelen Sung, Kayvon Gordon, Adam Kolker, Jeremy Stratton

Bar Bayeux 8, 9:30 pm• The Dollars with Giancarlo Vulcano, Taylor Bergren-Chrsiman, Greg Stare; La

Banda Chuska with Felipe Wurst, Sam Day Harmet, Adele Fournet, Erica Mancini,
Abe Pollack, Joel Mateo
Barbès 8, 10 pm $15êMingus Big Band
Birdland 7, 9:30 pm $30-40
Birdland Theater 8 :30 pm $25-35• Sam Dillon Quartet• Robert Glasper with Yasiin Bey, Chris Dave, Derrick Hodge, DJ Jahi SundanceBlue Note 8, 10:30 pm $60-85• Philip Harper Quintet; Ai Murakami Quartet
Cellar Dog 7, 8:30, 11 pm $5• Claudia Acuña with Pablo Vergara, Carlos Henderson, Yayo Serka; Itai Kriss
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-55• Ron Jackson Trio; Joe Strasser Quartet The Django 7:30, 9, 10:30 pm, 12 am $25
Jazz Gallery 7:30, 9:30 pm $35-45• Roy Hargrove Big Band
• Joaquin Pozo y la Clave Suena Jazz Museum in Harlem 2 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Danny Tobias• Nublu JazzFest: Sílvia Machete with LaLO Brusco, Bill Dobrow, Alexandre Vaz
Nublu 151 10 pm $22.66
Patrick’s Place 7 pm $10• Phil Young Experience
Smalls 7:30, 9, 10:30 pm, 12 am $35• Ray GallonêCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9 pm $25-35
Soapbox Gallery 8 pm $25• Benno Marmur TrioêMatt Mitchell with Yuhan Su, Miles Okazaki, Kate Gentile
The Stone at the New School 8:30 pm $20
Sugar Hill Children’s Museum 6 pm
• Marjorie Eliot• Tyshawn Sorey Trio with Aaron Diehl, Matt Brewer
Village Vanguard 8, 10 pm $40

Friday, November 3

Bar Bayeux 8, 9:30 pm• Vanisha Gould• Tyler Blanton’s Urban Achievers Bar LunÀtico 9, 10:30 pm $10êOscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher Tordini,

Jason Nazary; Mamie Minch with Dean Sharenow; Anant Pradhan/Larry McDonald
with Yoshi Takemasa, Rich Terrana, Preet Patel, Brett Tubin, Mike Sarason,
Jeremiah McFarlane
Barbès 5, 8, 10 pm $20
êBill Saxton Harlem All-Stars
Bill’s Place 7, 9 pm $30
êBirdland Big Band; Mingus Big Band Birdland 5:30, 8:30, 10:30 pm $30-40êPeter Bernstein Quartet
Birdland Theater 7, 9:30 pm $20-30êMichael Cochrane: “Tribute to Bill Evans” Bloomingdale School of Music 7 pm
• Robert Glasper with Yasiin Bey, Chris Dave, Derrick Hodge, DJ Jahi SundanceBlue Note 8, 10:30 pm $60-85
Brooklyn Bowl 8 pm $25• Antibalas• Ehud Asherie Quartet; Marc Devine Quartet Cellar Dog 7, 8:30, 11 pm $10• Alex Laurenzi with Noah Halpern, Birsa Chatterjee, Joe Block, Solomon Gottfried,
Eliza Salem
Chelsea Table + Stage 9:30 pm $20-40êIncarnate Jazz: Sarah Pillow, Christopher Preston Thompson, Marc Wagnon,
Ingrid Jensen, Edsel Gomez, Hamish Smith, Peter Retzlaff
Church of the Incarnation 6 pm $28.52
êEddie Palmieri; Itai Kriss
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-65• Jason Tiemann Quartet; Craig Handy And 2nd Line Smith
The Django 7:30, 9, 10:30 pm, 12 am $25• Secret Trio with Erkan Ogur Drom 7:30, 9:30 pm $45-60• Hannah Marks with Sarah Rossy, Nathan Reising, Lee Meadvin, Lex Korten,
Connor Parks
Jazz Gallery 7:30, 9:30 pm $20-30
Knickerbocker Bar & Grill 9 pm
• Kuni Mikani/Jon Roche
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Michael WeissêDarius Jones
Mount Morris Ascension Presbyterian Church 7 pm
• Nublu JazzFest: EARTH UNION: Emilio Modeste, Natasha Agrama, Jeremiah
Kal’ab, Miguel Russell, Black Buttafly Nublu 151 7 pm $22.66
Patrick’s Place 8 pm
• Patience Higgins’ Jazz JamRoom 623 at B2 Harlem 7, 8:30, 10 pm, 12 am $20• Kate Baker; Domo Branch
ShapeShifter Lab 8 pm $20• Makrokosmos Orchestra
Smalls 7:30, 9, 10:30 pm, 12 am $40• Christopher McBrideêCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9, 10:30 pm $25-35

êGary Versace/Adam Kolker; Dave Scott Quintet with Rich Perry, Gary Versace,

Johannes Weidenmuller, Jeff Williams Bar Bayeux 6, 8, 9:30 pm• Pakula Surprise with Eric Pakula, Blake Lindberg, Nick Cudahy;

Peni Candra Rini with Andy McGraw, Curt Sydnor; Banda de Los Muertos with
Oscar Noriega, Jacob Garchik, Chris Speed, Ben Holmes, Justin Mullens,Curtis Hasselbring, Brian Drye, Rachel Drehmann, Jim Black, Mireya I. Ramos
Barbès 3, 8, 10 pm $20
êBill Saxton Harlem All-Stars
Bill’s Place 7, 9 pm $30
êLoston Harris Duo; Mingus Big Band Birdland 5:30, 8:30, 10:30 pm $25-40
êPeter Bernstein Quartet
Birdland Theater 7, 9:30 pm $20-30• Robert Glasper with Yasiin Bey, Chris Dave, Derrick Hodge, DJ Jahi SundanceBlue Note 8, 10:30 pm $60-85
Brooklyn Bowl 8 pm $25• AntibalasêAbraham Burton Quartet; Clovis Nicolas Quartet Cellar Dog 7, 8:30, 11 pm $10• Colette Michaan with Silvano Monasterios, John Benitez, Luisito Quintero,
Yusnier Sanchez Bustamante Clemente Soto Velez Cultural Center 7:30 pm• CompCord Ensemble with Jason Hwang, Michiyo Suzuki, Gene Pritsker, Jay
Elfenbein, Damien Bassman Delancey 5:30 pm $10
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-65• Eddie Palmieri; Itai KrissêSheryl Bailey Quartet; Matt Chertkoff Quartet with Houston Person
The Django 7:30, 9, 10:30 pm, 12 am $25
Fiction Bar/Café 9, 10:30 pm• Eden Har-Gil TrioêMelanie Dyer with Ken Filiano, Michael Wimberly; Jeff Pearring with
Eri Yamamoto, Ken Filiano, Michael TA Thompson; Diego Hedez / Yvonne Rogers
Ibeam Brooklyn 8 pm $20• John Ellis with Scott Wendholt, Lex Korten, Joe Martin, Obed Calvaire
Jazz Gallery 7:30, 9:30 pm $30-40
Knickerbocker Bar & Grill 9 pm
• Kuni Mikani/Jon Roche
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Michael Weiss
Silvana 9 pm
• Mecadon McCuneêNat Adderley Jr. Band
Sistas’ Place 8, 9:30 pm $25
Smalls 7:30, 9, 10:30 pm, 12 am $40• Christopher McBrideêCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9, 10:30 pm $25-35
êArkadiy Figlin/François Moutin/Louis Moutin Soapbox Gallery 8 pm $25
êMatt Mitchell with Chris Tordini, Dan Weiss
The Stone at the New School 8:30 pm $20
êTyshawn Sorey Trio with Aaron Diehl, Matt Brewer Village Vanguard 8, 10 pm $40• TC The 3rd with Neal Caine, Taru Alexander, Marcus Persiani
Williamsburg Music Center 10 pm $25

Sunday, November 5êEri Yamamoto Duo

Arthur’s Tavern 3 pm

• Chuño with Franco Pinna, Sofia Tosello; Stéphane Wrembel; Daisy Castro withMax O’Rourke, Brad Brose, James Robbins Barbès 6, 8, 10 pm $20

êHyeseon Hong Jazz Orchestra; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40

Birdland Theater 7, 9:30 pm $20-30• Caity Gyorgy• Robert Glasper with Yasiin Bey, Chris Dave, Derrick Hodge, DJ Jahi SundanceBlue Note 8, 10:30 pm $60-85
Cellar Dog 7, 8:30 pm $5
Dizzy’s Club 5, 7:30 pm $25-65• Jed Levy Quart. ; Neal Miner Trio The Django 7:30, 9, 10:30 pm, 12 am $25
êEarRegulars with Jon-Erik Kellso, Matt Munisteri, et al. The Ear Inn 8 pmêTeri Roiger with John Menegon, Steve Berger Entwine Wine Bar 6, 7, 8 pm
• Welf Dorr with Robert Boston, Dmitry Ishenko, Yuko Togami The Keep 9 pmêSherrie Maricle
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Mathis Picard Trio with Savannah Harris, Parker McAllister
National Sawdust 7:30 pm $20
North Square Lounge 12:30, 2 pm
• Lauren Kinhan Trio
• Nublu JazzFest: Ones is Fives; Noah Rott; Rocket Sci with Jonathon Haffner,
Kenny Wollesen, Tony Scherr, Dalius Naujo Nublu 151 7, 10 pm $22.66• K&W Jazz Duo with Ron McClure, Wajdi Cherif, Kana Miyamoto
Opera America Marc. A Scorca Hall 4 pmêMichael Foster/Ben Bennett Duo; Crystal Penalosa Solo
P.I.T. 8:30 pm $20• Boncellia Lewis and Friends Patrick’s Place 12 pm $10• Marcus Goldhaber with Freddie Bryant; Mimi Jones and Jam
Room 623 at B2 Harlem 6, 8, 10 pm $20• Paul Jost, Josh Richmond, Dean Johnson Saint Peter’s Church 5 pm
ShapeShifter Lab 7 pm
• Ian Maksin
Shrine 8 pm
• Shrine Big BandêGeorge Colligan
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9 pm $25-35
êTyshawn Sorey Trio with Aaron Diehl, Matt Brewer
Village Vanguard 8, 10 pm $40
êHarry Allen TrioêEddie Palmieri

Monday, November 6

Arthur’s Tavern 7 pm
• Grove Street Stompers• Dabin Ryu, Johnathan Blake, Matt Penman Bar LunÀtico 9, 10:30 pm $10• Musics with Ilusha Tsinadze, Gocha Tsinadze, Chris Tordini, Jason Nazary;
Tamar Korn

Barbès 7, 9 pm $20
Birdland 7 pm $30-40êVince Giordano And The Nighthawks Birdland Theater 5:30, 8:30 pm $20-40• Harold López-Nussa with Grégoire Maret Blue Note 8, 10:30 pm $25-35
Cellar Dog 7, 8:30 pm $5• Peter Zak TrioêLouis Hayes with Abraham Burton, Steve Nelson, David Hazeltine,
Dezron Douglas
Dizzy’s Club 7:30, 9:30 pm $20-55• Naama Gheber Quartet; Akili Bradley Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Brenda Earle
Smalls 7:30, 9, 10:30 pm, 12 am $35• John Ellis
êL. Shankar
Sony Hall 8 pm $35-60• Steve Cardenas/Ricardo Silveira Quartet with Eduardo Belo, Rogerio Boccato
Zinc Bar 7, 8:30 pm $35• George Abud & Katrina Lenk

Tuesday, November 7• Shane Shanahan Quartet

34 November 2023 | THE NEW YORK CITY JAZZ RECORD

Bar LunÀtico 9, 10:30 pm $10êSlavic Soul Party with John Carlson, Kenny Warren, Peter Hess, Peter Stan,

Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran, Chris Stromquist
Barbès 9 pm $20
Birdland 7, 9:30 pm $30-40• Jane MonheitêVince Giordano And The Nighthawks Birdland Theater 5:30, 8:30 pm $20
êDizzy Gillespie All-Stars
Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Our DelightêLouis Hayes with Abraham Burton, Steve Nelson, David Hazeltine,
Dezron Douglas
Dizzy’s Club 7:30, 9:30 pm $20-55
êConrad Herwig And The Latin Side All-Stars
The Django 7:30, 9, 10:30 pm, 12 am $25• Melvin Bauer, Samuel Ber; Selendis Sebastian, Alexander Johnson,
Nathan Chamberlain, Joshua Mathews; Dave Grollman, Brenna Rey,
James Paul Nadien
Downtown Music Gallery 6:30 pmêItamar Borochov with Rob Clearfield, Rick Rosato, Jay Sawyer
Joe’s Pub 9:30 pm $20
êElijah Shiffer with Kevin Sun, Dmitry Ishenko, Colin Hinton
Lowlands 8, 9:30 pm $10• Jonathan Reisin with Shinya Lin, Jarred Chase Scholes Street Studio 7:30 pm• Ben Sutin Quartet with Ben Rosenblum, Chris Tordini, Johnathan Blake
ShapeShifter Lab 6 pm $20
Smalls 7:30, 9, 10:30 pm, 12 am $35• Amos HoffmanêKurt Rosenwinkel “Chopin Project” with Jean-Paul Brodbeck, Lukas Traxel,
Jorge Rossy
Village Vanguard 8, 10 pm $40
York College 7 pm
• Seongjin Kim
Zinc Bar 7, 8:30 pm $35• Luis Perdomo

Wednesday, November 8• Lafayette Harris Trio

333 Lounge 7:30, 9:30 pm• Jane Monheit

Bar Bayeux 8, 9:30 pm $20
Birdland 7, 9:30 pm $30-40

Nicole Zuraitas

Birdland Theater 7, 9:30 pm $20-30êEri Yamamoto Trio
Arthur’s Tavern 7 pmêThe Fringe with George Garzone, John Lockwood, Francisco MelaêDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola withêDizzy Gillespie All-Stars
Blue Note 8, 10:30 pm $30-45êMiki Yamanaka Trio with Pablo Menares, Jimmy McBride

