YOUR FREE GUIDE TO THE NYC JAZZ SCENEOCTOBER 2022—ISSUE 246

NYCJAZZRECORD.COM

RUFUS

REID
BASS AS BASE

TREVOR
DUNN

THEON
CROSS

JOACHIMKÜHNCAL
MASSEYManaging Editor:
Laurence Donohue-Greene
Editorial Director &Production Manager:
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

OCTOBER 2022—ISSUE 246
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : TREVOR DUNN

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : THEON CROSS
ON THE COVER : RUFUS REID

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ENCORE : JOACHIM KÜHNCalendar:calendar@nycjazzrecord.com
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LEST WE FORGET : CAL MASSEYLABEL SPOTLIGHT : DISCUS-MUSICVOXNEWS
OBITUARIES

Staff Writers
Duck Baker, Dan Bilawsky,
Stuart Broomer, Robert Bush,
Kevin Canfield, Marco Cangiano,
Thomas Conrad, Pierre Crépon,Ken Dryden, Donald Elfman,
Phil Freeman, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen,
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow
Contributing Writers
Matty Bannond, Jason Gross,George Kanzler, Steven Loewy,
Monique Ngozi Nri, Eric Wendell
Contributing Photographers
John Abbott, Caroline Conejero,
Lukas Frei, Silvio Magaglio,
Genevieve Monro, Robert I. Sutherland-Cohen,
Adrien H. Tillmann, Harrison Weinstein

ALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY

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by kurt gottschalkby marty bannond
by george kanzler
by andrey henkin
by george grellaby jim motavalli
by suzanne lorge
by andrey henkin

The paths to becoming a musician are many. Rufus Reid (On The Cover) started out onbrass instruments but it was time spent in the army that solidified his interest in thebass and began a compelling career, first as a performer, then educator and, more
recently, composer, the fruits of the latter on display at Dizzy’s Club this month. Bassist
Trevor Dunn (Interview) got his first recognition not as a jazz player but as a co-founderof the alternative rock band Mr. Bungle; this month sees the almost two-decades-in-themaking return of his trio-convulsant, with a new album and a release concert at National
Sawdust. If not for scheming parents, tuba player Theon Cross (Artist Feature) may
not have become the crucial figure in his native England’s progressive jazz scene,
whether as part of Sons of Kemet or his own projects, the latter to be presented thismonth as part of the BRIC JazzFest. Pianist Joachim Kühn (Encore) had to escape therepressive environment of East Germany to begin what is now a nearly six-decade
career; recently a marvelous 1969 concert from his then-home of Paris has been issued.
And trumpeter Cal Massey (Lest We Forget) may not have had the instrumental
accomplishments of his peers but his contributions to classic albums by the likes of John
Coltrane, Philly Joe Jones, Lee Morgan, Cedar Walton, McCoy Tyner, Archie Sheppand others place him the in jazz composing firmament.

nycjazzrecord.com
On The Cover: Rufus Reid (photo by John Abbott / courtesy of the artist)
Corrections: xxx
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

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NEW YORK @ NIGHTF ONT (Festival of New Trumpet Music), inspired by a P ut four jazz men together with the ethos of

mid-century soul and you will hear the soundproduced by the highly bluesy guitarist Ed Cherry,with Monte Croft (vibraphone), Kyle Koehler (Italianmade Crumar organ) and Anwar Marshall (drums).
From the opener at The Django (Sep. 2nd), in a lightly
swung “Sweet and Lovely” (Gus Arnheim-Charles N.
Daniels-Harry Tobias) it was evident the mood would
be completely laidback. Some showiness prevailed
from Koehler on Charlie Parker ’s “Star Eyes”, but
Cherry’s dedication to egalitarianism, with a sidebar
of conviction and dedication to the music, prevailed.
In a languorous rendition of Duke Ellington’s “In a
Sentimental Mood”, Cherry’s artistry, much in thestyle of Wes Montgomery, played steady support forvibraphone and organ. Marshall’s musicality held fastthrough the set, with timing well integrated into thegive-and-take, back-and-forth voices of the other threeplayers. What emerged most of all from them wasbeautiful synchrony, of the harmony of three distinctly
different instruments producing an integrated overarching sound. Miles Davis’ “All Blues” gave Cherrya crack at inspired improvisation and a bluesinfluenced “Body and Soul” (Johnny Green) evokeda slow dance in a midnight dance hall. A fun closer
was an all-hands-on-deck rouser in Elmer Bernstein’s“Theme from The Magnificent Seven”, familiar to
many since it was the music for a long-running
Marlboro cigarettes ad on TV.
—Marilyn Lester

LUKAS FREI / COURTESY OF FONTPHOTO © CAROLINE CONEJERO 2022

casual conversation 20 years ago between Dave
Douglas and the late Roy Campbell, Jr. at the nowdefunct Tonic, continues to be a wellspring ofinnovative talent, making its first in-person appearance
after three years of quarantine (Sep. 8th) at The Owl
Music Parlor. The double bill commenced with theAlexandra Ridout Trio, the trumpeter a freshtransplant to NYC from London, accompanied by Iver
Cardas (guitar) and Will Sach (bass). Warming up withan F blues in 7/4 and a lyrical piece moving inside andoutside the key area, mixing rhythms, the energy
gradually escalated, until, by the fifth number, an
original titled “Ditty”, aptly introduced by bass,
Ridout started to spin off louder, broader, more legato
passages, dialing up the heat one degree more for the
final number, a cover of Andrew Hill’s “Tired Trade”.
Trumpeter/vocalist Sonny Singh played songs fromhis leader debut, Chardi Kala, a singular fusion of Sikhand Sufi poetry set to bhangra, qawwali, funk, reggae
and other styles. Supported by Jonathan Goldberger(guitar), Mackenzie Shivers (vocals/harmonium/
piano), Yuka Tadano (bass) and Rohin Khemani(drums/tabla), the opener, “Ghadar Machao”, driven
by chicken-pickin’, rock-edged guitar, immediately
proved politics and partying (can) go hand-in-hand.
Bright and brash, Singh’s best trumpet work came on“Azad Azad”, his solo embodying the ‘freedom’ (ofidentity/music) implied by the title. —Tom Greenland

Sonny Singh @ The Owl Music Parlor

Ed Cherry @ The Django

After an inspiring gig together, Korean-Canadian The Brandi Disterheft Trio with pianist Anthony
vocalist/pianist Yoon Sun Choi was curious to hear
how Argentine-German tenor saxophonist Camila
Nebbia, vocalist/bassist Carmen Rothwell andJapanese vocalist/shamisen player Emi Makabe would
sound separately, booking them (and herself) at Ibeam(Sep. 2nd) as solo acts. Nebbia started things off with
two long soliloquies, which transitioned from motive
to motive, each developed a bit, embellished with
polyphonics, valve taps and other extended techniques,
before she moved to the next, swaying in tight spirals
as she played. Choi’s set, the most eclectic, highlighted
her distinctive vocals, alternately intoned or resonant,gruff or sweet, accompanied by keyboard or piano.
Besides her originals, she sang Kate Bush’s“Cloudbusting”, gave a programmatic reading ofLewis Carroll’s “The Jabberwocky”, finishing witha ham-fisted, atonal piano improv. An experimental
piece (assisted by a volunteer) using an uncooperative
homemade music-box didn’t quite work, but it was fun
to watch her try to improvise a ‘solution’. Rothwell’s
set was notable for the striking juxtaposition of precise,authoritative bass tones with delicate but resilient highsoprano vocals, blending/harmonizing at a distance ofseveral octaves, apart yet together. Makabe’s set
alternated between traditional/folk repertoire forshamisen and her songs sung in Japanese and English,
the former derived from altered pentatonic scales, thelatter in major keys with a few ‘outside’ notes.
(TG)

4 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

Wonsey and drummer Joe Farnsworth, presented
themselves in process at Cellar Dog (Sep. 4th), tryingout a variety of numbers new and old. The soulfulDisterheft comes to her craft with a sense of personal
history and strong mentorships in jazz performance,
which indisputably have nurtured her talents as aplayer and writer. Her mother is a jazz B-3 organ
player and her aunt, Angie Jaree, is a Grammy-winningsession singer; her music studies began with piano atage five and in her emergence as a bassist, Ron
Carter and Brazilian-born percussionist Portinho
strongly informed her work (the latter encouraging
her to sing). Her body language—the way she leans
into the bass—mirrors her movement into hermusic with passion and commitment. Disterheft also
has the ability to translate the voices of a range
of instruments to suit the upright, evident in a solid,
swinging “Relaxin’ at Camarillo” (Charlie Parker) and
Donald Byrd’s “Fly Little Bird”. Disterheft’s own“Coup de Foudre” (Lightning Bolt) began as a lovely,
highly melodic ballad and then switched tempo intoaquicker,samba-based
rhythm,showcasing
Farnsworth’s ability to coax inventive sounds out of
his kit with elegance and nuance. The musical flow
was punctuated by Disterheft’s vocals. Her brightstyle and tone is light and direct, amazingly reminiscentof the late Beverly Kenney, who passed all too soon in1960 at age 28. 				(ML)O pening its 2022-23 Uptown Nights Concert Series,

The ‘In Gardens’ Arts for Art series has been

exceptional this summer and the El Jardin del Paraiso(Sep. 17th) program, originally slated to feature the late
Jaimie Branch, illustrated this alluringly. The opener,
helmed by trombonist Steve Swell with cornet player
Kirk Knuffke and drummer Michael TA Thompson,
cast rainbows into the pastoral landscape. Rubato dual
brass figures grew from niente into the softest rolling
thunder, Thompson’s pulsations beneath. The lack of abassist brought out the richness in the toms and bass
drum as the trio bubbled magical interplay. Avant
garde, yes, but there is great breadth in this designation
and Knuffke’s tonal excursions championed what isoften overlooked. Later, Joe Morris presented a tributeto Branch with the musicians she had selected for thisgig. The trumpeter’s sudden passing left a gaping holein the community and Morris, who had known Branch
for a generation, told us that she referred to sopranosaxophonist Sam Newsome as “my hero” and describedMichael Wimberly as a drummer who “can doanything”. Morris added, “If she were here, Jaimie
would have played like her life depended upon it.” On
upright bass, Morris created ceaseless terra firma as
Wimberly’s hands danced like Nureyev and Newsome
conjured strains of Bechet, Coltrane, Lacy andsomething more ancestral shimmering through thestraight horn. Tellingly, as the music diminished,a distant car horn sounded, causing Morris to note,“Yes, that was Jaimie.”—John Pietaro
R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

HARRISON WEINSTEIN / COURTESY OF HARLEM STAGE

devoted to the intersection of the Black Art and BlackPower movements in America today, Harlem Stage
presented a reprise of vibraphonist Joel Ross’ On Being
A Young Black Man in collaboration with The Jazz
Gallery, which commissioned the ambitious work in
2017. The nine-movement suite, inspired by the
25-year-old Chicagoan’s life experiences, featured
spoken word by Carl Hancock Rux augmenting music
performed by a sextet with alto saxophonist Patrick
Bartley, tenor saxophonist Tivon Pennicott, pianist
Jeremy Corren, electric bassist Junius Paul anddrummer Marcus Gilmore. The first (Sep. 16th) of thetwo shows began with Rux musing pensively, gently
backed by piano on “The Beauty Of Being A Young
Black Man”, ending his soliloquy with question, “Is itokay to be me in an insane world.” The band thenjoined with the pianist, playing the melody, whichsang out with optimism and strength, setting the tone
for the music inspired by the themes of friendship andfaith. Vibraphone opened “The Forsaken Introvert’s
Memoir”, before the band came in playing thetriumphant line. Flowing together seamlessly, themovements that followed spoke to the passion, love,reality, fears, blessings and benediction of being ayoung Black man, both soulful and sophisticated intheir melodic, harmonic and rhythmic variations,indelibly marking Ross as one of today’s mostimportant jazz composers, young or old.—Russ Musto

Nominees for the 2022 Latin Grammys Best Latin Jazz Album
are: Antonio Adolfo - Jobim Forever (AAM Music); Martin Bejerano- #CubanAmerica (Figgland); Chano Domínguez, Rubem Dantas &Hamilton De Holanda - Chabem (Altafonte) and Eliane Elias, Chick
Corea, Chucho Valdés - Mirror Mirror (Candid). The awards will takeplace Nov. 17th. For more information, visit latingrammy.com.
Finding the Right Notes, a documentary on bassist Ron Carter, will
air on PBS stations Oct. 21st at 9 pm. Additionally, the soundtrack to
the film will be available on In+Out Records. For more information,
visit pbs.org/show/ron-carter-finding-right-notes.
Jazz at Lincoln Center has launched Jazz Live, a video streaming
service providing exclusive access to all the institution’s live
webcasts, a selection of archival performances, and original digitalcontent. Jazz Live is available now on Apple (iOS/tvOS), Google(Android/Android TV), Amazon Fire TV, and Roku. Subscriptions
are $99.99 annually and $9.99 a month. For more information, visit
jazzlive.com.
Trombonist and NEA Jazz Master Delfeayo Marsalis has been
appointed 2022-23 Artist-in-Residence at University of Hartford’s
Hartt School.
Lee Mergner, former Editor and Publisher of JazzTimes, has joined
WBGO Newark Public Radio as Editorial Content Producer. For
more information, visit wbgo.org.
The Jazz Coalition, which provided financial support for jazzmusicians during the COVID-19 pandemic, has announced a new
fundraising campaign for performances and recordings ofcommissioned artists and works at The Falcon in Marlboro, NY
through Dec. 18th. For more information, visit jazzcoalition.org.
The Peabody Institute of the Johns Hopkins University has
announced a new Graduate Jazz fellowship covering full tuition plus
a stipend for Masters and Graduate Performance Diploma students
each year. Fellows will work closely with trumpeter Sean Jones,
Chair of Jazz Studies at Peabody, performing in a select ensemble
and engaging with the greater Baltimore community throughconcerts and outreach programs. The program is now accepting
applicants for its first cohort beginning in fall 2023. For more
information, visit peabody.jhu.edu/audition-apply/financial-aidscholarships/prospective-students/scholarships.
Le Guess Who? Festival in Utrecht, Netherlands has won theEuropean Jazz Network Award for Adventurous Programming 2022.
The New Orleans Jazz Museum has been awarded $900,000
from the U.S. Department of Commerce’s Economic Development
Administration for improvements to its French Quarter site.

Joel Ross @ Harlem StageSam Newsome @ El Jardin del Paraiso

Returning to the Blue Note, celebrating the musicSam Day Harmet has been making the rounds withinfrom his latest album, Sounds From The Ancestors (Mack
Avenue), alto saxophonist Kenny Garrett led anenergized unit, which, with the addition of vocalist/
percussionist Melvis Santa to his quintet of pianist
Keith Brown, bassist Corcoran Holt, drummer Mark
Whitfield, Jr. and percussionist Rudy Bird, expanded
the ensemble’s AfroCuban focus. Garrett got his
second Thursday night (Sep. 1st) set off to a roaring
start playing “What Was That?”, a modal swinger
in a John Coltrane mode, Santa’s clave beat providing
its Latin flavor. The lively Roy Haynes tribute “Haynes
Here”, Santa wordlessly harmonizing the appealing
melodic line and Garrett soloing with fiery intensity,
evoked the joyous exuberance of the master drummer.
On “It’s Time To Come Home” the saxophonist
grooved with soulful ease on top of Bird’s spellbinding
chekere rhythm, quoting Wayne Shorter ’s “Footprints”
in his solo, the piece concluding with Santa intoninga prayerful Santería chant. The band funked it up on“Hargrove”, a jubilant tribute to the late trumpeter
Roy Hargrove, the audience cheering and clapping on
two and four with the music. Garrett set up a gospel
groove on electric piano for “When The Days Were
Different” and opened up on piano “Sounds From The
Ancestors”, Santa’s vocal and Bird’s congas calling out
to Africa. The set ended joyously with “The Happy
People”, which got the crowd up out of their seats anddancing in the aisles. 			
(RM)

W H AT ’ S N E W S

the Downtown new music community (which thesedays has been firmly entrenched in much of Brooklyn),appearing with vets like Karl Berger and Walter
Thompson’s orchestras, co-founding the genredemolishing bands Astro-Turf Noise and La Banda
Chuska and collaborating with theater artists.
Harmet’s primary axes of guitar and mandolin areoften joined by tenor banjo, as well as clarinet, riq anda vast array of electronics. As part of his September
residency at Barbès, he was in duo (Sep. 3rd) withmulti-lingual, interdisciplinary vocalist Luisa Muhr
(founder of Women Between Arts and Playfield) when
the third piece of their trio, vocalist Jennifer Pyron, fell
ill. Still, there was nothing lacking as Muhr ’s utterly
haunting vocals floated through the acoustic-electronic
soundscape artfully manipulated by Harmet. With her
already generous vocal range extended by octaves,
one microphone also offered melismatic echo anddigital effects to works based on Alaskan folk music
and the improvisational pieces based on travel torural, faraway places. Mandolin, wired and often lying
face-up on a table, took on the characteristics ofhammered dulcimer, slide guitar and feedback-laden
ephemera as Harmet simultaneously ‘played’ Muhr ’s
voice. They were joined by commanding guest singer
Bry Payne and a series of recorded found voices
threaded through Harmet’s tapestry, the chorus
hypnotically spinning about one another.
(JP)

Lincoln Center’s David Geffen Hall will open this month, its first
performance trumpeter Etienne Charles’ San Juan Hill: A New York
Story. For more information, visit lincolncenter.org/venue/
david-geffen-hall.
Upcoming Creative Music Studio workshops include Ava Mendoza
and Mike Baggetta at The New School on Oct. 9th at 3:30 pm andKarl Berger and Ingrid Sertso at White Feather Farm in Saugerties,
NY on Oct. 15th, 2022 at 3 pm. For more information, visit
creativemusic.org.
The Lost Generation: Outside the Mainstream, directed bydrummer William Hooker, will be screened at Cinema Village Oct.
7th-8th. For more information, visit cinemavillage.com.
The Jazz Gallery’s Vinyl Listening has returned. Upcoming
sessions are Christian McBride and Johnathan Blake (Oct. 17th at
6:30 pm) and Kenny Barron (Nov. 7th at 6:30 pm). Additionally, onOct. 12th at 6 pm, Councilmember Carlina Rivera will be honored
for helping to secure funds for the club to purchase a new Steinway
piano. For more information, visit jazzgallery.org.
A new podcast, Speaking Soundly, hosted by David Krauss
features interviews with Christian McBride and Wynton Marsalis. For
more information, visit artfulnarrativesmedia.com/speaking-soundlypodcast.
Upcoming shows at Rochester’s Bop Shop Records, celebratingits 40th anniversary this year, include: ROVA Saxophone Quartet(Oct. 2nd at 8 and 9:30 pm), Hank Roberts Sextet (Oct. 5th at 8 and9:30 pm), TRYYO: Michael Vlatkovich, Jonathan Golove andDamon Short (Oct. 12nd at 8 and 9:30 pm) and Lou Grassi/Ken
Filiano (Oct. 29th at 8 and 9:30 pm). For more information, visit
bopshop.com.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 5

@GENMONROPHOTOGRAPHY / COURTESY OF THE ARTISTINTERVIEW

TREVOR
DUNN
by kurt gottschalkBassist and composer Trevor Dunn’s name is well known

to a number of audiences. He first gained notice as a memberof the genre-bashing rock band Mr. Bungle and latercollaborated with heavy rock overlord Buzz Osborne ofMelvins. He has been a frequent participant in John Zorn
projects and has played with a number of like-mindedmusicians straddling traditions, including Nels Cline, Kris
Davis, Erik Friedlander and Mike Pride. His trio-convulsant
is releasing Séances, its first album since 2004 (on Davis’
Pyroclastic Records), providing a good excuse to talk to him
about practice, influences and tricky terminology.
The New York City Jazz Record: With recent Mr.
Bungle and Tomahawk reunions, a new album fromyour trio-convulsant was perhaps the biggest surprisereturn you were involved with in the last few years, atleast for me. I want to talk to you about trio-convulsant
but before we get to that, Buzz Osborne and Mike
Patton. I don’t know if I’ve ever called anyone a “heavycat” before, but that is a couple of heavy cats. Is there
anything you’ve learned from them that you’ve
brought into your general practice?
Trevor Dunn: Both those guys are coming from an “earapproach” to music more than any formal or theoreticalbasis. They are essentially outsider artists. I think I’ve
learned something from every musician I’ve everworked with, bandleader or not, but from them there
is a certain letting go of any foundation in a way.
Sometimes I have to remind myself that that isa legitimate route and that even as I am writing specificconcepts, the option to let the ear take over whennecessary is always available.
TNYCJR: What foundation is that? What kind offormal training have you done? Was your early musicaleducation direct toward any specific form or style?
TD: I learned how to read music at a fairly young age
with clarinet when I was eight years old, which mademy first private lessons on bass progress pretty quickly.
After that I learned about jazz and theory in highschool, then received my BA in music from a small
state university where I was studying classicaltechnique and 20th Century composition. So, I was
simultaneously learning the rules and then breaking
them with my collaborations in Mr. Bungle. In addition,
I was playing with older jazz cats and playing in bar
bands for a living.
TNYCJR: There are at least three versions of trioconvulsant if we count the trio plus quartet on the newrecord, or even four if we include the abandoned trioconvulsant plus string quartet. What defines trioconvulsant? What made the new music you werewriting trio-convulsant music after so many years?
TD: What ultimately defines trio-convulsant—and I’mparticular about the name being lower case—is the

instrumentation, which is upright bass, electric guitarand drums. Within that there is some vocabulary
running through all versions: a compositional approachto the writing—as one would compose for a chamber
ensemble, for example—improvisational elements anduse of jazz and rock language. To me that all just saysa jazz trio that uses power chords and pan-tonalcounterpoint. I think some of the influence also camefrom seeing bands like the Splatter Trio or Marc Ribot’s
Shrek when I was living in San Francisco in the ‘90s.
The core of the group has been myself, [drummer]
Ches [Smith] and [guitarist] Mary [Halvorson] since2004, but I knew I wanted to expand the trio withaccompaniment in the tradition of Fusion! Wes
Montgomery with Strings or Paul Desmond’s DesmondBlue with guitarist Jim Hall. I specifically write most of
the trio-convulsant music on guitar as it is a “guitarcentric” group, but I kept the entire instrumentation inmind as I was composing.
TNYCJR: The new album expands the trio with folie à
quatre: Carla Kihlstedt, violin and viola; Oscar
Noriega, bass clarinet; Mariel Roberts, cello; and Anna
Webber, flute. Did they already exist as an ensemble or
did you put them together?
TD: I put the quartet together and gave it its own
name to emphasize the roles of the trio and quartet.
That said, much of the writing is somewhat
integrated, not necessarily always as clear-cut as thedesignation suggests.
TNYCJR: There is so much in Séances—so much
melody, so much energy, even something that struck
me as rather elegant guitar feedback. Did you writefor one half of the double ensemble and then theother half?
TD: There is a lot of doubling going on: violin doubling
the guitar melody, bass clarinet doubling the bass part,etc., but I also wanted to take advantage of as manysmaller ensembles I had available and mix theorchestration around. So, I still think of this as a trio
record even though it essentially functions as a septet
and everyone gets a chance to improvise or be featured.
I think very melodically when I write, on a basic level.
That is, I’m writing melodies that are harmonized ortreated as the thread of each piece and I really love‘counter melodies’ so having more instruments
facilitates that.
TNYCJR: It should be noted that there is a whole otherlayer of the music, a mysticism that is somewhat
implicit in the album title and laid out in your essay
included with the record. How crucial is thatbackground knowledge to listening, or how much doesit add?
TD: I’m glad that layer is coming through, but honestly

6 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

I’ve lost any objective view as to whether it is crucial.
The way I incorporate a specific extra-musical concept
is intentionally vague and ambiguous. I’m hoping thatwhat I’m studying or referencing is seeping insubconsciously.
Ultimately, any concept is grounding for thelistener. It grounded me as I wrote, but however it isinterpreted by everyone else is up for grabs. As thecomposer, it is easier for me at some point to step backand say, oh this part sounds like a haunted church, ora form of torture or whatever, and that then guides meback to my list of titles or phrases that I’ve been
keeping track of.
				(CONTINUED ON PAGE 39)

BAR BAYEUXCOCKTAILS, WINE, CRAFT BEER,
1066 NOSTRAND AVENUE - BARBAYEUX.COM
Tuesdays: 8 pm-12 am Jam Session with Diego Voglino
Wednesdays: 8 & 9:30 pm
Sullivan Fortner Trio (Oct. 5th)
Michael Weiss Trio with Ugonna Okegwo, Otis Brown III (Oct. 12th)
Civil Disobedience—Blue Note Records in the Progressive ‘60s (Oct. 19th)
Sam Newsome, Angelica Sanchez, Brandon Lopez, Reggie Nicholson (Oct. 26th)
Thursdays: 8 & 9:30 pm
Jeremy Udden, Adam Kolker, Jeremy Stratton, Anthony Pinciotti (Oct. 6th)
Rich Perry, Adam Kolker, Jeremy Stratton, Kayvon Gordon (Oct. 13th)
Chris McCarthy (Oct. 20th)
TBA (Oct. 27th)
5 - 7 pm Happy Hour with Marta Sanchez
Fridays: 8 & 9:30 pm
Kiyoshi Kitagawa (Oct. 7th)
Jerome Sabbagh, Simon Jermyn, Allison Miller (Oct. 14th)
Marta Sanchez (Oct. 21st) | TBA (Oct. 28th)
Saturdays: 8 & 9:30 pm
Garvin Blake (Oct. 1st)
Adam Kolker, Scott Wendholt, Ugonna Okegwo, Billy Hart (Oct. 8th)
Vinicius Gomes (Oct. 15th)
Bruno Råberg, Allan Chase, Bruce Barth, George Schuller (Oct. 22nd)
Mimi Jones (Oct. 29th)
6 - 7:30 pm Adam Kolker Duo Series

HSEPTEMBER 27TH - OCTOBER 2NDH

KURT
ROSENWINKEL QUARTETAARON PARKS – ERIC REVIS – GREGORY HUTCHINSON
HOCTOBER 4TH - OCTOBER 9THH

GERALD
CLAYTON TRIOIMMANUEL WILKINS – JOEL ROSS
HOCTOBER 11TH - OCTOBER 16THH

BILLY HART QUARTETMARK TURNER – ETHAN IVERSON – BEN STREETHOCTOBER 18TH - OCTOBER 23RDH

FRED HERSCH TRIODREW GRESS – JOCHEN RUECKERTHOCTOBER 25TH - OCTOBER 30THHRAVI COLTRANE 3 + 3
DEZRON DOUGLAS – JOHNATHAN BLAKE (TUE - THU)GADI LEHAVI – ÉLE HOWELL (FRI - SUN)

COMING IN NOVEMBER
HBEN WENDELHHDONNY McCASLINHHJASON MORANH
HCHRISTIAN McBRIDEHADRIEN H. TILLMANN - WWW.AHT1985.COM

ARTIST FEATU RE

THEON
CROSS

For more information, visit theoncross.com. Cross is at
BRIC House on Oct. 22 as part of BRIC Jazzfest. See
Calendar.
Recommended Listening:• Sons of Kemet–Your Queen Is A Reptile(Impulse!, 2017)• Makaya McCraven–Where We Come From (Chicago x
London Mixtape) (International Anthem, 2017)• Theon Cross–Fyah (Gearbox, 2017-18)• SEED Ensemble–Driftglass (Jazz Re:freshed, 2018)• Marcus Joseph–Beyond The Dome(Jazz Re:freshed, 2020)• Theon Cross–Intra-I (New Soil, 2021)

by matty bannond
Secretly, Theon Cross’ parents signed him up for brasslessons at school. He had no idea what a brass
instrument was and no say in choosing which horn hewould learn. To allocate the hardware, kids in the class
took turns blowing into one mouthpiece after anotheruntil they produced a sound. Cross somehow set thetenor horn mouthpiece buzzing. That fateful squawk
was the first note sounded in the British tuba player ’saward-winning career.
Cross switched to the tuba at 14, after he joineda marching band called Kinetika Bloco. It brings
together aspiring musicians for workshops followedby performances at Notting Hill Carnival, an annual
Caribbean festival taking place in London since 1966.
“That’s where I met my mentor, Andy Grappy,” Cross
says. “He was the first one I saw who showed the
tuba’s capabilities as a powerful instrument,
particularly as a bass instrument. He pretty much took
me under his wing.”
Today, reviewers frequently describe Cross as
a musician who is redefining or revolutionizing the
tuba. The 29-year-old accepts the compliment. “I’m not
the first,” he says. “But when people think of the tuba,
they don’t often think soloist or nimble. They thinkcumbersome, heavy and quite limited. I feel like I’m
repositioning people’s perceptions of where it should
be in an ensemble or the kind of band it should bein and whether it should be at the front as a lead
instrument or at the back.”
His sound is now characterized by a unique blendof influences drawn from the rich variety of musicalstyles that reverberated off the walls in Cross’childhood home. His father and mother were born in
the UK to parents from Jamaica and St. Lucia,
respectively. In the ‘80s, Cross’ father played ina reggae group. His unreleased recordings were often
played at home, interspersed with big names such as
Maxi Priest or Gregory Isaacs. His mother ’s family
introduced Cross to Soca and Zouk traditions.
Television then exposed him to American R&B andhip-hop while rap artists like Kano and Dizzee Rascal
were leading the emergence of grime in London.
Inspiration also came from Cross’ grandparents,
who arrived in the UK in the ‘50s. They were partof the Windrush generation, encouraged by the British
government to leave the former countries of the Empire
and Commonwealth to fill labor market shortages in
the UK. But these immigrants faced discrimination andracism, including attacks from fascist groups.
The track “40tude” from Cross’ 2021 album Intra-I
reflects on and celebrates the courage of the Windrush
generation. Cross’ grandparents often looked after him
while his parents worked. “Lucky for me, I had a lot of
their culture around me when I was a kid,” he says.
“They used to throw amazing parties at the house andI have formative memories of the music they’d play,
particularly dance music from West Africa or the West
Indies. I probably should’ve been sleeping.”
Early projects in Cross’ career added further hues

to his palette. Playing in the Kansas Smitty’s bar bandprovided insights into the tuba’s role as the dominantbass instrument in music from the pre-bop era. In Sons
of Kemet, Cross grabbed his chance to look beyond
American music and utilize aspects of his Caribbean
influence. The group’s third album, Your Queen Is a
Reptile, was nominated for the 2018 Mercury Prize.
In 2019, Cross released his first album as a title
artist. Fyah is a potent brew of musical ideas andinfusions. It takes elements of modern styles andsqueezes them together in a traditional jazz
instrumentation. “It was about emitting positiveenergy. Even spelled that way, Fyah means something
positive as opposed to destructive.”
Two years later, the album Intra-I reversed thefocus. “It was less about what I’m radiating out andmore about going into myself,” Cross says. “It was
about exploring myself as a human being and using
the tuba as a means to explore self. Most of the sounds
on the album emanate from the tuba, all the frequencies
from the chords and the bass and the melodies…”
Big opportunities have come Cross’ way as his
reputation has grown. Last August, he was featured asa soloist with the Metropole Orkest at the Royal Albert
Hall during the Proms, a prestigious series of concertsin the UK. He joined saxophonist Soweto Kinch andvocalists Siyabonga Mthembu and ESKA for a showcalled The South African Jazz Songbook. “I’m not
a South African musician, so I’m humbled to be asked
to be part of that experience and I hope I represented
for that community.”
Cross is also among the first musicians to be madeinto a 3D digital avatar, following a live-streamed
performance at Abbey Road Studios during the winterlockdown of 2021. Wearing a motion-capture suit, he
was portrayed via a tuba-playing likeness on a virtual
reality platform, with sonic booms and otheranimations shooting out of the instrument.
A vinyl-only live recording of the show was released in
September, with Cross’ track “Panda Village” available
for download.
In the same month, Blue Note released Blue Note
Re:imagined II, a collection of creative reinterpretationsof tracks from its gigantic catalogue and Cross provided
an inside-out rendition of “Epistrophy” by Thelonious
Monk. “Everything about Monk is unique and he isalways being himself, so I would’ve hated to approach
it in a way that was predictable,” he says. “I took myapproach of style and instrumentation and reallymessed with it to take it in a different direction using
pedals and harmonizing in a different way.”
The ambushed, accidental beginning of Cross’
career now stands in ludicrous contrast to his body ofwork. He is an artist with access to a prodigious rangeof styles and sentiments he combines like a scientist,
mixingexpertprecisionwithaudacious
experimentation. Since that first fateful squawk, he has
dragged the tuba out of the shadows and up into the
spotlight at the front of the stage. v

Celebrating 40 Years of Live Jazz
Oct 2 - ROVA Saxophone Quartet

Nov 19 - Stew Cutler TrioOct 5 - Hank Roberts Sextet

Nov 25 - Three Shamans:
Phil Haynes, Ken Filiano& Herb Robertson

Oct 12 - TRYYO: Michael Vlatkovich,Jonathan Golove & Damon ShortOct 29 - Lou Grassi & Ken Filiano
Nov 10 - Joe Policastro Trio
Nov 17 - Michael Sarian Quartet

Nov 26 - Joe Fiedler's Open Sesame
Nov 27 - Joe Fonda Bass of Operation
Nov 28 - Michael Musillami Trio

BopShop.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 7

ON THE COVER

BASS AS BASE
by george kanzler

Rufus Reid’s latest album, Celebration (Sunnyside), is

an expansion of a recording project he did for theaudiophile vinyl label Newvelle in 2016, featuring histrio with the Sirius Quartet. “I always wanted to do
strings,” said Reid from his home in Teaneck, N.J.
“I fell in love with the Bill Evans’ ‘60s album withstrings [Bill Evans Trio with Symphony Orchestra, Claus
Ogerman, arranger, conductor], so when Newvelleasked me to do something I’d never done before, I
jumped at the chance to do one with string quartet.”That LP, Terrestrial Dance, Reid’s Out Front Trio with
the Sirius Quartet, is now sold out and two years after
its release, the audio files reverted back to Reid. There
was only one proviso; Reid could not release the musicon vinyl. “That was fine with me,” says Reid, “as mostpeople hadn’t heard it, the music and concept was still
fresh and I could release it on CD and streaming.”
For the new release, Reid reconvened his trio
(pianist Steve Allee and drummer Kenneth Salters,
subbing for Duduka da Fonseca) and the Sirius Quartet
for two pieces, “Celebration” and “The Rise of theRow,” which bookend the Newvelle tracks. He also
restored a trio number, “One for Amos,” left off the LP.
In writing for the strings, Reid says he wanted to “write
things for them to play, not just whole notes; I wanted
them to have a real say in the music.” So the strings
contribute melodic and harmonic passages, shout
choruses and backing riffs, Reid using them more likearranger Eddie Sauter did on the Stan Getz Focus album
than like the more common “with strings” jazz albums
that followed in the footsteps of Charlie Parker.
Reid’s string writing is part of his emergence as acomposer, a third career step he took in 1999, when heretired as Director of Jazz Studies and Performance at
William Paterson University in New Jersey, a position
he held for 20 years. That role was concurrent with hisparallel career as a master jazz bassist, one that began
in the ‘70s and continues today.
But Reid did not begin his musical life as a bassist.
As a child and teen, he played brass instruments,
settling on trumpet. At 17, after graduating from highschool in Sacramento, California, he joined the Air
Force, qualifying as a trumpeter assigned to an Air
Force Band, first in Montgomery, Alabama and then in
Japan. So how did he end up with the double-bass?
What made him choose it?
“The bass chose me,” he says. “In high school
I was in a little group. Every time we took a break fromrehearsing, I would go over to the bass and strum thestrings and feel the vibration it made. In retrospect,that was my initial infatuation and the rest is history.”
As a late teen in the Air Force in 1962 in
Montgomery, Reid was not heavily conversant withjazz or live music. But there he got to see acts like Ike
and Tina Turner and James Brown live at local clubs.
But what really impressed him was a jukebox playing
Horace Silver ’s “Señor Blues”.
“That bassline on ‘Señor Blues’ really hooked me,”says Reid. “And I started buying jazz records,
concentrating on the bass parts. I also started practicing
on the bass in the band room, since the bassist in theband was really a tuba player and didn’t care muchabout the string bass.”
Reid extended his enlistment in the Air Force so hecould go overseas and was stationed in Japan from1964, leaving the service in 1966. In Japan he got the
chance to see many of the musicians he had heard onrecord, such as the Oscar Peterson Trio with bassist
Ray Brown, an early idol; Duke Ellington; the Modern
Jazz Quartet; Horace Parlan; Blue Mitchell and Toshiko
Akiyoshi. “I had the records,” he says, “but seeing
them live was amazing. I said this is it, this is what
I want. My time in the military changed my life. I was
still a trumpeter but I didn’t care about it. When I left
the Air Force I sold my trumpet and bought a bass.”
He soon left Sacramento to join his brother inSeattle, where he pursued studies with a bassist fromthe Seattle Symphony Orchestra. In 1969 he enrolled asa music major at Northwestern University in Chicago.
“Chicago was the best for me then,” said Reid. “I wasin the big band at school, which I had never done, andhad top [classical] teachers at the school. And I also
had Joe Segel’s Jazz Showcase, the jazz club on
Chicago’s Southside.” Reid became the house bassist at
Segel’s club for five years, getting to play with most of
the top players of the era. In Chicago he also recordedwith Kenny Dorham, Dexter Gordon, Lee Konitz andHoward McGhee. In 1971 he toured with the bands of
Bobby Hutcherson-Harold Land, Freddie Hubbard
and Nancy Wilson. Then he was in saxophonist Eddie
Harris’ band for three years.
“People ask me who was the most influential
leader I worked with,” Reid says, “and many assume
it was Dexter Gordon, but it was Eddie Harris. He
taught us not to be afraid of music, to play all kinds ofmusic. [Pianist] Muhal Richard Abrams was in theband and we would play bebop. But Eddie said that if
we wanted to play pretty, let’s play pretty. ‘And if weplay funky, I want to hear funky. And if we are going toplay out, I don’t want to hear a triad’. And we almost
did all of that, every night.” Harris also encouraged
Reid to write his own bass book, after learning Reid
had been promoting Ray Brown’s. “He said ‘Why don’t
you write your own damn book?’” The Evolving Bassist
has been in print since 1974 and is considered thedefinitive volume on jazz bass technique.
At the time Reid was with Harris, the saxophonist
was selling a lot of records for Atlantic. And the label
wanted him to record with their house rhythm section,from Aretha Franklin and other artist’s sessions. “But
Eddie said no,” says Reid. “He stood up for us. He said
‘These are the guys who travel with me, who play withme every night. I have to have my guys with me.’ He
was one of those guys who were honest and fought for
us. And when we came up with songs together, he put
our names on them so we had part of the copyright. He
was a nice guy and very honest. And I can’t say thatabout many leaders I’ve worked with.”
In mid-1976 Reid moved to New York and secured
his first job in a big band, the Thad Jones-Mel Lewis
Orchestra, which played Monday nights at the Village
Vanguard. He left the band to tour with Gordon and

8 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

others, but periodically returned. By then he was oneof the premier bassists in jazz. Barney Kernfeld, editorof the New Grove Dictionary of Jazz, wrote in his entry
on Reid: “He performs with a consistently rich tone
and creates tuneful solos, in which he plays arco aswell as pizzicato.”
In the late ‘70s, Reid was concentrating on a
prestigious performing career when his next career
opportunity arrived. “Thad [Jones] was the Artist in
Residence at William Paterson College [WPC, now
University] and we, the Thad and Mel Quartet, used to
do master classes there,” recalls Reid, “but in Septemberof 1979 Thad was a no show at the college. He’d gone
to Denmark and decided to stay. Dr. Marty Krivin [ofWPC] called me and asked if I could fill in for Thad.
I said I really didn’t want to do that; I’d come to
NewYork to play, not to teach. But he persisted and I
went out to check it out.” Reid ended up staying for 20
years, becoming instrumental in building the first
degree program in jazz studies in the tri-state area. But
he also continued to perform and tour with a host of
luminaries, including Gordon, Stan Getz, J.J. Johnson,
Phil Woods, Benny Golson and many more. And at
William Paterson, his program turned out suchprominent musicians as guitarist Peter Bernstein, tenor
saxophonist Eric Alexander and drummers Joe
Farnsworth and Carl Allen, as well as trumpeter
Freddie Hendrix, who regularly plays in Reid’s bands.
In 1999, when Reid retired from William Paterson,
he embarked on the latest chapter of his career. “I was
always intrigued about composition,” he says,“especially after having Benny Golson as a visiting
artist at the university, making me wonder how do theycome up with all this? So when I retired from William
Paterson I heard about the BMI Jazz Composers
Workshop and immediately joined. It was led by MannyAlbam and Jim McNeely and it blew my head off. It
was a whole new chapter in my life.” That chapter led
to Reid writing for big bands and orchestral ensembles.
“I didn’t think about was I going to make enoughmoney, I just wanted to do it. I got sucked up into thiscompositional world.” That world led to a Guggenheim
Grant in composition in 2008, a 2012 Grammynominated suite for large jazz ensemble, Quiet Pride The Elizabeth Catlett Project, and his current work withstring quartets and an upcoming symphonic work. v
For more information, visit rufusreid.com. Reid is at Dizzy’s
Club Oct. 28th-30th. See Calendar.
Recommended Listening:• Dexter Gordon–Nights at The Keystone (Blue Note, 1978-9)• Kirk Lightsey–The Nights of Bradley’s (Sunnyside, 1985)• Rufus Reid/Michael Moore–Intimacy of The Bass
(Double-Time, 1999)• Rufus Reid Quintet–Live at The Kennedy Center(Motéma Music, 2006)• Rufus Reid/Sullivan Fortner–
Always In The Moment (Newvelle, 2019)• Rufus Reid–Celebration (with the Sirius Quartet)(Sunnyside, 2016/2022)

JOHN ABBOTT / COURTESY OF THE ARTISTRUFUS REID

SILVIO MAGAGLIOENCORE

JOACHIMKÜHN
by andrey henkin
Shortly before reaching out to German pianist Joachim

Kühn for this piece, the news came that his older
saxophonist/clarinetist brother Rolf had passed away
at the age of 92 [see obituary on pg. 12]. Asked about
his influence, the younger Kuhn was emphatic:“Because of him, I became a jazz musician. He took me
to a concert of Chet Baker in West Berlin and I decided
right then I only want to be a jazz musician, no Plan B.
For me, Rolf had the best clarinet sound in the world.
Listen to what phrases and ideas he plays on Impressionsof New York [Impulse!, 1967] and Lifeline [Impulse,
2011]. He should get more recognition as an innovator.”
Kühn was born Mar. 15th, 1944 in Leipzig. He
made his recording debut on his brother ’s Solarius(Amiga, 1964), done shortly before the brothers leftthen-East Germany, then they made the shared album
Re-Union In Berlin for CBS in 1965. Since then, Kühn
has been a prolific leader, collaborator and sideman.
Two sides of his artistry can be seen in recent
releases. Last year saw the release of his 17th album for
ACT Music, Touch the Light, a fascinating solo datewith music ranging from originals and jazz pieces byBill Evans, Gato Barbieri, Mal Waldron, Joe Zawinul
and others to classical repertoire from Beethoven andpopular fare by the likes of Hoagy Carmichael, Bob
Marley and Prince.
On the other hand is Les Disques Linoleum’s
newly unearthed Scream For Peace, a concert from the1969 Paris Biennale with French bassist Jean-François
Jenny-Clarke and drummer Jacques Thollot, just over
30 minutes of raging free jazz, which also finds Kühn
on alto saxophone, an instrument he likes because of
its ability to play long tones, unlike the piano, andexpress physical energy. The invitation to play camefrom André Francis, host of Office de Radiodiffusion
Télévision Française’s “Jazz Vivant” program.
While in Paris, Kühn recorded two LPs for BYG
Records’ Actuel series, notable for being among the
few by a non-Black American expatriate. Sounds ofFeelings (recorded Jan. 25th, 1969) was his leader debut,a trio date with Jenny-Clarke and Italian drummer
Aldo Romano, while Paris is Wonderful (waxed Oct.
27th, 1969 and Feb. 11th, 1970) adds Thollot to theearlier trio. So Scream for Peace, performed on Oct. 12th,
1969, bridges the gap between those two albums.
But between his time in Germany and France,
he and his brother spent time in New York. “Rolf andI played Newport 1967 [the music was included in the2019 MPS boxed set Rolf Kühn - The Best Is Yet Come]and Bob Thiele invited us to record for Impulse! It wasa dream come true.” This became the aforementioned
Impressions of New York, with Romano and John
Coltrane bassist Jimmy Garrison, recorded 10 days
after Coltrane’s death (a movement of the title suite istitled “The Saddest Day”).
Kühn spent six weeks in New York and then cameto Paris, where Romano got him acquainted with the
jazz scene and trumpeter Don Cherry invited him toplay with him for a two-week engagement. Kühn
recounts: “I met Aldo and Jean-François, Don Cherryand [German vibraphonist] Karl Berger in Prague in
1965. I jammed with this supergroup after their concert.
When I could escape from East Germany, I got in touchwith Aldo from Hamburg. We played festivals with
Rolf and recorded Transfiguration [SABA, 1968, with
Berger, Romano and French bassist Beb Guérin].
I played with [saxophonist] Gato Barbieri’s quartet in
Italy, with [trombonist] Eje Thelin in Sweden and in
Paris and France with my groups or [French reedplayer]
Michel Portal or [French violinist] Jean-Luc Ponty. Also
I played with [trombonist] Slide Hampton in Paris clubs
and in 1969 recorded in a quartet with [drummer] Philly
Joe Jones and [Danish bassist] Niels-Henning Ørsted
Pedersen [The Fabulous Slide Hampton Quartet, Pathé].”
One would be hard pressed to name anothermusician who has worked with Gerd Dudek, Jan
Akkerman, Martial Solal, Michael Brecker, George
Lewis, Archie Shepp and Ornette Coleman. When
asked about these encounters, Kühn responds simply:“You can always learn something from mastermusicians.” Kühn is also one of the few pianists towork with Coleman and two 1996 recordings, one livein Leipzig and the other done in a New York studio,
were released on Coleman’s Harmolodic label. “I had
a great relationship with Ornette,” says Kühn. “Forevery concert he wrote 10 new tunes, flew me to New
York and we played those tunes for a week. He wanted
me to make the chords so I was really musicallyinvolved. We played 10-12 hours a day at his
Harmolodic Studio, first in duet, then quartet andeverything was recorded. I have all the copies, around50 hours with Ornette. Fantastic!”
In 2018 Kühn recorded an album for ACT Music
called Melodic Ornette Coleman and featuring
13 Coleman pieces alongside one Kühn original. He
explains the relationship with producer Siggi Locht,
which goes back far before Kühn’s 1994 debut for thelabel. “Siggi Locht brought me to Atlantic Records in
1976. With this I could move to California for five
years. I made two albums, Spring Fever and Sunshower,
and both made the Billboard charts. This was the jazzrock period...a lot of keyboards. So I have known
Siggi for around 45 years and he has supported mesince then. In fact, he is one of my main supporters
besides my brother and [MPS producer] Joachim-Ernst
Berendt. I think we have a very good relationship and
ACT is one of the main labels in jazz.” It was Locht
who picked the material for Touch the Light. “Siggi
wanted a ballads album so I recorded 40 ballads and let
him choose the material. Like this, I could reach more
people and it was successful.”
So, for those keeping track, Kühn has lived in
Leipzig, Hamburg, New York, Paris and California.
But his home for the past 30 years has been the Spanish
island of Ibiza, known more for its EDM scene thanjazz. Asked about how he ended up there, Kühn said,“No jazzman ever moved to Ibiza but I don’t follow
anybody and I like the life here: very free andspontaneous; looking at the sea when I play piano;
many musicians visiting me here. But I need isolation
to create, just my wife Renate and me­—independent. v

1960), Freddie Hubbard also put down two Massey
tracks on Here to Stay (Blue Note, recorded 1962,
released 1976) and Coltrane recorded a Massey songon Coltrane, The Believer and on the Africa/Brass session(“The Damned Don’t Cry”, not on the original album).
Blues To Coltrane (recently reissued by a resuscitated
Candid) shows a solid hardbop trumpeter with a soft
penumbra to his articulation and a careful way withplacing his notes. Growing up in Philadelphia, Massey
studied with Freddie Webster and played in big bands
under Jay McShann and Jimmy Heath and in a small
ensemble with McCoy Tyner, Jimmy Garrison andAlbert “Tootie” Heath. The latter brought him together
with Coltrane. Massey’s writing style on the album,
and on those of other musicians, is lyrical and bluesy,
with an elegant strength, a sense of self-possession andgrace. “Father and Son” is one of the top tracks on HereTo Stay and the highlight of Massey’s own album; there
is a case that it is the perfect Blue Note single, summingup the mix of earthy feeling and sophisticatedmusicianship that is the essence of the label and the
hardbop era. Massey himself gives it a quizzical,
polyrhythmic arrangement while Hubbard maintains aloping, funky swing and both approaches work.

Massey was mainly a regional player, active in his
way but working at the margins. He moved to Brooklyn
and was active in the jazz scene, though confined hislive playing in New York to that borough. His widow
Charlotte, quoted by saxophonist/bandleader/activist
Fred Ho in a valuable essay on Massey, explained thatthey lived “at the edge of poverty” and that Massey
worked on arrangements for other musicians andbands in order to earn money. Although not recording
or playing the clubs in the Village, Massey wasmaintaining, in one way or another, an active musicallife. Jackie McLean played two more of Massey’s pieces
on his late ‘60s Blue Note album Demon’s Dance andMassey himself was playing up to the point of hisdeath, including touring with Archie Shepp andplaying in Romulus Franceschini’s Romas Orchestra.
He was composing for them too and this is perhaps
his deepest legacy and the one that, it seems, hamstrung
his own career. Ho attests to Massey’s radical politics,
starting from the Civil Rights movement and eventuallybringing him to find inspiration in the Black Panther
Party, the explicit inspiration for his Black Liberation
Movement Suite, a large-scale, sumptuous work he					(CONTINUED ON PAGE 39)

For more information,
Joachim-Kuehn

visit

actmusic.com/en/Artists/

Recommended Listening:• Rolf and Joachim Kühn Quartet–
Impressions of New York (Impulse!, 1967)• Joachim Kühn Trio–Scream For Peace (Biennale De
Paris 1969) (Linoleum, 1969)• Joachim Kühn/Daniel Humair/J.F. Jenny-Clark–
From Time To Time Free (CMP, 1988)• Ornette Coleman/Joachim Kühn–
Colors (Live From Leipzig) (Harmolodic-Verve, 1996)• Archie Shepp/Joachim Kühn–
Wo!Man (Archieball, 2010)• Joachim Kühn–Touch the Light (ACT Music, 2021)

LEST WE FORGETCALMASSEYby george grella
There is only one album in the entire jazz discographythat has trumpeter Cal Massey as a leader, Blues To
Coltrane. And that album, recorded for the Candid
label in 1961, was only first released in 1987, 15 years
after Massey was felled by a heart attack at 44.
That is a setup for a ‘forgotten man’ kind of story,
something like the ex post facto discovery of Tina
Brooks. But Massey, though never well known with thegeneral jazz public, has always been around in the
background, through the musicians who preserved
and played his compositions. Even before he went into
the studio for his own album, the most prominent
players of his era were playing his music: Lee Morgan
recorded two Massey tunes on Leeway (Blue Note,

10 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

L ABEL SPOTLIGHTDISCUS-MUSICby jim motavalli
Martin Archer has been running Discus-Music in

Sheffield, England since 1994 and it is safe to say he isalways done it his way. “I didn’t want anyone tellingme what to do,” he said. “I didn’t want to be boundby strict labels, because the music that influenced meis quite varied, from Miles and Mingus to the Art
Ensemble of Chicago, but also progressive rock like
Soft Machine, Magma and Can and folk like Fairport
Convention. A group I loved was East of Eden, because
their albums combined electronics, jazz and psychedelic
pop. I asked, ‘Are you allowed to do that?’”
In a catalogue of 150 titles, all those musical styles
sit happily next to one another and many with Archer ’s
input as player or arranger. His main instruments are
the saxophones he has been playing since 15, but healso records on piano and the synthesizers, as heard on
his 1995 solo album Ghost Lily Cascade.
A duo disc of pianist Cecil Taylor and drummer
Tony Oxley, recorded in 2002 but released in 2021, is agood seller. Also mainstays of Discus’ catalogue are therecordings Archer has made with vocalist Julie Tippetts,
who has had a fascinating career in British music.
Originally Julie Driscoll, she came to prominence in1965 with the blues outfit Steampacket, which also
featured Rod Stewart, Brian Auger and Long John
Baldry. She then teamed up with Auger for some very
successful jazzy and bluesy albums. But in 1970 she
married jazz pianist Keith Tippett and focused on

Made From A Broken Star
Army of Briars

Heartless
Forensic Trio

experimental jazz. She has five duo albums with Archer,the most recent Illusion, which incorporates someelements from her earlier work in rock. Tippetts is also
heard on Archer’s solo album In Stereo Gravity and on
the Archer/Geraldine Monk duo record Fluxium.
There was experimentation in the air in late ‘60s
Britain. The Harvest label produced not only East of
Eden but the Third Ear Band, a wildly out-of-time
instrumental ensemble that practiced free improvisationand had jaw’s harp and an oboe in the front line. “I loved
their soundtrack for the film Macbeth,” Archer said.
“They really pushed at the limits, but sold really well.”Free improvisation is at the heart of many of theDiscus projects, especially those that feature Archer asa musician. “Whatever I’m doing, improvisation is at
the heart of it,” he said. Archer ’s current working
groups are Hi Res Heart, Anthropology Band, Das Rad(a duo with John Jasnoch), the Forensic Trio, Inclusion
Principle and the Orchestra of the Upper Atmosphere.
And don’t forget the avant garde choir Juxtavoices.
Archer has 70 releases either as leader or co-leader.
Archer also heard the albums the British folk
singer Bridget St. John made in that early era, the first
produced by famed DJ John Peel on his own Dandelion
label. “Ron Geesin’s arrangements on her Songs for the
Gentle Man album [1971] were an inspiration for me
when we recorded Army of Briars’ Made From a Broken
Star album.” This is a British folk album with a stringorchestra and quartet, somewhat reminiscent of the
Anthems in Eden album that Shirley and Dolly Collins
made in 1969 and also released on Harvest. Like manyof the Discus records, Made From a Broken Star wasrecorded at home in Sheffield. “There are some nicesounding rooms and I can record a trio or quartet

Yes Tomorrow
Paul Dunmall Quintet

here,” he said. “For more elaborate projects, there aresome nice studios locally.”
Discus has evolved. “Ten years ago, I was only
putting out records with people I knew or had worked
with,” Archer said. “I was cautious about new artists
and maybe having to tell them we’d only sold 120
copies of their record or whatever. But I’ve gradually
gotten less and less worried about that. It is been a lotof fun. Artists are queuing up. People want to be on thelabel. I don’t think about styles. It is more about does
the project succeed, does it contain improvisation?”
Making records is a perilous business, so it helps
that Archer doesn’t rely on it for financial support.
“I’ve maintained a parallel career in the finance andproperty industries,” he said. “So Discus wascushioned in that way, but I’ve tried to ensure that the
projects all break even in the end. Nobody is getting asalary, but I make sure the musicians get paid.”
The albums are available on CD and in download
form. LPs are done on a special basis, but there is aproblem for a label with an international audience.
“It costs 17 pounds to send a vinyl album to the U.S.,”
Archer said. The entire catalogue remains in print,
though if all the physical copies are gone customers
will have to settle for a download. The label is patient.
“Sometimes it takes a decade or two to sell out of 500
CDs,” Archer said. “60 percent of our customers want
the CD and 40 percent want the download. Downloads
alone aren’t as popular.”Discus is accepting submissions, but don’t bothersending Archer something tightly arranged. He wants
to hear some improvisation in the mix.
For more information, visit discus-music.co.uk

Illusion
Julie Tippetts/Martin Archer

Unreleased (1974-2016)
Tony Oxley

VOXNEWS

COMING
BACK
TOYOU
by suzanne lorge
O n Oct. 1st, 1972, Tim Hauser, Laurel Massé, Janis

Siegel and Alan Paul stepped out officially as
The Manhattan Transfer. Their idea was to apply close
jazz harmonies to a genre-agnostic repertoire; justabout anything could work, as long as it swung. Whatfollowed were 29 albums, double-digit Grammy wins
and nominations (with Cheryl Bentyne, who replacedfounding member Massé in 1979) and numerous tours,
film scores, television shows and big-namecollaborations. This month they depart on their final
world tour, a five-month journey to introduce theirnewest album, Fifty (Craft Recordings/Concord),recorded in partnership with Germany’s famed WDRRadio Orchestra Cologne. The album reprises two
well-known tracks from the height of the group’s
popularity: 1977’s “Chanson D’Amour” and 1980’s“Twilight Zone/Twilight Tone”. But be forewarned:
this retrospective doesn’t include renditions of theirenormously successful crossover covers of “Birdland”
or “The Boy From New York City”. Instead, threepitch-perfect tracks from their last album, The Junction(the group’s first with bass Trist Curless, replacing
Hauser, who passed away in 2014), make the cut:

“Paradise Within (Paradise Found)”, “Blues For Harry
Bosch” and “The Man Who Sailed Around His Soul”.
On Fifty they also unveil a never-heard arrangement ofArtie Shaw’s “The Man I Love”, the only premiere on
the record. To date, the tour doesn’t include a New
York show, but for a preview, see the album video of“God Only Knows”, the bittersweet Beach Boys tune
about how love can transcend time.
Producer Larry Klein was very close to Leonard
Cohen, especially in the last years of the composer’s
life. After Cohen’s death in 2016, Klein felt drawn again
and again to his enormous catalogue of poetry-driven
songs, so much so that he decided to create a musicaltestimonial to his departed friend. On Oct. 14th Blue
Note drops Here It Is: A Tribute To Leonard Cohen,a dozen masterpieces performed by an eye-popping
roster of jazz, pop, folk and gospel singers including
Norah Jones, Gregory Porter and Luciana Souza.
Klein’s studio band hails from the same pedigree:
guitarist Bill Frisell, alto saxophonist ImmanuelWilkins, pianist Kevin Hays, bassist Scott Colley anddrummer Nate Smith. To grab a listen before the album
release, check out James Taylor’s minimal, dark-voiced
version of “Coming Back to You” on video, stream or
download. Or catch Souza at Columbia University’s
Miller Theatre (Oct. 15th), where she appears withVince Mendoza, a contributing arranger to the
Manhattan Transfer’s Fifty.
AfroBrazilian singer-songwriter Milton Nascimento,

too, has announced his retirement from touring. “I’msaying goodbye to the stage, but I’m not saying
goodbye to music. I refuse to say goodbye to music,”
he told The Guardian in May. During his six-decade
career, Nascimento turned out 43 trailblazing albums,
several with Wayne Shorter and Herbie Hancock. His
final tour comes to Sony Hall (Oct. 11th).
Singer Vicki Burns expands further into composing
on her third release, Lotus Blossom Days (ViBu Jazz).
While there is much to recommend this record—her
way around a Strayhorn tune (“Bittersweet”), comfort
with a strong groove (“Out Of This World”), informed
vocal improvisations (“A Long Way To Go/Equinox”)—
it is another matter altogether to write a good tune. She
presents two from her own pen on this record, the noir
midtempo “Love Spell” and magnetic ballad “SirenSong”. Then, vocalist Tessa Souter’s sophisticated tune,“You Don’t Have To Believe”, gives Burns a chance toshow off both her range and phrasing ability. Burns
plays the Lexington Hotel (Oct. 20th, one of her regulargigs) and Pangea (Oct. 24th).
Other gigs: Sachal Vasandani brings his
spectacular vocal chops to The Jazz Gallery (Oct. 1st).
Summer Rona immortalizes R&B phenom Teena Marieat Minton’s Playhouse (Oct. 15th). And singerdramatist Queen Esther’s danceable concert work, The
Black Rose of Texas, returns to Dizzy’s Club withvocalists Kat Edmonson, Synea Cidney Nichols andJustin Poindexter (Oct. 15th-16th). v

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 11

IN MEMORIAM
WARREN BERNHARDT (Nov. 13th,
1938 - Aug. 19th, 2022) The pianist cameup in the ‘60s bands of Paul Winter,
worked with Gerry Mulligan, Astrud
Gilberto, Don Sebesky, Mike Mainieri
and Jeremy Steig in that decade andlater Pat Martino, Jack DeJohnette,
Jon Faddis, Art Farmer, Teo Macero, Kiyoshi Sugimoto,Kazumi Watanabe, Gato Barbieri, Chuck Loeb andothers to go along with leader dates since the ‘70s on
Arista Novus, DMP, his own BGS and other labels.
Bernhardt died Aug. 19th at 83.
MICHAEL BOURNE (1946 - Aug. 21st,2022) The radio personality was a
fixture on WBGO from 1984 until his
retirement earlier this year, hosting theSingers Unlimited broadcast, as well as
writing for DownBeat and penning liner
notes Audiophile, Blue Note, Bluebird,
Chesky, Concord, Criss Cross, EmArcy, Enja, Evidence,
Jazz Focus, Justin Time, Milestone, Muse, MusicMasters,
Novus, Palo Alto, Sunnyside, TCB and Verve. Bourne
died Aug. 21st at 75.
JAIMIE BRANCH (Jun. 17th, 1983 Aug. 22nd, 2022) The trumpeter was atthe vanguard of modern jazz (as well as
injecting much-needed politicization),first in Chicago and then New York,over the past decade-plus with her Fly
or Die band and Anteloper duo, both ofwhich released three albums on International Anthem,and in collaborations with Keefe Jackson, Jason
Ajemian, Fred Lonberg-Holm, Frank Rosaly, James
Brandon Lewis, Chris Welcome, Ig Henneman, Anne
La Berge, Mars Williams, Dave Gisler, Rob Mazurek,
Dave Rempis, Anteloper partner Jason Nazary andothers. Branch died Aug. 22nd at 39.
LOU CAPUTO (Sep. 8th, 1947 - Aug.
29th, 2022) The saxophonist/flutist
recorded with Ray Rivera, Carol
Sudhalter, Ronnie Whyte and Harry
Connick, Jr, worked with Candido,
Bobby Sanabria, Duke Jordan, Jaki
Byard, Walter Perkins, Richie Cole andothers, was a member of the Glenn Miller ghost bandand released three albums, two with his long-running
Not So Big Band. Caputo died Aug. 29th at 74.
RAY CARLESS (1954 - Aug. 10th, 2022)
The British saxophonist was a key figure
in his country’s funk and jazz scenes,
founding The Jazz Warriors (whichfeatured future stars Courtney Pine,
Jason Yarde,Mark Mondesir and others),
was a part of Chris McGregor’s lateperiod Brotherhood of Breath, recorded with Najma andreleased albums under his own name for Night Owl andTrio. Carless died Aug. 10th at 68.
				
JOEY DEFRANCESCO (Apr, 10th, 1971
- Aug. 25th, 2022) The organ player (alsopianist, trumpeter and singer) camefrom a music family (father John was
also an organ player), worked with
Grover Washington, Jr., Miles Davis,
Houston Person, Jack McDuff, John
McLaughlin, Ronnie Cuber, Dave Stryker, Paul
Bollenback, Didier Lockwood, Jimmy Bruno, Randy
Johnston, Ximo Tebar, Andy Summers, Doug Raney,
Poncho Sanchez, Tony Monaco, Pat Martino, Mort
Weiss, Janis Siegel, Joe Beck, Ron Blake, Terry Gibbs,
Kenny Burrell, Cory Weeds, David Sanborn, Arturo
Sandoval, Christian McBride and others and led dates
for Columbia, HighNote, Concord, and Mack Avenue.
DeFrancesco died Aug. 25th at 51.

DELLA GRIFFIN (Jun. 12th, 1922 Aug. 9th, 2022) The vocalist (who also
worked as a drummer, saxophonist andpianist) had a handful of albums, a late
‘70s debut on Dobre followed by new
millennium releases on Muse andSavant, plus credits under Etta Jonesand Houston Person. Griffin died Aug. 9th at 99.
KEN HITCHCOCK (??? - Aug. 31st,2022) The saxophonist/flutist got hisbreak working with Charles Mingus’
final bands, followed that with big bandgigs under Gerry Mulligan, Buddy
Rich, Louie Bellson, Dave Stahl, Lew
Anderson, Michael Treni, and others,
was a member of the Manhattan Jazz Orchestra and
New York Saxophone Quartet and released a 2011
album with his singer wife Sue Halloran. Hitchcock
died Aug. 31st at 66.
ROLF KÜHN (Sep. 29th, 1929 - Aug.
18th, 2022) The German saxophonist/clarinetist (and older brother to pianist
Joachim) was one of his native country’s
major figures for seven decades,
releasing albums on Brunswick, Urania,
Vanguard, Harmonic, BASF, MPS, L+R,
Blue Flame, Intuition and other labels, had collaborative
dates with his brother on CBS, Impulse! (first in 1967
with Impressions of New York and then in 2011 with
Lifeline), SABA, BYG, Hörzu, BASF, In+Out andJazzwerkstatt and sideman credits with his brother,
Eddie Costa, Tommy Dorsey, Toshiko Akiyoshi, Urbie
Green, Horst Jankowski, Friedrich Gulda, Klaus
Doldinger, German All-Stars, Eartha Kitt, Connie
Bauer and others. Kühn died Aug. 18th at 92.
MIKE LANG (Dec. 10th, 1941 - Aug.
5th, 2022) The pianist had a voluminous
discography as a sideman with Paul
Horn, Don Ellis, Tom Scott, Steve Allen,Frank Zappa, John Klemmer, Boots
Randolph, Sergio Mendes, Bud Shank,
Quincy Jones, Peggy Lee, Marlena
Shaw, Laurindo Almeida, Lalo Schifrin, Milt Jackson,
Stan Getz, Herb Alpert, Michael Henderson, Sarah
Vaughan, Ella Fitzgerald, Art Pepper, Conte and Pete
Candoli, David Benoit, Toots Thielemans, Arturo
Sandoval, Tierney Sutton, Lorraine Feather and others
plus hundreds of credits in the pop world and on
movie soundtracks. Lang died Aug. 5th at 80.
BILL PITTMAN (Feb. 12th, 1920 - Aug.
11th, 2022) The guitarist, known as amember of the Wrecking Crew session
musician group, had recording credits
with Buddy Rich, Jeri Southern, Red
Callender, Louie Bellson, Mel Tormé,Plas Johnson, Barney Kessel, Peggy Lee,
Ray Charles, Shelly Manne, Howard Roberts and Lena
Horne and others. Pittman died Aug. 11th at 102.
HOWARD STONE (??? - Aug. 3rd, 2022)
The producer co-founded the Vail Jazz
Festival (as the Vail Jazz Party) in 1995
and the Vail Jazz Foundation in 1996, thelatter emphasizing jazz education foryoung players. Stone died Aug. 3rd at 79
in the midst of the 28th edition.
FREDY STUDER (Jun. 16th, 1948 - Aug.
22nd, 2022) The Swiss drummer wasa founding member of OM, which had
albums since the ‘70s on India, JAPO
and Intakt (with its latest releasecoming out last month), had leader orcollaborative albums (including several

12 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

by a trio with Hans Koch and Martin Schütz) on JAPO,
ECM, Plainisphare, veraBra, Intakt, Unit, For 4 Ears,
FMR, Double Moon and Everest and credits under
Pierre Favre, Charlie Mariano, André Jaume, Rémi
Charmasson, Peter Schärli, Robyn Schulkowsky andothers. Studer died Aug. 22nd at 74.
MONETTE SUDLER (Jun. 5th, 1952 Aug. 21st, 2022) The guitarist came up
in her native Philadelphia, working
with Sounds of Liberation, Khan Jamal
and Sunny Murray in the ‘70s, had later
credits with Jamal, Arnett Verdell andthe Change of the century Orchestra
and several leader dates, mostly for SteepleChase.
Sudler died Aug. 21st at 70.
CREED TAYLOR (May 13th, 1929 Aug. 23rd, 2022) The producer wasa polarizing figure in jazz history,getting his start in the ‘50s with albums
for Bethlehem and ABC-Paramount,then founding Impulse! in 1961 (though
he left the next year, ceding
responsibility to Bob Thiele), a label that would help
define jazz in the decade, following that with a move
to Verve and then somewhat tarnishing his legacy withthe establishment in 1967 of CTI, known for highly
overproduced, often string-heavy sessions by the likes
of Wes Montgomery, George Benson, Hubert Laws,
and many others, but also to be lauded for an emphasison bossa nova. Taylor died Aug. 23rd at 93.
BUTCH THOMPSON (Nov. 28th, 1943
- Aug. 14th, 2022) The pianist, while best
known for his work on Garrison Keillor’s
A Prairie Home Companion, had a longcareer in traditional jazz, making albums
for Jazette, Jazzology, CSA, Center,
Stomp Off, Daring, Triangle, Red House,
G.H.B. and other labels alongside work with The Hall
Brothers, Dakota Dave Hull, Ken Colyer, New Black
Eagle Jazz Band, Louis Nelson, Doc Cheatham andmany more. Thompson died Aug. 14th at 79.
ABDUL WADUD (Apr. 10th, 1947 Aug. 10th, 2022) The cellist (né Ronald
DeVaughn) came up in the Cleveland
avant garde scene as part of the Black
Unity Trio, had long affiliations with
Julius Hemphill, Arthur Blythe, James
Newton and Anthony Davis, credits
with Frank Lowe, George Lewis, Charles “Bobo” Shaw,
Leroy Jenkins, Oliver Lake, Muhal Richard Abrams,
David Murray and Marty Ehrlich and a single 1977
leader date. Wadud died Aug. 10th at 75.