Brookfield Place’s Waterfront Plaza 5 pm
Cellar Dog 7, 8:30 pm $5• Bill O’Connell with Randy Brecker, Craig Handy, Santi Debriano, Billy Hart
Dizzy’s Club 7:30, 9:30 pm $20-45• Manuel Valera And New Cuban Express; Itai Kriss Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Louis Armstrong Legacy Monthly Jazz Jam Flushing Town Hall 7 pm $10
Jazz Gallery 7:30, 9:30 pm $20-30• Nicole Glover
Local 92 7:30, 9 pm
• Enrico GranafeiêDavid Gross, Patience Higgins, G. Calvin Weston; Mel Greenwich; Ryan Siegel,
Max Kutner, Nick Neuberg; Stephen Gauci, Adam Lane, Colin Hinton;
Kuba Cichocki, Luke Stewart, Tcheser Holmes; Evan Palmer, Shinya Lin,
Jonathan Reisin, Jarred Chase Main Drag Music 7 pm $15
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Frank Kohl
• Vira with Mary Spencer Knapp, Marco Capelli, Tom Shad, Ethan Meyer;
Rubin Kodheli Group with Santiago Leibson, Kevin Shea
Nublu 151 7 pm $22.66
êJay Clayton Celebration with Judy Niemack, Sheila Jordan, Erli Perez, Kendra
Shank and Andrea Wolper
Pangea 7 pm $25• Harlem Jazz Session with Peter Brainin Room 623 at B2 Harlem 8, 10 pm $20• Gryphon Rue with Ka Baird, Qasim Naqvi Roulette 8 pm $25
êYuhan Su with Caroline Davis, Matt Mitchell, Marty Kenney, Dan Weiss
ShapeShifter Lab 8:30 pm $20
Smalls 7:30, 9, 10:30 pm, 12 am $35• Bruce WilliamsêSarah Hanahan
Smoke 7, 9 pm $25-35• Tamara Lukasheva/Vadim Neselovskyi The Stone at the New School 8:30 pm $20• Silvan Joray with Noah Garabedian, Jay Sawyer Threes Brewing 8:30 pmêKurt Rosenwinkel “Chopin Project” with Jean-Paul Brodbeck, Lukas Traxel,
Jorge Rossy
Village Vanguard 8, 10 pm $40• Mike Davis and The New Wonders Zinc Bar 7, 8:30 pm $35
êBrandi Disterheft Trio

Thursday, November 9• The Grassroots Jazz Effort with Jerome Sabbagh, Adam Kolker, Jeremy Stratton,
George Schuller

Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Caracas Trio
• Miss Maybell and the Jazz Age Artistes with Charlie Judkins, Brian Nalepka;

Balsa de Fuego with Raquel Baena, Dan Neville, Justin Flynn, Andrés Fonseca,
Juan Sebastián Monsalve
Barbès 8, 10 pm $20
Birdland 7, 9:30 pm $30-40• Jane Monheit
Birdland Theater 8:30 pm $25-35• SuedeêDizzy Gillespie All-Stars
Blue Note 8, 10:30 pm $30-45êBruce Harris Quartet; Chris Byars Quartet Cellar Dog 7, 8:30, 11 pm $5êAngelica Sanchez; Miriam Parker, No Land, Melanie Dyer; Cooper-Moore
Clemente Soto Velez Cultural Center 7 pm
• Jacques Schwarz-Bart “The Harlem Suite” with Victor Gould, Matt Penman,
Obed Calvaire; James Haddad Dizzy’s Club 7:30, 9:30 pm $20-55• Wildebeest Wind Quintet: Michel Gentile, Katie Scheele, Michael McGinnis,
Nathan Koci, Sara Schoenbeck Ibeam Brooklyn 8 pm $20• Melissa Almaguer: “Angel of Air/Angel of Water” with Christina Carminucci,
Samantha Feliciano, Shinya Lin, Franklin Rankin, Natalie Greffel, Lesley Mok
Jazz Gallery 7:30, 9:30 pm $20-30êValery Ponomarev
Jazz Museum in Harlem 2 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Frank Perowsky• Russell Kranes, Sam Weber, Alex Levine, Jay Sawyer The Owl Music Parlor 8 pm $12
Patrick’s Place 7 pm $10• Phil Young ExperienceêMaria Faust
Scandinavia House 7 pm
Silvana 8 pm
• Michael MorganêCaroline Davis
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCyrus Chestnut Quintet with Freddie Hendrix, Stacy Dillard, Gerald Cannon,
Chris Beck
Smoke 7, 9 pm $40-50êVadim Neselovskyi: “Odesa”
The Stone at the New School 8:30 pm $20
Symphony Space Leonard Nimoy Thalia 7:30 pm• Chris Pierce$20-30êKurt Rosenwinkel “Chopin Project” with Jean-Paul Brodbeck, Lukas Traxel,
Jorge Rossy
Village Vanguard 8, 10 pm $40
êJoe Fiedler solo
Zürcher Gallery 8 pm $20

Friday, November 10• Duane Eubanks

Bar Bayeux 8, 9:30 pmêOscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher Tordini, Jason

Nazary; Michael Bates’ Acrobat with Marty Ehrlich, Mazz Swift, Sara Schoenbeck,Michael Sarin
Barbès 5, 8 pm $20

êBill Saxton Harlem All-Stars

Bill’s Place 7, 9 pm $30• Birdland Big Band; Jane Monheit Birdland 5:30, 8:30, 10:30 pm $25-40
êLakecia Benjamin QuartetêDizzy Gillespie All-Stars

Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $30-45• Saul Rubin Quartet; Courtney Wright Quartet Cellar Dog 7, 8:30, 11 pm $10• Danny Bacher Quartet & AC Lincoln Chelsea Table + Stage 7 pm $20-40êDavid Virelles; Tracie Morris; Dave Burrell Clemente Soto Velez Cultural Center 7 pmêThe Heavy Hitters with Eric Alexander, Vincent Herring, Brian Lynch,
Mike LeDonne, Peter Washington, Kenny Washington; James Haddad
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-65
êEd Cherry Quartet; Ben Stivers Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êJaleel Shaw/Kris Davis Duo
Jazz Gallery 7:30, 9:30 pm $30-40êRick Germanson, Rob Duguay Knickerbocker Bar & Grill 9 pmêDan Nimmer
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êSanti Debriano
Mount Morris Ascension Presbyterian Church 7 pm
Patrick’s Place 8 pm
• Patience Higgins’ Jazz Jam• Sebastián de Urquiza; Holly Bean Room 623 at B2 Harlem 7, 8:30, 10pm, 12am $20
Silvana 8 pm
• Maurer Metrailler Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $40• Tommy Campbell• Cyrus Chestnut Quintet with Freddie Hendrix, Stacy Dillard, Gerald Cannon,
Chris Beck
Smoke 7, 9, 10:30 pm $40-50• Ralph Alessi/Vadim Neselovskyi The Stone at the New School 8:30 pm $20
Symphony Space Leonard Nimoy Thalia 7:30 pm• Kaia Kater$20-30• Andrea Wolper Trio with Ron Affif, Ken Filiano Tipsy Grape Wine Bar 7 pm
• Kurt Rosenwinkel “Chopin Project” with Jean-Paul Brodbeck, Lukas Traxel,
Jorge Rossy
Village Vanguard 8, 10 pm $40• Tivon Pennicott with Idris Frederick, Kenn Salters, Ben Tiberio
Zinc Bar 7, 8:30 pm $35

Saturday, November 11

Bar Bayeux 8, 9:30 pm• Marta Sanchez• Brooklyn Qawwali Party with Brook Martinez, Kenny Warren, Oscar Noriega,

Brian Drye, Xavier Del Castillo, Michael Gamble, Tony Kieraldo, Noah Jarrett,Conor Elmes
Barbès 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30• Loston Harris Duo; Jane Monheit Birdland 5:30, 8:30, 10:30 pm $25-40
êLakecia Benjamin Quartet
Birdland Theater 7, 9:30 pm $20
Blue Note 8, 10:30 pm $30-45• Dizzy Gillespie All-Stars• Samba de Gringo; Simona Premazzi Quartet Cellar Dog 7, 8:30, 11 pm $10êMara Rosenbloom; Randall Horton; Anne Waldman; Matthew Shipp
Clemente Soto Velez Cultural Center 7 pmêThe Heavy Hitters with Eric Alexander, Vincent Herring, Brian Lynch,
Mike LeDonne, Peter Washington, Kenny Washington; James Haddad
Dizzy’s Club 7:30, 9:30, 11:15 pm $25-65• Spike Wilner Trio; Nick Hempton Band The Django 7:30, 9, 10:30 pm, 12 am $25
êJaleel Shaw/Kris Davis Duo
Jazz Gallery 7:30, 9:30 pm $30-40• Sunny Jain’s Wild Wild East Joe’s Pub 9:30 pm $20
Knickerbocker Bar & Grill 9 pm
• Jordan Piper, Rob DuguayêBrandee Younger with Rashaan Carter, Allan Mednard
LeFrak Hall, Queens College 8 pm $30
Mark O’Donnell Theater 8 pm
• Jean Carla RodeaêDan Nimmer
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Marcelo Cardozo Trio with C. Kelly Wright Patrick’s Place 7 pm $10
Silvana 9 pm
• Ken Kobayashi ProjectêTommy Campbell
Smalls 7:30, 9, 10:30 pm, 12 am $40
êCyrus Chestnut Quintet with Freddie Hendrix, Stacy Dillard, Gerald Cannon,
Chris Beck
Smoke 7, 9, 10:30 pm $40-50êBilly Lester
Soapbox Gallery 8 pm $25• Vadim Neselovskyi “Ukrainian Diary” with Bengisu Gokce, Sofia Nikas,
Thiago Wolf
The Stone at the New School 8:30 pm $20
The Sultan Room 8 pm $25.14• Hazmat Modine
Symphony Space 7:30 pm $20-30• Elizabeth Lubin• Melanie Mitrano, Michelle Shocked, Maria Tegzes, Adriana Valdes,
Geoffrey Burleson, Steve Sandberg, Kathleen Supové, Christopher Vassiliades
Tenri Cultural Institute 7 pm $20-30êKurt Rosenwinkel “Chopin Project” with Jean-Paul Brodbeck, Lukas Traxel,
Jorge Rossy
Village Vanguard 8, 10 pm $40

Sunday, November 12êStephan Crump
440Gallery 4:40 pm $10êEri Yamamoto Duo
Arthur’s Tavern 3 pmêPasquale Grasso Quartet
Bar LunÀtico 9, 10:30 pm $10êStéphane Wrembel
Barbès 8 pm $20
êMarcello Pellitteri with Joe Lovano, Steve Slagle, Luis Perdomo, Cameron Brown;

Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40êLakecia Benjamin Quartet
Birdland Theater 7, 9:30 pm $20
êJuilliard Jazz Ensembles; Dizzy Gillespie All-Stars

Blue Note 12:30, 2:30, 8, 10:30 pm $30-45

Cellar Dog 7, 8:30 pm $5• Felix Lemerle Quartet• Vocal Ease with Lee Roy ReamsChelsea Table + Stage 2 pm $25-85

êPapo Vázquez’ Mighty Pirates Troubadours with Jose Mangual, Ivan Renta,

Rick Germanson, Ariel Robles, Alvester Garnett, Carlos Maldonado,
Reinaldo De Jesus
Dizzy’s Club 5, 7:30 pm $20-45• Alexander Claffy Quartet; Antonio Ciacca Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êEarRegulars with Jon-Erik Kellso, Matt Munisteri, et al. The Ear Inn 8 pmêTeri Roiger with John Menegon, Steve Berger Entwine Wine Bar 6, 7, 8 pmêWelf Dorr with Elias Meister, Dmitry Ishenko, Dave Miller
The Keep 9 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Susan Tobacman• Anita Wardell Trio with Misha Tsiginov, Sam Bevin
North Square Lounge 12:30, 2 pm
• Boncellia Lewis and Friends Patrick’s Place 12 pm $10êJessica Pavone
Pioneer Works 1 pm
• Photay; Lester St. Louis; Zosha Warpeha Trio Public Records 7 pm $25.75• Amy Azzara; Mimi Jones Jam Room 623 at B2 Harlem 6, 8, 10 pm $20
Saint Peter’s Church 5 pm
• Ron Jackson Trio
Shrine 8 pm
• Eli Heinen Quintet
Smalls 7:30, 9, 10:30 pm, 12 am $35• John SneiderêCyrus Chestnut Quintet with Freddie Hendrix, Stacy Dillard, Gerald Cannon,
Chris Beck
Smoke 7, 9 pm $40-50êKurt Rosenwinkel “Chopin Project” with Jean-Paul Brodbeck, Lukas Traxel,
Jorge Rossy
Village Vanguard 8, 10 pm $40
êMaria Faust solo
Zürcher Gallery 8 pm $20

Monday, November 13• Grove Street Stompers

Arthur’s Tavern 7 pm

• Underworld Orchestra (Hadestown Band) with Ben Perowsky, Brian Drye,

Marika Hughes, Dana Lyn, Ilusha Tsinadze, Robinson Morse, Nathan Koci,
Cody Owen-Stine
Birdland 7 pm $30-40êVince Giordano And The Nighthawks Birdland Theater 5:30, 8:30 pm $20-40êDizzy Gillespie All-Stars
Blue Note 8, 10:30 pm $30-45
êEd Cherry Trio
Cellar Dog 7, 8:30 pm $5êPapo Vázquez’ Mighty Pirates Troubadours with Jose Mangual, Ivan Renta,
Rick Germanson, Ariel Robles, Alvester Garnett, Carlos Maldonado,
Reinaldo De Jesus
Dizzy’s Club 7:30, 9:30 pm $20-45• Shane Allessio Quartet; David Yee Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
Smalls 7:30, 9, 10:30 pm, 12 am $35• Jochen RuekertêVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35• Pasquale Grasso

Tuesday, November 14• Leo Genovese, Sean Conly, Diego Voglino and Jam
Bar Bayeux 8, 9:30 pm• Arthur Kell Speculation Quartet Bar LunÀtico 9, 10:30 pm $10êSlavic Soul Party with John Carlson, Kenny Warren, Peter Hess, Peter Stan,
Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran, Chris Stromquist
Barbès 9 pm $20
êThe Django Reinhardt NY Festival with Dorado, Samson & Amati Schmittwith Anat Cohen
Birdland 7, 9:30 pm $30-40
Birdland Theater 5:30 pm $20-30• AC Lincoln
Blue Note 8, 10:30 pm $25-35• Nick Hakim
Cellar Dog 7, 8:30 pm $5• Vanderlei Pereira TrioêTerell Stafford with Tim Warfield, Bruce Barth, Sam Harris, Justin Faulkner
Dizzy’s Club 7:30, 9:30 pm $20-50• Conrad Herwig And The Latin Side All-Stars
The Django 7:30, 9, 10:30 pm, 12 am $25• CN Trio; Gian Perez, Michael Gilbert, Marc Edwards; Patrick Golden Group
Downtown Music Gallery 6:30 pm• James Sarno Quartet; Houston Person Quartet: “Jazz Forum Benefit”
Fifth Avenue Hotel 6 pm
• Jacob Shulman with Jasper Dütz, Phillip Golub, Adam Olszewski, Eliza Salem,
Ben Rosenblum
Lowlands 8, 9:30 pm $10
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Hayes Greenfield• Shara Lunon’s Bitter Fruits with Lesley Mok, Chris Williams, Kalia Vandever,Lester St. Louis, 13th Law
Roulette 8 pm $25• Jon Menges Quartet; Leo YablansShrine 7 pm
Smalls 7:30, 9, 10:30 pm, 12 am $35• Dan PrattêJoe Lovano with Marcin Wasilewski Trio Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35• Michael Wolff