The New York City Jazz Record
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• EXCLUSIVE CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY
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www.nycjazzrecord.com

nublu jazzfest
october 1—october 31
tix and full schedule atwww.nublu.net

ALBUM REVIEWS

Eastside Romp
Jeff Parker/Eric Revis/Nasheet Waits (RogueArt)
by Phil Freeman

This music has been in the can (well, on a hard drive

somewhere) for a while, recorded in Pasadena,
California in May 2016. Guitarist Jeff Parker, who grewup and came to prominence in Chicago, has been living
in Los Angeles for a decade. Bassist Eric Revis, too, is alongtime West Coast resident. Drummer Nasheet
Waits, on the other hand, is a lifelong New Yorker. But
Revis and Waits are two-thirds of the cooperative trio
Tarbaby alongside pianist Orrin Evans and they havedeveloped a deep and thoughtful rhythmic language,
which provides a simultaneously supportive andchallenging foundation for Parker.
The album includes two pieces each by theguitarist and drummer, one by the bassist and one
collective improvisation (“That Eastside Romp”) andbegins with a version of Marion Brown’s “Similar
Limits” from his 1969 album Porto Novo. Waits starts
that piece and the album, with a drum roll, as Parker
picks out the melody with a surprising gentleness;the drummer takes a very brief solo and Revis dives in,yanking at the strings with great force as the grouperupts together. Right at the midpoint of the piece,
Parker seems to snap, warping his sound withelectronics and bent and twisted bursts of notes,
slipping sideways and then back in an almost Mary
Halvorson-esque fashion as Waits grows more andmore agitated behind him. But they bring it all backdown to earth with grace and concision.
The music grows gentler, almost Bill Frisell-ish,on Parker’s “Wait” and Waits’ “Between Nothingness
And Infinity”, but the album’s second half kicks off with
Revis’ “Drunkard’s Lullaby”, another pounding workout,
which offers a full minute of bass and drums before
Parker enters. When he does, his guitar is shockingly
distorted, like John McLaughlin’s solo on Miles Davis’“Go Ahead John” being sent through a fax machine. It is
practically noise-rock, but behind him, the rhythm duo
are rocking and rolling on down the road, unperturbed.
For more information, visit roguart.com. Revis is at Village
Vanguard through Oct. 2nd with Kurt Rosenwinkel. Waits
is at Nublu 151 Oct. 2nd, The Jazz Gallery Oct. 21st-22nd
with Aaron Parks and Oct. 28th as a leader and Bar Lunàtico
Oct. 26th. See Calendar.

Distancia
Manuel Valera New Cuban Express Big Band
(Greenleaf Music)
by Alex Henderson

Cuban pianist Manuel Valera has always lived inplaces where AfroCuban music has thrived:
his birthplace of Havana, then southern Florida and,since 2000, New York City. Distancia is the second
album by his New Cuban Express Big Band, whichfeatures more than 15 horns. This orchestra, as its nameindicates, underscores Valera’s mastery of AfroCuban
rhythms but also shows inspiration from other Latin
traditions, including the music of Brazil and PuertoRico. Distancia isn’t pure AfroCuban hardbop à la
Dizzy Gillespie. Rather, Valera has been greatly
influenced by pianists like Chick Corea, McCoy Tyner
and Keith Jarrett and he combines that outlook witha variety of Latin styles.
Valera, playing original material exclusively, is at
his most AfroCuban-minded on “From the Ashes”,
driving opener “Expectativas” and “Remembered”, but
one hears more of a Brazilian influence on the dreamy
title track (which sounds a bit like Corea’s “Windows”)
and pensive “Impressionisic Romance”. Meanwhile,“Gemini” is a passionate offering that combines
AfroCuban elements with a strong Tyner feel. Although
primarily an instrumental album, horn soloists varing
from track to track, Distancia features two vocalists,
Camila Meza and Bogna Kicińska, strictly used for
wordless scat vocals, which are clearly Brazilianinfluenced on “Pathways” and haunting “From Afar”.
Although big bands are less common now, areflection of economics, Valera’s investment on
Distancia pays off wonderfully.

Love” opens with a Curson solo, boasting a fat, richtone equally powerful in all registers. Mingus andRichmond are next, expanding and contracting the timein what could be the first recorded jazz example of“metric modulation” while the leader quotes “Oh What
A Beautiful Morning” in his solo. Dolphy then proceeds
to blow the roof off of the studio with a stunning bass
clarinet essay drawing the very best out of Mingus.
For more information, visit greenleafmusic.com. The
Mingus Big Band is at Birdland Oct. 1st and Joe’s Pub Oct.
25th. Mingus tributes are also at Rose Theater Oct. 22nd
with Endea Owens and Alice Tully Hall Oct. 29th with
Juilliard Jazz Orchestra. See Calendar.

For more information, visit greenleafmusic.com. Valera is at
Birdland Theater Oct. 1st-2nd, The Django Oct. 11th andMinton’s Oct. 21st. See Calendar.

R Cristiano Calcagnile–To Live And Breathe…
(Dark Tree)e • Sana
Nagano–Anime Mundi (577 Records)
Obomsawin–Sweet Toothc • Mali(Out Of Your Head)
Rava/Fred Hersch–o • Enrico
The Song Is You (ECM)m • Dave Rempis/Tomeka Reid/Joshua Abrams–
Allium (Aerophonic)m • Stephen
Riley–My Romance (SteepleChase)
Rubalcaba/Aymée Nuviola–e • Gonzalo
Live in Marciac (5Passion)n • Thumbscrew–Multicolored Midnight(Cuneiform)d • Juanma
Trujillo (with Sean Conly &Francisco Mela)–Collage (ears&eyes)e • John
for Piano (Tzadik)d LaurenceZorn–Suite
Donohue-Greene, Managing Editor• Vinny Golia/Bernard Santacruz/

Presents Charles Mingus
Charles Mingus (Candid)
by Robert BushThis monumental 1960 session (remastered/reissued

this year) did not accrue the praise it so richly deservedat the time. Perhaps obscured by other iconic titles like
Ornette Coleman’s Free Jazz, John Coltrane’s My Favorite
Things and Oliver Nelson’s Blues and the Abstract Truth,
it is nonetheless a superb and timeless document.
The Mingus band of Eric Dolphy (alto saxophone
and bass clarinet), Ted Curson (trumpet) and Dannie
Richmond (drums) was about to dissolve and thebassist felt the imperative to document the way it cameoff live. This was accomplished by turning out thelights in the room (Nola Penthouse Sound Studios in
New York) and having Mingus deliver his usual
announcements at the microphone. There are only fourtunes and no consideration allotted for brevity, thankgoodness. What you hear is the sound of a working
band, loose and relaxed, at the height of their powers.
“Folk Forms, No. 1” begins with a bass solo. Muchis made (deservedly so) of Mingus as a composer, but
not enough of his formidable instrumental prowess.
Curson’s time with the band, judging from his work
here, was far too short. He manifests clarity, ideas anda brilliant sense of swing. At around the two-minutemark Dolphy joins in and they solo together.
It is hard to imagine how much controversy was
generated at the time by the spoken-word narrationfrom Mingus and Richmond integral to “Fables ofFaubus”, named for Orville Faubus, the anti-Civil
Rights governor of Arkansas. Previous releases of thesong had censured out the sardonic lyrics, which are
performed in full here. All of this happens amid a
bluesy swing highlighting Curson’s taut and exuberantgroove, setting up Dolphy’s contribution, which jerks
and twists as though his suit was on fire.
The penultimate selection, however, is what
qualifies the date as an absolute masterpiece. “What

14 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

Allen–Americana, Vol. 2 (Savant)n •• JD
Isaiah Collier/Michael Shekwoaga Ode–e Beyond (Division 81)
Dickson–Wider Than The Sky (s/r)
w •• Glenn
Sergio Fedele–Le Melancolie di Tifeo

r
e
l
e
a
s
e
s

(Setola Di Maiale)• Galmadrua–Feat. Michel Stawicki (4DA)• Jim McNeely/Frankfurt Radio Big Band(featuring Chris Potter)–Rituals(Challenge-Double Moon)• Michael Musillami/Rich Syracuse/
Jeff Siegel–Flight of Evangeline (Playscape)• Jeff Parker/Eric Revis/Nasheet Waits–
Eastside Romp (RogueArt)• Barre Phillips/György Kurtág, Jr.–
Face à Face (ECM)• JC Sanford–Imminent Standards Trio, Vol. 2(Shifting Paradigm)
Andrey Henkin, Editorial Director

album in 1995. Spalding overwhelms the proceedings
with a wordless vocal at the top of her register.
A vinyl-only bonus track, “The Stuff That Dreams
Are Made Of (A Conversation)”, is extraneous, though
it is interesting for one listen. If you like Spalding’s
more abstract singing, dig in, but just be warned it is
the major feature of this release.

Live at The Detroit Jazz Festival
Wayne Shorter, Terri Lyne Carrington,
Leo Genovese, Esperanza Spalding (Candid)
by Jim Motavalli

For more information, visit candidrecords.com. Spalding is
at The Stone at The New School Oct. 1st with Kris Davis.
See Calendar.
First Flight to Tokyo: The Lost 1961 Recordings
Art Blakey & The Jazz Messengers (Blue Note)by Russ MustoW ow, what an all-star cast! Saxophonist Wayne

Shorter, drummer Terri Lyne Carrington, pianist Leo
Genovese and (Shorter ’s close friend) bassist Esperanza
Spalding live in Detroit. But the result is less than thesum of its parts.
Carrington said, “We rehearsed some themes
earlier that day, but the preparation was really fromour lives and profound experiences with each other.”So the selections here are based on compositions by themusicians, but there is a lot of improvisation. Shorter ’s“Someplace Called ‘Where’” sets the tone: 14 minutesof lugubrious balladeering dominated by Spalding’s
abstract and unappealing vocal. Piano is to the fore,
but it is essentially foreplay, never getting airborne.
A Shorter solo does add what tension is there.
The 21 minutes of the Shorter/Spalding
composition “Endangered Species” is somewhat better,
opening with some interesting piano/bass/drumflurries before Shorter enters on soprano, sounding
energized. This is post-Coltrane soprano work
brushing the avant garde but swings too and Genovesesounds uncannily like McCoy Tyner on this part of the
track. All is well for about seven minutes, but then
Spalding starts singing again. Her vocalizing is
unsatisfying, full of stylistic tricks and tics and seldom
supportive of melody. “Endangered Species” could
have gone in interesting directions but, alas, doesn’t,
descending into a halting and jagged swirl of collective
improvisation. Only near the end, with Shorter up
front, does it start moving again.
Milton Nascimento’s ballad “Encontros e
Despedidas” is ‘deconstructed’ in Spalding’s vocal
with ultra-slow/faster pacing. Shorter does have somemoments on tenor, supported ably by the rhythm
section; Spalding is a wizard of a bassist, after all.
“Drummer ’s Song” is not, as you would expect, by
Carrington but by the late Geri Allen (originally tohave been a part of this date). The interplay between
Carrington, Spalding and Genovese makes for good
listening and then Shorter, on soprano again, comes inand turns up the temperature. He wrote “Midnight inCarlotta’s Hair”, which first appeared on his High LifeUNEARTHED GEM

These previously unknown tapes from drummer

Out Of Focus
Nick Finzer (Outside In Music)
by Steven Loewy

W ith Out of Focus, his 10th album as a leader(released on the label he founded in 2013), trombonist
Nick Finzer delivers a terrific set of consistently
enjoyable performances, which embraces the jazz
tradition while looking forward.
Limited during the pandemic, Finzer decided toforge ahead, adapting himself to the times: “Rather
than sit home and complain,” he is quoted as saying
in the liner notes, “I decided to see what projects I
could dream up that might only take place when you
can’t be in the same place as your usual collaborators.”
The results are a contender for one of the best
trombone-led albums of the year.
What is special about the album is that Finzer,
with tremendous technique, reinvents familiar tunes,
showing off his arranging skills. Take the quartet
interpretation of Hoagy Carmichael-Mitchell Parish’s“Stardust”, one of the most conservative arrangementson the recording: Finzer plays seemingly effortlesslines with a rich sound, complemented with a lovely
solo by pianist Xavier Davis, the pair supported bybassist Jay Anderson and drummer Quincy Davis (thequartet also plays Pat Metheny’s famed “Bright SizeLife” later in the album).
Contrast that with the 15-trombone arrangementof Duke Ellington-Barney Bigard-Irving Mills’ “MoodIndigo”, with the addition of bass trombonist Jennifer
Wharton, the results reminiscent, in its overdubbing,of Australian trumpeter/trombonist James Morrison.
Another Ellington piece, “The Star Crossed Lovers”,
is given a thoroughly captivating interpretation,
opening with Finzer unaccompanied and then moving
toward an ensemble of overdubbed trombones
coupled with the leader ’s exciting plunger work, a tipof the hat to some of his influences.
Finzer is alone on J.J. Johnson’s “Judy”,
showcasing his crisp control, and Ellington’s “Single
Petal of a Rose” and “Laura”, the former displaying
tasteful multiphonics and pedal tones, the latter ’s
difficult arpeggios, hinting, perhaps, at George Lewis’breakthrough solo album decades ago.
But it is Finzer ’s opening performance of Kenny
Garrett’s “Sing a Song of Songs” that is mostcompelling, as he is joined by bass trombonist
Reginald Chapman and drummer Davis for a multitrombone feast.
For those unfamiliar with Nick Finzer ’s playing,
Out of Focus is a good place to get introduced and an
important addition to his growing and increasingly
impressive discography.
For more information, visit outsideinmusic.com. Finzer is
at Birdland Oct. 2nd. See Calendar.

Art Blakey (born 103 and dying 32 years ago thismonth) and the Jazz Messengers’ first tour of Japanare a historically significant discovery. Released inlavishly packaged double-LP and CD sets by Blue
Note, the label on which much of the band’s mostsignificant work was documented, it is a valuableaddition to both the group’s discography and theimprint’s catalogue.
Liner notes by Bob Blumenthal place the Jan.
14th, 1961 concert at Tokyo’s Hibiya Public Hallwithin the context of the ensemble’s amazing
history. Personal musings by Takashi Buhaina
Blakey (Blakey’s Japanese-American son, discussing
the tour ’s cultural importance) along with reflections
by co-producers Zev Feldman and David Weiss,
former Messengers Lou Donaldson and Wayne
Shorter, drummers Louis Hayes, Billy Hart andCindy Blackman Santana, as well as saxophonist
Sadao Watanabe and Japanese critics, make this set atrue collector ’s item.
Disc 1 kicks off with a big bang, Blakey opening
up Charlie Parker ’s “Now’s The Time” with athunderous five-minute solo introduction before
saxophonist Shorter, trumpeter Lee Morgan, pianist
Bobby Timmons and bassist Jymie Merritt enter,playing the melody that would become the basis for
R&B hit “The Hucklebuck”. Spurred on byrelentlessly swinging drums, Shorter, Morgan andTimmons deliver fiery solos, after which the horns
trade fours with Blakey, who then solos again before
the band takes the song out.
We hear Blakey’s voice introducing Timmons’“Moanin’” and the crowd roaring as the pianist
plays the first few notes and the horns come in.
Morgan begins his solo replicating his soaring linefrom the classic 1958 original recording and riffs
powerfully behind Shorter, followed by a typicallysoulful Timmons and a rare Merritt solo. A parading
drum rhythm kicks off Benny Golson’s classic “Blues
March”, Shorter up first, with a solo revealing theinfluence of first Lester Young and then John
Coltrane, bolstered by the rhythm section’s steady
4/4 beat. Morgan begins his outing by quoting
The King and I’s “Dance Of The Siamese Children”
then gets funky before Timmons takes over anda drum interlude brings the band back in. The discends as all Messengers sets do with “The Theme”.
Disc Two starts with Timmons’ “Dat Dere”, thecrowd again roaring with approval, the piece fertile
ground for soulful improvisations by the horns.
Morgan is the featured soloist on the arrangement of”’Round Midnight”, his Harmon-muted horn
reminiscent of Miles Davis’ classic version of the
Thelonious Monk warhorse. A second fiery rendition
of “Now’s The Time” follows, after which the band
lets loose polyrhythmically, Blakey in AfroCuban
mode, on Dizzy Gillespie’s “A Night In Tunisia”
before closing again with “The Theme”.
For more information, visit bluenote.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 15

G LO B E U N I T Y

Umdali
Malcolm Jiyane Tree-O (Mushroom Hour Half Hour)
Isambulo
Linda Sikhakhane (Ropeadope)
Outer SpacePeter Somuah (DOX)
by Tom Greenland

Reviewed here are three debut dates by African hornplayers: trombonist Malcolm Jiyane, saxophonist
Linda Sikhakhane and trumpeter Peter Somuah, thefirst two based in Johannesburg, South Africa, the last,from Accra, Ghana, based in Rotterdam, Netherlands.
Recorded with Tree-O, his band comprising alto
saxophonist Nhlanhla Mahlangu, trumpeters Brandon
Ruiters and Tebogo Seitei, keyboard player Nkosinathi
Mathunjwa, bassist Ayanda Zalekile, drummer
Lungile Kunene and percussionist Gontse Makhene,(vocalist Tubatsi Mpho Moloi guesting on one track),
Jiyane’s Umdali sounds seasoned, as if the musicians
have spent more than bandstand or studio time
together, thus embodying a sense of community.
“Senzo seNkosi”, eulogizing late bandmember Senzo
Nxumalo, features Mahlangu and Ruiters over a Latinrhythm marked by whole-tone interludes. “Umkhumbi
kaMa” uses horn chorales over whirling electric piano,
drums, congas and bass, the latter hot-mic’d to expose
Zalekile’s subtlest touches. “Ntate Gwangwa’s Stroll”,
another eulogy, “Life Esidimeni”, driven by theleader’s sober trombone, and “Moshe” all swing instreams of churchy triplets, resonant with soul.
Sikhakhane’s Isambulo is an equally spiritfulouting, the leader on tenor or soprano, with pianist
Lucca Fries, bassist Fabien Iannone and drummer
Jonas Ruther, percussionist El Hadji Ngari Ndong on
three tracks and three vocal cameos. These relatively
young artists show admirable maturity: instead ofparading their chops they leave space for the evolving
music to find its course. Dynamics range from mellow
and spare to fulsome and layered, particularly on thetitle track, when all instruments seem to be speaking at
once, each monologue conjoining into one large
communal ‘polylogue’. A similar effect occurs on“Gog’uldah”: piano comps and basslines pulling in
opposition to a roving tenor improvisation, three
separate but synced voices. Paras’ expressive chest
and falsetto vocals energize the seven-beat ballad“uNongoma” while Anna Widauer’s intimate croon
kindles “A Day Passed”.
Of the three, Somuah’s Outer Space is the mostdanceable, thanks to its vigorous rhythm section:
keyboard player Anton de Bruin, favoring a retrofunky Wurlitzer patch; big-toned bassist Marijn van deVen; drummer Jens Meijer, who places his beat ‘on-topof-on-top’; and percussionist Danny Rombout, wholayers on djembe, congas, bell and shaker. The mix
helps, treble percussion dialed up, sharp and metallic.
Many tracks (“Outer Space”, “Beyond Earth”, “Chief
Palace”, “Nii Saen Jaga”) are built on triple or 6/8
meters; “Appointment” sounds like a mambo;“Mphepo”, featuring rapper Amazumi, Somuah
adding inside-outside flugelhorn obbligati, sounds
like neo-soul. Somuah and tenor saxophonist Jesse
Schilderink provide strong solos, play well together
and are especially effective at playing the cracks and‘calling out’ the band, provoking a chorus of
palpitant responses.
For more information, visit mushroomhour.com,
ropeadope.com and doxrecords.amsterdam

A Woman With A Purple Wig
Eri Yamamoto Trio (Mahakala Music)
by Marco Cangiano

P ianist Eri Yamamoto is truly a global artist. Born andraised in Japan, she studied in Europe and eventuallylanded in New York, where she has been part of the
jazz scene since 1995. Her formative years equipped
her with scintillating technique she rarely shows off
but that allows her to participate in a wide spectrum ofmusical experiences, from partnerships with the likesof William Parker to more mainstream solo and trio
settings showcasing her more introspective self. Hertrio with bassist David Ambrosio and drummer Ikuo
Takeuchi is her longest-standing group, with a 20-year
tenure at the Greenwich Village Arthur ’s Tavern.
This trio music is among the most personal she
has recorded, reflecting being an Asian woman in New
York during the pandemic and exposed todiscrimination, an emotional release translated into
songs, two of which have lyrics, a first for Yamamoto.
As she states in the liner notes, “the woman with apurple wig is me. To protect myself from the violenceagainst Asian women, I had to hide my identity,
wearing a wig, mask and sunglasses.” There is noanger here, but rather a sense of rejuvenation as if thepandemic provided a renewed awareness of who she isand the opportunity for a new start.
The titles are quite revealing of her emotions.
From the classically-inspired “Challenge” to the
Thelonious Monk-flavored “Shout” and mysterious“Internal Beat” her rhythmic approach, relying on
a bluesy and at times gospel-like insistent left hand, as
in “Colors”, shines. Yamamoto’s style is eclectic, echoesof the greats filtered through her personality, why she
is very much in demand from artists of very different
backgrounds and approaches. Ambrosio and Takeuchi
are a tight unit supporting and complementing herphrasing while sharing the overall intimate and attimes dramatic mood; note their dialogue in “End toStart”. What makes this recording so unique, however,is her lyrics and singing: an acquired taste at first, it
grows on the ears upon repeated listens. She initiallythought of somebody else to sing the lyrics but thenWilliam Parker convinced her to tell her own story.
Excellent advice and hopefully to be continued.
For more information, visit mahakalamusic.com. Yamamotois at Saint Peter’s Church Oct. 2nd and 9th. See Calendar.

Black Radio (10th Anniversary Deluxe Edition)
Robert Glasper (Blue Note)
Black Radio III
Robert Glasper (Loma Vista/Concord)by Tom Greenland

Pianist Robert Glasper is ‘quadrilingual’ in gospel,
hip-hop/rap, R&B/neo-soul and jazz: he played inthree churches growing up in Houston; worked with
The Roots, J Dilla, Q-Tip, Common, Maxwell, Bilal,
Ledisi, Lalah Hathaway; and studied at The New
School, establishing jazz cred with his 2002 debut Mood.

16 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

All this experience was marshaled for his fourthBlue Note release, 2012’s Black Radio, a benchmark ofjazz-hip-hop fusion, winning a Grammy for best R&B
album. Now reissued in a 10th Anniversary Deluxe
Edition with three bonus and six remixed tracks, thedense, multivalent chef-d’oeuvre has aged well. Basedaround Robert Glasper Experiment (RGE), his quartet
with flutist/saxophonist/vocoder player Casey
Benjamin, bassist Derrick Hodge and drummer Chris
Dave, it manifests an unprecedented balance of edgy
improvisation with smoother, radio-friendly singing
and rapping.
Many of the dozen tracks are original collaborations
by Glasper and the featured vocalist, some adding
a separate outro section with extended jamming.
Glasper ’s most interesting acoustic or Rhodes pianosolos occur on Mongo Santamaria’s “Afro Blue” (withErykah Badu), Glasper/KING’s “Move Love”, RGE’s“Ah Yeah…That’s Just Great” (with Musiq Soulchild)and David Bowie’s “Letter to Hermione” (with Bilal)
while Benjamin’s best vocoder work is heard on Sade’s“Cherish the Day” (with Lalah Hathaway), Me’Shell
Ndegeocello’s “The Consequences of Jealousy”, Mint
Condition’s “Why Do We Try” (with Stokley) andNirvana’s “Smells Like Teen Spirit”, where he sings
lead through the vocoder. Other notable vocal
performances include Ledisi’s husky but sweet “Gonna
Be Alright” (co-written with Glasper), Mos Def’s
boasting title track and Bilal’s agile rapping/singing
on “Always Shine”. Of the bonus tracks, Little Dragon’s“Twice” is notable for Hodge’s fretless electric bass
playing, John Coltrane’s “A Love Supreme” for its
mash-up of hip-hop and dub. The lingering influenceof J Dilla is felt in the best of six remixes: Pete Rock’s
revision of the title track, Glasper and Georgia Anne
Muldrow’s makeover of “Consequences”, Glasper ’s“Dillalude” (featuring Benjamin) and ?uestlove’s
standout remix of “Twice”, which oddly but aptly ends
with a string chorale.
On 2022’s Black Radio III, the third installment in
the series and first on Loma Vista, RGE is lessprominent, though many of Glasper ’s favorite singers
and rappers are back. There are 13 cuts, plus 7 alternate
tracks designated radio, full or explicit edits. For R&B
fans there are chart-friendly tracks like “Black
Superhero”, a heavy slow-jam trudge with MarvinGaye-like vocal overdubs; Yebba’s breathily passionate“Over It”; “Better Than I Imagined” (Grammy winnerfor Best R&B Song), which contraposes H.E.R.’s
keening croon to Ndegeocello’s sultry ‘phone message’;Jennifer Hudson’s dramatic disco/house rendition of“Out of My Hands”; as well as emotive singing by
Tiffany Gouché, Musiq Soulchild, Gregory Porter,
Ledisi, Ant Clemons, PJ Morton and India.Arie. For
hip-hoppers, there are conscious/uplifting raps by
Amir Sulaiman, Killer Mike, BJ The Chicago Kid, Big
K.R.I.T., D Smoke, Q-Tip, Common and Posdnous.
For jazz people pickings are slimmer. First andforemost is Glasper ’s unique approach to harmony, anamalgam of gospel triads over (often unusual) bass
notes, hymn-like chorales and postbop chromatic
voice-leading; if there is one thing he is a master of itis keeping a four-chord vamp fresh via continuous
idiosyncratic micro-variations. As on Black Radio,
grooves are predominantly 4/4-on-the-floor, though“Forever” shuffles with triplets and “Better Than
I Imagined” and the outro of Tears for Fears’“Everybody Wants to Rule the World” both ‘swing’
in a slippery J Dilla vein. Improvisation is relegated toa few brief slots on “Everybody Love” (Glasper on
Rhodes, Benjamin on vocoder), a piano solo at the endof “Shine” (album edit) and Esperanza Spalding’s
scatting on “Why We Speak”.
For more information, visit bluenote.com and bodega.
lomavistarecordings.com. Glasper is at Blue Note Oct.
4th-8th, 11th-15th, 20th-23rd and 25th-30th. See Calendar.

What Went Wrong
Sergio Armaroli/Steve Piccolo/Elliott Sharp (Leo)Void Patrol
Payton MacDonald, Billy Martin,
Elliott Sharp, Colin Stetson (Infrequent Seams)
by George Grella

O ne of these albums that feature guitarist Elliott

Sharp is very good and the other is very bad.
What Went Wrong begins with promise but, by theend, has crippling problems. One is that the music is
crowded out by the spoken word performance of bassist
Steve Piccolo. The texts are the kind of self-regarding
banalities that too often pass for profound poetry in jazz
circles, with some self-conscious beatnik touches thathaven’t been current in nearly 70 years; and a passage
from Richard Powers turns pretentious in this context.
Piccolo is also mic’d obtrusively, with a different room
tone than the instruments and way forward in the mix,
virtually shouting at the listener. This has the effect of
crowding out the improvising of Sharp and vibraphonist
Sergio Armaroli and the audio treatment on Piccolo’s
voice is itself sonically aggravating, the ears instinctively
cringing away from this voice that is too close—Sharp is
credited with the mixing, which makes the quality
surprising, but perhaps this was Piccolo’s bidding—saying so much nonsense. One searches for redeeming
moments underneath, which adds to the frustration.
This is a mix of original music, credited to the three, andalso standards like Jerome Kern-Johnny Mercer’s“Dearly Beloved” and Jimmy Van Heusen-Johnny
Burke’s “But Beautiful”. There is also a clear, uncredited,
but nearly complete take on Matt Dennis-Earl Brent’s“Angel Eyes”. That is the most intellectually andexpressively interesting and vibrant moment. There arebrief, tantalizing moments behind Piccolo’s voice, but
the album is centered around bad material and fails.
Listening to this whole thing could leave one feelingdeep pain over the passing of Steve Dalachinsky.
Void Patrol is entirely different, not the least in
overall quality. This is something of a supergroup andhearing Sharp with drummer Billy Martin is one of its
immediate pleasures, as is hearing saxophonist Colin
Stetson playing more uptempo, less effects-ladenmaterial with other musicians. The mastermind behind
all this is marimba player Payton MacDonald, whoreceived grant money during the pandemic that enabled
the recording. What he came up with is a set of strong,post-rock instrumental jams, marimba and drums
working together to lay down steady patterns, guitarand saxophone adding atmosphere, harmonies andmelodic lines. The mix of grooves and colors realizes the
evocative titles, like “Antares” and “Acrux”. There arepassages that are haunting, others that churn into a nearthrash metal ball of energy. That this group sounds likea working band, in the pocket but loose and working
easily together, is one of the strengths of the album andastonishing in itself. This is a synthetic, COVID-era
album, with MacDonald laying down his tracks, theneach player adding their part, organized by MacDonald,
remotely. Arranging, mixing and some rerecording andVoid Patrol was finished. Many albums were made withthe limitations from the early pandemic and this is not
only one of the best but would easily pass as a regularstudio session—and one of the best of the sort from thelast two years—if one never looked at the notes.
For more information, visit leorecords.com andinfrequentseams.bandcamp.com. Sharp is at The Sultan
Room Oct. 5th, Rockwood Music Hall Oct. 6th, 411 Kent
Ave Oct. 8th and 26th. See Calendar.

My Father’s Hands
Cyrus Chestnut (HighNote)by Pierre Giroux

Cyrus Chestnut is a pianist not tied to any barriers

existing in jazz. He can switch from bop to gospel tobossa nova or anything else that may meet his fancy
and does so in his own style. All of these characteristics
are in focus on My Father’s Hands. In this homage to hisfather, who died in 2021, Chestnut not only wanted toacknowledge the loss of a parent, but also a teacher
who was foundational in bringing the piano into his
life. In this recital of original material, recognizable jazzand popular standards and gospel songs, Chestnut isaccompanied by redoubtable bassist Peter Washington
and unerringly empathetic drummer Lewis Nash.
It is very clear from the opening notes of Chestnut’s
composition “Nippon Soul Connection”, a hardbop
bruiser full of rhythmic creativity, this is not going to
be an overly sentimental affair. It is also a marker that
he intends the trio to function as an integrated unit.
The following number, “Thinking About You”, isanother original, a lightly swinging reflective affair
about his father with solo space for Washington.
The Latin side of Chestnut is showcased in Ray
Bryant’s jazz standard “Cubano Chant” and Harry
Warren-Mack Gordon popular song “There Will Neverbe Another You”. Chestnut takes on the former withboth hands, giving it the rhythmic intensity it requires
while the latter has a sly bossa nova interpretation
filled with understatement. On the hymn “ I Must Tell
Jesus”, Chestnut is in familiar territory in this solo
essay. Filled with beautiful chord structure and a soft
touch, the song has him expanding on the simple
melody to give the number a transcendent reading.
Whether he is riffing on his jaunty composition“Working Out Just Fine”, the breezy “Baubles, Bangles
and Beads” from Kismet in 3/4 time with some stellar
brushwork from Nash or an emotional reading of theJerome Kern-Johnny Mercer ballad “But Beautiful”,
throughout this paean to his father, Chestnut remains
consistent to his style and harmonic anchor.

The pair are joined by longtime associate of D’Rivera:
Diego Urcola (trumpet and valve trombone), José A. Gola(bass), Dafnis Prieto (drums) and Roberto Junior Viscaino(percussion). There are three pieces by Valdés, one by
D’Rivera, one from the pair and tunes from Cuban pianist
Hilario Duran and early tango great Carlos Gardel.
Both men went through a Cuban music education
system that stressed mastery of classical technique anda performance system that valued an embrace of all
types of music. So, although AfroCuban rhythms arepart and parcel of this band, the repertoire is extremely
varied and encompassing, ranging from mambo andrumba to tango and waltz, classical (European) tomontuño. Mozart once wrote a “Rondo alla Cubana”;
Valdés counters with “Mozart a la Cubana”, withoblique references to the Mozart piece and also familiar
refrains from Mozart’s “A Little Night Music” and,defying the title, Beethoven’s “Für Elise”. Clarinet andtrumpet solo over the montuño section, but Valdés’solo is a tour de force from opening arpeggios andjagged chords to tinkling runs, an Erroll Garner-ish
two-handed block solo to a thundering chords finale.
The infectious rhythmic spirit of AfroCuban music
struts through Valdés’ “Mambo Influenciado”, Duran’s
sparkling “Pac-Man” and the leaders’ uptempo“El Maja de Vento”. That latter gives a glimpse of
D’Rivera’s bop alto side as he incorporates a quotefrom ‘It Ain’t Necessarily So”. D’Rivera’s title track isa rolling, Latin-inflected waltz and Valdés contributes
a languorous danzón, “Claudia”, featuring clarinet
and Harmon-muted trumpet. Gardel’s tango ballad,“El Dia Que Me Quiras”, is given a lyrical, lovingly
melancholy duet rendering by piano and alto.
For more information, visit sunnysiderecords.com. Valdésis at Rose Theater Oct. 7th-8th. See Calendar.