Wednesday, November 15

333 Lounge 7:30, 9:30 pm• Ron Jackson Trio
• Eli Yamin Quintet with Zaid Nasser, David F. Gibson, Elias Bailey

Alianza Dominicana Cultural Center 7 pm

• Glenn Zaleski Quintet with Lucas Pino, Brandon Lee, Desmond White,
Allan Mednard

Bar Bayeux 8, 9:30 pm $20

Edmar Castaneda

Birdland 7, 9:30 pm $30-40êGilad Hekselman
Bar LunÀtico 9, 10:30 pm $10êThe Django Reinhardt NY Festival with Dorado, Samson & Amati Schmitt withêDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Night

Birdland Theater 5:30, 8:30 pm $20-30
Blue Note 8, 10:30 pm $25-35
êAlfredo Colon Quartet with Lex Korten, Kobi Abcede
Brookfield Place’s Waterfront Plaza 5 pm
Cellar Dog 7, 8:30 pm $5• Bebop Collective Quartet• Al Schulman & David Gurwin Chelsea Table + Stage 7 pm $20-40êWill Calhoun with Emilio Modeste, Orrin Evans, John Benitez
Dizzy’s Club 7:30, 9:30 pm $25-50• Tyler Blanton Quartet; Charged Particles with Bill O’Connell, Lincoln Goines,
Jon Krosnick
The Django 7:30, 9, 10:30 pm, 12 am $25
êJazzmobile Presents: Akiko Tsuruga Quartet with Joe Magnarelli, Myron Walden,
Byron Landham
Interchurch Center 7 pm
Jazz Gallery 7:30, 9:30 pm $30-40• FACE the MUSIC
Local 92 7:30, 9 pm
• Enrico Granafei• Jason Belcher, Kenny Warren, Nick Neuburg; Camila N, Melvin Bauer,
John Hebert; Stephen Gauci, Adam Lane, Kevin Shea; Igor Lumpert,
Santiago Leibson, Lim Yang, Dave Treut; Main Drag Conduction Orchestra
Main Drag Music 7 pm $15
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Carmen Staaf• Marcelino Feliciano Birthday Celebration Pangea 7 pm $25• Harlem Jazz Session with Peter Brainin Room 623 at B2 Harlem 8, 10 pm $20
Scholes Street Studio 7:30 pm• Brandon Terzakis
Silvana 8 pm
• Mango Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• Joe LeporeêSean Lyons Quintet with George Coleman, Al Foster, David Hazeltine, Nat Reeves
Smoke 7, 9, 10:30 pm $40-55
êNicole Mitchell
The Stone at the New School 8:30 pm $20
êJoe Lovano with Marcin Wasilewski Trio Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band Zinc Bar 7, 8:30 pm $35• Nick Hakim

Thursday, November 16• Glenn Zaleski Quintet with Lucas Pino, Brandon Lee, Desmond White,
Allan Mednard

Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Erik Deutsch Band
• Buck And A Quarter Quartet with Brian Nalepka , Mike Weatherly,John Bianchi, John “Sir Scratchy” Landry, Chris Bannon, Angus Loten,
Ben Mealer; Sugartone Brass Band with Moses Patrou, Kenny Bentley,
Conor Elmes, Thomas Abercrombie, Steve Thomas, Scott Bourgeois,
Tim Vaughn, Alex Asher
Barbès 8, 10 pm $20
êThe Django Reinhardt NY Festival with Dorado, Samson & Amati Schmitt withKen Peplowski
Birdland 7, 9:30 pm $30-40• Duduka Da Fonseca & Quarteto Universal with Vinicius Gomes, Helio Alves,
Gili Lopes
Birdland Theater 8:30 pm $25-35
Blue Note 8, 10:30 pm $45• Tank and the Bangas• Duduka Da Fonseca Quartet; Mariel Bildsten Quartet Cellar Dog 7, 8:30, 11 pm $5
Chelsea Table + Stage 7 pm $30-50• Simone Baron + Arco Belo
• Säje with Nicole Zuraitis, Amanda Taylor, Johnaye Kendrick, Erin Bentlage
Cutting Room 9 pm $28.52
êLenny White with Mike Rodriguez, Nicole Glover, Dave Kikoski, Ryoma Takenaga
Dizzy’s Club 7:30, 9:30 pm $25-55• Joe Farnsworth Quartet; AC Lincoln Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Gian Perez with Michael Gilbert, Mark Edwards; Jeff Pearring with Hidemi Akaiwa,
Michael Gilbert, Ken Kobayashi Ibeam Brooklyn 8 pm $20

êKaisa’s Machine with Kaisa Mäensivu, Julieta Eugenio, Max Light, Joe Peri

InterContinental New York Barclay’s Club 6:30 pm• Altus with David Adewumi, Nathan Reising, Neta Raanan, Isaac Levien,
Ryan Sands

Jazz Gallery 7:30, 9:30 pm $20-30• Kali Rodriguez-Peña’s Melange Louis Armstrong House 5 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Bill Cunliffe

ê“John Zorn at 70” with Barbara Hannigan, Christopher Otto, Austin Wulliman,

John Richards, Jay Campbell, Michael Nicolas, Jorge Roeder, Stephen Gosling,
Sae Hashimoto, Ches Smith
Miller Theatre 8 pm $20-30
Patrick’s Place 7 pm $10• Phil Young Experience• Amira B, Franz Hackl, Todd Rewwoldt, Gene Pritsker, Jai Jeffryes, Jose Mouro,
Lee Jeffryes
Silvana 10 pm
Smalls 7:30, 9, 10:30 pm, 12 am $35• Alan FerberêNicholas Payton Trio with Alexander Claffy, Joe Dyson Smoke 7, 9 pm $40-55• Shai Jaschek with Benjamin Young, Willis Edmundson, Naama Gheber
Soapbox Gallery 8 pm $25
êNicole Mitchell
The Stone at the New School 8:30 pm $20
êJoe Lovano with Marcin Wasilewski Trio Village Vanguard 8, 10 pm $40
êMiguel Frasconi, Viv Corringham, Chris Cochrane Zürcher Gallery 8 pm $20

Friday, November 17êJazz at Lincoln Center Orchestra with Wynton Marsalis:“Journey Through Jazz Part IV” Appel Room 7, 9 pm $10-75
Bar Bayeux 8, 9:30 pmêOscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher Tordini,
Jason Nazary; Slow Motion with Joel Matteo, Julia Chen, Kyle Miles, Alex Asher;
Super Yamba Quartet
Barbès 5, 8, 10 pm $20
êBill Saxton Harlem All-Stars
Bill’s Place 7, 9 pm $30
êBirdland Big Band; The Django Reinhardt NY Festival with Dorado,
Samson & Amati Schmitt with Madeleine Peyroux, Ken Peplowski
Birdland 5:30, 8:30, 10:30 pm $25-35
êRobin McKelle with Kenny Barron, Peter Washington, Kenny Washington
Birdland Theater 7, 9:30 pm $25-35
Blue Note 8, 10:30 pm $45• Tank and the Bangas• Yasunao Tone, Marcia Bassett, Bob Bellerue Brooklyn Music School 8 pm
• Richard Clements Quintet; Kyoko Oyobe Quartet Cellar Dog 7, 8:30, 11 pm $10• Simona Daniele & Matt Baker Chelsea Table + Stage 9:30 pm $20-40êLenny White with Mike Rodriguez, Nicole Glover, Dave Kikoski, Ryoma Takenaga
Dizzy’s Club 7:30, 9:30 pm $25-55• Joe Magnarelli Quartet; Mariel Bildsten Septet
The Django 7:30, 9, 10:30, 12 am $25
Knickerbocker Bar & Grill 9 pm
• Jon Davis, Yuma Takagi
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Brandon GoldbergêNeil Clarke
Mount Morris Ascension Presbyterian Church 7 pm
• Magos Herrera with Vinicius Gomes, Hamish Smith, Alex Kautz
National Sawdust 7:30 pm $20
Patrick’s Place 8 pm
• Patience Higgins’ Jazz Jam• Altin Sencalar; Cameron Campbell
Room 623 at B2 Harlem 7, 8:30, 10 pm, 12am $20• Telos Consort with Cole Reyes, Thomas Giles, Kyle Landry, Jules Biber
ShapeShifter Lab 8 pm $25
Silvana 8 pm
• Peter Louis Octet
Smalls 7:30, 9, 10:30 pm, 12 am $40• Mike RodriguezêNicholas Payton Trio with Alexander Claffy, Joe Dyson
Smoke 7, 9, 10:30 pm $40-55
êLeslie Pintchik Trio with Scott Hardy, Michael Sarin
Soapbox Gallery 8 pm $25
êKalia Vandever/Joel Ross
The Stone at the New School 8:30 pm $20• Jerron Paxton/Dennis Lichtman: “Revelry”
Symphony Space 7:30 pm $20-30êJoe Lovano with Marcin Wasilewski Trio Village Vanguard 8, 10 pm $40• Alex Wintz

Saturday, November 18• Jazz at Lincoln Center Orchestra with Wynton Marsalis:“Journey Through Jazz Part IV” Appel Room 4:30, 7 pm $10-75• JT Bowen & The Mighty Kings of Soul Arthur’s Tavern 10 pm• Vardan Ovsepian Quintet with Ingrid Jensen, Vinicius Gomes, Noah Garabedian,Mark Ferber

Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Yamba Quartet• Pakula Surprise with Eric Pakula, Blake Lindberg, Nick Cudahy; FALSA with Umer
Piracha, Roshni Samlal, Siddharth Ashokkumar, Tom Deis, Paul Arendt; Combo
Daguerre with Olivier Conan Adele Fournet, Felipe Wurst, Andres Fonseca, Neil
Ochoa, Dan Martinez
Barbès 3, 8, 10 pm $20
êBill Saxton Harlem All-Stars
Bill’s Place 7, 9 pm $30• Loston Harris Duo; The Django Reinhardt NY Festival with Dorado, Samson &Amati Schmitt, with Randy Brecker Birdland 5:30, 8:30, 10:30 pm $25-35
êRobin McKelle with Kenny Barron, Peter Washington, Kenny Washington
Birdland Theater 7, 9:30 pm $25-35• Greg Glassman Quartet; James Austin Quartet Cellar Dog 7, 8:30, 11 pm $10
Chelsea Table + Stage 9:30 pm $20-50• Ty Stephens & SoulJaazzêLenny White with Tom Guarna, Dave Kikoski, Richie Goods
Dizzy’s Club 7:30, 9:30 pm $25-55• Tommy Campbell Trio; Freddy Deboe BandThe Django 7:30, 9, 10:30 pm, 12 am $25
Everything Goes Café 7 pm
• Kevin NortonêTrevor Watts/Jamie Harris
Jazz Gallery 7:30, 9:30 pm $30-40êEli Yamin Quintet with Zaid Nasser, David F. Gibson, Elias Bailey
Jazz Museum in Harlem 4 pm
Knickerbocker Bar & Grill 9 pm
• Dred Scott
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Brandon GoldbergêReggie Nicholson Percussion Concept with Warren Smith, Bryan Carrott, Levy
Lorenzo, Baba Don Eaton, Ernest Dawkins Park Avenue Armory 7 pm $45
êHu Vibrational with Adam Rudolph, Damon Banks, Alexis Marcelo, Harris
Eisenstadt, Neel Murgai, Tim Kieper, Tripp Dudley Public Records 7 pm $25.75
êGhost Train Orchestra “Plays Moondog” with Brian Carpenter, Andy Laster,Curtis Hasselbring, Matt Bauder, Dennis Lichtman, Sara Schoenbeck,
Brandon Seabrook, Ron Caswell, Chris Lightcap, Rob Garcia, David Cossin, Max
Moston, Sara Caswell, Karen Waltuch, Alex Waterman, Joan Wasser,
Karen Mantler
Roulette 8 pm $25
Silvana 7 pm
• Klazz-Ma-Tazz
êEddie Allen Band
Sistas’ Place 8, 9:30 pm $25
Smalls 7:30, 9, 10:30 pm, 12 am $40• Mike RodriguezêNicholas Payton Trio with Alexander Claffy, Joe Dyson
Smoke 7, 9, 10:30 pm $40-55• Todd Rewoldt, Gene Pritsker, Jai Jeffryes: “New Music for Alto Saxophone,
Piano, and Guitar”
Steel Wig Music 7 pm
• Kalia Vandever with Isabel Crespo Pardo, Carmen Rothwell
The Stone at the New School 8:30 pm $20

THE NEW YORK CITY JAZZ RECORD | November 2023 35

Thursday, November 23êJoe Lovano with Marcin Wasilewski Trio Village Vanguard 8, 10 pm $40

Sunday, November 19êEri Yamamoto Duo

Arthur’s Tavern 3 pm

Bar LunÀtico 9, 10:30 pm $10• Sarah Cabral• Juancho Herrera/Franco Pinna; Stéphane Wrembel Barbès 6, 8 pm $20

êPurchase Latin Jazz Orchestra; The Django Reinhardt NY Festival with Dorado,

Samson & Amati Schmitt with Houston Person
Birdland 5:30, 8:30, 10:30 pm $20-40êSheila Jordan Trio
Birdland Theater 7, 9:30 pm $25-35
êVictor Gould Trio
Cellar Dog 7, 8:30 pm $5• Songbook Sundays: Cy Coleman” with Jon Weber, Linda Purl, Nicholas King,
Ekep Nkwelle, Jay Leonhart, Birsa Chatterjee, TJ Reddick
Dizzy’s Club 5, 7:30 pm $20-45• Gabrielle Stravelli Quartet; Caelan Cardello Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êEarRegulars with Jon-Erik Kellso, Matt Munisteri, et al. The Ear Inn 8 pmêTeri Roiger with John Menegon, Steve Berger Entwine Wine Bar 6, 7, 8 pmêGPS with Guillermo Gregorio, Jeff Pearring, Charley Sabatino;
Guillermo Gregorio with Jeff Pearring, Charley Sabatino, Eva Novoa, Dan Kurfist
Ibeam Brooklyn 8 pm $20
êWelf Dorr with Robert Boston, Dmitry Ishenko, Rob Mitzner The Keep 9 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Maru Conklin FosterêLew Tabackin Trio with Mark Lewandowski, Jason Tiemann
Michiko Studios 7, 8:30 pm $20• Astghik Martirosyan with Vardan Ovsepian, Joe Martin, Ari Hoenig
National Sawdust 7:30 pm $20• Ben Cassara Trio with Marius van den Brink, Dean Johnson
North Square Lounge 12:30, 2 pmêLate Aster; Gregg Belisle-Chi’s HUM Quartet with Sam Decker, Noah Garabedian,Jeff Davis; Steven Lugerner’s SLUGish Ensemble
The Owl Music Parlor 7:30 pm $12êBrandon Lopez Trio with Zeena Parkins, Cecilia Lopez P.I.T. 8:30 pm $20• Boncellia Lewis and Friends Patrick’s Place 12 pm $10
Rizzoli Bookstore 5 pm $25• Pyeng Threadgill• Kaushik; Mimi Jones and Jam Room 623 at B2 Harlem 6, 8, 10 pm $20
Saint Peter’s Church 5 pm
• Nicole Zuraitis Trio
Scholes Street Studio 4 pm
• Ras Moshe’s Music
Smalls 7:30, 9, 10:30 pm, 12 am $35• Frank BasileêNicholas Payton Trio with Alexander Claffy, Joe Dyson Smoke 7, 9 pm $40-55
êJoe Lovano with Marcin Wasilewski Trio Village Vanguard 8, 10 pm $40