For more information, visit jazzdepot.com. Chestnut is at
Smoke Oct. 6th-9th. See Calendar.

I Missed You Too!
Chucho Valdés/Paquito D’Rivera Reunion Sextet(Paquito-Sunnyside)by George Kanzler

Paquito D’Rivera, 74, was in his mid-teens when hebegan playing alto saxophone and clarinet in Havana
bands led by pianist Chucho Valdés, who turns 81 thismonth. He was also one of the original members of
Irakere, the jazz-Cuban fusion band Valdés formed in
1973. But D’Rivera defected from Cuba in 1980, forging a
jazz career in the United States, while Valdés hasremained based in Havana. This recording is a musicalreunion of the iconic musicians after four decades.

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 17

Love In The Form Of Sacred Outrage
WeFreeStrings (ESP-Disk’)by Monique Ngozi Nri

Love In The Form Of Sacred Outrage from the historically

named WeFreeStrings is in the tradition of revolution
and renaissance. It draws inspiration from and gives
dedication to three Black activists: Amiri Baraka, Fannie
Lou Hamer and slain Black Panther Fred Hampton on
tracks composed by violist Melanie Dyer, pausing tobloom on “Pretty Flowers” composed by Baba Andrew
Lamb. Dyer formed WeFreeStrings in 2011, thisincarnation completed by Charles Burnham and Gwen
Laster (violins), Alexander Waterman (cello), Ken
Filiano (bass) and Michael Wimberly (drums).
The album opens with “Baraka Suite”, consisting ofsix movements, one of which takes the line “Who? Who?
Who?” from the poem “Somebody Blew Up America” as
the title of one of its movements. William Parker does anadmirable job with his companion notes in evoking
a space for the music, which is both free and complex,
political and personal. Focus is needed to make theconnection between the militancy and the music as wego from bells to melody to atonal swing, worth holding
on for the musical ride. The 25-minute track brings
cymbal and bells overlaid by the deeper sonorous
register of the strings in a plaintive inquisitive melody.
As first movement “Meditation on Earth” implies, thisis contemplative music and the full band is involved increating this reflective space, sometimes with aching
beauty, the tempo dignified. The second movement, “In
the Theater”, picks up the pace a little as the bandswings into solos from each member of the string
section. The aforementioned “Who? Who? Who?”challenges with an insistent rhythm while the next
movement, “Stride Out and Dig” is more otherworldly,
including an extended drum solo. The suite closes with
“There Me Go”, in which viola sings a bittersweetlament. The four-minute title piece, dedicated to Hamer,features the strings without percussion and feels far
more improvised than the suite while “Pretty Flowers”,
also without drums, has strings intertwining leisurely
over bass and soaring together. The closing “Propagating
the Same Type of Madness, that uh...” has all on board
for music that is somber and dirge-like.
For more information, visit espdisk.com. This group is at
Soup & Sound Oct. 8th. See Calendar.

Jazz Reunion
Pee Wee Russell/Coleman Hawkins (Candid)
by Stuart Broomer

When Nat Hentoff was A&R Director for Candid(1960-62), he released two of the most explicit acts ofsocial protest in jazz history: Max Roach’s We Insist!
and Presents Charles Mingus, the latter with its “Original
Faubus Fables”. That keen attentiveness to sociohistorical forces is subtly apparent in one of Candid’s
most traditional recordings. The title Jazz Reunion

18 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

references the previous recording of Pee Wee Russell
and Coleman Hawkins together. In 1929, in an era
when mixed-race bands were extremely rare (Eddie
Lang used the name “Blind Willie Dunn” to record
with Lonnie Johnson and King Oliver), Red McKenzie,surely history’s most eminent comb-and-paper player,
invited Hawkins to record with his Mound City Blue
Blowers, a band that expanded for the occasion to
include Russell, Glenn Miller, Gene Krupa and Pops
Foster, all without pseudonyms. Together the band
recorded two tunes, “One Hour” and “Hello Lola”. By
1961, Russell and Hawkins had evolved, but eachmaintained his distinctive character. They had utterly
different styles, but each could find room for his
personal voice in almost any jazz idiom. If Hawkins’lines were rugged, forceful and harmonically driven,
Russell’s style was oblique, his sound an ever-shifting
personal marker, half-choked or gnarled, with shifting
inflections wedded to a melodic gift as unpredictable
as Ornette Coleman’s. Hawkins’ bold declarative
statements highlight Russell’s intimacy, his mutating
timbre and exotic note choices.
If the personnel of that 1929 band hints at a protoswing band, Jazz Reunion is populated largely by swing
masters, with pianist Nat Pierce, bassist Milt Hintonand drummer Jo Jones forming the rhythm section
along with trumpeter Emmett Berry and the flexible
modernist Bob Brookmeyer on valve trombone. The
choice of repertoire is broad, with music composed byJames P. Johnson and Duke Ellington, one tune
associated with Dizzy Gillespie and two crafted on the
spot by Russell and other bandmembers.
The music is consistently fine, so warm as todisguise its brilliance, but every musician sounds
delighted to be there and committed to making themost of each moment. Both Russell and Hawkins bringimmense art to whatever piece is at hand, including
opener “If I Could Be with You (One Hour Tonight)”,a tune already drenched in nostalgia when Johnsoncomposed it in 1926. “Tin Tin Deo”, a Latin-suffusedcomposition by Chano Pozo and Gil Fuller, is mellower
than its big-band bop associations could suggest, but“28th and 8th”, by Russell and Pierce, has an abstracted
bop character of its own. Ellington’s “All Too Soon”
and “What Am I Here For?” are as timeless as Russelland Hawkins while “Mariooch”, composed by Russell
with Pierce and Hinton and featuring Russell as the
only wind, is an ideal illustration of his art at a
medium-slow tempo, beginning as a whisper of drums
and cymbals, gradually becoming a voice half wind,
half wood, filled with slow surprises, whether register
shifts, a trill, a pause, a mumble, a call, an aside.
For more information, visit candidrecords.com. A Hawkins
tribute is at Flushing Town Hall Oct. 14th led by Lew
Tabackin. See Calendar.

The Song Is You
Enrico Rava/Fred Hersch (ECM)
by Thomas Conrad

H ere are two names you don’t expect to see together

on the cover of an ECM album. Italian flugelhorn
player Enrico Rava has been on the roster since the ‘70s
but pianist Fred Hersch has no history with the label.
The two had never collaborated until they played a
few concerts in Italy in 2021 and then made The Song Is
You in November of that year.
This new duo project is unexpected but, onreflection, fitting and timely. Hersch, 66, is at the highpoint of his career in both creativity and renown.
Rava, at 83, is in demand as never before. He is now
widely revered as one of the greatest living
European jazz musicians. Alone together, they mostly
choose to operate on common ground. Five of theeight tracks are standards. All sound fresh andimpulsive, yet concentrated and rapt. The relative
quietude may reflect “the ECM effect”. ECM producer
Manfred Eicher often guides a recording session
toward inwardness.
In this pensive atmosphere, subtle breakthroughs
within the music sneak up on you. “Retrato em Brancoe Preto” may be the most ethereal reading on record of
the Antônio Carlos Jobim-Chico Buarque classic.
Hersch fills in illuminating enhancements to Rava’s
spare, haunting lines. The Jerome Kern-Oscar
Hammerstein title track is delicate yet freely abstracted.
Hersch unwinds long strands of glittering notes allaround Rava, who flows and veers and keeps glancing
off the melody.
The last two pieces are unusual takes on Thelonious
Monk. “Misterioso”, that lurching, bumpy song, issmoothed and rounded and turned moody. “‘Round
Midnight” is Hersch by himself. It is the most literalinterpretation on the album. It is as if Hersch isunwilling to depart very far from it. Yet his rendering,with its phrases interrupted by pregnant pauses, its
softly glittering asides, its vast variety of ways to state
the melody (in four minutes), is a revelation. You keep
waiting for Rava to come in. But by the end you realizethat Hersch’s inspired act of the imagination is selfcontained and complete. Even Rava could not have
improved it.
For more information, visit ecmrecords.com. Hersch is atVillage Vanguard Oct. 18th-23rd. See Calendar.

Lost Time
Matthew Fries (Xcappa)by Ken Dryden

Matthew Fries, who was mentored by three great

Memphis-associated pianists in James Williams,
Mulgrew Miller and Donald Brown, is known for his
recordings with vocalist Curtis Stigers and separately
in the collaborative Tri-Fi with bassist Phil
Palombi and drummer Keith Hall, which also served

as the rhythm section for Stigers. In recent years, Fries
has focused more on recording his own compositions
as a leader.
This session with bassist John Hébert and Hall,
both of whom are colleagues on the jazz faculty ofWestern Michigan University, consists of new works
by Fries inspired by the loss of his mother andstepfather in 2020. That doesn’t mean that the music
conveys a sense of mourning throughout the CD. Thevery upbeat opener “The Fog” has a well-conceived
motif altered in subtle ways to allow terrific interplay
among the trio in the spirit of Bill Evans. “Insomnia”,
an introspective gem that demands repeated listening,has an abstract introduction by Hébert and Hall, withthe loneliness of Fries’ theme taking shape as he makes
his entrance. “Quarantine” is nothing like its title
suggests, a breezy swinger dominated by Fries’
energetic solo and bright mood.
Fries dedicated “Heroes” to the late Chick Corea,
creating a theme that captures the essence of thisprolific musical visionary without resorting to overt
mimicry of the jazz master ’s compositional style;Hall’s engaging solo serves as the song’s centerpiece.
The somber “Continuum” is an understated affair withspacious bass and nimble brushwork fueling wideranging piano. The ballad “Lost Time” is a lush elegy
for Fries’ mother, avoiding a melancholy mood byfocusing on the joyfulness in her life, as if it is thesoundtrack to an unseen collage of home movies.
There is a wry humor built into the pianist’s “JuneBlues”, making it the perfect song to close a set. Thisoutstanding trio date is a strong addition to Fries’
discography and many of his works deserve to berevisited with additional instruments.

lovingly. The same ethos holds for the more balladic“Sarabande”. Hipper joints are never far between,yielding highlights like the scintillating “Passacaglia”
and swinging “Intermezzo”. Zorn’s penchant forstylistic pivots finds nourishment in tunes like the“Scherzo” and “Gigue”, which move like sidewinders
on speed with programmatic flair, contrasting some of
the album’s quietest and wildest moments.
All of this marks a welcome entry into Zorn’s
oeuvre in one of his most artful mélanges of the bold
and the beautiful.
For more information, visit tzadik.com. Brian Marsella is at
The Stone at The New School Oct. 19th. See Calendar.

For more information, visit xcappa.com. Fries is at Mezzrow
Oct. 19th. See Calendar.

Suite for Piano
John Zorn (Tzadik)
by Tyran Grillo

Trailing a discography numbering in the hundreds,

John Zorn continues to delight the adventurous
listener. With the Suite for Piano, a flight of new pieces
for trio sitting at the crossroads between Johann
Sebastian Bach and Arnold Schoenberg, he has createdsomething precious that hasn’t made these ears feelwarm and fuzzy in quite the same way since 2001’s The
Gift. Other inspirations include Alexander Scriabin,Charles Ives, Anton Webern, Alban Berg, Erik Satie,
Claude Debussy, György Ligeti and Bill Evans, though
one need not connect the dots by name to appreciate
the depth of listening that went into both the composing
and performing.
The latter duty exceeds expectations in the handsof pianist Brian Marsella, bassist Jorge Roeder anddrummer Ches Smith, whose strengths never get in theway of one another. For the most part, the results are
not an eclectic free for all but rather a respectable (andrespectful) jazz record with enough edginess to keep
the deferential spirit on its toes.
Each section is designated by Baroquenomenclature, starting with the smoky textures of the“Praeludium”. What begins in a measured ostinato
allows a rupture or two to blur the dichotomy of
improvisation and composition. Like the “Menuet”
and “Pavane” later on in the sequence, it drips withatmospheric integrity and wields its familiar tropes

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 19

SAT
10/1

Donald Vega Quintet
Joe Saylor & the Kingdom
Late Night with Sam Dillon

7:30PM
10:30PM
1:00AM

SUN
10/2

Geoffrey Keezer Trio

7:00PM
9:00PMMON
10/3

Liya Grigoryan Quartet
JD Walter Quartet

Stepping Out, Vol. 1
Playfield (577 Records)
by John Sharpe

7:30PM
10:30PMAs a general rule the more players involved in a free

TUE
10/4

Benito Gonzalez Trio
Los Hacheros with Jeremy Bosch

7:30PM
10:30PMWED
10/5

Richie Vitale Quintet
Mike LeDonne Quartet

7:30PM
10:30PM

Lauren Sevian Quartet
Vivian Sessoms

7:30PM
10:30PMSAT
10/8

Ed Cherry Quartet
Richard Cortez Band
Late Night with Sam Dillon

7:30PM
10:30PM
1:00AM

SUN
10/9

Alexander Claffy Quartet
Ben Paterson Trio

6:30PM
9:30PMMON
10/10

Caelan Cardello Trio
Jamile

7:30PM
10:30PM

THR
10/6

TUE
10/11
WED
10/12

Alex Brown Quartet
7:30PM
Manuel Valera & New Cuban Express 10:30PM
Michael Kanan Trio
Gregoire Maret Quartet

7:30PM
10:30PMJoe Farnsworth Quartet
Lee Tayor

7:30PM
10:30PMSUN
10/16

John Sneider
Neal Miner Trio

6:30PM
9:30PMMON
10/17

Yvonnick Prene Quintet
Sean Mason Quartet

7:30PM
10:30PM

TUE
10/18

Itai Kriss & Telavana
Hector Martignon Quartet

7:30PM
10:30PMWED
10/19

Dan Aran Band
Rachel Z Quartet

7:30PM
10:30PM

THR
10/20

Max Johnson Trio
Ben Wolfe Trio

7:30PM
10:30PMSUN
10/23

Benny Benack III Quartet
Rick Germanson Trio

6:30PM
9:30PMMON
10/24

Thomas Linger Quartet
Brian Charette Sextette

7:30PM
10:30PM

TUE
10/25

Helio Alves Trio
Los Hacheros with Jeremy Bosch

7:30PM
10:30PM

WED
10/26

Champian Fulton Trio
Jason Tiemann Quartet

7:30PM
10:30PM

THR
10/27

David Gibson Quartet
Ian Hendrickson-Smith

7:30PM
10:30PMMON
10/31

Cameron Campbell Quartet
Luher S. Allison & Poiesis

7:30PM
10:30PM

THR
10/13

DINNER, LIBATIONS & LIVE JAZZ!

THEDJANGONYC.COM
2 AVE OF THE AMERICAS

improvisation, the harder it becomes to produce
something worthwhile. That is one of the reasons thatmost such encounters lean towards duos, trios and, ata push, quartets. When larger groupings do work, thecommon denominator tends to be sustained experience,
whether through the constant touring of an outfit likePeter Brötzmann’s Chicago Tentet or the sheer
durability of an ensemble like the Globe Unity
Orchestra. So it is some achievement for the eightplayers who make up Playfield that they wax
a coherent offering on the 41-minute first installmentof Stepping Out, the follow up to their three-volume
limited-edition debut. Partly that is down to thenumber of pre-existing associations encompassed
within their ranks, forged in the melting pot of myriad
Brooklyn performance spaces and partly due to acollective aesthetic, which prizes community overbombast. While veteran reedplayer and trumpeter
Daniel Carter may be the most recognized name anddistinctive voice, he knows the value of stepping backas much as stepping forward. Such judicious restraint
allows space for his collaborators to emerge from themix. In an unchanged roster, saxophonist Ayumi Ishito
and vocalist Luisa Muhr share what could be termed
the frontline, buoyed by the keyboards of Eric Plaks
and twin guitars of Aron Namenwirth and Yutaka
Takahashi and fuelled by the bass of Zach Swansonand drums of Jon Panikaar. The three cuts pass ina swirl of overlapping textures, without solos in theconventional sense and also without the easy option
default to group blowouts.
On “Ice Cream Mountain”, in which Muhr ’s
insistent wordless vocals generate tension andsubsequent release and “Loves Electric Touch”, stalked
by gnarly bass, the jagged guitar interplay, rippling
Rhodes and propulsive drums occasionally suggest theAgharta-era Miles Davis band of the early ‘70s, though
without the funk influence. At other times, as on the
opening “Tree House”, a more dreamy, floating feel
predominates, though one always subject to a prickly
undertow, an indication of how ambiguity is harnessed
to further creative ends.
For more information, visit 577records.com. This project is
at Aron’s Place Oct. 21st. See Calendar.

Uptown in Orbit
Emmet Cohen (Mack Avenue)
by Marilyn Lester

At a relatively youthful age, Emmet Cohen has

quickly established himself as a preeminent force injazz piano and one of the most accomplished neotraditional players of his generation. His new release,
Uptown in Orbit, a mix of old, new and original works,

20 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

puts a further stamp of certainty on his creative
abilities as well as his respect for trad jazz and thejazz ‘ancestors’.
This ethos is most embodied in Gerry Mulligan’s“Venus de Milo”, exhibiting solid playing by Cohen.
As for inspiration and innovation, the opener, Willie“The Lion” Smith’s “Finger Buster”, backed by his trioof bassist Russell Hall and drummer Kyle Poole,establishes Cohen’s stride chops and pianistic masteryin the way that James P. Johnson’s “Carolina Shout”
was once considered a true test of a jazz pianist’s skills.
But this tune is not the only “finger-buster” on thealbum. The closer, Duke Ellington’s “Braggin in Brass”,
is a masterly transcription of the horn-centric originalfor the trio. Up-uptempo, Cohen’s piano arrangementtranslates to a kind of ‘vocalese’ for keys.
The album and its title track is an homage to
Ellington, more specifically his blues-soaked album
Blues in Orbit. Ellington’s love of the blues was epic;
when he wasn’t writing a blues, he was usually
alluding to it musically. But whereas Ellington’s title
song is a slow, easy blues, Cohen’s, with the additionof Patrick Bartley (alto saxophone) and Sean Jones(trumpet), is a celestial-sounding work of symphonicgrandeur. A flowing, floating sense of rhythm andharmony make it easy to feel adrift in the stars. That
cosmic feel is also present in Cedar Walton’s “Mosaic”,
with the trio, which begins with an assertive solo by
Poole. The arrangement by Cohen cleaves to thehardbop style of the Jazz Messenger ’s delivery of thepiece. It is another finger-buster, showcasing Cohen’s
speed and dexterity on the keys.
3 originals by Cohen are featured among the 11
tracks. The lyrical ballad, “My Love Will Come Again”,
with Bartley and Jones augmenting the trio once more,
has hints of Jimmy Van Heusen’s “Deep in a Dream”
while “Spillin’ the Tea”, played by the trio, with its
retro 1920s-30s style, echoes the best of Fats Waller.
Hall composed the mournful ballad “The Loneliest”,
with Bartley and Jones on the track, which ends witha wailing trumpet flourish. As a companion piece(intentional or not), Cohen’s “Distant Hallow”, withthe same personnel and a deep bass intro, serves up
the same moody sense of dolefulness.
The trio’s work on “Li’l Darlin’” (composed by
Neal Hefti for the Count Basie Orchestra) iscontemplative and deliberate, building the simple
theme that tests the players’ ability to maintain a slow
swing at the exact right tempo, another challenge
passed with flying colors. The sum total of Uptown in
Orbit, with its mature artistry, variety and textures,
makes a feast of listening pleasure for fans of Cohenand beyond.
For more information, visit mackavenue.com. Cohen is at
The Appel Room Oct. 21st-22nd. See Calendar.

Master of Time
Susie Ibarra/Tashi Dorji (Astral Spirits)
Heart and Breath: Rhythm and Tone Fields
Richard Reed Parry/Susie Ibarra (Offair)by Franz Matzner

Ibarra penetrates the confluence of intellect, sense
and spirituality. She has done so again with these two
albums, both reflecting her perspective and technicalabilities, but depending as much on the absorption intoa space shared by her equally experimental andthoughtful partners. As a pair, the albums present muchto hear and contemplate, including treatment oftraditions that merit focused preservation.

NOVEMBER SHOWSFor more information, visit astralspirits.bandcamp.com
and offair.co. The Ibarra project with Reed Parry is at Public
Records Oct. 25th. See Calendar.

NOV 11–13 &NOV 18–20

Composer, percussionist and sound artist Susie

Ibarra’s music is persistently mercurial, alteringmodalities from release to release, yet tied together bycommon threads. These include blending traditionaland non-traditional instruments (to jazz, that is);rhythmic and textural acuity; and preservation ofindigenous artforms and cultures and spirituality. Allof these are important guideposts to appreciating her
two new albums fully.
Master of Time is a vinyl release partnering Ibarrawith experimental guitarist Tashi Dorji, recorded live at
an exhibition entitled Bardo, The Second Buddha: Masterof Time. Some context is valuable. First, the second
Buddha, or Padmasambhava, is a primary figure in
Buddhist cosmology, especially in Tibet. In thistradition, he carried Buddhism to Tibet from India
where it thrived, developing a distinct form of religious
expression and culture, including music and dance.
Second, Bardo is the transition state between death andreincarnation. Third, in Buddhist soteriology
Padmasambhva can appear in eight emanations
representing various aspects of Buddhist thought.
These facts are relevant because, while not explicit,
the albums’ two pieces “Confluence” and “The Way of
the Clouds”, reflect the structures, themes and musical
heritages of these traditions. We find a constant ebb
and flow of polyrhythms, impressionistic squeaks andsqualls, electric winds, gongs, bells, throbbing bass,
kinetic interactions, swirling brushes on taught snare,
deep resonances and guitar at times reminiscent of the
Tibetan stringed instrument dramyin. Yet within thewhole distinct nuclei are discernable. From these newmodes and trajectories originate, sounding much liketransitions from one sonic emanation to another or theexperience of the alteration of states.
For example, after a slow introduction of gong anddrum rolls, “Confluence” alters in intensity before,roughly eight minutes in, receding into a quiescentstate from which a new sound arc begins. Whilemaintaining continuity, this novel arc presents a new
set of snare patterns and gentle bass before rising again
to propulsive beats. Another drop into complete silence
follows from which a trajectory is born, constituting
skipping rhythm patterns and dense, distorted guitar.
“The Way of Clouds” contains many of the sameelements. Silence follows regeneration within a constant
fluidity and similar reflections of traditional Tibetan
tones and instrumentation can be heard, including theclosing moments fading into the overtones of gongs.
Illustrating the scope and invention of Ibarra’s
work, Heart and Breadth was recorded remotely withmulti-instrumentalist/composer Richard Reed Parry.
The nine tracks were created based on the rhythm of themusicians’ heartbeats and breath, establishing a strongline of calmness, meditation and patient development
throughout. For instance, “Floating Harmonic Rotation”
finds prolonged waves cresting and diminishing whilegongs knell gently and snare brushes flutter. “Simple
Breath” reinforces the artists’ ability to weave with thefinest of threads and delineate the most gripping ofrhythms via percussive fluidity and a richness of color
unrestrained by convention of any kind. Thereby, Ibarra
and Reed create a connection through the manipulationof their own hearts and breath to our collective humanity,
the original pulse of every individual—our mother’s.

TANK
AND THEBANGAS& FRIENDS

NOV 14–17
Hyper-Dimensional Expansion Beam
The Comet Is Coming (Impulse!)
by Jason GrossCHIEF
ADJUAHAs you may have learned from the recent cover story inthis gazette, British saxophonist Shabaka Hutchings is a
restless soul. His Ancestors band explores his more
spiritual side while the recently-paused Sons of Kemet
combined jazz/funk/Afrobeat. Meanwhile, The CometIs Coming is his trio with keyboard player DANALOGUE(Dan Leavers) and drummer BETAMAX (Max Hallett)and, as their name suggests, is a more complex, spacieraffair, melding jazz, R&B, classical and prog-rock. Aftera promising debut (2016’s Channel The Spirits) and thecontemplative follow-up (2019’s Trust in the Lifeforce of
the Deep Mystery), this third album stands as the mostmature, confident and fully realized record.		
Leavers relies on vintage ‘80s Roland synthesizers
for sound effects while Hutchings’ tenor playing brings
to mind great ‘50s R&B honkers (i.e., King Curtis),while he also doles out repeating/looping patterns
reminiscent of composers like Steve Reich and PhilipGlass, creating a muscular minimal funk bringing tomind Bill Laswell’s many austere productions.
Hyper-Dimensional Expansion Beam begins andends with drama, bookended by “Coda” with its
Tangerine Dream-like shuttering synths, plus zooms
and sirens surrounding Hutchings’ echoed, soaring
solos over an alternating minimal dance groove andhigh-speed frenzy while “Mystik” combines dub musicwith punishing rapid drumbeats and impassioned
interjections by Hutchings, which gets doomier andmore insistent, leading to a startling climax.
There are several lighter pieces for balance andrelief: “Lucid Dreamer” is a samba-like affair with airy
keyboards and buoyant saxophone; “Frequency of
Feeling Expansion” has a gentle, sweet vibe as a playful
feature for Hutchings with some chilly spooky synths
behind him; the comforting “Aftermath” sports
shimmering keyboards; and “The Hammer” combines
Hutchings’ expressive hardbop stylings with Leavers’
Third Stream and dark ambient settings. In the middleof the album are some of the strongest, most
uncompromising pieces, including the techno/trance
grooves of “Pyramids” and “Atom Wave Dance”, withthe latter bouncing back and forth between sci-fi
atmospherics and a Kemet-like jaunty romp, and“Angels of Darkness” which slow-burns at first as
Hutchings wails on a four-note theme, followed by aheavy, sledge-hammer sound, reminiscent of a horror
film climax. At this point, the trio is on an impressive
trajectory, which could lead almost anywhere, and will
be worth attending to, wherever it goes.

NOV 21 & 28
DIZZY
GILLESPIE

AFRO-LATIN
EXPERIENCENOV 22–27
EDDIE
PALMIERINOV 29–DEC 4
BILL
FRISELL

131 West 3rd Street | New York City 10012
212.475.8592 | bluenotejazz.com

For more information, visit impulserecords.com. This bandis at Bowery Ballroom Oct. 22nd. See Calendar.

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 21

NEW
FROM
MCG JAZZ

Craig Davis pays expert tribute to his fellow
Pittsburgher, Dodo Marmarosa, with 10 covers
showing a representative range of the bebop
composer/pianist’s catchy and urbane compositions.

Models of Duration
John McCowen (Astral Spirits/Dinzu Artefacts)
by Elliott Simon

Models of Duration from contrabass clarinetist John

McCowen is a broad tonal excursion through thisrelatively unknown instrument’s nooks, crannies, power
and impressionism. A solo session recorded in 2020, it
avoids melody to concentrate on tone and dynamics but
the music is not abstract in a free jazz sense. If anything,
McCowen is a realist and his music is an uncontaminatedpresentation of the contrabass clarinet’s rarely-if-everheard harmonic abilities and range. There is structure
within and across these four compositions as extended
techniques stretch conventional limits.
As the title states, tone duration is a central theme
and by circular breathing McCowen holds notes forexceedingly long periods. He uses overblowing, bends
and mastery of upper and lower registers to constructdissonant and consonant chords and give the music
unexpected texture. Released on LP and as
a download, the music’s engineering by Randall Dunnis superb. Active listening discovers and imposes
differing structures to the sound. McCowen employs
Tartini tones: illusory third notes perceived as a result of
the combination of two other notes. During a perfunctory
listen the sound has a synthetic veneer; other times it
is reminiscent of feedback oscillations, still others
as audiometric tones but close attention reveals thebeautiful texture and nuance to McCowen’s playing. As
such, the listener becomes part of the creative process.
“Duration I and II” begin and end the release. Eachstarts with a thematic sound, such as a pure low G.
McCowen sustains the tone for long intervals before
introducing it to other notes. Harmonic relationships
are formed as instrumental boundaries strain. “Foggd”
and “Hoskin” are something else altogether: the former
is a dissonant guttural chord deconstructed andreconstructed as McCowen displays inhuman breathand reed control while the latter is a 12-minutedemonstration of scorching chordal intensity. McCowen
is a sonic architect who creates auditory configurations
on an acoustic instrument like no one else.

of an artistic individual. While few were the years
between 1928 and his 1970 death when Hodges wasn’t
with Ellington, bountiful were the moments when his
unique tonal persona and creativity helped him standon his own merits. Saxophonist Owen Broder gets that.
Broder crafts a heartfelt tribute to a formative
influence without ever aping the object of his affection
or straying too far from the path. In short, he finds
a perfect balance. Opening on “Royal Garden Blues”,
the saxophonist and his quintet of trumpeter Riley
Mulherkar, pianist Carmen Staaf, bassist Barry
Stephenson and drummer Bryan Carter nod to Back to
Back, a 1959 small-group session co-led by Ellington and
Hodges. Then there is “Viscount”, from Hodges’ 195657 album The Big Sound, highlighting wonderful repartee
between saxophone and trumpet before opening spacefor bass; “18 Carrots for Rabbit”, recalling an on-record
1959 meeting between Hodges and Gerry Mulligan
while placing Mulherkar in the latter’s light andBroder—on baritone—in Mulligan mode; a casual andcatchy “I’m Gonna Sit Right Down and Write Myself aLetter” spotlighting the leader and Staaf; and centerpiece“Digits”, a bright-eyed swinger penned by Ellingtonian
trumpet titan Clark Terry. A pair of pairings closes thealbum: a double shot of Billy Strayhorn in the form ofBroder’s gorgeous baritone-fronted look at “Ballad for
the Very Sad and Very Tired Lotus Eaters” and theimmortal “Take the ‘A’ Train” and two numbers from
Ellington and Hodges’ 1958-59 Side by Side sessions,with the latter’s hard-shuffling “You Need to Rock” as
the capper. But they don’t mark a true end. With Vol. 2planned for release in 2023, Broder looks to holdthoughts and ears while playing Hodges’ praises.
For more information, visit outsideinmusic.com. This
project is at Chelsea Table & Stage Oct. 26th. See Calendar.

sirius quartet presents

Progressive
Chamber Music
Festival mmxxii

For more information, visit astralspirits.bandcamp.com.
This project is at Roulette Oct. 25th. See Calendar.

October 21 st & 22 nd , 2022

N e w A m s t e r d a m Mu s i c a l A s s o c i at i o n

On Force of Nature, her lovingly conceived andradiantly realized seventh album, Deanna Witkowski
has created a multi-leveled masterpiece revisiting
the compositional genius of Mary Lou Williams.

Hodges: Front and Center, Vol. 1
Owen Broder (Outside In Music)
by Dan Bilawsky

Rare is the mention of alto saxophonist Johnny Hodges

Available at:

MCGJazz.org

without reference to Duke Ellington. Hodges, after all,spent the overwhelming majority of his career putting
his pure-toned lead to incredible use in the maestro’s
company, so that context has logically carried his
reputation forward. But as time passes and Hodges’
influence has waned, it has become too easy—andcommonplace, perhaps—for some to view him as an
adjunct to the pianist/composer and orchestra instead

22 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

107 W 1 3 0 t h St , New York , N Y 10 02 7
friday xxi 7:00 pm/ / saturday xxii 7:00 pm

doors at 6:30 pm

doors at 6:30 pm

Sam Bardfeld Trio

Benjamin Sutin’s(w/ Jacob Sacks & Michael Sarin)

Sirius Quartet

Klazz-Ma-Tazz

Judith Insell’s “Jump Off This Bridge”

Michael Bates’ Acrobat(w/ Marty Erlich, Fung Chern Hwei,
Sara Schoenbeck, and Michael Sarin)(w/ Virg Dzurinko, Eli Asher, & Leonid Galaganov)

Aliya Ultan Trio

(w/ Keilan Aplin & Taiga Ultan)

advance tickets available online atwww.pcmf.brownpapertickets.com
www.siriusquartet.com

CantarDafnis Prieto (featuring Luciana Souza) (Dafnison Music)
by Alex Henderson

Although drummer Dafnis Prieto was born and raisedin Cuba and has thoroughly mastered the AfroCuban
rhythmic and melodic vocabulary, he has never beena purist, appreciating a variety of other musics. His
eclectic nature is very much in evidence on Cantar,
a collaboration with Brazilian vocalist Luciana Souza.
Cantar means “to sing” both in Spanish (Prieto’s
native language) and Portuguese (Souza’s) and is anappropriate title as the latter is featured on most of theselections. Parts lean towards AfroCuban jazz andboleros while others are more Brazilian-focused. And
Prieto and Souza aren’t shy about mélanges; the gentle“Amanhecer Contigo”, for example, draws on lightsamba as well as the AfroCuban bolero tradition.
Souza sings in three languages and does wordlessscat singing as well. She is featured in Spanish on thebolero-minded “Sueño de Amor” (“Dream of Love”)
and playful “Guajira en Sol”, switches to English on
haunting “When I Miss You” and Chick Corea-ish “TheMuse” (like something he would have done with hiswife, singer Gayle Moran, in Return to Forever during
the ‘70s) and comes home with the exuberant, sambaminded “Houve um Tempo” in Portuguese. She loses

nothing when switching, equally expressive in all three
tongues. Souza was an integral part of the project,collaborating with Prieto on the songwriting. Cantar isa first for Prieto in that he wrote most of the lyrics.
Prieto and Souza have sidemen broad-mindedenough to handle the range of melodies, harmonies
and rhythms that the album offers: Peter Apfelbaum(woodwinds, melodica, percussion), Martin Bejerano(acoustic piano, vocals) and Matt Brewer (acoustic
bass, electric bass) skillfully rise to the occasion.
Prieto, who has lived in the U.S. since 1999, isn’t
content to find a comfort zone and stay there
throughout his career. He obviously welcomes variety
and Souza helps him achieve it on Cantar.
For more information, visit dafnisonmusic.com. Souza is atMiller Theatre Oct. 15th. See Calendar.

The Game
Johnny Steele (Outside In Music-Next Level)by Robert BushThe Game referenced in this debut album by fresh-

faced drummer Johnny Steele (22 years old and alreadya Juilliard graduate) is chess. People in Southern
California are still raving about Steele’s prowess fromhis days in San Diego, where he served as the housedrummer when he was just a teen for trumpeter Gilbert
Castellanos’ weekly jam session. This album is proof
positive that his growth as a drummer has expanded
exponentially, although perhaps more impressive isthe fact that Steele composed everything on The Game.
Rather than recruit a band of ringers (like so many
debuts) Steele has assembled a band of fellow Juilliard
graduates who obviously have worked together,paying simpatico dividends not otherwise attainable.
Right off the bat on “Lennon’s Aggression”,
a hypnotic groove is established, courtesy of a sharp
drum fill answered by a haunting unison evoking the‘60s Blue Note era. Tenor saxophonist Chris Bittner is alithe and muscular soloist and pianist Esteban Castro
follows him with a precise toggling of power andfinesse. Steele wraps things up with a vituperative
essay over a sudden montuño. “The Prodigy” is a
dedication to trumpet legend Clifford Brown, but it
could also be self-portrait. Bittner has a great sound,sort of like warm honey with just a dash of moonshine.
Steele trades fours with Castro before bassist Cole
Davis emerges with a potent solo. The leader sets up“Bowie”, with a long series of rimshot clicks thenexposes an insouciant, swinging piano trio, showcasing
Castro’s tasteful chops. The pianist also delivers awallop on “Hewson”, where his long, information-richsolo constitutes a highlight moment.
Sandwiched between each main tune are shortinterludes where Steele explains the origins of eachpiece, some of which came as a complete surprise.
Apparently, many famous musicians had a serious
chess game going on. A refreshingly mature offering
for a debut effort, The Game is worth playing.
For more information, visit outsideinmusic.com. Steele is at
BRIC Jazzfest Oct. 22nd with Matthew Whitaker. See Calendar.

Falkner evans
Live at MEZZROW
Monday, October 31st, 2022

Through The Lens
Coming1.20.22
Shows at 7:30 and 9:00 pm
163 West 10th Street • (646) 224-1166
Reservations: www.mezzrow.com
www.falknerevans.com • www.jazzbeat.com
THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 23

Seismic ShiftJohn Escreet Trio (Whirlwind)by Marco Cangiano

British pianist John Escreet’s impressive opus seems
difficult to pinpoint. It is quite revealing that this, his
ninth recording, is his first acoustic trio. A few
biographical notes: he moved to Brooklyn first andeventually Los Angeles. In addition to a rather diverse
series of recordings, Escreet has also collaborated withthe likes of Tyshawn Sorey, David Binney, Amir
ElSaffar and Evan Parker, among others. He received
the prestigious Chamber Music America New Jazz
Works Grant in 2009 and CMA/ASCAP Award forAdventurous Programming in 2011. Escreet’s previous
albums portrayed an extremely talented artist in searchof his own voice, variety pursued through the need todisplay a full arsenal in terms of compositions, groups
and instrumentations, including the use of electronics.
Seismic Shift may mark Escreet’s newly foundvoice by showcasing a mature artist totally at ease bothin and out of a tonal approach while conveying an
intimate and dramatic tension, possibly the outcome ofthe pandemic, which forced Escreet into a period of
intense piano practice. The seismic shift of the title
may then refer to Escreet’s renewed confidence andstylistic consistency achieved thanks to the standard

trio format. Joined by the most empathetic duo ofbassist Eric Revis and drummer Damion Reid, hesounds both very respectful of the tradition, as on
Stanley Cowell’s dedication “Equipoise” and his tenseballad-like “Perpetual Love”, as well as more angularwith originals like “Study” and “RD”. Among thehighlights are “Digital Tulips”, with echoes of Chick
Corea’s ARC trio, and complex “The Water” wheremore melodic sequences alternate with free
improvisations to great effect. Finally, this recording
also offers the listener ample opportunity to savor
Escreet’s exquisite touch on the acoustic instrument.
For more information, visit whirlwindrecordings.com. This
project is at The Jazz Gallery Oct. 7th-8th. See Calendar.

I Am the Spirit of the EarthIgor Lumpert & Innertextures (Clean Feed)by Tom Greenland

With I Am the Spirit of the Earth, his fifth outing as

leader and his third on Clean Feed, Igor Lumpert
continues to develop his deliberate yet intuitive
approach to jazz. With Innertextures, his variableensemble comprised (for this album) of alto saxophonist
Caleb Curtis, bass clarinetist John Ellis, guitarist Jeff
Miles,
bassistChris
Tordinianddrummer

24 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

Kenny Grohowski (trumpeter Peter Evans guesting on
several tracks), the Slovenian tenor saxophonist has
located skilled and simpatico compeers to articulate his
artistic impulses. Drawing on M-BASE practices ofadditiverhythmicphrasing
andintervallic
development, his writing also betrays a certain organic
flow and danceability, permeated with mercurial hornarrangements mixing unison, tutti and chorale passages
with hockets, canons and other contrapuntal techniques
pitting the disparate horn parts against one another.
Guitar is often used as a fourth horn (or fifth,
when trumpet joins the fray), bass clarinet as a second
bass or in opposition to the central melodic action.
Most interesting, these textures often change withina phrase or gesture: what begins in cohesive parallel
motion may morph into heterophony, dissension, evenanarchy, all in one breath. Key elements in the groupalchemy are Lumpert’s rigorous yet instinctive
improvisations juxtaposed against Curtis’ warmer,
more extroverted style (their tandem bout on“Rimbaud” is a highlight), Ellis’ moody independence
and Grohowski’s restive prodding rejoinders. When
Evans joins them for “Rimbaud” or “East Block Party”
the results are dense and exciting. Tordini, mixed low,
plays a less prominent but supportive role.
Lumpert’s most introspective side is revealed ina soliloquy at the top of “Capljinski Tatari”, his
intimate, breathily buzzing tones building, in logicalintervallic sequences, into high ecstatic trills. The dateis memorable for its happy marriage of cerebral andvisceral inclinations: the relaxed and almost offhanddelivery of cleverly calculated themes and sophisticatedimprovisations with ingenuous enthusiasm.
For more information, visit cleanfeed-records.com. This
project is at Nublu 151 Oct. 14th. See Calendar.

LIVE JAZZ AT

Hycean Worlds
Spacepilot (Orbit577)
RitualLeo Genovese (577 Records)by George Grella

The connecting tissue on these two releases comes in

the form of Argentine keyboard player Leo Genovese,interesting in itself because these are two very different
albums. Genovese’s Ritual is modern jazz while theSpacepilot album is straight up instrumental rock inthe manner of vintage Return to Forever, Santana or
Jeff Beck. Hycean Worlds is also an indicative title; thisis a new classic in space rock.
The lead voice on Hycean Worlds is guitarist Elias
Meister. The tracks are credited to Meister, Genovese(who handles synthesizer and organ bass) and drummer
Joe Hertenstein, but Meister is the frontman, carrying
the lines and soloing on all tracks. The music is
improvised, but not in the free sense; rather the musicians
put together riffs and jams with changes and absolute
rocking backbeats. The
concept comes from thediscovery of water and hydrogen-thick exoplanets
named Hycean Worlds. So, space rock, but that doesn’t
begin to capture the soaring, celebratory feeling of all
this music. Pieces like “Sagittarius A” build with musicaland emotional logic to exciting, anthemic heights.
There is not a weak moment on the album and eventhe obvious cheeky fun of “Mozart Goes to Uranus (KV231)”—the composer’s K. 231 vocal canon “Leck michim Arsch”, no translation needed—turns out to be aquasi-mystical exploration that keeps reaching outward
and upward. The notes for the album ground therecording in the materiality of musical and cultural
history, mentioning the vintage gear the band used in
the Hamburg studio where they laid down the tracks,
and there is an integrated feeling between how those
instruments sound, the memory of the music made withthem in the past and this new edition to what truly issome sort of canon. Rootsy, both nostalgic and fresh,
this is a terrific album and one of the funnest of the year.
The basic ensemble for Ritual is also a trio, with
Genovese at the piano, bassist Demian Cabaud anddrummer Jeff Williams, vocalist Nadia Larcher
appearing on 4 of the 11 tracks. This is prime modern
jazz and also experimental in the sense that Genovese
is trying different things on different tracks. The
opener, “Fiesta Time”, mixes different rhythmic
patterns among the three musicians, then heads out
into some brief free improvisation by the leader. The
vocal tracks, meanwhile, come out of Steve Lacy-Irene
Aebi/Frank Carlberg-Christine Correa territory: short,logical melodies, everything moving to a point in theway Lacy learned from Thelonious Monk and Larcher ’s
beguiling voice carrying some of Aebi’s theatricality(without the technical limitations) and Correa’s
articulation and rhythmic approach.
Most of the tracks are succinct, especially the vocal
ones, which leave little room for improvisation. The
others are consistently solid, with forceful statementsof the musical idea at hand, compact improvisation andthen out. If anything, some could be longer, as
everything is interesting, knotty in the sense that one
wants to hear how it unwinds. With 11 different pieces
to cover, that leads to some overall feeling of choppiness,but inside each there is great energy and invention.
For more information, visit 577records.com. Genovese is at
Dizzy’s Club Oct. 17th with Frank Carlberg, Bar Bayeux
Oct. 25th and Room 31 at Arlo NoMad Oct. 29th withUri Gurvich. See calendar.

LPR
GRACE KELLYOCTOBER 14, 2022

OCTOBER 16, 2022

SAM AMIDON&

MARC RIBOT
DUO

10.22.22
TICKETS AND INFO AT LPR.COM | 158 BLEECKER ST, NYC
THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 25

Songbook, Vol.2: Dance The Way U Want To
Brian Lynch and Spheres of Influence(Hollistic MusicWorks)by George Kanzler

Trumpeter Brian Lynch wrote and recorded dozens of

his own tunes in his over four decades on the jazzscene. He has now reclaimed the rights for his
publishing imprint, Hollistic MusicWorks. This is his
second album chronicling that music in new recordings.
It is also his Latin Jazz (although he prefers the term
AfroCaribbean Jazz) music.
Featured are seven reclaimed tunes as well as two
new works. He is joined by musicians from the Miami
area, most either colleagues or students of his at the
Frost School of Music at Miami University, where hehas taught for over a decade. The rhythm section isanchored by Rodner Padilla (electric bass), Hilario Bell(drums) and Murphy Aucamp (percussion). Splitting
piano duties are Kemuel Roig and Alex Brown andappearing on various tracks are tenor saxophonists
Aldo Salvent or Chris Thompson-Taylor and alto
saxophonist Tom Kelley. Although Lynch is an Anglofrom Milwaukee, he has been involved in the Latin as
well as straightahead jazz scene since his college days
and is a long-time member of Eddie Palmieri’s bands.
One of the two new pieces is a dedication to
Palmieri, “E.P.’s Plan B”, wherein the theme played by
the horns mimics one of Palmieri’s exuberant pianopassages. Lynch, Salvent and Kelley match thatexuberance in their scintillating solos. The other, “TheDisco Godfather”, begins with a jagged melody overrattling rhythms, Lynch and Salvent playing tag-teamwith the theme and in solo exchanges, before tempi
shifts. Both of those tunes and five of the seven others,
appear on both discs in this double album, with shorter,
trimmed “radio” versions on the second disc, somesolos truncated or deleted. The full versions are better.
Surprisingly, the one tune that does not appear asecond time on Disc 2, “Silent Conversation”, is themost alluring. It features clarion trumpet and boporiented alto weaving on the melody and in tandem
solos, as well as a memorable turn from Roig. It is adefinite highlight of an album chock full of them.
For more information, visit hollisticmusicworks.com. Lynchis at Dizzy’s Club Oct. 10th with John Beasley. See Calendar.

Out In It
Thomas Linger (Cellar Music Group)by Ken Dryden

Musicians face many challenges when making a debut

recording, as pianist Thomas Linger does with his Out
In It. In addition to showing strengths as an improviser,
accompanist and leader, an up-and-coming artist has
to have confidence his compositions and arrangements
make a statement, rather than rehash the past.
Fortunately, Linger stands out from the pack andshares music that sounds like it is by a seasoned

26 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

veteran, including his striking originals.
He chose three in-demand players for the date:guitarist Peter Bernstein and drummer Joe Farnsworth,both of whom are frequent leaders themselves, plus
the superb bassist Yasushi Nakamura. The ebb andflow among the musicians makes it feel like they areplaying familiar repertoire instead of new works.
The infectious line of “Can’t Say It” seems likeit could have been part of a classic bop session. The
continuously twisting theme of “Mercurial Behemoth”
suggests McCoy Tyner with its occasional tremolo in
the right hand and dissonant chords, though it is prettymuch a straightahead postbop anthem, Farnsworth,a student of the late piano giant Harold Mabern,
providing a stimulating background for Linger. The
melancholy ballad “Linger ’s Lament” is a beautiful
showcase for lyrical guitar while the leader leaves a bit
less space in his solo but is no less compelling.
The Latin-infused “A Lovely Encounter” best
showcases Nakamura’s substantial chops, yet anotherpiece that sounds like it could draw the attention ofother bandleaders. Linger tackles Billy Strayhorn’s
bittersweet ballad “Lush Life” unaccompanied,conjuring the spirit of Oscar Peterson with robust
flourishes and a constantly shifting approach while
also recalling earlier stylists with his inventive bassline.
Art Farmer wasn’t known as a prolific songwriter and“Woofin’ And Tweetin’” is a bit of an obscurity,
recorded on a Gene Ammons session in 1955 andoverlooked since then, but the quartet relishes thislaidback, catchy blues and shows that no horns areneeded, with effective solos by Bernstein and Linger.
This is a very promising debut.
For more information, visit cellarlive.com. Linger is at The
Django Oct. 24th. See Calendar.

Filters
Phillip Golub (Greyfade)by Tyran Grillo

P ianist Phillip Golub makes his solo debut with Filters,

an album of looped motifs and structures. Eschewing
the traps of machine-made repeats, Golub renders his
in real time at the keyboard, allowing the inevitablenuances to tickle the ears of attentive listeners. And
while the concept may not be airtight (take, forexample, the organic feel of Trent Reznor ’s drum
sampling on The Downward Spiral or the shifting sandsof William Basinski’s The Disintegration Loops), thebeauty and sincerity of Golub’s execution of it are whatmake this album so welcoming.
“loop 1” opens the window onto a vista treating
light and shadow as equally vital. For while the notes
being played surely paint an alluring swath of
microscopic variations across nominal reiterations, thespaces between them remind us that beyond the partly
cloudy skies immediately overhead, people areslumbering under cover of night. “loop 3” turns thefocus ring to clarify our attention on another layer ofthe sonic landscape, allowing us to feel the depth ofperception required by the writing, playing andlistening alike.
“loop 4” nullifies the threat of any storm to reveala brighter shade of experience. Memories inevitably
come floating to the surface in search of newneedles to thread. Instead, they flail in slow motion,
destined to fade into forgetting. Lastly, “loop 5” closes
the blinds on the scene to which we have just been
made privy, replacing it with a projection screen for
self-imaginings.
The fascination of all this is that any of the above
descriptions could be swapped and still feel authentic.
Such is the music’s allowance of personal connections,for open arms can only become an embrace when one
offers the self to be held.

harmonic elements, could suggest an academic
background, but he is very much his own man when it
comes to how he puts these sounds and ideas together.
Gravity Without Airs, a trio outing with pianist Matthew
Shipp and bassist Michael Bisio, is a highpoint of his
already impressive catalogue, displaying his powers infull relief.
Each CD of the two-disc set is bookended byoriginal compositions (plus one more in the middle)
while the rest of the tracks are free improvisations.
Given that the originals are open-ended, moresuggestive than prescriptive, and that the group
improvs are highly cogent despite their on-the-spot
construction, the project evinces consistently
spontaneous energy. Shipp and Bisio, having often
collaborated in the former ’s trio and as alongstanding duo, have intimate knowledge of eachother ’s proclivities, so their parts are typically tightly
synced, pulsing together incessantly to formulate
seismic free-grooves.
Knuffke is the clear frontman, ably filling thoseshoes with marvelous charisma and volatility. You
could get lost in the warm, pure sound of his horn,which deftly incorporates breathy whispers, sharpbarks, stratospheric sirens, mellow murmurs,
warbles, yodels, sputters, burbles, tender vibrato,
hard-driving legato and pretty open tones. All of whichsuggests he is primarily a sound sculptor, but thewonderful thing about his style is that all of thesetimbral manipulations are employed in service to his
ideas, the color of his sound clarifying the shape of hislines, the arc of his gestures.
Invariably engaging, the album’s most exciting
moments occur on the second disc: Knuffke’s waterpipe-on-the-verge-of-bursting sound effect at theclimax of “Blinds”; his vulnerable (one is tempted towrite Miles Davis-ian) lyricism on “Piece of Sky”;
the trio’s powerful collective iteration of a single
pedal-tone on “Shadows to Dance”; and Knuffke’s
ecstatic leadership at the close of the same.
Besides its other considerable merits, the album isa sound (in both senses of the word) argument for
dropping out of music school.

Cool nonet from 1949, where he was both a participatingmusician and a contributing composer-arranger.
This edition of the Concert Jazz Band was among
the best ever, boasting a bevy of stellar soloists: alto
saxophonist Gene Quill, tenor saxophonist Zoot Sims,
trombonist Bob Brookmeyer, trumpeters Conte Candoli
and Nick Travis, as well as drummer Mel Lewis
anchoring the rhythm section (the rest of the band is
trumpeter Don Ferrara, trombonist Willie Dennis, alto
saxophonist Bob Donovan, tenor saxophonist Jimmy
Reider, baritone saxophonist Gene Allen and bassist
Buddy Clark).
Quill is featured on the uptempo, boppish“18 Carrots for Rabbit” (heard here in two versions),
Mulligan honoring Duke Ellington alto saxophonist
Johnny Hodges, with whom he had recorded in 1959.
Sims, a tenor saxophonist unfortunately largely
forgotten today, is commanding on his features:
Mulligan’s “Apple Core”, a neo-swing flag-waver, andthe standard Harold Arlen-Johnny Mercer ballad“Come Rain or Come Shine”. But Mulligan is themain soloist, a standout on uptempo romps likehis own “Bweebida Bobbida” as well as on ballads,
especially Django Reinhardt’s dirge-like “Manoirde Mes Rêves (Django’s Castle)”, a resonant,haunting theme.
A highlight is a fast-paced version of Ellington’s“I’m Gonna Go Fishin’” from his score for the 1959 film
Anatomy of a Murder, also heard here in two versions.
It cascades along on a momentum developed from riffs
and shouts derived from the melody, all prodding,exhorting and inspiring the featured soloists.
For more information, visit steeplechase.dk. A Mulligan
tribute is at Dizzy’s Club Oct. 24th with the Juilliard Jazz
Ensembles. See Calendar.

For more information, visit taoforms.bandcamp.com.
Knuffke is at Downtown Music Gallery Oct. 4th, Nublu
151 Oct. 15th with Bernard Purdie and Dizzy’s Club Oct.
17th with Frank Carlberg. See Calendar.

For more information, visit greyfade.com. This project is at
The Owl Music Parlor Oct. 29th. See Calendar.

In Concert
Gerry Mulligan Concert Jazz Band (SteepleChase)by George Kanzler
Gravity Without Airs
Kirk Knuffke (TAO Forms)
by Tom Greenland

W hat do Kirk Knuffke, Louis Armstrong, Duke

Ellington, Thelonious Monk, Wes Montgomery andFrank Zappa have in common? If the first name didn’t
give it away you may have surmised that these are all(largely) self-taught improvisers.
While it may take longer to reinvent a musicalstyle/language from scratch, autodidacts enjoy a
decided advantage over conservatory-trained jazzmusicians who must learn how to break ‘the rules’
before inventing their own. Knuffke is a case in point:
his admirable technique enabling him to deliver arich, reverberant tone across the full ambitus of his
cornet, along with his intelligent use of melodic andF amous for his small groups, especially his pianolessquartets in the 1950s, baritone saxophonist Gerry
Mulligan formed a big band in 1960, calling it his
Concert Jazz Band to distinguish it from the danceoriented swing bands he came up with in the ‘40s. He
brought that band on a European tour in the fall andmusic from concerts in Copenhagen (Oct. 31st) andBerlin (Nov. 4th) make up this album.
Mulligan’s big band concept was rooted in his
quartets and sextets, namely a loose and limber
ensemble capable of small-group spontaneity andflexibility, like the counterpoint tandem lines pitting
soloists and sections against one another and stop timebreaks that were a hallmark of his combos. His ideas
came not just from his small groups, but also from his
work with the groundbreaking Miles Davis Birth of the

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 27

Sunrise from West Sea
Yamash’ta & The Horizon (London-Wewantsounds)
by Phil Freeman

Stomu Yamash’ta began his career at 13 as an orchestralpercussionist (his father was the director of the Kyoto
Philharmonic). His recorded debut came in 1971, witha percussion recital that was the first-ever commercial
digital recording. He made a string of albums thatyear, including Metempsychosis, a collaboration withpianist Masahiko Satoh (who turns 81 this month), andRed Buddha, another solo percussion disc.
Sunrise from West Sea was his fifth album of 1971.
It is a short but fascinating exploration of the outer
limits of improvisation featuring Satoh on keyboards,
Takehisa Kosugi on electric violin and Hideakira
Sakurai on electric shamisen. It consists of just two
tracks, adding up to just under 35 minutes of music,
but each of those is a journey unto itself, beginning in
one place and ending somewhere completely different.
The stringed instruments create subtle effects,
pinging and scraping softly rather than taking
conventional solos. A few minutes into “Sunrise FromWest Sea (Part 2)”, Sakurai begins strumming his
strings in the manner of a jazz bassist like Jimmy
Garrison and the electronics create a pleasing, crunchy
distortion. On the other side of the sonic field, there isa sort of swooping, whooshing sound that could be
Yamash’ta sweeping a cymbal with a tiny brush, or it
could be something else entirely; it is impossible toknow. Yamash’ta takes traditional percussion solos oncongas and bongos and delivers long passages of vocal
eruption filtered through more electronics. Sine waves,
feedback and theremin-like swoops and syntheticmoans drift past like ghosts on the wind, as violin
plays a mournful melody and Satoh operates his
keyboards, prefiguring Herbie Hancock’s work with
Mwandishi in the years to come. At one point, the(small) audience can be heard laughing in response tosome vocoder-esque singing and the realization thatpeople were present for this is somewhat stunning, as
it feels like four musicians operating in the dark, withno one but themselves for company or support.
For more information, visit wewantsounds.com

There Is No Greater Love
Dado Moroni (Storyville)by Ken Dryden

Italian pianist Dado Moroni, who celebrates his 60thbirthday this month, has a large discography as aleader and sideman. Visiting American artists andEuropean musicians have sought to play with him due

28 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

to his seemingly encyclopedic knowledge of American
standards and jazz works, along with his creative
soloing and comping. This recording, made over twonights at Copenhagen’s famous Jazzhus Montmartre,
was part of a tribute organized to honor the late,legendary Danish bass virtuoso, Niels-Henning Ørsted
Pedersen, Moroni with the talented Danish bassist
Jesper Lundgaard and American drummer Lee
Pearson. Without rehearsal or a soundcheck, the three
took the stage and quickly won over the crowd with
their intuitive playing, as if they had been working
together for years. Part of the fun is hearing one ofthem respond vocally to what another has contributedin the midst of a song. All but one track are extended
performances, with Moroni occasionally conjuring theinfluence of Oscar Peterson while Lundgaard’s
inventive playing reinforces why he is one of Europe’s
most in-demand bassists.
The opener is the timeless Isham Jones-Marty
Symes standard “There Is No Greater Love”, an Oscar
Peterson favorite, though Moroni’s similarity to thelate jazz master ’s approach is fleeting. Like Ørsted
Pedersen, Lundgaard shows the depth and breadth of
his improvising skills in his solo and Pearson’s
brushwork is subtle but provides the perfect backdrop
as the intensity gradually grows to the point that heswitches to sticks. Cole Porter ’s “Just One of ThoseThings” blends in bop and swing, quickly building
into a rollicking performance. The leader ’s original“First Smile” is a lyrical lullaby with beautiful voicingsin a delicate solo setting. Lundgaard and Pearson set
up the groove in the foot-tapping swinging take ofDuke Ellington’s “C Jam Blues”. The outstanding workby this inventive trio merits future recordings.
For more information, visit storyvillerecords.com

B OXED SE T

Brass and Ivory Tales
Ivo Perelman (Fundacja Słuchaj)by Steven Loewy

Brazilian saxophonist Ivo Perelman’s nine-CD

boxed set, Brass and Ivory Tales, is a remarkable
collection. After releasing a constant flow of mostly
stunning albums, including part of his long andcontinuing run with pianist Matthew Shipp, withwhom the saxophonist has recorded more than 40
times, including 18 duo albums, Perelman selectednine other outstanding pianists to join him in fully
improvised duos, producing delight for listeners.
What is most astonishing is that each one of the
pianists stimulates Perelman in different ways andthat the saxophonist manages to keep the listener ’sinterest for multiple hours of listening, as he explores
virtually every nook and cranny of his horn,interacting with so many varied stylists so
successfully. Not only do the results avoid the plagueof repetition, but virtually every track excites as both
Perelman and his partners clearly inspire each other,with myriad strategies to communicate.

Considering that only piano and tenor
saxophone perform, there is considerable variety,with little, if any, echo. To make this work as
effectively as it does, Perelman had to prepare
vigorously so that his horn was a complete extensionof self, Perelman essentially becomes a saxophone,
in a sense transforming his instrument to reflect his
essence. Along the way and unexplored here, therecordings imply certain questions, among others:
What is the role of the pianist? How do different
pianists affect the performances? How can so many
hours of a duo be consistently interesting?
It is not possible, in this space, to describe fully
all the wonders that occur on these recordings. As
Perelman told this reviewer, “Each musician brought
forth a personal approach that propelled me into
unforeseen heights.” With one exception, the pianists
selected are some of the finest exponents of free
improvisation and, except for Marilyn Crispell, thesaxophonist had never performed with any of thempreviously.
Catalan Agustí Fernández, a natural partner
due to his energetic approach, doesn’t disappoint,
displaying, variously, a wildly powerful left hand,
tremendous range, inside plucking of strings andsuper speed, but also shows a gentler side, to which
Perelman responds beautifully. Dave Burrell offers
more subdued support, which Perelman exploits
wonderfully with largely accessible, playful andwild sounds. Angelica Sanchez inspires Perelman on“Chapter Three”, where her soft jagged lines build
slowly to a daring end. Marilyn Crispell embraces
silence and space, her beautiful, contemplative, evenwistful backing toning down the saxophonist, evenwith his altissimo fire.

New releases from

WeFreeStrings“Love In The Form Of
Sacred Outrage”

For more information, visit fsrecords.net. Perelman is at
Nublu 151 Oct. 26th. See Calendar.

CD - download - streaming

new releases

Ivo Perelman / Matthew Shipp“Fruition”

SCCD 31936

Jones Jones“Just Justice”

Another side of Perelman appears with Sylvie
Courvoisier, with often very slow and quiet
renderings, building over time with their “Chapter
Three”, leading to a swirling mixture of piano andsaxophone. Vijay Iyer is both supportive andinspiring on “Chapter Four”, which contains the fullrange of Perelman’s skills, from slow, gorgeous
saxophone to wildly emotional overblowing. Neil
Tesser describes Craig Taborn’s “laser-focusedenergy” in his helpful notes and Perelman respondswith tight, balanced technique, clearly pushed by the
pianist’s motivating, tasteful thrusts. Cuban Aruán
Ortiz offers a more percussive deliberate perspective
on “Chapter One”, in which his slow, jagged
approach leads Perelman to spread out, describing
the pianist’s approach as “deeply intellectual and yet
so musical.”. Finally, talented mainstream pianist
Aaron Parks, whom Perelman invited to participate
due to the pianist’s admiration of Matthew Shipp,meets the saxophonist halfway in a successful outing,the pair spurring each other on.
Through the nine CDs and over eight hours ofmusic, Perelman plays with panache, blowing softly,
loudly, comfortably negotiating the difficult altissimo
register with aplomb and demonstrating a brilliant
understanding of his horn and myriad emotions.
There is much to savor here, despite the limited
instrumentation, and there is not a bad track to befound. With Brass and Ivory Tales, Ivo Perelman has
outdone himself and produced a career highlight,
but if the past is prologue, there is much more tocome from this fascinating performer.