Monday, November 20êGrove Street Stompers

Arthur’s Tavern 7 pm
• Rich Hinman vs. Adam Levy Bar LunÀtico 9, 10:30 pm $10• Reginald Chapman’s Chaphouse; Guachinangos Barbès 7, 9 pm $20
Birdland 7 pm $40• Karen Akers
êVince Giordano And The Nighthawks Birdland Theater 5:30, 8:30 pm $20-40êDizzy Gillespie All-Stars
Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Ehud Asherie TrioêCaelan Cardello/Rufus Reid; Don Braden with Kenny Davis, Jeremy Warren
Dizzy’s Club 7:30, 9:30 pm $20-45• Simon Mogul Quartet; James Haddad Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êThe Ghost with Michael Foster, Brandon Lopez, Joey Sullivan Sisters 8 pm $20
Smalls 7:30, 9, 10:30 pm, 12 am $35• Ari HoenigêVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35• Rodney Jones

Tuesday, November 21

Bar LunÀtico 9, 10:30 pm $10• Julieta Eugenio Trio
• Tamar Korn; Slavic Soul Party with John Carlson, Kenny Warren,Peter Hess, Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 7, 9 $20êKen Peplowski Quartet
Birdland 7, 9:30 pm $30-40• Naama Gheber Trio with Jeb Patton, Dave Baron Birdland Theater 5:30 pm $25-35
êJohn Scofield Trio with Vicente Archer, Bill Stewart Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Zaid Nasser TrioêSean Jones, Bruce Harris, Giveton Gelin: “Armstrong Now: Louis At Newport”
Dizzy’s Club 7:30, 9:30 pm $20-45
êConrad Herwig And The Latin Side All-Stars
The Django 7:30, 9, 10:30 pm, 12 am $25• Shift: Antonio Sánchez & Bad Hombre with Thana Alexa, BigYuki, Lex Sadler:“Mexico Now!”
Le Poisson Rouge 6 pm $30-45êKevin Sun Trio with Walter Stinson, Kayvon Gordon Lowlands 8, 9:30 pm $10êJoe McCarthy’s New York Afro Bop Alliance Big Band: “Pan American Nutcracker
Suite Reimagined”
Merkin Concert Hall 7:30 pm $40
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Bryn Roberts
Smalls 7:30, 9, 10:30 pm, 12 am $35• Luke SellickêJason Moran & The Bandwagon with Tarus Mateen, Nasheet Waits
Village Vanguard 8, 10 pm $40
York College 7 pm
• Nahum Richardson
Zinc Bar 7, 8:30 pm $35• Laurence Hobgood

Wednesday, November 22

333 Lounge 7:30, 9:30 pm• Ben Sher Group• Eri Yamamoto Trio; Marty Kenney Trio Arthur’s Tavern 7, 10 pm
Bar Bayeux 8, 9:30 pm $20• Sasha BerlinerêKen Peplowski Quartet
Birdland 7, 9:30 pm $30-40êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Night

Birdland Theater 5:30, 8:30 pm $20-30êJohn Scofield Trio with Vicente Archer, Bill Stewart

Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5
Dizzy’s Club 7:30, 9:30 pm $25-55• Hendrik Meurkens Quartet; Simona Premazzi/Kyle Nasser Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
Local 92 7:30, 9 pm
• Enrico GranafeiêEthan Iverson
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Curtis Nowosad Trio with Andrew Renfroe, Luke Sellick
Rockwood Music Hall Stage 2 8 pm
• Harlem Jazz Session with Peter Brainin
Room 623 at B2 Harlem 8, 10 pm $20
êRyan Keberle
Smalls 7:30, 9, 10:30 pm, 12 am $35
Smoke 7, 9 pm $25-35• David Weiss SextetêJason Moran & The Bandwagon with Tarus Mateen, Nasheet Waits
Village Vanguard 8, 10 pm $40
êAkiko Tsuruga TrioêHerlin Riley Quintet• Eitan Kenner Quartet; David Zheng Quintet

The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 7:30, 9:30 pm $30
Iridium 8:30 pm• Ed Palermo Big Band
Joe’s Pub 7, 9:30 pm $45• Hot SardinesêDavid Janeway Trio with Cameron Brown, Billy Hart
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êJoe Farnsworth; Miki Yamanaka Trio with Tyrone Allen, Jimmy Macbride
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35• David Gilmore

Birdland 7, 9:30 pm $30-40
Birdland Theater 8:30 pm $25-35• Jinjoo Yoo QuartetêJohn Scofield Trio with Vicente Archer, Bill Stewart Blue Note 8, 10:30 pm $30-45êHerlin Riley: “A Dizzy’s Club Thanksgiving” Dizzy’s Club 7 pm
• Helio Alves Quartet ; Tsutomu Nakai Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
Smalls 7:30, 9, 10:30 pm, 12 am $35• Kofi HunterêJason Moran & The Bandwagon with Tarus Mateen, Nasheet Waits
Village Vanguard 8, 10 pm $40

êMingus Big Band

• Alvin Rogers• Peter Konreif• Alvaro Benavides GroupêJenny Scheinman with Carmen Staaf, Steve Cardenas, Tony Scherr,êKen Peplowski Quartet

Tuesday, November 28

Friday, November 24

449 La Jazz Café 8 pm $15
Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10êOscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher Tordini,
Jason Nazary; Big Lazy with Stephen Ulrich, Andrew Hall, Yuval Lion
Barbès 5, 10 pm $20
êBill Saxton Harlem All-Stars
Bill’s Place 7, 9 pm $30
êBirdland Big Band; Ken Peplowski Quartet Birdland 5:30, 8:30, 10:30 pm $25-40
êDavid Ostwald’s Louis Armstrong Eternity Band Birdland Theater 7, 9:30 pm $25-35
êJohn Scofield Trio with Vicente Archer, Bill Stewart Blue Note 8, 10:30 pm $30-45• Darrell Green Quartet; Miki Yamanaka Quartet with Simon Moullier,
Pablo Menares, Jimmy Macbride
Cellar Dog 7, 8:30, 11 pm $10
Dizzy’s Club 7:30, 9:30 pm $25-55• Herlin Riley QuintetêDavid Gibson Quartet; JC Hopkins Biggish BandThe Django 7:30, 9, 10:30 pm, 12 am $25
Knickerbocker Bar & Grill 9 pm
• Alexander Leonard
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• David Kikoski
Mount Morris Ascension Presbyterian Church 7 pm
• Kenny Davis• Steve Millhouse Cinema Trio with Allen Farnham and Eric Halvorson
Pangea 7 pm $25
Patrick’s Place 8 pm
• Patience Higgins’ Jazz Jam• Brazil Night”: Sarah Cabral; Nilson Matta
Room 623 at B2 Harlem 7, 8:30, 10 pm, 12 am $20
Smalls 7:30, 9, 10:30 pm, 12 am $40• Scott WendholtêJeremy Pelt Quintet with Jalen Baker, Alex Wintz, Leighton Harrell, Allan Mednard
Smoke 7, 9, 10:30 pm $40-55
êJason Moran & The Bandwagon with Tarus Mateen, Nasheet Waits
Village Vanguard 8, 10 pm $40• Arcoiris Sandoval Sonic Asylum Trio with Marty Kenney, Kenn Salters
Zinc Bar 7, 8:30 pm $35

Saturday, November 25

Bar Bayeux 8, 9:30 pm• Zoe Obedia
Bar LunÀtico 9, 10:30 pm $10• Itai Kriss’ Telavana• Zemog with Abraham Gomez-Delgado, Rosa Avila, Gabo Tomasini,

Reinaldo Dejesus, Bryan Vargas, Juancho Herrera, Stefan Zeniuk,
Olia Toporovsky
Barbès 10 pm $20
êBill Saxton Harlem All-Stars
Bill’s Place 7, 9 pm $30
êLoston Harris Duo; Ken Peplowski Quartet Birdland 5:30, 8:30, 10:30 pm $25-40
êDavid Ostwald’s Louis Armstrong Eternity Band
Birdland Theater 7, 9:30 pm $25-35
êJohn Scofield Trio with Vicente Archer, Bill Stewart Blue Note 8, 10:30 pm $30-45• Jade Synstelien Quartet; Jamale Davis Quartet Cellar Dog 7, 8:30, 11 pm $10êHerlin Riley Quintet
Dizzy’s Club 7:30, 9:30 pm $25-55• Dwayne “Cook” Broadnax Quartet; Lee Taylor
The Django 7:30, 9, 10:30 pm, 12 am $25
êPeter Evans
Jazz Gallery 7:30, 9:30 pm $30-40
Knickerbocker Bar & Grill 9 pm
• Steve Blaine
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• David KikoskiêAllison Miller with Claudia Rahardjanoto, Maleek Washington, Luke Hickey,
Todd Winkler, Jenny Scheinman, Ben Goldberg, Jason Palmer, Carmen Staaf,
Todd Sickafoose
Roulette 8 pm $25
Smalls 7:30, 9, 10:30 pm, 12 am $40• Scott WendholtêJeremy Pelt Quintet with Jalen Baker, Alex Wintz, Leighton Harrell, Allan Mednard
Smoke 7, 9, 10:30 pm $40-55
êJason Moran & The Bandwagon with Tarus Mateen, Nasheet Waits
Village Vanguard 8, 10 pm $40

Sunday, November 26êEri Yamamoto Duo

Arthur’s Tavern 3 pm
Bar LunÀtico 9, 10:30 pm $10êStéphane Wrembel
Barbès 8 pm $20• Bryan Carter/Charlie Rosen CARTOONESTRA!; Afro Latin Jazz Orchestra
Birdland 5:30, 8:30, 10:30 pm $25-40
êDavid Ostwald’s Louis Armstrong Eternity Band Birdland Theater 7, 9:30 pm $25-35
êJohn Scofield Trio with Vicente Archer, Bill Stewart Blue Note 8, 10:30 pm $30-45êSheryl Bailey Trio
Cellar Dog 7, 8:30 pm $5êHerlin Riley Quintet
Dizzy’s Club 5, 7:30 pm $25-55• Craig Handy Quartet; Lafayette Harris Trio The Django 7:30, 9, 10:30 pm, 12 am $25
êEarRegulars with Jon-Erik Kellso, Matt Munisteri, et al. The Ear Inn 8 pmêTeri Roiger with John Menegon, Steve Berger Entwine Wine Bar 6, 7, 8 pmêWelf Dorr with Robert Boston, Dmitry Ishenko, Yuko Togami
The Keep 9 pm
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Gabrielle Stravelli
North Square Lounge 12:30, 2 pm
• Kate Baker Trio
• Boncellia Lewis and Friends Patrick’s Place 12 pm $10• Sam Gravitte; Mimi Jones and Jam Room 623 at B2 Harlem 6, 8, 10 pm $20
êJenny Scheinman with Carmen Staaf, Steve Cardenas, Tony Scherr,
Kenny Wollesen
Roulette 8 pm $25
êWilliam Parker Trio
Saint Peter’s Church 5 pm
Smalls 7:30, 9, 10:30 pm, 12 am $35• John LangêJeremy Pelt Quintet with Jalen Baker, Alex Wintz, Leighton Harrell, Allan Mednard
Smoke 7, 9 pm $40-55
êJane Ira Bloom/Mark Helias Duo Soapbox Gallery 4 pm $25
êJason Moran & The Bandwagon with Tarus Mateen, Nasheet Waits
Village Vanguard 8, 10 pm $40• Mike Moreno Quartet

Monday, November 27êGrove Street Stompers

Arthur’s Tavern 7 pm

• Noah Garabedian’s Brazilian Trio with Edu Ribeiro Bar LunÀtico 9, 10:30 pm $10êJoe Alterman Trio
Birdland 7 pm $20-30êVince Giordano And The Nighthawks Birdland Theater 5:30, 8:30 pm $20-40

Cellar Dog 7, 8:30 pm $5• Brazilian Grooves• Manhattan School of Music Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $20-45

36 November 2023 | THE NEW YORK CITY JAZZ RECORD

Kenny Wollesen; Slavic Soul Party with John Carlson, Kenny Warren,Peter Hess, Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 7, 9 pm $20
Birdland 7, 9:30 pm $30-40• Eliane Elias
Birdland Theater 5:30 pm $25-35• Anaïs Reno Trio
Blue Note 8, 10:30 pm $25-35• Nick HakimêJohnny O’Neal Trio
Cellar Dog 7, 8:30 pm $5• At Play with Romero Lubambo, Helio Alves, Edu Ribeiro, Reuben Rogers
Dizzy’s Club 7:30, 9:30 pm $20-55
êConrad Herwig And The Latin Side All-Stars
The Django 7:30, 9, 10:30 pm, 12 am $25• Beyond Flute Group with Cheryl Pyle; Jerry Lim; Sohrab Saadat Ladjevardi
Downtown Music Gallery 6:30 pm
Joe’s Pub 7, 9:30 pm $45• Hot Sardines• Max Light with Julian Shore, Walter Stinson, Steven Crammer
Lowlands 8, 9:30 pm $10
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• A Bu• Morgan Guerin with Alexis Lombre, Mike King, JK Kim, Milena Casado
Roulette 8 pm $25
Scholes Street Studio 8 pm
• Kuba CichokiêSteve Nelson
Smalls 7:30, 9, 10:30 pm, 12 am $35
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson
Village Vanguard 8, 10 pm $40
York College 7 pm
• Norberto Rios
Zinc Bar 7, 8:30 pm $35• Jim Ridl