SCCD 31937

The Red Microphone“A Bleeding In Black Leather”

g VinylNEW 180
Matthew Shipp Trio
“World Construct”

Michael Marcus“Abstractions In Lime Caverns”

Available at espdisk.bandcamp.com

SCCD 36503

G1260

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

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 29

We Met - And Then
Barre Phillips/John Butcher/Ståle Liavik Solberg(Relative Pitch)
Face à Face
Barre Phillips/György Kurtág, Jr. (ECM)
by Marc Medwin

It is one thing, and a desirable one, to develop

instrumental proficiency. It is quite another to get there
while evoking sounds from that instrument so unique
as to flummox the scribbler fruitlessly questing afterthat perfect descriptor. Barre Phillips, who turns 88
this month, has spent the past six-decades-plus
cultivating just such a relationship with the bass, an
instrument whose name he negates with so many of
the seemingly infinite flavors wafting from every oneof his gestures.
We Met – And Then is the first collaboration between
Phillips, British saxophonist John Butcher andNorwegian drummer Ståle Liavik Solberg, thriving ona kind of timbral imitation while each pushes his
instrument beyond any hope of categorization. Solberg’s
hi-hat nearly ten minutes into the opening track “AndThen” speaks to a stunning technique but also to the
myriad articulations a single piece of kit can achieve
while Phillips conjures similar layers of percussively
rhythmic intrigue and Butcher’s eventual entrance
chatters middle-register ascent. A mere three minutes
later, temporal perception has shifted to a relative crawl,
Phillips’ ever-morphing vibrato supporting Butcher’s
birdy interjections and Solberg’s slow breezy pulse andsustain. To say that the music moves at warp speed,which it so often does, is to negate those moments ofdrone and space cropping up at regular intervals andthe crystal center stream-of-consciousness rapidity withwhich the changes occur. Another one of those instantsof repose imbues the second minute of “Chaudron
Profond”, as Phillips and Butcher share harmonics inmicrotone. For Phillips’ unique perspective on the oftexplored interstices, hear his gorgeously inflected
pizzicato opening to “Travelling”, sliding and gliding
beyond definition until, suddenly, with perfectprecision, a ‘conventional’ melody emerges; quantifiable
tone and interval are reinstated.
No pejorative is meant by calling Face à Face,
Phillips with the Hungarian electronic music composer
György Kurtág, Jr., a distillation. It is only thatcompared with We Met – And Then, beyond the fact thatthese are miniatures, the music is somewhat
streamlined, serialization taking the place of full-bore
polyphony in the European free improv tradition. We
are even granted the rare privilege of hearing bass in its
archetypal role in the endearing melodic luminosity of“Chosen Spindle” and “Extended Circumstances”. To
hear the two musicians in separate contribution mode,“Two By Two” affords a digital percussion intro
followed by Phillips in Baroque arco territory, playing
some of the most exquisitely triadic music in his large
discography. Collaboration, often with dizzying tempo
shifts, is also offered on several levels. Both musicians
become percussionists on “Sharpen Your Eyes”,
a fascinating bit of what may have had transcultural
exchange at its polyrhythmic root. A similar aesthetic
pervades the shock-and-rebound juxtapositions of“Stand Alone”. One of the most fascinating conjoinings
comes about a minute and a half into the appropriately
named “Across the Aisle”. Phillips brings his trademark
upper-register bow-bounces, just as he does at strategic
points on the trio disc, but Kurtág samples and holds
them, sending them back first delayed and then atvarious pitch transpositions, until they take on the

30 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

qualities of light rain on the verge of something heavier.
It is a wonderful moment of interplay, of a musician’s
thoughts succinctly captured and transformed byanother with the intuitive subtlety of veterans in
dialogue. It is moments like this, when one sound istransformed into another, when one instrument takes
on so many characteristics of another as to appear
inseparable, that a fundamental musical truth isrevealed, one that Phillips has developed since his firstrecordings and that still defines his immense creativity
in its many and evolving collaborative contexts.
For more information, visit relativepitchrecords.com andecmrecords.com

DROP THE NEEDLE

The Poll Winners
Barney Kessel/Shelly Manne/Ray Brown(Contemporary-Craft Acoustic Sound Series)
by Eric Wendell

W hile it may be easy to lump guitarist Barney

Kessel’s style into the collective cool of West Coast
jazz, a keen ear can pick up on a more modern andvaried style. Seen as some as a successor to Charlie
Christian, he exemplified the consummate musician
with a career that involved leading jazz groups,
doing session work and performing with popular
acts such as The Coasters and Sonny & Cher.
Kessel’s modern style was never more apparent
then with his work with drummer Shelly Manne andbassist Ray Brown (who would have turned 96 thismonth). Dubbed the “The Poll Winners” (due to all
three winning polls by DownBeat, Metronome andPlayboy), the trio stamped their place in jazz history
with five albums, starting with this 1957 LP.
From the jump, it is apparent how easily the trio
lock their sound. Beginning with “Jordu”, all threeswing with ease and add different colors to the Duke
Jordan staple. This is followed with an effortlesstake on Duke Ellington-Billy Strayhorn-Johnny
Mercer ’s “Satin Doll”. The song is an early indicationof Brown’s brilliance, as he begins with clean
harmonics and breaks up his pattern with long notes
and walking lines. Jimmy Van Heusen-Johnny
Burke’s “It Could Happen To You” is Kessel at his
most sonically gorgeous with an opening chord
melody that is smooth and subtle.
The trio have the most fun with BronisławKaper-Ned Washington’s “On Green Dolphin
Street”, the blue-chip standard bringing out a joyous
performance with a commanding throttle courtesy ofManne. Brown’s solo is a masterclass on subtlety,
funky lines that have a swinging pulse. “Minor
Mood”, the one Kessel-penned track, plays withdifferent colors but is too short to be a proper
exploration of what Kessel has to offer with the tune.
The Poll Winners is a perfect example of not only
what Kessel, Manne and Brown can achieve but towhat guitar-led trios should aspire. While the album
didn’t break any new ground, the offerings of threemusicians at the top of their game makes for abrilliantly enjoyable release, recently reissued on
180-gram vinyl.
For more information, visit craftrecordings.com

Bill Evans-like piano lines. The trio recasts John
Coltrane’s “Giant Steps”, typically played at a fast
tempo for saxophonists to show off, as a slow ballad,a technique explored by the late Michel Petrucciani.
These veterans are very much at the top of their gamethroughout this enjoyable meeting.
A Beautiful Blue Moment
Carsten Dahl (Storyville)
Our Songs
Alex Riel/Bo Stief/Carsten Dahl (Storyville)by Ken Dryden

For more information, visit storyvillerecords.com

Life Through the Eyes of a Jazz Journalist:
My Jazz Memoirs
Scott Yanow (s/r)
by Kevin Canfield

Danish pianist Carsten Dahl, who turns 55 this month,

emerged in the ‘90s as one of the promising young
talents on the Scandinavian jazz scene. A Beautiful Blue
Moment came about because of Dahl’s teaching withtrumpeter Tim Hagans at a jazz college a couple ofyears ago, where they discovered many similarities intheir approaches. The rhythm section of Dahl, Swedishbassist Johnny Åman and Finnish drummer Jukkis
Uotila had never worked together previously, but after
they drew full houses while playing at Copenhagen’s
Jazzhus Montmartre on three consecutive evenings,
the quartet was ready to enter the studio.
The spontaneous nature of these performances isevident from the first track, as many of Dahl’s
compositions seem to be brief themes setting up thegroup for far-ranging musical explorations. The
blistering “Old Voyage” darts out of the gate with fiery
trumpet fueled by the explosive rhythm section.
The title track is credited to the quartet, a haunting
piece slowly unfolding with emotional trumpet andthe interactive, abstract playing of the rhythm section
creatingapowerful
impression.
Two
freeimprovisations provide quite a contrast: the menacing,
circular “The Starting Tim” featuring Hagans’ longing
solo, versus the somber “Behind Silence”. Neither
piece is a mere flash in the pans, both of them drawing
the listener deep into their essence.
Dahl’s “Monk - Keys” pays an obvious tribute to
the late pianist’s quirky, dissonant pieces though it is
far spacier than any Monk recording. After thefirestorm that takes place during most of this session,
Dahl’s “A Beautiful Moment” provides a reflective
closing mood.
Danish drummer Alex Riel is now in his early 80s,
but he has lost none of the drive that he has displayedon numerous record dates over a career spanning six
decades with his compatriots and many of theAmerican who called Denmark home. Two countrymen,
Dahl and bassist Bo Stief, join him for a mix of American
standards, originals and Scandinavian folk songs on
Our Songs. While Dahl is essentially the music director,
this date is a collaborative affair, not just piano plus
rhythm section.
An interesting selection for the opener is Keith
Jarrett’s “My Song”, a piece that the artist recorded in
Norway in the late ‘70s; Dahl’s is a bit more reserved
than the composer ’s version and he also vocalizes inthe background, but more raspy than the nasal Jarrett.
The trio co-wrote the frenzied “Høstdansen”, which
has the air of a European folk dance with a Gypsy
flavor. Riel’s detailed, understated brushwork in
Henry Mancini’s lush “Moon River” reveals a master
who understands that less is often more. Next is an alltoo-brief exploration of Danish classical composer Carl
Nielsen’s “Den Milde Dag Er Lys Og Lang”. Dahl
penned “The Poet” in tribute to Riel, a beautiful waltz
displaying the dedicatee’s nuanced percussive effects,
and creates magic on Richard Rodgers-Lorenz Hart’s“My Funny Valentine” with his moody disguised
introduction leading to a very deliberate interpretation
only slightly marred by his singing along with a little
too much enthusiasm in spots. Stief’s richunaccompanied introduction sets the table for Victor
Young-Ned Washington’s “Stella By Starlight”,
a glistening performance with nimble brushwork and

IN PRINT

JID014
Henry Franklin (Jazz Is Dead)Blue Keys
Calvin Keys (Wide Hive)by Scott Yanow

H enry “Skipper” Franklin, who turns 82 this month,is a veteran bassist based in Los Angeles. Among thehighlights of his career were associations with The
Three Sounds, Freddie Hubbard, Hampton Hawes,
Willie Bobo, Archie Shepp, Count Basie and Hugh
Masekela (including appearing on the latter ’s 1968 hit“Grazing In the Grass”). Since 1972 he has led at least
21 albums.
Franklin’s recent release is a collaboration withthe heads of the Jazz Is Dead label, Adrian Younge and
Ali Shaheed Muhammad. While it is the goal of thepair to utilize hip-hop and R&B elements while
presenting veteran jazz artists, in this case the resulting
music (eight originals that they co-wrote with him) is
not all that different than what the bassist would havepresented on his own. The performances, which are
funky while being tied to ‘70s soul jazz, include someheated solos by trumpeter Clinton Patterson, alto
saxophonist David Urquidi and tenor saxophonist
Scott Mayo, up-to-date but not dominant rhythms anda prominent role for Franklin whether accompanying
the lead voices or taking occasional solos. Highlights
include “The Griot” (which has some excitement
caused by the unexpected tempo changes), a laidback“Memories Lost”, the brief one-chord vamp “Feedback”(featuring Jeff Parker ’s rock-ish guitar) and the driving
and passionate “African Sun”.
On guitarist Calvin Keys’ Blue Keys, Franklin isvery much in a supportive role, laying down powerfullines that inspire the lead voices. The lack of liner notes
sometimes makes it difficult to know whether Keys isjoined by a septet with Franklin, alto saxophonist Gary
Bartz (who only solos on one selection), Steve Turre(trombone and shells), Gregory Howe (keyboards),
Mike Hughes (drums) and Babatunde Lea (congas) or acompletely different sextet with saxophonist Doug
Rowan, trombonist Mike Rinta, pianist Mike
Blankenship, bassist Scott Brown and drummer
Thomas McCree.
Keys, who worked with Ray Charles, Ahmad
Jamal and John Handy, and has led 15 albums(including two early efforts for the Black Jazz label), isa blues-oriented player recalling early George Benson,
Eric Gale and other late ‘60s soul jazz guitarists. Blue
Keys is not exclusively blues but all of the pieces arebluesy: Turre stars on both trombone and shells during
the one-chord vamp “Ck 22”; “At Arrival” is a funkyjam; rhythmically complex “Six To Seven” has a catchybassline inspiring Turre; and Keys excels on the lowdown blues “Making Rain” (before its premature
fadeout) and the title track. The music is not that heavy
and the tunes are far from imaginative (the closing “Bk18” is repetitive to the extreme) but Keys plays wellthroughout as does Turre whenever he appears.

O ver the past 48 years, Scott Yanow has written, by

his count, “over 20,000 reviews of jazz recordings.”
This is remarkable, a rate of one per day since Nixon
handed off the presidency to Ford. Those who
wonder how he does it should consult page 252 ofLife Through the Eyes of a Jazz Journalist: My Jazz
Memoirs. There begins a chapter titled “A TypicalMonth”, in which Yanow shares some specifics
about his workload: he wrote a total of 10 CD
reviews from Oct. 1st-3rd, 2021; five jazz film
reviews on Oct. 7th; “completed 14 CD reviews” on
Oct. 15th. A staff writer for this publication anda contributor to many others, the Bronx native isundeniably prolific. But he isn’t the most selective of
memoirists. Though often charming, this book has
plenty of inessential parts.
Several of Yanow’s best chapters aren’t directly
linked to his critical assessments. In a series ofdetailed opening set pieces, he grows up in a homewhere “jazz barely existed”; buys a Charlie Parker
record for $1.99 and repeatedly listens to thesaxophonist’s “mostly unrecognizable melodies”
and enterprising solos until they “suddenly madesense”; and balances a job as an accountant withfreelance writing.
His worlds would intersect in interesting ways.
One day, his phone rang at the credit union where
he worked; it was composer Dave Grusin calling toreschedule the interview he would soon be doingwith Yanow. Self-effacing anecdotes are another of
Yanow’s strengths. To attend a Playboy Mansionhosted press conference, he got time off from his day
job and wore nice clothes. Alas, he hit a bumppulling into the parking lot, damaging his
muffler. “I got out in the pouring rain, broke themuffler off and, despite being soaked, parked as if
nothing had happened.”
But there are many superfluous bits that could
have been trimmed. In a chapter about jazzeducators’ conventions, he resurrects a piece hewrote about one such event in 2000, six pages ofrather bland observations about panel discussions
and performances—Joshua Redman “has continued
to grow as a tenor saxophonist”; Tracey Wright is“an excellent singer”—which conclude with a nowuseless paragraph about conventions to come in2001 and 2002. Likewise, a chapter titled “My
Review of the 1985 Playboy Jazz Festival” needs theattention of a tough-minded editor. Several chapters
are slowed by roll-calls of luminaries Yanow spottedat shows and conferences. Late in the book, he lists
notable musicians from the past and present, alongwith some to watch in years ahead. Yanow tells us
which are singers, what instrument the others play,
who the composers are; beyond this, he says nothing
specific about any of the musicians. These lists could
have used the sort of critical analysis to which
Yanow has devoted so many hours.
For more information, visit scottyanow.com

For more information, visit jazzisdead.co and widehive.com

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 31

CALENDAR
Saturday, October 1• Adam Kolker Duo• Garvin Blake

Bar Bayeux 6:30 pm
Bar Bayeux 8, 9:30 pmêMichael Bates’ Acrobat with Marty Ehrlich, Mazz Swift, Sara Schoenbeck, Michael Sarin
		
Barbès 8 pm $20
êMingus Big Band
Birdland 8:30, 10:30 pm $40
êBouncin’ With Bud: Steve Smith, Lonnie Plaxico, Helen Sung, Manuel Valera				Birdland Theater 7, 9:30 pm $30
êJohn Scofield/Dave Holland
Blue Note 8, 10:30 pm $35-45• Mike Hashim Quartet; Jared Gold Trio		
Cellar Dog 7 pm $10• Rodrigo Bonelli/Pier Pappalardo’s Brasil Trio + 1
		Chelsea Table & Stage 9:30 pm $25• Devin Brahja Waldman/Malick Koly; Triosphere: Reggie Nicholson, Don Chapman,
On Ka’a Davis; Yuko Otomo; Nick Lyons Trio with Pete Swanson, John Wagner				Children’s Magical Garden de Carmen Rubio 1:30 pmêCatherine Russell with Matt Munisteri, Sean Mason, Tal Ronen, Mark McLean				
Dizzy’s Club 7:30, 9:30 pm $55• Donald Vega Quintet; Joe Saylor and The Kingdom; Sam Dillon Quartet
		
The Django 7:30, 10:30 pm 1 am
• Omri Madmoni Quartet
Fiction Bar/Café 9 pm
• Chief Xian aTunde Adjuah; Moor Mother		Fort Greene Park 4 pmêMichel Gentile, Angelica Sanchez, Andrew Drury		
Ibeam Brooklyn 8, 9:30 pm $20• Sachal Vasandani
The Jazz Gallery 7:30, 9:30 pm $30-40• Peter Zak
Mezzrow 7:30, 9 pm $20• Charles Turner III
Minton’s 7, 9:30 pm $25• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40• The Shanghai Suite: Jazz at Lincoln Center Orchestra with guests
		
Rose Theater 8 pm $40-200êJimmy Owens
Sistas’ Place 9, 10:30 pm $25
êBen Wolff
Smalls 7:30, 9 pm $20
êElio Villafranca and The Jass Syncopators with Steve Wilson, Vincent Herring,Alex Norris, Edward Perez, Dion Parson, Mauricio Herrera		Smoke 7, 9, 10:30 pm $35-55
êClifton Anderson
St. Albans Congregational Church 5 pmêKris Davis, Esperanza Spalding, Johnathan Blake		The Stone at The New School 8:30 pm $20• Kurt Rosenwinkel Quartet with Aaron Parks, Eric Revis, Gregory Hutchinson				
Village Vanguard 8, 10 pm $40

Sunday, October 2• Borogusakagu: Kaoru Watanabe, Rogério Boccato, Sameer Gupta

		Bar Lunàtico 9 pm $10êStéphane Wrembel
Barbès 8 pm $20• Nick Finzer Orchestra with Michael Thomas, Jordan Pettay, Lucas Pino, Evan Harris,
Andy Gutauskas, Augie Haas, Riley Mulherker, Nadje Noordhuis, Chloe Rowlands,
Andy Clausen, James Burton, Sara Jacovino, Gina Benalcazar Lopez, Chris Ziemba,
Dave Baron, Jared Schonig
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êBouncin’ With Bud: Steve Smith, Lonnie Plaxico, Helen Sung, Manuel Valera				Birdland Theater 8:30 pm $30
êJohn Scofield/Dave Holland
Blue Note 8, 10:30 pm $35-45• Jon Davis Trio
Cellar Dog 7 pm $10• MiM Music Workshop for Young Musicians led by Daro Behroozi; Aquiles Navarro/
Tcheser Holmes; Freedom First: Keith LaMar, Albert Marquès, William Parker;
Lisa Sokolov; Dan Kurfirst Arkinetics with Alexis Marcelo, Rodney Chapman,
Roshni Samlal, John Merritt
Children’s Magical Garden de Carmen Rubio 12 pm• Naoya Ogura Orchestra with Alejandro Aviles, Hashem Assadullahi, Tim Armacost,
Terry Goss, John Lake, David Smith, Matt McDonald, John Yao, Brandon Moodie,
Jeb Patton, Joe Martin, Fabio Rojas		
Culture Lab LIC 7 pmêCatherine Russell with Matt Munisteri, Sean Mason, Tal Ronen, Mark McLean				
Dizzy’s Club 5, 7:30 pm $45
êGeoffrey Keezer Trio
The Django 7, 9 pm
• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Taylor McFerrin and Friends with Big Yuki, J. Hoard		
Fort Greene Park 4 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Miller
		
The Keep 9 pm
• Lena Bloch Quintet with Kyoko Kitamura, Jacob Sacks, Ken Filiano, Michael Sarin				
Marlene Meyerson JCC 7 pm $10• Emily Braden
Mezzrow 7:30, 9 pm $20
êGabriel Alegria Afro-Peruvian Sextet
		
Minton’s 12, 2 pm $30• Cynthia Soriano Trio with Ben Rosenblum, Peter Brendler
		North Square Lounge 12:30, 2 pm
• Nublu Jazz Fest: Trudy Silver with Joseph Daley, Leonid Galaganov;Rocket Sci: Jonathon Haffner, Tony Scherr, Nasheet Waits, Kenny Wollesen				
Nublu 151 8, 10 pm $20• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êEri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi
		Saint Peter’s Church 5 pm
• Grant Stewart
Smalls 7:30, 9 pm $20
êElio Villafranca and The Jass Syncopators with Steve Wilson, Vincent Herring,Alex Norris, Edward Perez, Dion Parson, Mauricio Herrera		Smoke 7, 9, 10:30 pm $35-55• Kurt Rosenwinkel Quartet with Aaron Parks, Eric Revis, Gregory Hutchinson				
Village Vanguard 8, 10 pm $40

Monday, October 3• Lim Yang Quartet
Bar Lunàtico 9 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Veronica Pellitteri Benefit led by Marcello Pellitteri		
Birdland Theater 8:30 pm $30
êChristian Sands Quartet
Blue Note 8, 10:30 pm $30-40• Terry Waldo
Bryant Park 12:30 pm• Sylvia Cuenca Trio
Cellar Dog 7 pm $10• Summer Camargo Sextet with Veronica Leahy, Jeffery Miller, Esteban Castro,
Raul Reyes Bueno, Varun Das
Dizzy’s Club 7:30, 9:30 pm $35• Liya Grigoryan Quartet; JD Walter Quartet
		
The Django 7:30, 10:30 pm• Jimmy Kraft Quartet
Fiction Bar/Café 9 pm
• Spike Wilner
Mezzrow 7:30, 9 pm $20
êEndea Owens Sextet
National Arts Club 9 pm $25• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40
êMatt Wilson
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
êRodney Jones/Peter Bernstein Quartet with Lonnie Plaxico
		Zinc Bar 7, 8:30 pm $30

Tuesday, October 4êAnthony Wonsey, Lonnie Plaxico, Diego Voglino

		Bar Bayeux 8 pmêRon Carter Quartet with Renee Rosnes, Jimmy Greene, Payton Crossley				
Birdland 7, 9:30 pm $40• Michelle Lordi
Birdland Theater 5:30 pm $30
êRobert Glasper Herbie Hancock Tribute		Blue Note 8, 10:30 pm $45-65• Terry Waldo
Bryant Park 12:30 pm• Dan Aran Organ Quartet
Cellar Dog 7 pm $10• Benito Gonzalez Trio; Los Hacheros		
The Django 7:30, 10:30 pmêSylvester Germaine/Kirk Knuffke; Patrick Golden, Dave Sewelson, Jim Clouse,
Sean Conly
Downtown Music Gallery 6:30 pm• Nicholas Mycio
Fiction Bar/Café 9 pm
• Juilliard Jazz Ensembles
Juilliard School Paul Hall 7:30 pm $20• Kevin Sun Quartet with Dana Saul, Walter Stinson, Matt Honor		
Lowlands 8, 9:30 pm• Nublu Jazz Fest: Soul Purpose; Drew Ashby and The Newtet; Quinnette + Keiyaa;
Sunny Cheeba
Nublu 151 8 pm $10• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40• Tombstar: Eddy Kwon, Isabel Crespo Pardo, Zekkereya El-magharbel, Lesley Mok				
Roulette 8 pm $30• Park Jiha
St. Peter’s Episcopal Church 7 pm $25• Jade Synstelian
Smalls 7:30, 9 pm $20
êGerald Clayton Trio with Immanuel Wilkins, Simon Moullier		Village Vanguard 8, 10 pm $40• Yotam Silberstein Dominguinhos Tribute with Vítor Gonçalves, Eduardo Belo,
Dennis Bulhoes
Zinc Bar 7, 8:30 pm $30• Taka Kigawa
Zürcher Gallery 8 pm $25

Wednesday, October 5• Eyehigh: Matt Mottel, Tcheser Holmes, Aquilles Navarro, Jim MacHugh;GNR8RZ: Simon Hanes, Aliya Ultan, Calvin Weston, Anthony Coleman		
411 Kent Ave 8 pm $15êSullivan Fortner Trio
Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êRon Carter Quartet with Renee Rosnes, Jimmy Greene, Payton Crossley				
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30
êRobert Glasper Herbie Hancock Tribute		Blue Note 8, 10:30 pm $45-65• Terry Waldo
Bryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10• Sasha Dobson Quartet with Peter Bernstein, Neal Miner, Billy Mintz
		
Dizzy’s Club 7:30, 9:30 pm $40• Richie Vitale Quintet; Mike LeDonne Quartet
		
The Django 7:30, 10:30 pm• Daryl Cozzi
Fiction Bar/Café 9 pmêRoscoe Mitchell and Anna Webber The Jazz Gallery 7:30, 9:30 pm $35-45• Bennett Paster Trio with Gary Wang, Tony Mason; Nadav Nazarathy		Mezzrow 7:30, 9, 10:30 pm $20
êNublu Jazz Fest: Sexmob: Steven Bernstein, Briggan Krauss, Tony Scherr,
Kenny Wollesen
Nublu 151 8 pm $20• Nicole Zuraitis with Matt Baker Pangea 7 pm $25• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Adam Niewood
Smalls 7:30, 9 pm $20• Cynthia Scott
Smoke 7, 9 pm $20-35• Sean Ono Lennon with Ches Smith, Devin Hoff, Yuka Honda, Joao Nogueira,
Julian Lage, Michael Leonhart
The Stone at The New School 8:30 pm $20• Eric Mingus/Elliott Sharp’s Fourth Blood Moon		The Sultan Room 7 pm $25
êGerald Clayton Trio with Immanuel Wilkins, Joel Ross		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm• Vadim Neselovskyi
Zürcher Gallery 8 pm $25

Thursday, October 6êAndrea Centazzo Ictus Celebration with Chris Cochrane, Jeff Schwartz, Sam Newsome,Shahzad Ismaily, Stephan Haynes, Jessica Pavone, Gordon Beeferman, Dafna Naphtali,
Crystal Penalosa, Michael Foster, Wendy Eisenberg, Steve Swell, Shelley Hirsch		
411 Kent Ave 8 pm $15êFreddie Bryant’s Upper West Side Love Story with Carla Cook, Regina Carter,
Gwen Laster, Akua Dixon, Steve Wilson, Donny McCaslin, John Benitez,
Alvester Garnett
Aaron Davis Hall 7 pm
• Marta Sanchez
Bar Bayeux 5 pm
• Jeremy Udden, Adam Kolker, Jeremy Stratton, Anthony Pinciotti
		
Bar Bayeux 8, 9:30 pm• Luisito Quintero and 3rd Element Bar Lunàtico 9 pm $10• Aurora Nealand and The Royal Roses; Aurora Nealand/Tim Berne		
Barbès 7 pm $20
êRon Carter Quartet with Renee Rosnes, Jimmy Greene, Payton Crossley				
Birdland 7, 9:30 pm $40
êThelonious Monk Birthday Celebration: Aaron Goldberg solo		
Birdland Theater 8:30 pm $30
êRobert Glasper Herbie Hancock Tribute		Blue Note 8, 10:30 pm $45-65• Terry Waldo
Bryant Park 12:30 pm• Darrell Green Quartet; Akiko Tsuruga Quartet
		
Cellar Dog 7 pm $5• Triple Blind: Kyle Nasser, Nick Jost, Peter Kronreif		
Culture Lab LIC 7 pm
• Timothy Norton Group
Diwine 8 pmêSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold				
Dizzy’s Club 7:30, 9:30 pm $40-40êLauren Sevian Quartet; Vivian Sessoms
		
The Django 7:30, 10:30 pm• Pedro Martinez
Drom 7 pm $30-35• Lauren Lee
Fiction Bar/Café 9 pm
• Underground Horns
Groove Bar & Grill 7 pmêRoy Hargrove Big BandThe Jazz Gallery 7:30, 9:30 pm $35-45• Annette A. Aguilar and Stringbeans		Jazz Museum in Harlem 2 pm
• Hood Organment: Kenny Wessel, Paul Odeh, Lou Grassi
		
La Salle Open Streets 6 pm
• Michael Kanan
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover,Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20• Nublu Jazz Fest: Kick The Cat: Chris Clemente, Kris Myers, Chris Siebold,
Vijay Tellis-Nayak; Flight 467: Adam Strum, Josh Geisler, Doron Lev, Sean Nowell,Phil Kester; BIGYUKI, Randy Runyon, Jharis Yokley, Morgan Guerin
		Nublu 151 8, 10 pm 12 am $20
êSinne Eeg/John DiMartino
Pangea 7 pm $25• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40• Eric Mingus/Elliott Sharp’s Fourth Blood Moon		
Rockwood Music Hall Stage 3 10 pm $20• Ken Fowser; David Gibson
Smalls 7:30, 9, 10:30 pm $20

32 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORDêCyrus Chestnut Quartet with Freddie Hendrix, Willie Jones III

		Smoke 7, 9 pm $35-55• Michelly Cordova/Yukako Yamano Soapbox Gallery 8 pm $25• Sean Ono Lennon with Ches Smith, Devin Hoff, Yuka Honda, Joao Nogueira,
Julian Lage, Michael Leonhart
The Stone at The New School 8:30 pm $20
êGerald Clayton Trio with Immanuel Wilkins, Simon Moullier		Village Vanguard 8, 10 pm $40
êSylvie CourvoisierZürcher Gallery 8 pm $25

Friday, October 7êAndrea Centazzo Ictus Celebration with Chris Cochrane, Jeff Schwartz, Sam Newsome,Shahzad Ismaily, Stephan Haynes, Jessica Pavone, Gordon Beeferman, Dafna Naphtali,
Crystal Penalosa, Michael Foster, Wendy Eisenberg, Steve Swell, Shelley Hirsch		
411 Kent Ave 8 pm $15• Kiyoshi Kitagawa Trio with Andrew Gould, Pete Van Nostrand
		
Bar Bayeux 8, 9:30 pm• Rob Duguay’s Outernet with Antoine Drye, Robert Edwards, Dave Miller
		
Bar Lunàtico 9 pm $10• Birdland Big Band
Birdland 5 pm $30
êRon Carter Quartet with Renee Rosnes, Jimmy Greene, Payton Crossley				
Birdland 8:30, 10:30 pm $40
êThelonious Monk Birthday Celebration—The Misterioso Quartet: Ben Allison,
Tim Hagans, Steve Cardenas, Steve Smith		
Birdland Theater 7, 9:30 pm $30• Robert Glasper
Blue Note 8, 10:30 pm $45-65• Terry Waldo
Bryant Park 12:30 pm• Zaid Nasser Quartet; Ken Fowser Cellar Dog 7 pm $10• New Orleans Jazz Orchestra 7: Adonis Rose, China Moses, Amina Scott,
Ryan Hanseler, John Michael Bradford, Ricardo Pascal, Terrance Taplin				
Dizzy’s Club 7:30, 9:30 pm $55• David Miriachi
Fiction Bar/Café 9 pmêArt Baron Allstars
Gertrude Ederle Recreation Center 3 pmêJohn Escreet Trio with John Hébert, Damion Reid		
The Jazz Gallery 7:30, 9:30 pm $30-40• Tom Placido Duo
Knickerbocker Bar & Grill 9 pm $3.50
êBuster Williams
Mezzrow 7:30, 9 pm $20• Denise King
Minton’s 7, 9:30 pm $25• Jay Rodriguez
Mount Morris Ascension Presbyterian Church 7 pm $20• Cardinal: Julian Shore, Vinicius, Gomes, Rogério, Boccato, Caleb Wheeler Curtis				Neighborhood Church of Greenwich Village 8, 9:30 pm• Nublu Jazz Fest: Noah Garabedian Quartet with Dayna Stephens, Carmen Staaf,
Jimmy Macbride; Tivon Pennicott; Akin Paksoy/Latas Ozan		
Nublu 151 8, 10, 11 pm $20• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40• Reed Miller; Tim Ries
Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25
êChucho Valdés’ The Creation
Rose Theater 8 pm $40-170êCyrus Chestnut Quartet with Freddie Hendrix, Willie Jones III
		Smoke 7, 9, 10:30 pm $35-55• Sean Ono Lennon with Ches Smith, Devin Hoff, Yuka Honda, Joao Nogueira,
Julian Lage, Michael Leonhart
The Stone at The New School 8:30 pm $20
êGerald Clayton Trio with Immanuel Wilkins, Simon Moullier		Village Vanguard 8, 10 pm $40• Jonathan Kreisberg Trio with Or Bareket, Karl-Henrik Ousbäck
		
Zinc Bar 7, 8:30 pm $30

Saturday, October 8êAndrea Centazzo/Crystal Penalosa; Andrea Centazzo, Steve Swell, Elliott Sharp

		
411 Kent Ave 8 pm $15• Adam Kolker Duo
Bar Bayeux 6:30 pmêAdam Kolker, Scott Wendholt, Ugonna Okegwo, Billy Hart		Bar Bayeux 8, 9:30 pm• Miles Tucker Quintet
Bar Lunàtico 9 pm $10êRon Carter Quartet with Renee Rosnes, Jimmy Greene, Payton Crossley				
Birdland 8:30, 10:30 pm $40
êThelonious Monk Birthday Celebration—The Misterioso Quartet: Ben Allison,
Tim Hagans, Steve Cardenas, Steve Smith		
Birdland Theater 7, 9:30 pm $30• Robert Glasper
Blue Note 8, 10:30 pm $45-65• Abraham Burton Quartet; Kyoko Oyobe Quartet
		
Cellar Dog 7 pm $10• Joe Pino Quartet
Chelsea Table & Stage 9:30 pm $20• Stephen Philip Harvey Orchestra Culture Lab LIC 7 pm
• Etienne Charles’ San Juan Hill David Geffen Hall 2, 8 pm
• New Orleans Jazz Orchestra 7: Adonis Rose, China Moses, Amina Scott,
Ryan Hanseler, John Michael Bradford, Ricardo Pascal, Terrance Taplin				
Dizzy’s Club 7:30, 9:30 pm $55• Ed Cherry Quartet; Richard Cortez Band; Sam Dillon Quartet
		
The Django 7:30, 10:30 pm 1 am
• Igor Lumpert, Christopher Hoffman, Billy Mintz; Stephen Gauci, Karl Evangelista,
Colin Hinton; Sana Nagano, Trevor Dunn, Danny Sher		
Downtown Music Gallery 6 pmêKaren Borca Trio with Hilliard Greene, Jackson Krall; Knife & Rose: Patricia Nicholson,
Ellen Christi, Jean Carla Rodea, Michael TA Thompson;
Warrior of Light: Djassi Dacosta Johnson/Shayna Dulberger;
Ava Mendoza/Mike Baggetta
First Street Green 1:30 pmêJack DeJohnette 80th Birthday Celelebration hosted by Roy Wood, Jr.:Jack DeJohnette Quartet with Don Byron, Matt Garrison, Luisito Quintero;
ZigZag Power Trio: Vernon Reid, Will Calhoun, Melvin Gibbs; FRAME: Malick Koly,
Emilio Modeste, Natasha Agrama, Franklin Rankin, Ryoma Takenaga		Fort Greene Park 4 pmêYoon Sun Choi’s Advocate with Chet Doxas, Jacob Sacks, Sylvester Germaine,
Vinnie Sperrazza; Andrew Dow’s Willful Creatures with Sylvester Germaine,
Gregg BelisleChi, Jeff Davis
Ibeam Brooklyn 8 pm $20
êJohn Escreet Trio with John Hébert, Damion Reid		
The Jazz Gallery 7:30, 9:30 pm $30-40• Tom Placido Duo
Knickerbocker Bar & Grill 9 pm $3.50• Pianos, Poems, & Paintings: Geoffrey Burleson, Carlton Holmes, Mark Kostabi,
Dina Pruzhansky, Donna Weng Friedman, Jai Jeffryes, Debra Kaye, Teresa Motherway,
Robert C Ford, Roger Aplon, Leelah Holmes
		
Kostabi World 7 pm $30
êBuster Williams
Mezzrow 7:30, 9 pm $20• Nublu Jazz Fest: Samir Langus with Arta Jekabsone, Nizar Dahmani, Edo Gur,Rich Stein, Chris Mccarthy, Omar Bouady		
Nublu 151 8 pm $20
êBaritone Marathon: Frank Basile, Claire Daly, Andrew Hadro, Brian Landrus,
Carl Maraghi, Jason Marshall, Roger Rosenberg, Dave Schumacher, Lauren Sevian,Gary Smulyan
Ornithology Jazz Club 12 pm• Tyshawn Sorey’s Monochromatic Life (Afterlife)		Park Avenue Armory 7:30 pm $40
êChucho Valdés’ The Creation
Rose Theater 8 pm $40-170êCyrus Chestnut Quartet with Freddie Hendrix, Willie Jones III
		Smoke 7, 9, 10:30 pm $35-55
êJ.R. Rhodes and WeFreeStrings: Charles Burnham, Gwen Laster, Melanie Dyer,
Alex Waterman, Ken Filiano, Michael Wimberly		Soup & Sound 8 pm
• Sean Ono Lennon with Ches Smith, Devin Hoff, Yuka Honda, Joao Nogueira,
Julian Lage, Michael Leonhart
The Stone at The New School 8:30 pm $20
êGerald Clayton Trio with Immanuel Wilkins, Joel Ross		
Village Vanguard 8, 10 pm $40

Sunday, October 9êStéphane Wrembel

Barbès 8 pm $20• Erica Seguine and Shan Baker Orchestra		
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êThelonious Monk Birthday Celebration—The Misterioso Quartet: Ben Allison,
Tim Hagans, Steve Cardenas, Steve Smith		
Birdland Theater 7, 9:30 pm $30• Curly: Terrace Martin, Pat Bianchi, Nir Felder, Marcus Gilmore
		Blue Note 8, 10:30 pm $25-35
êRick Germanson Trio
Cellar Dog 7 pm $10• AC Lincoln
Culture Lab LIC 5 pmêMetamorphosis: Shunzo Ohno and Lotus Chamber Music Collective		
The Cutting Room 7 pm $30-35• Rob Scheps Core-tet
The Cutting Room 9 pm $25• New Orleans Jazz Orchestra 7: Adonis Rose, China Moses, Amina Scott,
Ryan Hanseler, John Michael Bradford, Ricardo Pascal, Terrance Taplin				
Dizzy’s Club 5, 7:30 pm $45• Alexander Claffy Quartet; Ben Paterson Trio		The Django 6:30, 9:30 pmêClifton Anderson Ensemble
Drom 7 pm $25• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• MiM Music Workshop for Young Musicians led by William Parker;
Lee Mixashawn Rozie; Che Chen, Daniel Carter, Chris Williams;
Raina Sokolov-Gonzalez/Mara Rosenbloom;
AfroHORN Sonic Explorations: Francisco Mora Catlett, Sam Newsome, Roman Diaz		First Street Green 12 pm• Ivan Neville and Friends with Eric Krasno, Judith Hill, Dumpsta Horns;
Jerron “Blind Boy” Paxton
Fort Greene Park 4 pm
• Kelly Green/Luca Soul Rosenfeld and guest Elijah Thomas		Green Soul Studios 6:30 pm $40• Elisabeth Lohninger Trio with Hyuna Park, Paul Gill
		