Wednesday, November 29• Steve Sandberg Trio
• David Kikoski

333 Lounge 7:30, 9:30 pm
Bar Bayeux 8, 9:30 pm $20

Kenny Wollesen

Bar LunÀtico 9, 10:30 pm $10êJenny Scheinman with Carmen Staaf, Steve Cardenas, Tony Scherr,• Bill Carney’s Jug Addicts with Karl Meyer, Brian Mulroney, Steve Cooney,

Jerry Fabris, Seth Kessel; Mamady Kouyate and his Mandingo Ambassadors
Barbès 8, 10 pm $20
Birdland 7, 9:30 pm $30-40• Eliane EliasêDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar Night
Birdland Theater 5:30, 8:30 pm $20-30
Blue Note 8, 10:30 pm $25-35• Nick HakimêNed Goold Trio
Cellar Dog 7, 8:30 pm $5• At Play with Romero Lubambo, Helio Alves, Edu Ribeiro, Reuben Rogers
Dizzy’s Club 7:30, 9:30 pm $20-55• April Varner Quartet; Fima Ephon Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• CompCord Ensemble: “Art Of The Art Song” with Ljiljana Winkler, Peter Oswald,
Dennis Brandner, Jai Jeffryes, Troy Rinker, Jr., Lee Jeffryes Drom 9 pm $30
êBen Wendel with Joel Ross, Simon Moullier, Patricia Brennan,
Juan Diego Villalobbos
Jazz Gallery 7:30, 9:30 pm $30-40
Joe’s Pub 7, 9:30 pm $45• Hot Sardines
Local 92 7:30, 9 pm
• Enrico GranafeiêJonathan Haffner, Kevin Eichenberger, Matt Bent; James Paul Nadien, Ras Moshe,
Sarah Bernstein, Ken Filiano; Stephen Gauci, Adam Lane, Kevin Shea;
Yoni Kretzmer & Juan Pablo Carletti’s BIGGISH; Matei Predescu, Jonathan Reisin,Michael Gilbert, Jarred Chase Main Drag Music 7 pm $15
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Asen Doykin• CeCe Gable Trio with Roni Ben-Hur, Harvie S Pangea 7 pm $25• Harlem Jazz Session with Peter Brainin Room 623 at B2 Harlem 8, 10 pm $20• Lena Bloch’s Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz
Scholes Street Studio 7 pm
Smalls 7:30, 9, 10:30 pm, 12 am $35• Alex LoReêSide Pocket with Wayne Horvitz, Ivan Arteaga, Ray Larsen, Greg Sinibaldi,
Carmen Rothwell, Mike Gebhart The Stone at the New School 8:30 pm $20• Andrea Wolper Trio with Nicki Adams, Ken Filiano Tipsy Grape Wine Bar 7 pmêMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35• Sarah King

Thursday, November 30êCarmen Staaf, Allan Mednard, Adam Kolker, Jeremy Stratton

Bar Bayeux 8, 9:30 pm• Anything Mose with Richard Julian, John Chin Bar LunÀtico 9, 10:30 pm $10• Erik Della Penna’s Byzantine Stompers with Daisy Castro, Wade Schuman;

Shabbos Ranks with Celeste Cantor-Stephens, Sam Day Harmet, Ilya Shneyveys,
Erica Mancini, Jordan Auber Barbès 8, 10 pm $20
Birdland 7, 9:30 pm $30-40• Eliane EliasêBria Skonberg
Birdland Theater 8:30 pm $25-35
Blue Note 8, 10:30 pm $25-45• Cautious Clay
• Wayne Tucker Quintet; Jinjoo Yoo Quartet Cellar Dog 7, 8:30, 11 pm $5
Dizzy’s Club 7:30, 9:30 pm $20-60• Antonia Bennett• Alex Brown Quartet; Danny Jonokuchi Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 7:30, 9:30 pm $30• Pedrito Martinez GroupêAndrea Brachfeld with Bill O’Connell, Harvie S, Jason Tiemann; T.K.Blue Duo
Jazz Museum in Harlem 2, 7 pm
Joe’s Pub 7, 9:30 pm $45• Hot Sardines
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Avi Rothbard
Patrick’s Place 7 pm $10• Phil Young Experience• Los Vecinos with Arturo Soriano, Adrián Alvarado, About Alfonso Cid,
Peter Teresi, Luis Ossa
ShapeShifter Lab 7:30 pm $20
Smalls 7:30, 9, 10:30 pm, 12 am $35• Matt van Roderick
SoulBK 7, 9:30 pm $20• Reggie WoodsêWayne Horvitz with Matt Mitchell, Sara Schoenbeck
The Stone at the New School 8:30 pm $20
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson
Village Vanguard 8, 10 pm $40

Wednesday,
February 1
CONNECTICUTêMonteCroft11/17,
Trio 11/24 (7 pm) Bill’s All-Star
333 Lounge
11/3, 11/10,
Jazz7:30,
Band9:30 pm

Douglas-Moore,
Eric Wong,
Dominic Coles; Seth Cluet			• IanBill’s
Seafood (Westbrook,CT) billsseafood.com
		

411 K

11/1, 11/8, 11/15, 11/22, 11/29 (7 pm) Hartford Jazz Society presents Black-Eyed Sally’s Jazz JamBlack-Eyed Sally’s Southern Kitchen & Bar (Hartford, CT) blackeyedsallys.com
11/3 (8 pm) Trevor Davis & The Central City Stompers
11/4 (7 pm) Terry Jenoure, Harvey Sorgen, Joe Fonda, Christopher Rocher:“Composers and Improvisers Festival”
11/10 (8 pm) Post Traumatic Jazz Disorder
Buttonwood Tree Performing Arts Center (Middletown, CT) buttonwood.org
11/4 (4 pm) Michael Coppola Jam
11/7 (8 pm) Mimi Lines
11/11 (4 pm) Gary Grippo Jam
11/14 (7 pm) Yale Jazz Collective
11/18 (4 pm) Tony Di Jam
11/25 (4 pm) Chervansky, Tappan & Ice Jazz Jam
11/28 (7 pm) Adam Szulczewski
Café Nine (New Haven, CT) cafenine.com
11/6, 11/13, 11/20, 11/27 (7:30 pm) Hartford Jazz Orchestra
Elicit Brewery (Manchester, CT) elicitbrewing.com
11/10 (8:30/10 pm) Stephan Crump’s Slow Water with Patricia Brennan, Jacob Garchik,
Kenny Warren, Joanna Mattrey, Erica Dicker
11/17 (8:30/10 pm) Michael Musillami Trio with Joe Fonda, George Schuller
Firehouse 12 (New Haven, CT) firehouse12.com”
11/30 (7:30 pm) The Bad Plus
The Kate (Katherine Hepburn Cultural Arts Center) (Old Saybrook, CT)
katharinehepburntheater.org
11/8 (7:30 pm) Stanley Street Big Band
Kinsman Brewing Company hartfordjazzsociety
11/1, 11/8, 11/15, 11/22, 11/29 (9 pm) Kevin Saint James Band
Owl Shop (New Haven, CT) owlshopcigars.com
11/17 (7/9 pm) Noa Fort Quartet
Palace Theater Poli Club (Waterbury, CT) palacetheaterct.org/shows/jazz
11/6 (6:30 pm) Nat Reeves, Jason Anick, Rick Germanson, Molly Sayles
11/20 (6:30 pm) Nat Reeves, Steve Davis, Rick Germanson, Chris Beck
Parkville Market hartfordjazzsociety.com
11/5, 11/12, 11/19, 11/26 (12 pm) Dr. G’s Jazz Brunch with Gary Grippo
Quattro’s Italian Restaurant (Guilford, CT) hartfordjazzsociety.com
11/5 (2:30 pm) Joe Morris, Ikue Mori and Nate Wooley
Real Art Ways (Hartford, CT) realartways.org/
11/10 (8 pm) Al Di Meola
Sacred Heart University Community Theater (Fairfield, CT) shucommunitytheatre.showare.com
11/3 (8:30 pm) George Colligan Quartet
11/4 (8:30 pm) Benny Benack III Quartet
11/10, 11/11 (8:30 pm) Bobby Watson Quartet
11/17 (8:30 pm) Lizzie Thomas Quintet with John Di Martino, Noriko Ueda, Neal Smith
11/18 (8:30 pm) Ryan Sands Quartet
11/24, 11/25, 11/26 (8:30 pm) Joey Alexander with Larry Grenadier, Kendrick ScottSide Door (Old Lyme, CT) thesidedoorjazz.com
11/3 (6 pm) Bob Ahern Trio
Thames Club (New London, CT) thamesclubnewlondon.org
NEW JERSEY
11/18 (6 pm) TD James Moody Jazz Festival: Cyrus Chestnut
Bethany Baptist Church (Newark, NJ) njpac.org/series/james-moody-jazz-festival
11/3 (7 pm) Organ Eyes with T.K.Blue, George Coleman Jr., Matt Smyth
11/10 (7 pm) Obasi Akoto
11/17 (7 pm) James Stewart
11/24 (7 pm) Hilliard Greene
Brothers Smokehouse (Ramsey, NJ) brotherssmokehousenj.com
11/2 (8/9:30 pm) Luisito Quintero with Luques Curtis, Juan Diego Villalobos, Yusniel Sanchez,Alex Pastrana
11/3, 11/10, 11/17, 11/24 (5 pm) Rich Seigal’s Open Mic and Workshop
11/3 (8/9:30 pm) Joe Magnarelli Quartet
11/4 (8/9:30 pm) Pete Rodriguez with Dayna Stephens, Koleby Royston, Raul Reyes,
Luis Perdomo
11/9 (8/9:30 pm) Sharik Hasan
11/10 (8/9:30 pm) Mark Gross Quartet
11/16 (8/9:30 pm) Silvano Monasterios Trio with Corey Rawls, Alex “Apolo” Ayala
11/30 (8/9:30 pm) New Jazz Legacy
Brush Culture (Teaneck, NJ) brvshcul7ur3.com/
11/4 (3:30 pm) Brian Betz
11/11 (3:30 pm) Bill Schilling
11/18 (3:30 pm) Dave Schumacher
11/25 (3:30 pm) Rob Henderson H Factor
Candlelight Lounge (Trenton, NJ) candlelighteventsjazz.com
11/16 (7:30 pm) TD James Moody Jazz Festival: James Austin Jr. “Jazz Jams”
11/17 (7:30/9 pm) TD James Moody Jazz Festival: Mark Gross & The Moody Project with
Cyrus Chestnut, Lewis Nash
Clement’s Place (Newark, NJ) njpac.org
11/2 (7:30 pm) Deb Callahan
Collingswood Community Center (Collingswood, NJ) jazzbridge.org
11/2 (7 pm) Jazz@the Point Fall Festival: Troy Roberts with Sarah Hanahan, Lauren Sevian,
Pat Bianchi, Jimmy Macbride
11/3 (7 pm) Jazz@the Point Fall Festival: Chad LB Quartet with Erena Terakubo, Liya Grigoryan,
Ben Tiberio, Charles Goold
11/4 (7 pm) Jazz@thePoint Fall Festival: Dizzy Gillespie Afro-Latin Experience with Sharel Cassity,
John Lee, Tommy Campbell, Freddie Hendrix, Abelita Mateus, Roger Squitero
11/3 (9 pm) Jazz@the Point Fall Festival: Kathy Mitchell Quartet with Brian Betz, Andy Lalasis,
Dan Monaghan
11/4 (9 pm) Jazz@the Point Fall Festival: Budesa Brothers with Fostina Dixon, Craig McGiver
Gregory’s Restaurant & Bar (Somers Point, NJ) southjerseyjazz.org
11/30 (7 pm) Jazz House All-Stars with Birsa Chatterjee, Ebban Dorsey, Andrew Wagner,
Tyreek McDole, Ben Schwartz, Liany Mateo, Esteban Castro
Jazz House Kids (Montclair, NJ) jazzhousekids.org
11/11 (10 pm) Alon Nechushtan Quartet
11/19 (4 pm) Slavo Rican Assembly
Jersey City Theater Center (Jersey City) jctcenter.org