North Square Lounge 12:30, 2 pm
• Nublu Jazz Fest: Jonathan Goldberger, Simon Jermyn, Mat Maneri, Kenny Wollesen;
Welf Dorr, Elias Meister, Dmitry Ishenko, Kenny Wollesen		
Nublu 151 8, 9 pm $20• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êEri Yamamoto/Ikuo Takeuchi
Saint Peter’s Church 5 pmêOrgan Monk
Sistas’ Place 9, 10:30 pm $25• Tad Shull; Joe Dyson
Smalls 7:30, 9, 10:30 pm $20
êCyrus Chestnut Quartet with Freddie Hendrix, Willie Jones III
		Smoke 7, 9 pm $35-55• Noshir Mody and Friends with Kate Victor, Benjamin Hankle, Campbell Charshee,
Sam Bevan, Ronen Itzik and guest Charu Suri		Theater 555 6 pm $20
êGerald Clayton Trio with Immanuel Wilkins, Joel Ross		
Village Vanguard 8, 10 pm $40

Monday, October 10• Perry Smith Quartet with Noah Garebedian, Colin Stranahan		Bar Lunàtico 9 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Peter and Will Anderson Band with Molly Ryan, Jeb Patton, Neal Miner, Alex Raderman		Birdland Theater 8:30 pm $30• Curly: Terrace Martin, Pat Bianchi, Nir Felder, Marcus Gilmore
		Blue Note 8, 10:30 pm $25-35• Vanderlei Pereira Trio
Cellar Dog 7 pm $10êThelonious Monk’s 105th Birthday Celebration: John Beasley’s MONK’estra Septet withJames GenusTerreon Gully, Brian Lynch, James Burton, Marcus Strickland, Tom Luer		
Dizzy’s Club 7:30, 9:30 pm $40• Caelan Cardello Trio; Jamile
The Django 7:30, 10:30 pm• Carson Young
Fiction Bar/Café 9 pmêAyumi Ishito, Daniel Carter, Demian Richardson; Darius Jones, William Parker,
Scott Clark; Sheila Maldonado; Avram Fefer’s Trio of Freedom with Michael Bisio,
Michael TA Thompson
First Street Green 1:30 pmêJohnny O’Neal
Mezzrow 7:30, 9 pm $20• Ted Kooshian’s Hubub! with John Bailey, Jeff Lederer, Dick Sarpola, Greg Joseph				Rockwood Music Hall Stage 3 7 pm $10êGeorge Coleman
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Vinny Valentino/Paul Bollenback Quartet with John Benitez, Steve Smith		Zinc Bar 7, 8:30 pm $30• Parker Ramsay/Brandon Patrick George
		Zürcher Gallery 8 pm $20

Tuesday, October 11• Dred Scott, Matt Pavolka, Diego Voglino

		Bar Bayeux 8 pm
• Chris McCarthy Quartet with Michael Blake, Sam Minaie, JK Kim
		Bar Lunàtico 9 pm $10• Ron Carter Trio with Donald Vega, Russell Malone		
Birdland 7, 9:30 pm $40• Acute Inflections: Elasea Douglas/Sadiki Pierre		
Birdland Theater 5:30 pm $30• Robert Glasper/Terrace Martin Dinner Party
		Blue Note 8, 10:30 pm $55-75• Our Delight
Cellar Dog 7 pm $10• Nanny Assis and Friends
Dizzy’s Club 7:30, 9:30 pm $35• Alex Brown Quartet; Manuel Valera and New Cuban Express
		
The Django 7:30, 10:30 pmêMax Johnson/Sam Newsome; Karen Ng
		
Downtown Music Gallery 6:30 pm• Paul Janoschka/Jonas Esser
Fiction Bar/Café 9 pm
• Happy Trio XXIV: Kevin Sun, Jared Beckstead-Craan, Eliza Salem		
Lowlands 8, 9:30 pm• Diego Figueredo; Chris Flory
Mezzrow 7:30, 9, 10:30 pm $20
êNublu Jazz Fest: Vana Gierig and Spell with Philip Hamilton, Sean Conly,
Alvester Garnett; Jason Lindner; James Brandon Lewis Trio with Chris Hoffman,
Max Jaffe
Nublu 151 8, 10 pm 12 am $20• Dabin Ryu
Rockwood Music Hall Stage 3 9:30 pm $15êJaap Blonk solo
Roulette 7 pm $30
êTitan to Tachyon: Sally Gates, Trevor Dunn, Matt Hollenberg, Kenny Grohowski;
Editrix: Wendy Eisenberg, Steve Cameron, Josh Daniel; Dumb Waiter: Nick Crider,
Tristan Brennis, Keith Paul, Nathaniel Roseberry		Saint Vitus Bar 7 pm $15êGeorge Coleman
Smalls 7:30, 9 pm $20• Paul Jost Quartet
Soapbox Gallery 8 pm $25
êMilton Nascimento
Sony Hall 8 pm $150
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street		
Village Vanguard 8, 10 pm $40
êAlan Broadbent Trio with Harvie S, Billy Mintz
		
Zinc Bar 7, 8:30 pm $30

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 33

Wednesday, October 12• Robert Dick/Tom Buckner
411 Kent Ave 8 pm $15• Michael Weiss Trio with Ugonna Okegwo, Otis Brown III

		Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30• Ron Carter Trio with Donald Vega, Russell Malone		
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Robert Glasper/Terrace Martin Dinner Party with guest Alex Isley
		Blue Note 8, 10:30 pm $55-75
êEd Cherry Trio
Cellar Dog 7 pm $10• Andy Farber Orchestra
Dizzy’s Club 7:30, 9:30 pm $40• Michael Kanan; Gregoire Maret The Django 7:30, 10:30 pm• Chaz Martineau
Fiction Bar/Café 9 pm
• Eden Bareket
Mezzrow 7:30, 9 pm $20
êLew Tabackin Trio
Michiko Studios 7 pm $20
êNublu Jazz Fest; Kevin Hays/Bill Stewart; Dan Weiss Trio with Miguel Zenón,
Yasushi Nakamura; Ilhan Ersahin, Trevor Dunn, Kenny Wollesen		
Nublu 151 8, 10 pm 12 am $20• Amy London Birthday Celebration Pangea 7 pm $25
êTILT Brass; Zeena Parkins with guests James Fei, Josh Henderson
		
Pioneer Works 8 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Rob Scheps Core-tet
Smalls 7:30, 9 pm $20• Willie Jones III Quintet with Joe Magnarelli, Justin Robinson, James Austin,
David “Happy” Williams
Smoke 7, 9 pm $20-35• Danielle Wertz
Soapbox Gallery 8 pm $25
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, October 13• Marta Sanchez

Bar Bayeux 5 pmêRich Perry, Adam Kolker, Jeremy Stratton, Kayvon Gordon

		
Bar Bayeux 8, 9:30 pm• Ron Carter Trio with Donald Vega, Russell Malone		
Birdland 7, 9:30 pm $40• Robert Glasper/Terrace Martin Dinner Party with guest Alex Isley
		Blue Note 8, 10:30 pm $55-75• Chris Beck Quartet; Miki Yamanaka Quartet
		
Cellar Dog 7 pm $5• Timothy Norton Group
Diwine 8 pm
• Andy Farber Orchestra
Dizzy’s Club 7:30, 9:30 pm $40• Joe Farnsworth Quartet; Lee Taylor The Django 7:30, 10:30 pm• Jackson Potter
Fiction Bar/Café 9 pm
• Eliane Elias
Iridium 8:30 pm $55-70• More Better: Declan Sheehy-Moss, Miles Keingstein, Samantha Reiss, Alex Yoo				
Jamaica Center for Arts and Learning 8 pm $10• Triple Blind: Kyle Nasser, Dov Manski, Nick Jost, Peter Kronreif
		
The Jazz Gallery 7:30, 9:30 pm $20-30• Cucho Martinez and Friends
Jazz Museum in Harlem 2 pmêRalph Alessi
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover,Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20• Marshall McDonald
Smalls 7:30, 9 pm $20• Willie Jones III Quintet with Joe Magnarelli, Justin Robinson, James Austin,
David “Happy” Williams
Smoke 7, 9 pm $20-35êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street		
Village Vanguard 8, 10 pm $40

Friday, October 14êJerome Sabbagh, Simon Jermyn, Allison Miller

		
Bar Bayeux 8, 9:30 pm• Alex Asher Quartet with Julia Chen, Kyle Miles, Joel Matteo
		Barbès 8 pm $15• Birdland Big Band
Birdland 5 pm $30• Ron Carter Trio with Donald Vega, Russell Malone		
Birdland 8:30, 10:30 pm $40• Robert Glasper/Terrace Martin Dinner Party
		Blue Note 8, 10:30 pm $55-75• Jade Synstelien Quartet; Mariel Bildsten Quartet
		
Cellar Dog 7 pm $10• Edmar Castañeda Quartet with Andrea Tierra, Shlomi Cohen, Rodrigo Villalon				
Dizzy’s Club 7:30, 9:30 pm $40
êDavid Hazeltine Trio; Craig Handy and 2nd Line Smith; Eitan Kenner		
The Django 7:30, 10:30 pm 1 am
• Tomer Cohen
Fiction Bar/Café 9 pmêThe Swinging Sounds of Coleman Hawkins: Lew Tabackin with Jeb Patton, Gerald Cannon,
Jason Tiemann and guest
Flushing Town Hall 8 pm $40• CompCord Ensemble
Gallery MC 7 pm $30• Eliane Elias
Iridium 8:30 pm $55-70
êJohn Patitucci Quartet with Adam Rogers, Steve Cardenas, Nate Smith		The Jazz Gallery 7:30, 9:30 pm $30-40• Marc Devine Duo
Knickerbocker Bar & Grill 9 pm $3.50• Grace Kelly Quartet with Devon Yesberger, James Dale, Philippe Lemm
		
Le Poisson Rouge 7 pm $30
êTed Rosenthal
Mezzrow 7:30, 9 pm $20• Devin Shaw Trio
Minton’s 7, 9:30 pm $25
êEddie Allen
Mount Morris Ascension Presbyterian Church 7 pm $20
êNublu Jazz Fest; Igor Lumpert Innertextures with Ralph Alessi, Caleb Curtis, John Ellis,
Jeff Miles, John Hébert, Kenny Grohowski; Kahil El’Zabar Quartet Featuring Corey Wilkes,
Justin Dillard, Isaiah Collier
Nublu 151 7, 10 pm $20• Kazemde George; Alex Ayala
Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25• Steve Davis
Smalls 7:30, 9 pm $20
êBird & Diz: Bria Skonberg, Vincent Herring, Benny Green, Yasushi Nakamura,
Kenny Washington
Smoke 7, 9, 10:30 pm $35-55• Chano Dominguez/Alexis Cuadrado Soapbox Gallery 8 pm $25
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street		
Village Vanguard 8, 10 pm $40• Pedro Giraudo Tango Quartet Westbeth Artists Complex 6 pm

Saturday, October 15• Adam Kolker Duo
Bar Bayeux 6:30 pm• Vinicius Gomes
Bar Bayeux 8, 9:30 pm• Tyler Blanton Electric Hornë Band Bar Lunàtico 9 pm $10• Ron Carter Trio with Donald Vega, Russell Malone		
Birdland 8:30, 10:30 pm $40• Robert Glasper/Terrace Martin Dinner Party
		Blue Note 8, 10:30 pm $55-75• James Burton Quartet; Will Terrill Quartet
		
Cellar Dog 7 pm $10• Calvin Johnson and Native Son David Rubenstein Atrium 11 amêThe Music of the AACM: The Orchestra of the S.E.M. Ensemble conducted by Petr Kotik

with guest Thurman Barker

The DiMenna Center 7 pm $35• Queen Esther’s The Black Rose of Texas with Kat Edmonson, Synead Cidney Nichols,
Cindy Cashdollar, Jared Engel, Minnie Jordan, Justin Poindexter, Steven Williams				
Dizzy’s Club 7:30, 9:30 pm $50• Ben Stivers Trio; Mariel Bildsten Septet; Sam Dillon Quartet
		
The Django 7:30, 10:30 pm 1 amêYoon Sun Choi, Jacob Sacks, Thomas Morgan, Vinnie Sperrazza		Ibeam Brooklyn 8 pm $20• Eliane Elias
Iridium 8:30 pm $55-70• Sãlonga
J. Hood Wright Park 2 pm

• Roy Hargrove Birthday Jam Session hosted by Jaleel Shaw		The Jazz Gallery 7:30, 9:30 pm $30-40• Marc Devine Duo
Knickerbocker Bar & Grill 9 pm $3.50
êTed Rosenthal
Mezzrow 7:30, 9 pm $20• Luciana Souza/Vince Mendoza Storytellers Big Band with Dave Pietro, Steve Wilson,

Adam Kolker, Donny McCaslin, Scott Robinson, Michael Davis, Robert Edwards,
Marshall Gilkes, Jeff Nelson, Tatum Greenblatt, Tony Kadleck, Brian Pareschi,
Terell Stafford, Chico Pinheiro, Carmen Staaf, Scott Colley, Rogerio Boccato,
Ulysses Owens, Jr.
Miller Theatre 8 pm $25
êNublu Jazz Fest: Bernard Purdie Allstars with Kirk Knuffke, Ray Anderson, Adam Lane;
Alexia Bomtempo; Baile Do Brasil with DJ Tahira, Gaspar Muniz
		
Nublu 151 8, 10, 11 pm $20
êBRIC Jazzfest: Burnt Sugar The Arkestra Chamber
		
The Plaza at 300 Ashland 3 pm
• Steve Davis
Smalls 7:30, 9 pm $20
êBird & Diz: Bria Skonberg, Vincent Herring, Benny Green, Yasushi Nakamura,
Kenny Washington
Smoke 7, 9, 10:30 pm $35-55
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street		
Village Vanguard 8, 10 pm $40• Ben Scholz, Miki Yamanka, Will Lyle Williamsburg Music Center 7 pm $15

Sunday, October 16êStéphane Wrembel
Barbès 8 pm $20
êPete McGuiness Orchestra with Dave Pietro, Marc Phaneuf, Ton Christensen,

Rob Middleton, Dave Riekenberg, Tony Kadlek, Bud Burridge, Bill Mobley,
Chris Rogers, Bruce Eidem, Matt Haviland, Robert Edwards, Jeff Nelson, Mike Holober,Mark Wade, Scott Neumann
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Keyon Harrold
Blue Note 8, 10:30 pm $20-35• Axel Tosca Trio with guest Xiomara Laugart
		
Brooklyn Museum of Art 2 pm
• Peter Zak Trio
Cellar Dog 7 pm $10• Cameron Mizell/Charlie Rauh
Culture Lab LIC 5 pm
• Queen Esther’s The Black Rose of Texas with Kat Edmonson, Synead Cidney Nichols,
Cindy Cashdollar, Jared Engel, Minnie Jordan, Justin Poindexter, Steven Williams				
Dizzy’s Club 5, 7:30 pm $40• John Sneider Quartet; Neal Miner Trio		The Django 6:30, 9:30 pmêMike Stern
Drom 7 pm $25• Chris Ward, Kevin Scott, Kenny Grohowski
		Drom 10 pm $20• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Itai Eliezri
Fiction Bar/Café 9 pm
• Shawn Lovato’s Microcosms with Erica Dicker, Yuma Uesaka, Santiago Leibson,
Hannis Brown, Vinnie Sperrazza, Colin Hinton
		Ibeam Brooklyn 9 pm $15• Eliane Elias
Iridium 8:30 pm $55-70• Welf Dorr, Elias Meister, Dmitry Ishenko, Vijay Anderson
		
The Keep 9 pmêFrançois Moutin/ Kavita Shah
Mezzrow 7:30, 9 pm $20• Tessa Souter Trio with Paul Bollenback, Paul Gill
		
North Square Lounge 12:30, 2 pm
• Nublu Jazz Fest: Daniel Carter, Lawrence Clark, Romain Collin, On Ka’ Davis, Will Slater
George Spanos
Nublu 151 8 pm $20• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20• David First with Katie Scheele, Erin Rogers, Sam Kulik, Tania Caroline Chen,
Danny Tunick, Ian Douglas-Moore Roulette 8 pm $30
êMeg Okura/Yotam SilbersteinSaint Peter’s Church 5 pm
• Lena Bloch Quintet with Kyoko Kitamura, Jacob Sacks, Ken Filiano, Michael Sarin				
Scholes Street Studio 8 pm
• Vanessa Ruben
Sistas’ Place 9, 10:30 pm $25• Alex Hoffman
Smalls 7:30, 9 pm $20
êBird & Diz: Bria Skonberg, Vincent Herring, Benny Green, Yasushi Nakamura,
Kenny Washington
Smoke 7, 9 pm $35-55
êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street		
Village Vanguard 8, 10 pm $40

Monday, October 17• Mike Moreno Quartet with Matt Penman		
Bar Lunàtico 9 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Keyon Harrold
Blue Note 8, 10:30 pm $20-35• Joe Farnsworth Trio
Cellar Dog 7 pm $10êFrank Carlberg Large Ensemble with Sam Hoyt, John Carlson, David Adewumi,

Kirk Knuffke, Brian Drye, Chris Washburne, Tyler Bonilla, Max Seigel, Nathan Reising,Jeremy Udden, Hery Paz, Adam Kolker, Andrew Hadro, Christine Correa,
Priya Carlberg, Leo Genovese, Kim Cass, Michael Sarin
		Dizzy’s Club 7:30, 9:30 pm $35• Yvonnick Prene Quintet; Sean Mason Quartet
		
The Django 7:30, 10:30 pm• Guillaume Muller
Fiction Bar/Café 9 pm
• Manhattan School of Music Jazz Philharmonic		Merkin Concert Hall 7:30 pm $60• Ari Hoenig
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Al Gafa Trio with Ted Rosenthal, Jay Leonhart
		Zinc Bar 7, 8:30 pm $30

Tuesday, October 18êBruce Barth, Ugonna Okegwo, Diego Voglino

		Bar Bayeux 8 pm
• Huntertones
Bar Lunàtico 9 pm $10• Ron Carter Big Band
Birdland 7, 9:30 pm $40• Acute Inflections: Elasea Douglas/Sadiki Pierre		
Birdland Theater 5:30 pm $30• Keyon Harrold
Blue Note 8, 10:30 pm $20-35• Jason Marshall Organ Trio
Cellar Dog 7 pm $10• Greg Reitan Trio with Jack Daro, Dean Koba
		
Dizzy’s Club 7:30, 9:30 pm $35• Itai Kriss and Telavana; Hector Martignon’s Foreign Affair
		
The Django 7:30, 10:30 pm• Nick Lyons; Daniel Galow/Matt Hollenberg; Kyle Motl/Niloufar Shiri		
Downtown Music Gallery 6:30 pm• Philip Weberndoefer
Fiction Bar/Café 9 pm
• Dana Lyn’s A Point on a Slow Curve with Patricia Brennan, Noel Brennan,
Mike McGinnis, Hank Roberts, Sara Schoenbeck, Gary Wang, Danielle Buonaiuto,
Catherine Hedberg, Adrienne Pedrotti, Elizabeth Merrill		Joe’s Pub 7 pm $20• Urs Hager with Skyler Floe, Gene Pritsker, Harvie S, Tommy Campbell				
Kostabi World 7 pm $40• Happy Trio XXV: Kevin Sun, Mathias Jensen, Jonas Esser
		
Lowlands 8, 9:30 pm• Manhattan School of Music Jazz Nonet		
Manhattan School of Music Miller Recital Hall 7:30 pm• Jeremy Siskind
Mezzrow 7:30, 9 pm $20
êNublu Jazz Fest: Chad Taylor Trio with Neil Podgurski, Brian Settles
		
Nublu 151 8 pm $20• Ben Solomon
Smalls 7:30, 9 pm $20
êFred Hersch Trio with Drew Gress, Jochen Rueckert
		Village Vanguard 8, 10 pm $40• Silvio Monasterios Trio
Zinc Bar 7, 8:30 pm $30

34 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

Wednesday, October 19êCivil Disobedience—Blue Note Records in the Progressive ‘60s: Donny McCaslin,

Josh Evans, Bruce Barth, David Ambrosio, Victor Lewis
		Bar Bayeux 8, 9:30 pm• Bergamot Quartet
Bar Lunàtico 9 pm $10• The Westerlies: Riley Mulherkar, Chloe Rowlands, Andy Clausen, Willem de Koch				Baryshnikov Arts Center 7:30 pm $20
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30• Ron Carter Big Band
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Keyon Harrold
Blue Note 8, 10:30 pm $20-35• Ehud Asherie Trio
Cellar Dog 7 pm $10êRoy Hargrove Birthday Celebration: Roy Hargrove Big Band		City Winery 8 pm $25-40• Cynthia Sayer
David Rubenstein Atrium 7:30 pm• Denise Thimes with Adaron “Pops” Jackson, Lonnie Plaxico, Ernie Adams,
Henry Johnson
Dizzy’s Club 7:30, 9:30 pm $25• Dan Aran Band; Rachel Z Quartet The Django 7:30, 10:30 pmêDOMi/JD Beck
Le Poisson Rouge 8:30 pm $20-25• Matthew Fries Trio
Mezzrow 7:30, 9 pm $20• Nublu Jazz Fest: Sasha Berliner, Lex Korten, Dean Torrey, Tim Angulo				
Nublu 151 8 pm $20• Louise Rogers Quartet
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Al McCabe
Smalls 7:30, 9 pm $20• Amina Figarova Sextet with Alex Pope Norris, Wayne Escoffery, Bart Platteau,
Yasushi Nakamura, Rudy RoystonSmoke 7, 9 pm $20-35• Archipelago X: Sae Hashimoto, Ikue Mori, Brian Marsella
		The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Jochen Rueckert
		Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, October 20• Marta Sanchez

Bar Bayeux 5 pmêIntergenerational Jazz Power Jam Brass Extravaganza: Eli Yamin and guests

Bob Stewart, James Zollar, Kevin Blancq and LaGuardia High School Jazz Band		
Alianza Dominicana Cultural Center 7 pm
• Chris McCarthy
Bar Bayeux 8, 9:30 pm• The Westerlies: Riley Mulherkar, Chloe Rowlands, Andy Clausen, Willem de Koch				Baryshnikov Arts Center 7:30 pm $20• Ron Carter Big Band
Birdland 7, 9:30 pm $40• Michael Wolff Trio with Ben Allison, Allan Mednard
		Birdland Theater 8:30 pm $30• Robert Glasper with Chris Dave, Pino Palladino, Isaiah Sharkey, DJ Jahi Sundance		Blue Note 8, 10:30 pm $45-65
êBRIC Jazzfest: Lizz Wright; Joel Ross and Parables; Michela Marino Lerman;
Freelance; Kalia Vandever Quartet; Keyanna
		
BRIC House 7 pm $40-95• Wayne Tucker; Sarah Hanahan Cellar Dog 7 pm $5• Timothy Norton Group
Diwine 8 pm
• Denise Thimes with Adaron “Pops” Jackson, Lonnie Plaxico, Ernie Adams,
Henry Johnson
Dizzy’s Club 7:30, 9:30 pm $40
êMax Johnson Trio; Ben Wolfe Trio The Django 7:30, 10:30 pm• Ben Rubie
Fiction Bar/Café 9 pm
• Underground Horns
Groove Bar & Grill 7 pm
• Brecker Brothers Band Reunion: Randy Brecker, Ada Rovatti, George Whitty, Barry Finnerty,
Will Lee, Rodney Holmes
Iridium 8:30 pm $45-60
êBrandon Ross/Stomu Takeishi
The Jazz Gallery 7:30, 9:30 pm $20-30• Shailah Edmonds
Jazz Museum in Harlem 2 pm
• Vuyo Sotashe/Chris Pattishall Joe’s Pub 7 pm $20• Will Bernard
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover,Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20• Nublu Jazz Fest: Jane Getter Premonition Anomalia with Adam Holzman, Alex Skolnick,Paul Frazier, Matthias Bossi
Nublu 151 8 pm $20• Caleb Wheeler Curtis Trio; Chet Doxas, Jacob Sacks, Thomas Morgan		
The Owl Music Parlor 8 pm $12• Dave Stoler; David Gibson
Smalls 7:30, 9, 10:30 pm $20
êThe Music of Monk: Joe Lovano, Kevin Hays, Ben Street, Al Foster		Smoke 7, 9 pm $35-55• Sae Hashimoto, Zack Hann, Joey Chang
		
The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Jochen Rueckert
		Village Vanguard 8, 10 pm $40

Friday, October 21• Emmet Cohen Trio with guests Mary Stallings, Lucy Yeghiazaryan, Johnny O’Neal		The Appel Room 7, 9:30 pm $80-100êPlayfield: Daniel Carter, Luisa Muhr, Ayumi Ishito, Eric Plaks, Aron Namenwirth,
Yutaka Takahashi, Zachary Swanson, Jon Panikkar
		Aron’s Place 8 pm
• Marta Sanchez
Bar Bayeux 8, 9:30 pm• Birdland Big Band
Birdland 5 pm $30• Ron Carter Big Band
Birdland 8:30, 10:30 pm $40• Gabrielle Stravelli Quartet
Birdland Theater 7, 9:30 pm $30• Robert Glasper with Chris Dave, Pino Palladino, Isaiah Sharkey, DJ Jahi Sundance		Blue Note 8, 10:30 pm $45-65
êBRIC Jazzfest: José James; HERA: Chelsea Baratz, Anne Drummond,
Andromeda Turre, Alexis Lombre, Endea Owens, Shirazette Tinnin;Angel Bat Dawid/Viktor le Givens; Sen Morimoto; Julius Rodriguez; Melvis Santa		
BRIC House Ballroom 7 pm $40-95• Duduka Da Fonseca Combo; Jamale Davis Quartet
		
Cellar Dog 7 pm $10êDizzy Gillespie’s 105th Birthday Celebration: Jon Faddis Big Band+		
Dizzy’s Club 7:30, 9:30 pm $45• Joe Magnarelli Quartet; Akiko Tsuruga Quartet; Eitan Kenner		
The Django 7:30, 10:30 pm 1 am
• Shai Jaschek
Fiction Bar/Café 9 pm
• Brecker Brothers Band Reunion: Randy Brecker, Ada Rovatti, George Whitty, Barry Finnerty,
Will Lee, Rodney Holmes
Iridium 8:30 pm $45-60
êAaron Parks Quintet with Adam O’Farrill, Dayna Stephens, Kanoa Mendenhall,Nasheet Waits
The Jazz Gallery 7:30, 9:30 pm $30-40• Colin Heshmat Duo
Knickerbocker Bar & Grill 9 pm $3.50• Chuck Redd
Mezzrow 7:30, 9 pm $20
êManuel Valera
Minton’s 7, 9:30 pm $25• Kenny Davis
Mount Morris Ascension Presbyterian Church 7 pm $20
êProgressive Chamber Music Festival MMXXII: Sam Bardfeld Trio with Jacob Sacks,
Michael Sarin; Sirius Quartet; Michael Bates’ Acrobat with Marty Ehrlich,
Fung Chern Hwei, Sara Schoenbeck, Michael Sarin
		New Amsterdam Musical Association NAMA 7 pm $30• Tyreek McDole; Claire Daly
Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25• Scott Wendholt
Smalls 7:30, 9 pm $20
êThe Music of Monk: Joe Lovano, Kevin Hays, Ben Street, Al Foster		Smoke 7, 9, 10:30 pm $35-55
êMarvin Stamm/Mike Holober
Soapbox Gallery 8 pm $25
êBilly Cobham Crosswinds Project with Mark Whitfield, Scott Tibbs, Tim Landers				Sony Hall 8 pm $40-80• Sae Hashimoto solo
The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Jochen Rueckert
		Village Vanguard 8, 10 pm $40
êHelen Sung Quartet+ with John Ellis, David Wong, Rudy Royston and Harlem Quartet:
Ilmar Gavilán, Melissa White, Jaime Amador, Felix Umansky		Zankel Hall 9 pm $54-64

nov 8 – 20

Christian
McBrideMaria
Schneider

Issac
DelgadoFantasia

Alain
Perez

Nikki
Giovanni

Rakim
Terence
Blanchard

Represent! A Night of Jazz,
Hip Hop and Spoken Wordfeaturing Christian McBride,
Rakim, Nikki Giovanni and more

Terence Blanchard
Thu, Nov 10 @ 7:30PM

GRAMMY®-winning jazz trumpeter andcomposer Terence Blanchard is joined by
The E-Collective and Turtle Island Quartet.

Fantasia& Jazzmeia HornThu, Nov 10 @ 8PM

A night of powerhouse vocals with
GRAMMY® winner Fantasia (American Idol)
and Sassy Award winner Jazzmeia Horn.

Dee Dee Bridgewater& Savion Glover
Interpretations
Sat, Nov 12 @ 3 & 7:30PM

Icons Dee Dee Bridgewater andSavion Glover come together
for an evening of jazz, dance
and improvisation like you’ve
never seen before.

Yellowjackets
Sun, Nov 13 @ 7PM

Get in the jazz-fusion groove
with Yellowjackets’ sophisticatedarrangements, tight rhythms andexpansive improvisations.

Trouble No More
Performing the iconic album
Eat a Peachfeaturing special guest DumpstaphunkSun, Nov 13 @ 7PM
The Allman Brothers Band’s Eat a Peach
will be performed in its entirety by theincredible musicians of Trouble No More.

Carolyn Dorfman Dance
Jazz Legends and the Power of NOW!
Nov 16 @ 7:30PM
Carolyn Dorfman Dance premieres
Jazz Legends and the Power of NOW!, witha live jazz performance by Regina Carter.

Issac Delgado & Alain Perez
Fri, Nov 18 @ 8PM

The GRAMMY®-winning duo Issac Delgado
and Alain Perez perform their dazzlingstyle of salsa and Cuban jazz.

NJMEA All-State Jazz Band and
NJMEA All-State Jazz Choir
Fri, Nov 18 @ 7PM

Hear the next generation of jazz artists as
NJMEA Jazz Band and Jazz Choir performwith special guest Christian McBride.

Maria Schneider Orchestra
Sat, Nov 19 @ 3 & 7:30PM

NEA Jazz Master, GRAMMY® winnerand acclaimed composer/bandleader
Maria Schneider returns to NJPAC.

Represent! A Night of Jazz,
Hip Hop and Spoken Word
with Rakim, Speech, Chuck D,
Nikki Giovanni, Mayor Ras Baraka,
The Last Poets Javon Jackson,
and Christian McBride Situation
Sat, Nov 19 @ 8PM

For one unmissable night, NJPAC unites theleading voices in jazz, hip hop and poetry.

Dorthaan’s Place: Vanessa Rubin Trio
Sun, Nov 20 @ 11:30AM & 1PM
Join us for Dorthaan’s Place, the legendary
jazz brunch series at NICO Kitchen + Bar —starring vocalist Vanessa Rubin.

Sarah Vaughan International
Jazz Vocal Competition
Sun, Nov 20 @ 3PM

Hear the next generation of powerhouse jazz
vocalists at “The Sassy Awards,” honoring thelegacy of Sarah Vaughan.

Represent! A Night of Jazz, Hip Hop and Spoken Word is presented by NJPAC & City Verses. City Verses is conducted in partnership with Rutgers University-Newark.
Support for this program was provided by a grant from The Andrew W. Mellon Foundation.
The American Song series at NJPAC is presented, in part, through the generous support of the Blanche and Irving Laurie Foundation, the David S. Steiner and Sylvia Steiner Charitable Trust,the Joan and Allen Bildner Family Fund, and the Smart Family Foundation/David S. Stone, Esq., Stone & Magnanini.

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
Oct_NYC Jazz Record_9.5x12.indd 1

9/14/22 4:45 PM

Saturday, October 22êEmmet Cohen Trio with guests Mary Stallings, Lucy Yeghiazaryan, Johnny O’Neal		The Appel Room 7, 9:30 pm $80-100• Adam Kolker Duo
Bar Bayeux 6:30 pmêBruno Råberg, Allan Chase, Bruce Barth, George Schuller		Bar Bayeux 8, 9:30 pm• Ron Carter Big Band
Birdland 8:30, 10:30 pm $40• Gabrielle Stravelli Quartet
Birdland Theater 7, 9:30 pm $30• Robert Glasper with Chris Dave, Pino Palladino, Isaiah Sharkey, DJ Jahi Sundance		Blue Note 8, 10:30 pm $45-65
êThe Comet is Coming: Shabaka Hutchings, Dan Leavers, Max Hallett		
Bowery Ballroom 8 pm $30
êBRIC Jazzfest: DOMi/JD Beck; Maurice Brown; Theon Cross; Matthew Whitaker;
Avram Fefer Quartet with Eric Revis, Chad Taylor; AJOYO: Yacine Boularès,
Sarah Elizabeth Charles, Jesse Fischer, Kyle Miles, Michael Valeanu, Philippe Lemm
		
BRIC House Ballroom 7 pm $40-95• Saul Rubin; Matt Martinez
Cellar Dog 7 pm $10• Queens Jazz Overground Festival: Washburn Smile Factory; Martin Kelley and Affinity;
Kuba Cichocki/Brandon Seabrook; Eugenia Choe Quintet; Brian Woodruff Sextet with
Bogna Kicińska; John Yao 17-Piece Instrument
		Culture Lab LIC 12 pm
êDizzy Gillespie’s 105th Birthday Celebration: Jon Faddis Big Band+		
Dizzy’s Club 7:30, 9:30 pm $45• Frank Vitolo
Fiction Bar/Café 9 pm
• Brecker Brothers Band Reunion: Randy Brecker, Ada Rovatti, George Whitty, Barry Finnerty,
Will Lee, Rodney Holmes
Iridium 8:30 pm $45-60
êAaron Parks Quintet with Adam O’Farrill, Dayna Stephens, Kanoa Mendenhall,Nasheet Waits
The Jazz Gallery 7:30, 9:30 pm $30-40êIntergenerational Jazz Power Jam Brass Extravaganza: Eli Yamin and guests
Bob Stewart, James Zollar, Kevin Blancq and LaGuardia High School Jazz Band		
Jazz Museum in Harlem 2 pm
• Colin Heshmat Duo
Knickerbocker Bar & Grill 9 pm $3.50• Sam Amidon/Marc Ribot
Le Poisson Rouge 7 pm $25• Chuck Redd
Mezzrow 7:30, 9 pm $20• Ken Filiano/Lou Grassi Trio with guest		Michiko Studios 7 pm $20• Nikara
Minton’s 7, 9:30 pm $25
êOren Etkin’s Timbaloo with guest Yacouba Sissoko		National Sawdust 11 am $20• Progressive Chamber Music Festival MMXXII: Benjamin Sutin’s Klazz-Ma-Tazz;
Judith Insell’s Jump Off This Bridge with Virg Dzurinko, Eli Asher, Leonid Galaganov;
Aliya Ultan Trio with Keilan Aplin, Taiga Ultan		
New Amsterdam Musical Association NAMA 7 pm $30
êNublu Jazz Fest: Sun Ra Arkestra; Brian Jackson with Binky Brice, Mark Whitfield, Jr.
		