100 MILES OUT
11/3 (7 pm) Jerry Weldon Sextet
New Brunswick Performing Arts Center (New Brunswick, NJ) nbpac.org
11/17 (7 pm) TD James Moody Jazz Festival: NJMEA/All State Jazz Band and Choirwith Stefon Harris
New Jersey Performing Arts Center @Chase Room (Newark, NJ) njpac.org
11/19 (11 am/1 pm) TD James Moody Jazz Festival: Steve Turre Generations
New Jersey Performing Arts Center @NICO Bar and Grill (Newark, NJ) njpac.org
11/4 (8 pm) TD James Moody Jazz Festival: Grupo Niche & Héctor Acosta “”El Torito” Tropicaliente
New Jersey Performing Arts Center @Prudential Hall (Newark, NJ) njpac.org
11/17 (8 pm) TD James Moody Jazz Festival: Dave Grusin: “A Life in Music” with Lee Ritenour,
Patti Austin, Will Downing, Jane Monheit, Randy Brecker, Ernie Watts, Dave Wecki,
Tom Kennedy
New Jersey Performing Arts Center @Prudential Hall (Newark, NJ) njpac.org
11/3 (7:30 pm) TD James Moody Jazz Festival: Dee Dee Bridgewater/Bill Charlap
New Jersey Performing Arts Center @Victoria Theater (Newark, NJ) njpac.org
11/4 (3 pm) TD James Moody Jazz Festival: Elio Villafranca: “”Crossroads”” with Vincent Herring,
Freddie Hendrix, Hamish Smith, Domo Branch, Mauricio Herrera
New Jersey Performing Arts Center @Victoria Theater (Newark, NJ) njpac.org
11/9 (7:30 pm) TD James Moody Jazz Festival: Ranky Tanky with Lisa Fischer, Charlton Singleton,
Clay Ross, Kevin Hamilton, Quentin Baxter, Quiana Parler
New Jersey Performing Arts Center @Victoria Theater (Newark, NJ) njpac.org
11/10 (7:30 pm) TD James Moody Jazz Festival: Omara Portuondo with José Portillo,
Lino Daniel Piquero, Degnis Bofill, Ramses Rodriguez
11/11 (7:30 pm) Take 6 with Hillary-Marie
11/12 (3 pm) TD James Moody Jazz Festival: Abdullah Ibrahim Trio with Cleave Guyton,
Noah Jackson
11/12 (7 pm) TD James Moody Jazz Festival: Gladys Knight with Davell Crawford
11/16 (7:30 pm) TD James Moody Jazz Festival: The Sound of (Black) Music with The Shakes,
Vuyo Sotashe, Brianna Thomas, Charenee Wade, Alexis Lombre, Zhanna Reed
11/17 (7:30 pm) TD James Moody Jazz Festival: National Jazz Museum Band with
Sean Mason, Patti Austin, Kim Nalley, Sasha Dobson, Ahmad T. Johnson,
Corentin Le Hir, Alicyn Yaffee, Anthony Hervey
11/18 (7:30 pm) TD James Moody Jazz Festival: Christian McBride, Savion Glover
11/19 (3 pm) TD James Moody Jazz Festival: “Sarah Vaughan International Jazz Vocal Competition”
with Daryann Dean, Bianca Love, Tyreek McDole, Ekep Nkwelle, Emma Smith
New Jersey Performing Arts Center @Victoria Theater (Newark, NJ) njpac.org
11/12 (3 pm) Radam Schwartz Jazz Organ Quartet
Ocean City Arts Center (Ocean City, NJ) southjerseyjazz.org/events/
11/15 (7:30 pm) Jon Batiste, Suleika Jaouad
Princeton University Richardon Auditorium (Princeton, NJ) music.princeton.edu/events/
11/11 (8 pm) Michela’s Love Movement
11/25 (8 pm) “Kenny Barron, Giant of Jazz” with John Lee, Steve Davis, Roberta Gambarini,
Paquito D’Rivera, Mark Gross, Jonathan Blake, Evan Sherman, Lenny White,
Freddie Hendrix, Terell Stafford, Diego Urcola, Dezron Douglas, Essiet Okon Essiet,
Rufus Reid, David Wong, Bill Charlap, Cyrus Chestnut, Jeb Patton, Renee Rosnes,
Jon RegenSouth Orange Performing Arts Center (South Orange, NJ) sopacnow.org/events
11/2 (7/8:30 pm) Nat Adderley, Jr. Quartet
11/7 (7/8:30 pm) Frankie Midnight Quartet
11/9 (7/8:30 pm) Rick Savage Quartet
11/14 (7/8:30 pm) Donald Solomon Quartet
11/16 (7/8:45 pm) Rico Jones Quartet
11/21 (7/8:30 pm) Ilan Eisenzweig Quartet
11/28 (7/8:30 pm) Kyle Courter Quartet
11/30 (7/8:30 pm) Sarah Cion Trio
Tavern on George (New Brunswick, NJ) tavernongeorge.com
11/5 (4 pm) Spirit of Life Ensemble: “Ben Jones Tribute”
William Paterson University, Shea Center (Wayne, NJ)
wpunj.edu/wppresents/visitor-info/shea-center.html
NEW YORK
11/11, 11/25 (7:30 pm) Leslie Pintchik Trio with Scott Hardy
Alvin & Friends (New Rochelle, NY) alvinandfriendsrestaurant.com
11/4 (6 pm) Mala Waldron Quartet
11/11 (6 pm) Joe Natale Jazz Quartet
11/16, 11/17 (7 pm) Bob Baldwin, Dave Livolsi, Tony Lewis
11/18 (6/8:30 pm) Bob Baldwin, Dave Livolsi, Tony Lewis
Bean Runner Café (Peekskill, NY) beanrunnercafe.com
11/3 (7:30 pm) Omar Hakim’s Sonic Boom Squad
11/5 (7:30 pm) Guillermo Klein Quintet with Vinicius Gomes, Rogerio Boccato,
Sebastian de Urquiza, Rodrigo Recabarren
11/12 (7:30 pm) Don Byron Quartet with Joe Berkovitz, Dezron Douglas, Ben Perowsky
The Falcon (Marlboro, NY) liveatthefalcon.com
11/5, 11/12, 11/19, 11/26 (6 pm) Armen Donelian
Isaan Thai Star Restaurant (Hudson, NY) isaanthaistar.com
11/2, 11/9, 11/16, 11/30 (7/8:30 pm) Chris Morrison, Paul Connors, Jon Doty
11/4 (7/8:45 pm) Doug Munro & La Pompe Attack with Albert Rivera, Ted Gottsegen,Michael Goetz
11/18 (7/8:45 pm) Jennie Colabatistto and the Eric Puente Quartet with Sarah Scion,
Rich Williams, Bob Gingery
Jazz at The Lodge (Ossining, NY) jazzatthelodge.com
11/3, 11/4 (7/9:30 pm) Vincent Herring/Eric Alexander with Mike LeDonne, Nat Reeves,
Jerome Gillespie
11/5 (4/6 pm) Marianne Solivan
11/10, 11/11 (7/9:30 pm) Joey Alexander with Larry Grenadier, Kendrick Scott
11/12 (4/6 pm) Peter Hand Quartet
11/17, 11/18 (7/9:30 pm) David Amram “At 93!”
11/19 (4/6 pm) Kate Baker Brazilian Quartet
11/24, 11/25 (7/9:30 pm) Duduka Da Fonseca & Quarteto Universal with Vinicius Gomes,
Helio Alves, Gili Lopes, Maucha Adnet
11/26 (4/6 pm) Nanny Assis
Jazz Forum Arts (Tarrytown, NY) jazzforumarts.org
11/1 (1/7 pm) Tom Manuel’s Jazz Loft Trio; Keenan Zach’s Jam
11/2, 11/16, 11/17, 11/18 (7 pm) Jazz Loft Big Band
11/3 (7 pm) Santi Debriano Septet
11/4 (7 pm) Akiko Tsuruga Organ Quartet with Jerry Weldon
11/8, 11/15, 11/22, 11/29 (7 pm) Keenan Zach’s Jam
11/9 (7 pm) Marty Isenberg with Sami Stevens, Sean Nowell, Ric Becker, Marta Sanchez,
Alicyn Yaffee, Rodrigo Recabarren
11/30 (7 pm) Interplay Jazz Orchestra
The Jazz Loft (Stony Brook, NY) thejazzloft.org

11/2 (8 pm) Jacobs Ladder Band & Jam
11/3 (7/9 pm) Artemisia LeFay, Renee Guerrero, Khullip Jeung
11/5 (12 pm) Sunday Brunch Jazz with Laurel Aronian
11/8 (7 pm) Veronica Nunn Quartet with Travis Shook, Jennifer Vincent, Jeff “Siege” Siegel
11/9 (8 pm) Andy Stack’s Roots Organ Trio with Eric Finland, David Tedeschi
11/10 (7/9 pm) Miss Maybell and the Jazz Age Artistes with Charlie Judkins, Brian Nalepka,
Andy Stein
11/11 (7/9 pm) April Varner Quartet with Caelan Cardello, Griffin Fink, Miguel Russell
11/12 (12 pm) Tamuz Nissim/George Nazos
11/17 (7/9 pm) Rale Micic/Peter Slavov Quartet
11/18 (7/9 pm) Oz Noy Trio
11/19 (12 pm) In the Groove: Ingrid Mudge, Victor Dusovic, Steve Farella, Joe Mondello
11/24 (7/9 pm) Brian Charette’s Mighty Grinders with Eric Zolan, Jordan Young
11/25 (7/9 pm) Simona Daniele/Julian Brezon
11/26 (12 pm) Cary Brown/Andy Stack
11/30 (8 pm) Ben Turner Organ Trio and Jam with Tommaso Perazzo, Zach Adelman
Jazz on Main (Mt. Kisco, NY) jazzonmain.com
11/12 (4 pm) Ingrid Sertso, Steve Gorn, Timothy Hill, Michael Bisio
The Lace Mill (Kingston, NY) facebook.com/TheLaceMill
11/4 (7 pm) Nico Soffiato Trio with Martin Keith, Dean Sharp
11/11 (7 pm) Mark Usvolk Quintet with Ron Horton, Mark Dzubia, Peter Tomlinson,
Bram Kincheloe
11/18 (7 pm) Nelson Riveros Trio with Jay Anderson, Tony Jefferson
11/25 (7 pm) Marc Black/Michael Esposito
Lydia’s Café (Stone Ridge, NY) lydias-cafe.com
11/3 (8 pm) Baklava Express with Josh Kaye, Daisy Castro, John Murchinson, James Robbins,
Jeremy Smith
11/4 (8 pm) Kate Baker Quintet with Paul Bollenback, Dean Johnson, Tim Horner, Zach Brock
11/10 (8 pm) Richard Sussman Trio with Jay Anderson, Andy Watson
11/11 (8 pm) Eric Wyatt Quartet with Marius Van Den Brink, Will Slater
11/17 (8 pm) Alan Ferber Quintet
11/18 (8 pm) Bill Cunliffe Trio with Martin Wind, Tim Horner
11/24 (8 pm) Sheryl Bailey 3 with Mike Fahn, Ron Oswanski, Ian Froman
11/25 (8 pm) Richard Baratta Quintet with Bill O’Connell, Craig Handy, Michael Goetz,
Paul Rossman
Maureen’s Jazz Cellar (Nyack, NY) maureensjazzcellar.com
11/30 (7 pm) Jazz and Poetry Choir Collective
Pocantico Center, The (Tarrytown, NY) rbf.org/pocantico
11/12 (7 pm) Chiara Izzi
South Street Jazz (Peekskill, NY) hightopproductions.net/south-street-jazz
11/12 (7 pm) Empathy Gene with Jim Yanda, Herb Robertson, Phil Haynes
Tubby’s (Kingston, NY) tubbyskingston.com
11/3 (7:30 pm) Benny Benack III
11/4 (7:30 pm) Charles Owens
11/10 (7:30 pm) KJ Denhert
11/11 (7:30 pm) Champian Fulton
Uncle Cheef (Brewster, NY) unclecheef.com
PENNSYLVANIA
11/1 (7:30 pm) Tom Cohen
Cheltenham Center for the Arts (Cheltenham, PA) jazzbridge.org
11/1 (7:30/9 pm) Justin Farquharr & His Jazz Orchestra
11/2 (7:30/9 pm) Jacob Kellermann
11/3 (7:30/9 pm) Jonathan Michel Quintet with Abraham Burton, Nicole Zuraitis,
Khary Abdul Shaheed, Axel Tosca
11/7 (7:30/9 pm) Chris Oatts Nonet with Dylan Band, Josh Lee, Jon Shaw, Joe Anderson,
Joe McDonough, Tim Brey, Sam Harris, Donovan Pope
11/8 (7:30/9 pm) Mathis Picard
11/9 (7:30/9 pm) V. Shayne Frederick
11/10 (7:30/9 pm) Harold López-Nussa with Grégoire Maret
11/11 (7:30/9 pm) Lucy Yeghiazaryan with The Grant Stewart Quartet
11/15, 11/16 (7:30/9 pm) Kurt Rosenwinkel “The Chopin Project” with Jean-Paul Brodbeck,
Lukas Traxel, Jorge Rossy
11/17 (7:30/9 pm) Benny Benack/Anais Reno Quintet with Peter Bernstein
11/18 (7:30/9 pm) Benny Benack Quintet with Kate Kortum, Peter Bernstein
11/22 (7:30/9 pm) Maci Miller
11/24, 11/25 (7:30/9 pm) Tyreek McDole with Joe Block, Dylan Band, Sam Harris,
Byron Landham
11/29 (7:30/9 pm) Luminous Unity Sextet with Silas Stewart, Elliot Bild, Josh Walker, Ben Karp,
Doug Drewes, Steve Perry
11/30 (7:30/9 pm) Susie Meissner with John Swana, Greg Riley, John Shaddy, Lee Smith,Byron Landham
Chris’ Jazz Café (Philadephia, PA) chrisjazzcafe.com
11/2, 11/9, 11/16, 11/23, 11/30 (7 pm) Jazz Jam with Bill Washer
11/3 (7 pm) JD Walter Quartet with Jim Ridl, Lorin Cohen, Colin Stranahan
11/4 (7 pm) 3D Jazz Trio with Sherrie Maricle, Amy Shook, Jackie Warren
11/5 (5 pm) Dave and Marti Lantz with Jesse Green, Daniel Gonzalez
11/10 (7 pm) Stephane Wrembel Band with Josh Kayeon, Ari Folman-Cohenon, Nick Anderson
11/11 (7 pm) Paul Jost Quintet with Jim Ridl, Paul Bollenback, Dean Johnson, Tim Horner
11/12 (5 pm) Mark Sherman Quartet with Sam Dillon, Gene Perla, Jason Tiemann
11/17 (7 pm) Nicole Zuraitis Quartet with Idan Morim, Sam Weber, Dan Pugach
11/18 (7 pm) Houston Person and the David Leonhardt Trio with Matthew Parrish, Colby Inzer
11/19 (5 pm) La Cuchina with Vinny Bianchi, Bill Washer, Paul Rostock, Danny Gonzalez,
Ruben Ariola
11/24 (7 pm) Co-Op Bop with Alan Gaumer, Nelson Hill, Tom Hamilton, Craig Kastelnik,
Tom Kozic, Dave Mohn
11/25 (7 pm) Emily Braden
11/26 (5 pm) Denny Carrig with Bill Washer, Jon Ballantyne
Deer Head Inn (Delaware Water Gap, PA) deerheadinn.com
11/1 (6 pm) 4th Annual Nova Award: Honoring Odean Pope
11/2 (8 pm) Oceans And with Tim Berne, Hank Roberts, Aurora Nealand
11/28 (8 pm) Marshall Allen’s Ghost Horizons
Solar Myth (Philadelphia, PA) arsnovaworkshop.org
11/2 (7/9:30 pm) Pablo Batista Latin Jazz Ensemble with Ben Lapidus, Anthony Carrillo
11/3, 11/4 (7/9:30 pm) Orrin Evans with Robin Eubanks, Bilal
11/5 (6:30/8:30 pm) Donald Robinson
11/10, 11/11, 11/12 (7/9:30 pm) Emmaline
11/16, 11/17 (7/9:30 pm) Keiko Matsui
11/18, 11/19 (7/9:30 pm) Dominick Farinacci Quintet with Shenel Johns
11/24, 11/25 (7/9:30 pm) Arnetta Johnson
11/26 (6:30/8:30 pm) Alexis Morrast
South Jazz Club (Philadelphia, PA) southjazzkitchen.com

THE NEW YORK CITY JAZZ RECORD | November 2023 37

C LU B D I RE C TO RY• 333 Lounge 333 Flatbush Ave.
(718-399-8008) Subway: B, Q to Seventh Ave.
333lounge.com• 440Gallery 440 Sixth Ave., Brooklyn(718-499-3844) Subway: F, G to Seventh Ave.
440gallery.com• 449 La Jazz Café 449 Lenox Ave.
Subway: 2, 3 to 135th Str.
• The 92nd Street Y Lexington Ave. at 92nd Str.
(212-415-5500) Subway: 6 to 96th Str.
92ny.org• Alianza Dominicana Cultural Center 530 W. 166th Str.
(917-242-0811) Subway: 1, A, C to 168th Str.
facebook.com/ADCC530• The Appel Room Broadway at 60th Str., 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• Arthur’s Tavern 57 Grove Str.
(212-675-6879) Subway: 1 to Christopher Str.
arthurstavernnyc.com• Bar Bayeux 1066 Nostrand Ave.
(347-533-7845) Subway: 2, 5 to Sterling Str.
barbayeux.com• Bar LunÀtico 486 Halsey Str.
(917-495-9473) Subway: C to Kingston-Throop Ave.
barlunatico.com• Barbès 376 9th Str. at 6th Ave., Brooklyn(718-965-9177) Subway: F to 7th Ave.
barbesbrooklyn.com• Bard Graduate Center Gallery 18 W. 86th Str.
(212-501-3023) Subway: B, C to 86th Str.
bgc.bard.edu• Bill’s Place 148 W. 133rd Str. btwn. Lenox and 7th Ave.
(212-281-0777) Subway: 2, 3 to 125th Str.
billsplaceharlem.com• Birdland 315 W. 44th Str. btwn. 8th and 9th Ave.
(212-581-3080) Subway: 7, A, C, E, F, N, Q, R, to 42nd Str.
birdlandjazz.com• Bloomingdale School of Music 323 W. 108th Str.
(212-663-6021) Subway: 1 to Cathedral Parkway
bsmny.org• Blue Note 131 W. 3rd Str. at 6th Ave.
(212-475-8592) Subway: A, C, E, F, V Grand Str. Shuttle to W. 4th Str.
bluenotejazz.com• Brookfield Place’s Waterfront Plaza 230 Vesey Str.
(212-978-1673) Subway: 2, 3 to Park Place
bfplny.com• Brooklyn Bowl 61 Wythe Ave., Brooklyn(718-963-3369) Subway: L to Bedford Ave.
brooklynbowl.com• Brooklyn Music School 126 Saint Felix Str., Brooklyn(718-907-0878) Subway: 4 to Atlantic Ave. -Pacific Str.
brooklynmusicschool.org• Cellar Dog 75 Christopher Str. at 7th Ave.
(212-675-6056) Subway: 1 to Christopher Str. /Sheridan Sq.
cellardog.net• Chelsea Table + Stage Hilton Fashion District Hotel, 152 W 26th Str.
(212-434-0499) Subway: C, E to 23rd Str.; R, W to 28th Str.
chelseatableandstage.com• Church of the Incarnation 209 Madison Ave.
(212-689-6350) Subway: 4, 6 to 33rd Street
churchoftheincarnation.org• Clemente Soto Velez Cultural Center 107 Suffolk Str.
(212-260-4080) Subway: F, J, M, Z to Delancey Str.
csvcenter.com• The Cutting Room 44 E. 32nd Str.
(212-691-1900) Subway: 6 to 33rd Str.
thecuttingroomnyc.com• The Delancey 168 Delancey Str.
(212-254-9920) Subway: F to Delancey Str.
thedelancey.com• Dizzy’s Club 33 W. 60th Str., 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• The Django 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 to Franklin Str.
thedjangonyc.com• Downtown Music Gallery 13 Monroe Str.
(212-473-0043) Subway: F to East Broadway
downtownmusicgallery.com• Drom 85 Ave. A(212-777-1157) Subway: F to Second Ave.
dromnyc.com• The Ear Inn 326 Spring Str. at Greenwich Str.
(212-246-5074) Subway: C, E to Spring Str.
earinn.com• Entwine Wine Bar 765 Washington Str.
(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Str.
entwinenyc.com• Everything Goes Café 208 Bay Str., Staten Island(718-447-8256) Subway: Bus: S51• Fiction Bar/Café 308 Hooper Str.
(718-599-5151) Subway: M, J to Hewes Str.
fictionbk.com• The Fifth Avenue Hotel 250 Fifth Ave.
(212- 231-9400) Subway: N, Q, R, W to 28th Str.; 4,6 to 28th Str.
jazzforumatthefifth.rsvpify.com• Flushing Town Hall 137-35 Northern Blvd., Flushing(718-463-7700) Subway: 7 to Main Str.
flushingtownhall.org• Fotografiska 281 Park Ave. South(212-433-3686) Subway: 6 to 23rd Str.
fotografiska.com/nyc• Guggenheim Museum 1071 Fifth Ave. at 89th Str.
(212-423-3500) Subway: 4, 5, 6 to 86th Str.
guggenheim.org• Ibeam Brooklyn 168 7th Str. btwn. Second and Third Ave.
Subway: F to 4th Ave.
ibeambrooklyn.com• Interchurch Center 475 Riverside Drive at 120th Str.
Subway: 1 to 116th Str.
• InterContinental New York Barclay’s Club 111 E. 48th Str.
(212-755-5900) Subway: 6 to 51st Str.
intercontinentalnybarclay.com/• Iridium 1650 Broadway at 51st Str.
(212-582-2121) Subway: 1,2 to 50th Str.
theiridium.com• The Jazz Gallery 1158 Broadway, 5th fl(212-242-1063) Subway: C, E, to Spring Str. ; 1, 2 to Houston Str.
jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Str. btwn. Madison and Lenox Ave.
(212-348-8300) Subway: 6 to 125th Str.
jazzmuseuminharlem.org• Joe’s Pub 425 Lafayette Str.
(212-539-8770) Subway: N, R to 8th Str. -NYU; 6 to Astor Pl.
joespub.com• The Keep 205 Cypress Ave., Queens(718-381-0400) Subway: L to Jefferson Str.
thekeepny.com• Knickerbocker Bar & Grill 33 University Pl. at 9th Str.
(212-228-8490) Subway: N, R to 8th Str. -NYU
knickerbockerbarandgrill.com• Le Poisson Rouge 158 Bleecker Str.
(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Str.
lepoissonrouge.com• LeFrak Concert Hall 65-30 Kissena Blvd, Flushing(718-793-8080) Subway: 7 to Main Str. , The n bus
kupferbergcenter.org• Local 92 244 Mulberry Str.
(212-432-2232) Subway: 4, 6 to Spring Str.; N, Q, R, W to Prince Str.
local92ny.com• Louis Armstrong House 34-56 107th Str., Queens(718-478-8274) Subway: 7 to 11th Str.
satchmo.net• Lowlands 543 Third Ave., Brooklyn(347-463-9458) Subway: R to Prospect Ave.
lowlandsbar.com• Main Drag Music 50 S. 1st Str. between Kent and Wythe Ave.s(718-388-6365) Subway: L to Bedford Ave.
maindragmusic.com• Mark O’Donnell Theater 160 Schermerhorn Str., Brooklyn(718-640-1841) Subway: A, C, G to Hoyt-Schermerhorn; F to Bergen Str.
entertainmentcommunity.org• Merkin Concert Hall 129 W. 67th Str. btwn. Broadway and Amsterdam(212-501-3330) Subway: 1 to 66th Str. -Lincoln Center
kaufman-center.orgjjastrebski@kaufman-center.org• Mezzrow 163 W. 10th Str.
(646-476-4346) Subway: 1 to Christopher Str.
smalls.com• Michiko Studios 15 W. 39th Str. Floor 7(212-302-4011) Subway: N, Q, R, W to Times Squaremichikostudios.com• Miller Theatre 2960 Broadway and 116th Str.
(212-854-7799) Subway: 1 to 116th Str. -Columbia University
millertheater.com• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Str.
• National Sawdust 80 N. 6th Str.
(646-779-8455) Subway: L to Bedford Ave.
nationalsawdust.org• North Square Lounge 103 Waverly Pl. at McDougal Str.
(212-254-1200) Subway: A, B, C, E, F, V to West 4th Str.
northsquareny.com/about-jazz.php• Nublu 151 151 Ave C
Subway: L to 1st Ave.
nublu.net• Opera America Marc. A Scorca Hall 330 7th Ave.
(212-796-8620) Subway: 1 to 28th Str.
operaamerica.org• The Owl Music Parlor 497 Rogers Ave.
(718-774-0042) Subway: Subway: 2 to to Sterling Str.
theowl.nyc• P.I.T. 411 South 5th Str., Brooklyn(347-763-0333) Subway: J, M to Hewes Str.
propertyistheft.org• Pangea 178 Second Ave.
(212-995-0900) Subway: L to First Ave.
pangeanyc.com• Park Avenue Armory 643 Park Ave.
(212-616-3930) Subway: 6 to 68th Str.
armoryonpark.org• Patrick’s Place 2835 Frederick Blvd.
(212-491-7800) Subway: B, D to 155th Str.
patricksplaceharlem.com

38 November 2023 | THE NEW YORK CITY JAZZ RECORD• Pioneer Works 159 Pioneer Str., Brooklyn(718-596-3001) Subway: Bus: B61
pioneerworks.org• Public Records 233 Butler Str.
(347-529-4869) Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Ave.
publicrecords.nyc• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Str.
rizzolibookstore.com• Rockwood Music Hall Stage 2 199 Allen Street(212-477-4155) Subway: F, V to Second Ave.
rockwoodmusichall.com• Room 623 at B2 Harlem 271 W. 119th Str.
(212-280-2248) Subway: B, C to 116th Str.
b2harlem.com• Roulette 509 Atlantic Ave.
(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Ave.
roulette.org• Saint Peter’s Church 619 Lexington Ave. at 54th Str.
(212-935-2200) Subway: 6 to 51st Str.
saintpeters.org• Scandinavia House 58 Park Ave. at 37th Str.
(212-879-9779) Subway: 4, 5, 6 to 42nd Str. -Grand Central
scandinaviahouse.org• Scholes Street Studio 375 Lorimer Str.
(718-964-8763) Subway: L to Lorimer Str. ; G to Broadway
scholesstreetstudio.com• ShapeShifter Lab 837 Union Str.
(646-820-9452) Subway: R to Union Str.
shapeshifterlab.com• Shrine 2271 Adam Clayton Powell Blvd. btwn. 133rd & 134th Str.
(212-690-7807) Subway: B, 2, 3 to 135th Str.
shrinenyc.com• Silvana 300 W. 116th Str.
(646-692-4935) Subway: B, C, to 116th Str.
silvana-nyc.com• Sistas’ Place 456 Nostrand Ave. at Jefferson Ave., Brooklyn(718-398-1766) Subway: A to Nostrand Ave.
sistasplace.org• Sisters 900 Fulton Str.
(347-763-2537) Subway: C to Clinton-Washington Ave.s
sistersbklyn.com• Smalls 183 W 10th Str. at Seventh Ave.
(212-252-5091) Subway: 1 to Christopher Str.
smallsjazz.com• Smoke 2751 Broadway btwn. 105th and 106th Str.
(212-864-6662) Subway: 1 to 103rd Str.
smokejazz.com• Soapbox Gallery 636 Dean Str.
Subway: 2, 3 to Bergen Str.
soapboxgallery.org• Sony Hall 235 W. 46th Str.
(212-997-5123) Subway: N, R, W to 49th Str.
sonyhall.com• SoulBK 706 Nostrand Ave, Brooklyn(347-240-8440) Subway: S to Park Pl.; 2, 5 to President Str.
soulbk.com• Steel Wig Music 939 8th Ave, Suite 502
Subway: N, Q, R, W tro 57th St; 1, 2, 3, A, C, E, B, D, F to Columbus Circle
livemusicproject.org/events/venues/5741/steel-wig-music• The Stone at The New School 55 West 13th Str.
(212-229-5600) Subway: F, V to 14th Str.
thestonenyc.com• Sugar Hill Children’s Museum of Art and Storytelling 898 St. Nicholas Ave.
(212-335-0004) Subway: C to 155th Str.
sugarhillmuseum.org• The Sultan Room 234 Starr Str.
(612-964-1420) Subway: L to Jefferson Str.
thesultanroom.com• Symphony Space Leonard Nimoy Thalia 2537 Broadway at 95th Str.
(212-864-5400) Subway: 1, 2, 3 to 96th Str.
symphonyspace.org• Tenri Cultural Institute 610 W. 56th Str.
(212-645-2800) Subway: F to 14th Str.
tenri.org• Threes Brewing 333 Douglass Str.
(718-522-2110) Subway: R to Union Str.
threesbrewing.com• Tipsy Grape Wine Bar 110 Smith Str., Brooklyn(347-588-3955) Subway: F, G to Bergen Str.; A, C, G to Hoyt/Schermerhorn str.
tipsygrapeny.com• Village Vanguard 178 Seventh Ave. South at 11th Str.
(212-255-4037) Subway: 1, 2, 3 to 14th Str.
villagevanguard.com• Williamsburg Music Center 367 Bedford Ave., Brooklyn, NY(718-384-1654) Subway: L to Bedford Ave.
• York College CUNY, 94-20 Guy R. Brewer Blvd., Queens
Subway: E to Jamaica Centeryork.cuny.edu• Zinc Bar 82 W. 3rd Str.
(212-477-8337) Subway: A, C, E, F, V, Grand Str. Shuttle to W. 4th Str.
zincbar.com• Zürcher Gallery 33 Bleecker Str.
(212-777-0790) Subway: 6 to Bleeker Str. ; B, D, F to Broadway-Lafayettegaleriezurcher.com

I N ME MORIAM
RUSSELL BATISTE, JR. (Dec. 12, 1965 – Sep. 30, 2023)
The New Orleans drummer, multi-instrumentalist andbandleader (and cousin to Jon Batiste) died at 57 in LaPlace,
LA, from a heart attack. Born into one of the Crescent City’s
most heralded musical families, Batiste started playing drums
at four and was working in the Batiste Brothers Band withhis father and uncles two years later. He studied with Kidd
Jordan at Southern University of New Orleans before working
with singer Charmaine Neville and the Funky Meters, laterlaunching a genre-crossing trio called Vida Blue with Phishkeyboardist Page McDonnell and bassist Oteil Burbridge.
He also led his own band, Orkestra from ’Da Hood, which
released two studio albums. Along the way he recorded with
Harry Connick, Jr., Allen Toussaint and Robbie Robertson.
BOSSE BROBERG (Sep. 6, 1937 – Aug. 26, 2023) The
trumpeter/composer, who led the jazz department at Swedish
Radio for 24 years, died at 85 in Uppsala, Sweden. Born inLudvika, Broberg started on accordion and piano before
switching to trumpet in grade school. He studied musicology
at Uppsala University and performed in local groups, focusing
on hard bop. Broberg joined pianist Gugge Hedrenius’ bandin the mid ‘60s and also worked with saxophonists Christer
Boustedt and Lennart Åberg before starting at Swedish Radio.
In 1967, he founded the Radiojazzgruppen, which regularly
hosted visiting jazz luminaries (George Russell, Carla
Bley, Thad Jones, Bob Brookmeyer, Palle Mikkelborg) andcommissioned works from noted jazz composers (Anthony
Braxton, Gil Evans, Don Cherry). Broberg was a member of theContemporary Bebop Quintet and led the Nogenjagrup big
band, while often recording and performing with Sweden’s
top jazz artists. In 2014, he was awarded the Riksförbundet
Svensk Jazz grand prize.
RICHARD DAVIS (Apr. 15, 1930 – Sep. 6, 2023) The masterfulbassist with a big, memorable sound, who was named a
National Endowment for the Arts Jazz Master in 2014, diedat 93 in Madison, WI. Born in Chicago, Davis first sang in his
adopted family’s vocal group before taking up the bass at
DuSable High School, receiving both classical training andjazz know-how on the instrument. He played in the Chicago
Youth Symphony Orchestra before landing at VanderCook
College of Music. After graduation, he began playing withpianist Don Shirley, and the two played and recorded together(Davis’ recording debut was with Shirley) and moved to New
York City. Davis found work quickly with the Sauter-Finegan
Orchestra, then joined Sarah Vaughan in 1957, staying three
years, before becoming a busy session musician, his strong
musical training and natural gifts making him a versatile,
resourceful accompanist. In 1964, Davis played on landmark
jazz albums such as Eric Dolphy’s Out to Lunch! and Andrew
Hill’s Point of Departure. Other notables Davis recorded with inthe ‘60s included Jaki Byard, Booker Ervin, Joe Henderson andElvin Jones, with whom Davis cut his first album as a leader,
1967’s Heavy Sounds. Davis performed with the Thad Jones/
Mel Lewis Orchestra for six years, into the early ‘70s. He playedon notable recordings by Paul Simon, Bruce Springsteen,
Janis Ian and Van Morrison (Astral Weeks), as well as classicalmusic dates with Igor Stravinsky, Leonard Bernstein and
Pierre Boulez. In 1977, Davis became a full-time professor at
the University of Wisconsin-Madison, where he remained foralmost 40 years, establishing the Richard Davis Foundation
for Young bassists there in 1993. He also created a nonprofit
organization, the Institute for the Healing of Racism. Musicalartistry, education, social advocacy: a remarkable legacy.
WOLFGANG ENGSTFELD (Dec. 9, 1950 – Sep. 18, 2023) The
German hard bop saxophonist and composer died at 72 in his
native Düsseldorf, Germany, from cancer. Engstfeld began
playing at 14, studying music in German and Austrian schools.
He founded a jazz-rock band called Jazztrack in the early ‘70s
and worked in a band co-led with Michel Herr before teaming
up with drummer Peter Weiss (he and Weiss worked together
for the next 40 years) in Changes, which released its firstalbum, Home Again, in 1979. Engstfeld worked with many jazznotables over the years, including Chet Baker, Randy Brecker
and John Scofield. For 20 years he taught saxophone at the
Cologne University of Music and Dance.

BY THOMAS STAUDTERCHARLES GAYLE (Feb. 28, 1939 – Sep. 5, 2023) A deeply
religious free jazz saxophonist, Gayle died at 84 in Brooklyn,
NY, following a long struggle with Alzheimer’s disease.
Even in the long history of jazz’ uncommon personalities,
Gayle stood out, developing an alter ego called “Streets”,
performing costumed as a circus clown complete with around, red nose. Born in Buffalo, NY, he studied piano in
grade school, but was largely self-taught. Gayle started
playing saxophone while attending Fredonia State Teachers
College, dropping out to work as a musician after two years.
A 1965 recording with Buell Neidlinger while they were bothteaching at the University of Buffalo was finally released as
Gayle Force in 2015; otherwise, Gayle did not record again
until 1988. He had moved to New York City in the early ‘70s
and spent most of his time busking in the subways and on
sidewalks. Three recordings with Revolutionary Ensemble
bassist Sirone from 1988 renewed Gayle’s professional
career, and he became a frequent performer in NYC’s
downtown music scene, often also playing piano and bass
clarinet. In his prime, Gayle worked with—and stood with—some of jazz’ most dedicated improvisers, including Cecil
Taylor, William Parker, Rashied Ali and Sunny Murray; healso recorded with punk-rock poet Henry Rollins. His lastappearance on the bandstand was in 2018.
JOST GEBERS (1940 – Sep. 15, 2023) The double-bassist andcofounder of Free Music Production (FMP), the influential
German record label, died at 82. A Berlin native, Gebers
famously started FMP with Peter Brötzmann, Alexander
von Schlippenbach, Peter Kowald and Detlef Schönenberg
in 1969, after helping launch the “anti-festival” Total Music
Meeting a year earlier as an artistic response to the strict
dress code of Jazzfest Berlin (TMM ran until 1999). FMP
released countless important albums by notable Europeanand American artists, most memorably the award-winning
11-CD boxed set Cecil Taylor in Berlin ’88. Ownership andleadership of FMP shifted over the years; Gebers, who
supported himself as a social worker, regained direction of
the label/organization in 2007. Much of the label’s output
has since remained in print.
AL HAMME (Jan. 5, 1939 – Sep. 10, 2023) The saxophonist andwoodwind artist, and longtime educator, died at 84 in Vesta,
NY. Originally from York, PA, he earned degrees in musiceducation at Ithaca College, Binghamton University and theEastman School of Music. Hamme played in orchestras led
by Les Elgart, Sammy Kaye and Jimmy Dorsey. In 1964, hebecame the founding director of the jazz program at Harpur
College (now Binghamton University), staying until his
retirement 33 years later. Hamme also served as the first
Artistic Director of the School of Jazz Studies for the New
York State Summer School of the Arts program from 19851991. He can be heard on recordings by Phil Woods, TomHarrell, Fred Hersch, Frank Wess and Slam Stewart.
JOHN MARSHALL (Aug. 28, 1941 – Sep. 16, 2023) A British
drummer known for his work in pioneering jazz fusion outfits
Nucleus, Centipede and the long-running Soft Machine,
Marshall died at 82 in South London. Born in Isleworth, awest London suburb, he took to the drums as a child andinitially prepared for a career in psychology while playing in
local combos. Marshall studied with Allan Ganley and Philly
Joe Jones, then residing in England, before joining the houseband at Ronnie Scott’s. In the mid ‘60s London jazz scene,
Marshall was ubiquitous, collaborating with Graham Collier,John Surman and Kenny Wheeler, while also working withJack Bruce, Terje Rypdal, John Abercrombie, Sarah Vaughanand Arthur Brown. He cofounded Nucleus in 1969, joined
Keith Tippett’s Centipede the following year and worked
in a trio with Bruce and Chris Spedding. In 1972, Marshall
replaced Robert Wyatt in Soft Machine, performing with theband through the rest of his life, including the group’s mostrecent Other Doors (MoonJune).
SPENCER MBADU (Jan. 1955 – Sep. 6, 2023) A bassist andone of South Africa’s best loved jazz artists, Mbadu diedat 68. Born in Kensington, a suburb of Cape Town, he was
relocated with his family to the Gugulethu township at 4,

about the time he began playing, later learning piano fromhis grandmother. Mbadu turned to the electric bass in his
teens, played in a rock band, and while working as a car
mechanic joined Skyf, a jazz fusion band, with saxophonist
Winston Mankunku Ngozi. Mbadu also worked with Tony
Cedras, Robbie Jansen, Spirits Rejoice and the pop band Joy
in the ‘70s and early ‘80s. Mbadu is featured on Abdullah
Ibrahim’s acclaimed album Mantra Mode (Enja); he played
alongside U2’s Bono and Queen, and regularly backed
visiting artists at the annual Cape Town International
Jazz Festival. As an educator, he was long associated withMusical Action for People’s Power.
FRANK OWENS (Sep. 1, 1933 – Sep. 15, 2023) The prolificpianist, arranger and musical director, whose long career
encompassed nearly every corner of the entertainment
world, died at 90 in Washington, DC, from injuries sustainedin a car accident while enroute to a performance. Born in
NYC, he grew up in Harlem, studying classical piano as ayouth; his first professional gig was at the Apollo Theater’sfabled Amateur Night, where he later accompanied countless
vocalists—great early training that enabled Owens later toserve as a musical director for a wide array of show biz stars.
His theatrical credits included important roles in Broadway
hits Ain’t Misbehavin’, Sophisticated Ladies, Uptown… It’s Hot!,
The Wiz and his own Off-Broadway creation, Shades of Harlem.
In 1980, he served as the first musical director for The David
Letterman Show, and subsequent television work included
a long stint as the bandleader on It’s Showtime at the Apollo.
His 1983 PBS special Eubie Blake: A Century of Music reflected
his authoritative knowledge about the popular ragtime
pianist, whom he briefly studied with. In jazz circles, Owens
was known for his ’60s and ’70s work with Clifford Jordan,Louis Armstrong, Bobbi Humphrey, Sonny Stitt, Sylvia Sims,
Astrud Gilberto and Bucky Pizzarelli. In 1965, Owens enteredimmortality as the session pianist on Bob Dylan’s epochal
albums Bringing It All Back Home and Highway 61 Revisited; helater earned a gold record for his work on Tony Orlando andDawn’s hit “Tie a Yellow Ribbon Round the Ole Oak Tree”.
Owens’ own recordings as a leader began with Oliver! Olé!
(1969) and included Brown ’N Serve and Plays the Music ofEddie Heywood. In 2021, he was accompanist for Freda Payne.
Through his 80s Owens stayed busy, working with the
Maryland Youth Ballet and the Washington School of Ballet,
hosting open mics in New York and D.C., and performing in
Bryant Park’s “Piano in the Park” series.
SIMON PEARSON (Aug. 26, 1969 – Sep. 3, 2023) A virtuosic
English drummer, renowned in both the jazz and rockworlds, Pearson died at 54 in London from cancer. Born
and raised in Leeds, England, he received a degree fromthe Leeds College of Music and a post-graduate diploma
from the jazz program at the Guildhall School of Music andDrama. Pearson rose to prominence performing the works
of composer Steve Martland while working in various jazz
ensembles, including a quintet led by pianist John Crawford.
In the mid ‘90s Pearson began working with the indie rockband Goya Dress, and eventually worked with vocalistguitarist David Gedge in two other influential outfits withsizable U.S. followings: Cinerama and the Wedding Present.
MIKE TRAVIS (Dec. 2, 1944 – Sep. 22, 2023) The drummer
and actor died at 78 in Duns, Scotland. Born in Falkirk, hemoved to Edinburgh at 10 and, interested in traditional
Scottish music and the blues, began playing guitar before
taking up drums at 16. He left school the following year
and worked in the Edinburgh music scene, playing behind
Jon Hendricks, Rahsaan Roland Kirk and Percy Heath. He
moved to London and worked in the jazz scene there, withReg Powell, the London Jazz Four and Henry Lowther’s
big band. In 1972, Travis cofounded the prog jazz band
Gilgamesh with keyboardist Alan Gowen, and later playedwith bassist Hugh Hopper and Japanese percussionist
Stomu Yamash’ta in his band East Wind. Travis returned
to Scotland in 1978, backing touring artists such as James
Moody, Art Farmer and Charlie Byrd, while also working intheatrical productions that fused music and politics, which
led to an illustrious second career as a stage actor.

THE NEW YORK CITY JAZZ RECORD | November 2023 39

nov 3 – 19

Gladys Knightwith Davell Crawford

Christian
McBride,AdvisorChristian
McBride,JazzJazz
AdvisorTake 6
with Hillary-Marie

Dee Dee Bridgewater& Bill Charlap

Fri, Nov 3 @ 7:30PM
The legendary vocalist and brilliant
pianist unite for a cabaret of jazzstandards and American Songbook
classics, from Duke Ellington to Cole Porterto Stephen Sondheim and beyond.

Grupo Niche &Héctor Acosta “El Torito”
Tropicaliente

Sat, Nov 4 @ 8PM
Dance the night away with the hottropical sounds of Colombian salsa band
Grupo Niche and Dominican merengue andbachata singer Héctor Acosta “El Torito.”Ranky Tankywith very special guest
Ms. Lisa Fischer

Nov 9 @ 7:30PM
Get in a Gullah groove with
GRAMMY®-winning band Ranky Tanky
and very special guest Ms. Lisa Fischer(Twenty Feet from Stardom).

Omara Portuondo

Fri, Nov 10 @ 7:30PM
An original member of the Buena
Vista Social Club, the legendary
Omara Portuondo performs
a retrospective of her life in music.

Take 6 with Hillary-Marie

Sat, Nov 11 @ 7:30PM
A cappella vocals, beatbox and tap
dance unite in this compelling showcaseof the human instrument and all its
creative possibilities.

Abdullah Ibrahim Trio

Sun, Nov 12 @ 3PM
An intimate performance with the
Abdullah Ibrahim Trio, South Africa’s mostdistinguished pianist and NEA Jazz Master.

Gladys Knightwith special guest
Davell Crawford

Sun, Nov 12 @ 7PM
National treasure Gladys Knight sharessongs and stories from her incredible
50+ year career. Opening the show is singer
and pianist Davell Crawford, the “Piano
Prince of New Orleans.”

The Sound of (Black) Music

Nov 16 @ 7:30PM
The Sound of (Black) Music reimagines
Rodgers & Hammerstein through an
Afrofuturistic lens combining jazz,soul, funk and hip hop starring vocalists
Brianna Thomas and Chareene Wade andmusical director Vuyo Sotashe.

NJMEA All-Star Jazz Bandand All-Star Jazz Choirwith Stefon Harris

Fri, Nov 17 @ 7PM
Hear the next generation of jazz artists
perform with special guest Stefon Harris.

Omara
Portuondo

Dave
GrusinWhen You Wish Upon a StarA Jazz Tribute to
100 Years of DisneyFri, Nov 17 @ 7:30PM
The new National Jazz Museum in Harlem(Artistic directors: Jon Batiste and Christian
McBride) lends its house band to this jazzy
Disney extravaganza. Featuring pianist
Sean Mason, singers Kim Nalley and
Sasha Dobson, and more.

Dave Grusin
A Life in Music

Featuring Dave Grusin, Lee Ritenour,
Patti Austin, Jane Monheit, Will Downing,
Randy Brecker and New York Voices
Fri, Nov 17 @ 8PM
The jazz pianist and award-winning
film/TV composer (St. Elsewhere,
On Golden Pond, Tootsie) performs
with an all-star ensemble.

Dorthaan’s Place Jazz Brunch
The Steve Turre Generations Sextet
Sun, Nov 19 @ 11AM & 1PM
Join us for Dorthaan’s Place, the legendary
jazz brunch series at NICO Kitchen + Bar —with The Steve Turre Generations Sextet.

Sarah Vaughan International
Jazz Vocal Competition

Sun, Nov 19 @ 3PM
Hear the next generation of powerhouse jazz
vocalists with judges Jane Monheit,
Christian McBride, Madeleine Peyroux,
Al Pryor and Lizz Wright.

Buy tickets today at njpac.org or call 1.888.MY.NJPAC! • For full jazz lineup visit njpac.org/jazz
New Jersey Performing Arts Center • One Center Street • Newark, NJ