Nublu 151 8, 10 pm 12 am $20• Ragas Live Festival: Parvathy Baul; Hamid AlSaadi; Manik Khan;
Mysore Brothers; Saraswathi Ranganathan; Jay Gandhi; Samarth Nagarkar;
Arun Ramamurthy Trio; Kroba Pioneer Works 8 pm $60
êWho is Charles Mingus? with Endea Owens
		
Rose Theater 1, 3 pm $20-35• Scott Wendholt
Smalls 7:30, 9 pm $20
êThe Music of Monk: Joe Lovano, Kevin Hays, Ben Street, Al Foster		Smoke 7, 9, 10:30 pm $35-55• Sae Hashimoto, Russell Greenberg, Laura Barger and special guest
		
The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Jochen Rueckert
		Village Vanguard 8, 10 pm $40

Sunday, October 23• David Cook Quintet with John Ellis, Tatum Greenblatt, Matt Pavolka, Otis Brown III

		Bar Lunàtico 9 pm $10êStéphane Wrembel
Barbès 8 pm $20• Vanessa Racci Quartet
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Gabrielle Stravelli Quartet
Birdland Theater 7, 9:30 pm $30• Robert Glasper with Chris Dave, Pino Palladino, Isaiah Sharkey, DJ Jahi Sundance		Blue Note 8, 10:30 pm $45-65
êSheryl Bailey Trio; Bruce Harris Trio		
Cellar Dog 7 pm $10• Judette Elliston
Culture Lab LIC 5 pm
• Morgan James Nina Simone Tribute with Doug Wamble, Julius Rodriguez,
Clarence Penn
Dizzy’s Club 5, 7:30 pm $45• Benny Benack III Quartet; Rick Germanson Trio		The Django 6:30, 9:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Dominic Carioti
Fiction Bar/Café 9 pm
• Rob Garcia 4 with Noah Preminger, Gary Versace, Kim Cass; Noah Preminger Quartet
with Max Light, Kim Cass, Dan Weiss		Ibeam Brooklyn 8 pm $20• Juilliard Jazz Ensembles
Juilliard School Paul Hall 3 pm $20• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Miller
		
The Keep 9 pm
• Kate Baker
Mezzrow 7:30, 9 pm $20• Roz Corral Trio with Jim Ridl, Paul Gill
		
North Square Lounge 12:30, 2 pm
• Nublu Jazz Fest: Sana Nagano’s Atomic Pigeons with Jonathan Goldberger,
Danny Sher; Peter Apfelbaum and The New York Hieroglyphics
		Nublu 151 8, 10 pm $20
êMichael Leonhart Orchestra
Rizzoli Bookstore 5 pm $30• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êTahira Clayton Trio
Saint Peter’s Church 5 pmêWil Calhoun
Sistas’ Place 9, 10:30 pm $25• Yuval Amihai
Smalls 7:30, 9 pm $20
êThe Music of Monk: Joe Lovano, Kevin Hays, Ben Street, Al Foster		Smoke 7, 9 pm $35-55
êFred Hersch Trio with Drew Gress, Jochen Rueckert
		Village Vanguard 8, 10 pm $40

Monday, October 24

êEd Neumeister Trio with Drew Gress, Tom Rainey		Bar Lunàtico 9 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Esteban Castro
Birdland Theater 8:30 pm $30• Frédéric Yonnet
Blue Note 8, 10:30 pm $25
êThe Music of Gerry Mulligan: Juilliard Jazz Ensembles
		
Dizzy’s Club 7:30, 9:30 pm $40• Thomas Linger Quartet; Brian Charette Sextette		
The Django 7:30, 10:30 pm• Jimmy Kraft
Fiction Bar/Café 9 pm
êEd Palermo Big Band
Iridium 8:30 pm $35• Spike Wilner
Mezzrow 7:30, 9 pm $20• Douglas J Cuomo’s Seven Limbs with Nels Cline and Strings		
Roulette 8 pm $30• Scott Neumann
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, October 25êLeo Genovese, Cameron Brown, Diego Voglino

		Bar Bayeux 8 pm
• Jeremy Udden’s Plainville with Brad Shepik, Jerome Harris, Michael Sarin		Bar Lunàtico 9 pm $10êRon Carter/Bill Charlap
Birdland 7, 9:30 pm $40• Acute Inflections: Elasea Douglas/Sadiki Pierre		
Birdland Theater 5:30 pm $30• Robert Glasper/Lalah Hathaway Blue Note 8, 10:30 pm $55-75
êBrandi Disterheft Trio
Cellar Dog 7 pm $10• M.O.M.:François and Louis Moutin, Jowee Omicil		Dizzy’s Club 7:30, 9:30 pm $35• Helio Alves Trio; Los Hacheros The Django 7:30, 10:30 pm• Kevin Murray/Michael Larocca; Kenny Warren, Camilo Angeles, Johanna Mattrey,
Carlo Costa
Downtown Music Gallery 6:30 pm• Agustin Grasso/Hans Luchs
Fiction Bar/Café 9 pmêMingus Big Band
Joe’s Pub 7, 9:30 pm $35• Sunlight: Max Light, Kevin Sun, Chris Tordini, JK Kim
		
Lowlands 8, 9:30 pm• Jesse Green; John Merrill
Mezzrow 7:30, 9, 10:30 pm $20
êNublu Jazzfest: Kassa Overall
Nublu 151 10 pm $20
êRichard Reed Parry/Susie Ibarra Public Records 7:30 pm $20
êEric P. Mandat; John McCowen
Roulette 8 pm $30
êDarren Johnston Quartet with Jacob Sacks, Sean Conly, Ches Smith;
Stephen Gauci, Shinya Lin, Adam Lane, Kevin Shea; Chad Taylor Trio with
Brian Settles, Neil Podgurski
Scholes Street Studio 7:30 pm $20
êSteve Nelson
Smalls 7:30, 9 pm $20
êRavi Coltrane Trio with Dezron Douglas, Johnathan Blake		
Village Vanguard 8, 10 pm $40• John DiMartino Quartet with Eric Alexander, Kenny Davis, Carmen Intorre		
Zinc Bar 7, 8:30 pm $30

Wednesday, October 26• Elliott Sharp; Tcheser Holmes

411 Kent Ave 8 pm $15êRon Carter/Bill Charlap

		Cellar Dog 7 pm $10• Sonny Singh
Culture Lab LIC 7 pmêRufus Reid and Expedition with Roxy Coss, Freddie Hendrix, Roberta Piket,
Kenneth Salters
Dizzy’s Club 7:30, 9:30 pm $50• Vittorio Mura
Fiction Bar/Café 9 pm
• Nasheet Waits Group with Hannah Marks		The Jazz Gallery 7:30, 9:30 pm $20-30• Burt Bacharach Reimagined: Camille Thurman with Darrell Green Quartet				Kingsborough Community College 7 pm $43-50• Hyuna Park Duo
Knickerbocker Bar & Grill 9 pm $3.50• Michael Weiss
Mezzrow 7:30, 9 pm $20• Juson Williams
Minton’s 7, 9:30 pm $25• Franz Hackl
Mount Morris Ascension Presbyterian Church 7 pm $20
êJeong Lim Yang’s Zodiac Trio with Santiago Leibson, Tom Rainey;
Trevor Dunn’s trio-convulsant avec folie à quatre with Mary Halvorson, Ches Smith,Carla Kihlstedt, Mariel Roberts, Oscar Noriega, Anna Webber		
National Sawdust 8 pm $25• Nublu Jazzfest: Kidbrass; CocoMofo; Tomoki Sanders		Nublu 151 7 pm $20• Angie Pastor; Mike Lee
Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25• Peter Gordon Love of Life Orchestra with Kit Fitzgerald, Max Gordon, Eve Essex,
Paul Shapiro, Ron Blake, Peter Zummo, Larry Saltzman, Randy Gun, Paul Nowinski,
Bill Ruyle, Mustafa Khaliq Ahmed, Gerry Brown		
Roulette 8 pm $35
êChristopher McBride
Smalls 7:30, 9 pm $20• Russell Malone Quartet with Rick Germanson, Vincent Dupont, Neal Smith				
Smoke 7, 9, 10:30 pm $35-55• Wendy Eisenberg, Neil ‘Cloaca’ Young, Jessica Pavone
		
The Stone at The New School 8:30 pm $20
êRavi Coltrane Trio with Gadi Lehavi, Éle Howell		
Village Vanguard 8, 10 pm $40

Saturday, October 29êSam Newsome Quartet with Angelica Sanchez, Brandon Lopez, Reggie Nicholson

		
Bar Bayeux 8, 9:30 pm• The Jazz Gallery Mentoring Series: Nasheet Waits Group with Hannah Marks		Bar Lunàtico 9 pm $10êDoug Wieselman solo
Barbès 8 pm $15êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êRon Carter/Bill Charlap
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Rhodri Davies and Yasunao Tone Blank Forms 7 pm $20• Robert Glasper/Lalah Hathaway Blue Note 8, 10:30 pm $55-75• Paris Swing Quartet
Cellar Dog 7 pm $10êOwen Broder’s Hodges - Front and Center with Nadje Noordhuis, Carmen Staaf,
Barry Stephenson, Bryan Carter Chelsea Table & Stage 7 pm $35
êCindy Blackman Santana Band with Marc Cary, Felix Pastorius, Aurelian Budynek,
David Gilmore, Emilio Modeste The Cutting Room 8 pm $40-45• The Heavy Hitters: Mike LeDonne, Jeremy Pelt, Eric Alexander, Vincent Herring,Peter Washington, Kenny Washington
		Dizzy’s Club 7:30, 9:30 pm $40• Champian Fulton Trio; Jason Tiemann Quartet
		
The Django 7:30, 10:30 pm• John Meier
Fiction Bar/Café 9 pm
• Martin Pizzarelli Trio
Mezzrow 7:30, 9 pm $20• Nublu Jazzfest: Ivo Perelman/Tim Berne		Nublu 151 8 pm $20• Sara Caswell Trio with Gary Versace, Jay Anderson		Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Remy Le Boeuf’s Assembly of Shadows with Ben Kono, John Ellis, John Lowery,
Carl Maraghi, Tony Kadleck, Tony Glausi, John Lake, Matt Holman, Mike Fahie,
Sam Blakeslee, Javier Nero, Jen Wharton, Sebastien Noelle, Martha Kato,
Dan Montgomery, Peter Kronreif Roulette 8 pm $30
êKen Filiano/Lou Grassi/Todd Capp Trio with guest		
Scholes Street Studio 8 pm
• Duduka Da Fonseca
Smalls 7:30, 9 pm $20• Cynthia Scott with Houston Person, Jeb Patton, Willie Jones III
		Smoke 7, 9 pm $20-35êWendy Eisenberg, Anna Webber, Joanna Mattrey
		
The Stone at The New School 8:30 pm $20
êRavi Coltrane Trio with Dezron Douglas, Johnathan Blake		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, October 27• Marta SanchezêRon Carter/Bill Charlap

Bar Bayeux 5 pm
Birdland 7, 9:30 pm $40• Lizzie Thomas Duet
Birdland Theater 8:30 pm $30• Robert Glasper/Lalah Hathaway Blue Note 8, 10:30 pm $55-75• Frank Basile Quintet; James Austin Quartet

		
Cellar Dog 7 pm $5• Timothy Norton Group
Diwine 8 pm
• The Heavy Hitters: Mike LeDonne, Wallace Roney, Jr., Eric Alexander, Vincent Herring,Alexander Claffy, Kenny Washington
		Dizzy’s Club 7:30, 9:30 pm $40• David Gibson Quartet; Ian Hendrickson-Smith		The Django 7:30, 10:30 pm• Dan Berkley
Fiction Bar/Café 9 pmêAmanda Monaco 4 with Joe Fiedler, Sean Conly, Satoshi Takeishi
		Flushing Town Hall 7:30 pm $5• Yuhan Su’s Liberated Gesture with Matt Mitchell, Alex LoRe, Marty Kenney, Dan Weiss		The Jazz Gallery 7:30, 9:30 pm $20-30• Rudy Walker Ensemble
Jazz Museum in Harlem 2 pm
• Bryn Roberts
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover,Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20
êNublu Jazzfest: The Fringe: George Garzone, John Lockwood, Luther Gray				Nublu 151 8 pm $20• Guillermina Quiroga Company with Pedro Giraudo Tango Quartet		
Roulette 8 pm $35
êJC Sanford Trio with Charlie Lincoln, George Schuller		
Silvana 7 pm
• Joe Block
Smalls 7:30, 9 pm $20• Russell Malone Quartet with Rick Germanson, Vincent Dupont, Neal Smith				
Smoke 7, 9 pm $35-55• Wendy Eisenberg/Gabby Fluke-Mogul
		The Stone at The New School 8:30 pm $20• Antonio Sánchez and Bad Hombre with Thana Alexa, Big Yuki, Lex Sadler
		The Sultan Room 7 pm $35
êRavi Coltrane Trio with Dezron Douglas, Johnathan Blake		
Village Vanguard 8, 10 pm $40

Friday, October 28• Birdland Big Band

36 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD

Birdland 5 pm $30

Birdland 8:30, 10:30 pm $40• Chad Lefkowitz-Brown Quartet Birdland Theater 7, 9:30 pm $30• Robert Glasper/Lalah Hathaway Blue Note 8, 10:30 pm $55-75• Greg Glassman Quartet; Ai Murakami QuartetêThe Music of Charles Mingus: Juilliard Jazz Orchestra

		
Alice Tully Hall at Lincoln Center 7:30 pm $20• Adam Kolker Duo
Bar Bayeux 6:30 pm• Mimi Jones
Bar Bayeux 8, 9:30 pmêRon Carter/Bill Charlap
Birdland 8:30, 10:30 pm $40• Chad Lefkowitz-Brown Quartet Birdland Theater 7, 9:30 pm $30
êRobert Glasper Acoustic BandBlue Note 8, 10:30 pm $45-65• Richard Clements Quartet; Courtney Wright Quartet
		
Cellar Dog 7 pm $10êRufus Reid and Expedition with Roxy Coss, Freddie Hendrix, Roberta Piket,
Kenneth Salters
Dizzy’s Club 7:30, 9:30 pm $55• Hornē Electric Band; Sam Dillon Quartet
		
The Django 10:30 pm 1 am
• Avinoam Ettun
Fiction Bar/Café 9 pm
• Morgan Guerin
The Jazz Gallery 7:30, 9:30 pm $30-40• Hyuna Park Duo
Knickerbocker Bar & Grill 9 pm $3.50• Michael Weiss
Mezzrow 7:30, 9 pm $20• Summer Rona
Minton’s 7, 9:30 pm $25• Phillip Golub
The Owl Music Parlor 2 pmêUri Gurvich Quartet with Leo Genovese, Peter Slavov, Ronen Itzik		
Room 31 at Arlo NoMad 7:30, 9 pm $23êChristopher McBride
Smalls 7:30, 9 pm $20• Russell Malone Quartet with Rick Germanson, Vincent Dupont, Neal Smith				
Smoke 7, 9, 10:30 pm $35-55
êTatsuya Nakatani, Sandy Ewen, Andrew Drury		Soup & Sound 8 pm
• Wendy Eisenberg, Neil ‘Cloaca’ Young, Ruth Garbus, Donny Shaw, Andy Allen		The Stone at The New School 8:30 pm $20
êRavi Coltrane Trio with Gadi Lehavi, Éle Howell		
Village Vanguard 8, 10 pm $40

Sunday, October 30• Marta Sanchez Trio

Bar Lunàtico 9 pm $10
Barbès 8 pm $20• Charles Ruggierio/Frank Basile Slide Hampton Tribute		Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Chad Lefkowitz-Brown Quartet Birdland Theater 7, 9:30 pm $30
êRobert Glasper Acoustic BandBlue Note 8, 10:30 pm $45-65• Ned Goold Trio
Cellar Dog 7 pm $10êRufus Reid and Expedition with Roxy Coss, Freddie Hendrix, Roberta Piket,
Kenneth Salters
Dizzy’s Club 7:30, 9:30 pm $40• John Lee Quartet; Matt Chertkoff Trio		The Django 6:30, 9:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Vijay Anderson
		
The Keep 9 pm
• Barbara Rosene
Mezzrow 7:30, 9 pm $20• Vanessa Perea Trio
North Square Lounge 12:30, 2 pm
• Nublu Jazzfest: Cyril Atef/Marc Ribot
		
Nublu 151 10 pm $20• Sam Blakeslee and Wistful Thinking with Chris Hemingway, Olli Hirvonen, Matt Pavolka,
Lee Fish
Rockwood Music Hall Stage 3 8:30 pm $15• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êMeg Okura, Ronen Itzik, Yotam Ishay		Saint Peter’s Church 5 pmêAhmed Abdullah’s Diaspora meets AfroHorn
		
Sistas’ Place 9, 10:30 pm $25• Le Boeuf Brothers: Remy and Pascal Le Boeuf, Martin Nevin, Peter Kronreif				
Smalls 7:30, 9 pm $20• Russell Malone Quartet with Rick Germanson, Vincent Dupont, Neal Smith		
Smoke 7, 9 pm $35-55
êRavi Coltrane Trio with Gadi Lehavi, Éle Howell		
Village Vanguard 8, 10 pm $40
êStéphane Wrembel

Monday, October 31• Kazemde George• Paul Jones Quartet

Bar Lunàtico 9 pm $10
The Belfry 7 pm
Cellar Dog 7 pm $10• Cameron Campbell Quartet; Luther E. Allison and Poiesis
		
The Django 7:30, 10:30 pm• Simon Wilson
Fiction Bar/Café 9 pmêFalkner Evans
Mezzrow 7:30, 9 pm $20
êJoe Farnsworth
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• VEER Quartet: Sarah Bernstein, Sana Nagano, Leonor Falcon, Nick Jozwiak				
Zürcher Gallery 8 pm $20
êBrian Charette Trio

100 MILES OUT
CONNECTICUT
10/16 (6 pm) Bennie Wallace with Godwin Louis, Simon Moullier, Bruce Barth,Peter Washington, Herlin Riley
Back Country Jazz (Greenwich, CT) www.backcountryjazz.org
10/7, 14, 21, 28 (7 pm) Bill’s Allstar Jazz Band
Bill’s Seafood (Westbrook, CT) www.billsseafood.com
10/22 (8 pm) Sissy Castrogiovanni
Buttonwood Tree Performing Arts Center (Middletown, CT) www.buttonwood.org
10/11 (7 pm) Dan Liparini
10/25 (7 pm) Jamie Berlyn
Café Nine (New Haven, CT) www.cafenine.com
10/3, 10, 17, 24, 31 (7:30 pm) Hartford Jazz Orchestra
Elicit Brewery (Manchester, CT) www.elicitbrewing.com
10/21 (8 pm) Antonio Sánchez & Bad Hombre with Thana Alexa, BIGYUKI, Lex Sadler
Katherine Hepburn Cultural Arts Center (Old Saybrook, CT) www.katharinehepburntheater.org
10/5 (7 pm) Berkshire Jazz Orchestra
10/12 (7 pm) Marshall McDonald Quartet with Roberta Piket, Harvie S, Billy Mintz
10/19 (7 pm) Sara Jane Cion Trio
10/26 (7 pm) Josh Bruneau Quartet with Alec Safy, Ed Fast, Jorge Fuentes
La Zingara (Bethel, CT) www.lazingara.com
10/12 (6:30 pm) Trevor Davis Dixieland Affair
New Britain Museum of American Art (New Britain, CT) www.nbmaa.org
10/5, 12, 19, 26 (9 pm) Hawkins Jazz Collective
Owl Shop (New Haven, CT) www.owlshopcigars.com
10/7 (7/9 pm) Afro-Semitic Experience with Warren Byrd, David Chevan
Palace Theater Poli Club (Waterbury, CT) www.palacetheaterct.org/shows/jazz/
10/2 (2:30 pm) Sylvie Couvoisier with Jerome Deupree, Lester St. Louis, Joe Morris
10/30 (2:30 pm) Terry Jenoure & The Portal with Angelica Sanchez, Wayne Smith,
Avery Sharpe, Joe Fonda, Reggie Nicholson
Real Art Ways (Hartford, CT) www.realartways.org
10/2 (4 pm) “My Sinatra” with Cary Hoffman
Ridgefield Playhouse (Ridgefield, CT) www.ridgefieldplayhouse.org
10/1 (8:30 pm) Lioness: Sarah Hanahan, Jenny Hill, Lauren Sevian, Amanda Monaco,
Mary Ann McSweeney, Sylvia Cuenca
10/7-8 (8:30 pm) Javon Jackson Quartet with George Cables
10/15 (8:30 pm) Noah Baerman Trio
10/21 (8:30 pm) Ed Fast & Conga Bop with Steve Davis, Josh Bruneau, Nathan Edwards,
Gianni Gardner, Zaccai Curtis, Jorge Fuentes, Pedro Gonzalez,
Michael O’Brien, Dina DiMarco
10/22 (8:30 pm) Clifton Anderson Quintet
10/28 (8:30 pm) Benny Green solo
10/29 (8:30 pm) Cedric Mayfield Epitome
Side Door (Old Lyme, CT) www.thesidedoorjazz.com
10/7 (6 pm) Ed Fast & Conga Bop with Cynthia Soriano, Steve Davis, Chantal Edwards,
Papo Pepin
University of Saint Joseph (West Hartford, CT) www.my.usj.edu/ics
10/14 (8 pm) Grace Kelly with Devon Yesberger, James Dale, Philippe Lemm
The Warehouse (Fairfield, CT) www.fairfieldtheatre.org/venue/warehouse
NEW JERSEY
10/6 (7:30 pm) 12th Annual Bickford Benefit Jazz Concert with Dan Levinson, Mike Davis,
Jim Fryer, Mark Shane, Rob Adkins, Kevin Dorn, James Chirillo Bickford
Theatre at Morris Museum (Morristown, NJ) www.morrismuseum.org
10/1 (3:30 pm) Joe Ford/Noriko Boone
10/8 (3:30 pm) Jerry Weldon/Byrom Smith Graves
10/15 (3:30 pm) Brian Betz
10/22 (3:30 pm) Rico Jones Quartet
10/29 (3:30 pm) Josh Lee
Candlelight Lounge (Trenton, NJ) www.candlelighteventsjazz.com
10/6 (7:30 pm) Fareed Simpson
Collingswood Community Center (Collingswood, NJ) www.jazzbridge.org
10/15 (12 pm) Jeffery Miller with Aaron Matson, Miles Lennox, Daniel Winshall, Charles Goold,Endea Owens
10/20 (8 pm) Antonio Sánchez & Bad Hombre with Thana Alexa, BIGYUKI, Lex SadlerCount Basie Center’s The Vogel (Red Bank, NJ) www.thebasie.org
10/1 (11 am-10 pm) New Breed Brass Band; Dayme Araceno; Something Else!;
Harold Lopez-Nussa Quartet; Stacey Kent Quintet; Lucky Chops;
Gregory Porter
10/2 (1-7:30 pm) The Baylor Project: Chief Adjuah Scott; José James; Angelique Kidjo
Exit Zero Jazz Festival (Cape May, NJ) www.exitzerojazzfestival.com
10/16 (2 pm) Richard Barnes & The Blackbird Society Orchestra
Haddonfield United Methodist Church (Haddonfield, NJ) www.tristatejazz.org
10/20 (7 pm) PJ Keiter Sextet
Kaycee Ray’s (Vineland, NJ) www.kayceerays.com
10/10 (7:30 pm) Terence Blanchard E-Collective with Charles Altura, Taylor Eigsti,
David Ginyard, Oscar Seaton + Turtle Island Quartet
10/30 (7 pm) Ottmar Liebert and Luna Negra
New Jersey Performing Arts Center (Newark, NJ) www.njpac.org
10/9 (2 pm) Bill Crow/Houston Person
Saint Elizabeth University Dolan Hall (New Brunswick, NJ) www.njjs.org
10/1 (7 pm) Helio Alves Trio with Sam Minaie, Alex Kautz
10/2 (6 pm) Jan Findlay Quartet with Tomoko Ohno, John Zweig, Rick Crane
10/6 (7 pm) Meant To Be Quartet with Glen Merritt, Alan Hayes, Pete Omelio, John Higgins
10/7 (7 pm) Ty Stephens
10/14 (7 pm) Jerry Vivino Quartet
10/16 (6 pm) Luciano Salvatore Trio with Sergio Salvatore, Mike Richmond
10/26 (7 pm) Deep Groove Jazz Trio with Dan Kostelnick, Leo Jordan, John Vourtsis
10/28 (7 pm) Brynn Stanley Quartet
10/29 (7 pm) Nilson Matta Samba Night with John Snauwaert, Marcello Pellitteri, George Dulin
Shanghai Jazz (Madison, NJ) www.shanghaijazz.com
10/1 (4 pm) Helio Alves Quartet with Chico Pinheiro, Joe Martin, Alex Kautz
Shea Center for the Performing Arts @William Paterson University (Wayne, NJ)
www.wpunj.edu/wppresents/jazz-room-series/
10/7 (8 pm) Bettye LaVette/Raul MidónSouth Orange Performing Arts Center (South Orange, NJ) www.sopacnow.org
10/4 (7/8:30 pm) Caleb Heinz Quartet
10/6 (7/8:45 pm) Ark Ovrutski Quartet

10/11 (7/8:30 pm) CJ & The Cats
10/13 (7/8:45 pm) Yvonnick Prene Quartet
10/18 (7/8:30 pm) John Pachnos Quartet
10/20 (7/8:45 pm) Leonieke Scheuble Quartet
10/25 (7/8:30 pm) Peter Russian Quartet
10/27 (7/8:45 pm) Emily Braden Quartet
Tavern on George (New Brunswick, NJ) www.tavernongeorge.com
NEW YORK
10/1 (7:30 pm) Peter Hand Trio
10/7, 21 (7 pm) Dinah Vero
10/8, 22 (7:30 pm) Leslie Pintchik Trio with Scott Hardy, Michael Sarin
10/14 (7 pm) Alexander McCabe
10/15 (7:30 pm) Jared Pauley Trio
Alvin & Friends (New Rochelle, NY) www.alvinandfriendsrestaurant.com
10/1 (1 pm) Art Lillard/Joe Vincent Tranchina
10/1 (6 pm) Bill Ware Trio
10/7 (6 pm) Tony Leon Group Son Latino
10/15 (6 pm) Charlie Apicella & Iron City
10/22 (6 pm) Sue Maskaleris Trio do Rio
10/28 (6 pm) Emedin Rivera Tropical Turbulence
10/29 (6 pm) Mala Waldron Quartet
Bean Runner Café (Peekskill, NY) www.beanrunnercafe.com
10/6 (7:30 pm) Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown,
Anthony Pinciotti
10/9 (4 pm) WeFreeStrings with Melanie Dyer, Charles Burnham, Gwen Laster, Ken Filiano,
Alex Waterman, Michael Wimberly
The Chapel Restoration (Cold Spring, NY) www.chapelrestoration.org
10/2 (12:30 pm) HV Jazz Trio with Joe Vincent Tranchina, Ryan Berg
10/9 (12:30 pm) HV Jazz Trio with Rave Tesar, J. Brunka
10/14 (12:30 pm) Rick Savage 4-tet with Eliot Zigmund
10/16 (12:30 pm) HV Mike Jackson, John Arbo, Steve Rubin
The Cove Castle (Greenwood Lake, NY) www.covecastleny.com
10/6, 13, 20, 27 (7 pm) Paul Connor Organ Groove with Doug Munro
10/8 (7:30 pm) Kelly Green Trio with Luca Soul Rosenfeld, Evan Hyde
10/22 (7:30 pm) Nocturno Project with Nicki Denner, Coco Mama
Elk’s Lodge (Ossining, NY) www.jazzatthelodge.com
10/1 (8 pm) Matt Mitchell with Kim Cass, Kate Gentile
Elysium Furnace Works @Cunneen-Hackett Arts Center (Beacon, NY)
www.cunneen-hackett.org
10/22 (8 pm) Marilyn Crispell with Joe Fonda, Harvey Sorgen
Elysium Furnace Works @St. Andrew’s Church (Beacon, NY)
www.facebook.com/elysiumfurnaceworks
10/1 (8 pm) Delfeayo Marsalis Quintet
Emelin Theatre (Mamaroneck, NY) www.emelin.org
10/2 (7 pm) Jazz Coalition Series presents Roy Nathanson
10/9 (7 pm) Jazz Coalition Series presents Mino Cinélu
10/16 (7 pm) Jazz Coalition Series presents Matt Wilson
10/22 (7 pm) Bernard “Pretty” Purdie & Friends
10/23 (7 pm) Jazz Coalition Series presents Wallace Roney, Jr.
10/29 (7 pm) Ed Palermo Big Band
10/30 (7 pm) Jazz Coalition Series presents Sarah Elizabeth Charles
The Falcon (Marlboro, NY) www.liveatthefalcon.com
10/6, 13, 20, 27 (9 pm) John Lang & guests
First Name Basis at Divino Cucina (Hastings-on-Hudson, NY)
www.facebook.com/FNBhastingsny
10/2, 30 (3 pm) Creative Music Studio Improvisers Orchestra with Karl Berger
Handbell Studio at The Shirt Factory (Kingston, NY) www.creativemusic.org
10/27 (7:30 pm) Anderson Brothers Quintet with Mike Kanan, Neal Miner, Alex Raderman
Hewlett-Woodmere Public Library (Hewlett, NY) www.hwpl.org
10/15 (7 pm) Pedro Giraudo Tango Quartet
Hurleyville Performing Arts Center (Hurleyville, NY) www.hurleyvilleartscentre.org
10/1 (7/9:30 pm) The Levin Brothers with Ali Ryerson
10/2 (4/6 pm) Steve Sandberg Brazilian Quartet; (8 pm) David Janeway Trio Jam Session
10/7-8 (7/9:30 pm) Randy Brecker Quintet with Ada Rovatti
10/9 (4/6 pm) Teri Roiger & Sharp Five
10/14, 15 (7/9:30 pm) Sherma Andrews
10/16 (4/6 pm) Kate Baker Group with Sara Caswell
10/21-22 (7/9:30 pm) John Patitucci Brazilian Trio with Yotam Silberstein, Rogério Boccato
10/23 (4/6 pm) Barry Altschul with Peter Brainin, Joe Fonda, Luis Perdomo
10/28-29 (7/9:30 pm) Paquito D’Rivera Quintet
10/30 (4/6 pm) Ted Rosenthal Trio
Jazz Forum Arts (Tarrytown, NY) www.jazzforumarts.org
10/5 (1 pm) Tom Manuel and Young at Heart Trio “Kansas City Swing tribute”
10/5, 12, 19, 26 (7 pm) Jazz Loft Trio Jam
10/6 10/7 (7 pm) “Kansas City Suite” with Jazz Loft Big Band + Houston Person
10/8 (7 pm) Noah Garabedian Quartet
10/27 (7 pm) Interplay Jazz Orchestra
The Jazz Loft (Stony Brook, NY) www.thejazzloft.org
10/1 (7/9 pm pm) Alexis Cole Trio
10/6 (7/9 pm) Sarah Jane Cion Trio
10/7 (7/9 pm) Kelly Green Trio
10/8 (7/9 pm) Chiara Izzi Band
10/13 (8 pm) Alison Shearer Quartet
10/14 (7/9 pm) Mark Scanga Trio
10/15 (7 pm) Bill Wurtzel/Kathryn Famer Organ Trio
10/21 (7/9 pm) Jamile Quartet
10/22 (7/9 pm) Willerm Delisfort Project
10/27 (8 pm) Tad Shull Trio with David Childs, Mark Minkler
10/28 (7/9 pm) Yaala Ballin with Pasquale Grasso, Ari Roland
10/29 (7/9 pm) Wayne Tucker and The Bad Mothas with David Linard, Tamir Shmerling,
Diego Ramirez
Jazz on Main (Mt. Kisco, NY) www.jazzonmain.com
10/16 (4 pm) Matthew Shipp Quartet with Jason Kao Hwang, Michael Bisio, Jay Rosen
Lace Mill, The (Kingston, NY) www.facebook.com/TheLaceMill
10/1 (7 pm) Peter Einhorn/Bob Meyer Project with Victoria Sullivan, Jim Donica
10/8 (7 pm) Liz Markley Band with Pete Levin, Rich Syracuse, Jeff “Siege” Seigel
10/15 (7 pm) Rob Scheps Core-tet with Jamie Reynolds, Cameron Brown, Anthony Pinciotti
10/22 (7 pm) The Professors: Vinnie Martucci, Mark Dziuba, Rich Syracuse, Jeff “Siege” Seigel
10/29 (7 pm) Nancy Donnelly with Peter Tomlinson, Mark Usvolk, Matt Garrity
Lydia’s Café (Stone Ridge, NY) www.lydias-cafe.com
10/1 (8 pm) Michael Wolff Trio with Ben Allison, Victor Jones
10/1, 8, 15, 22, 29 (10 pm) David Budman
10/7 (8 pm) Marcos Varela Trio with Oscar Perez, Cameron Intorre
10/8 (8 pm) David Janeway/Eliot Zigmund Soartet with Rick Savage, David Kingsnorth

10/14 (8 pm) Santi DeBriano Trio with Robby Ameen, Ray Scro
10/22 (8 pm) Akiko Tsuruga/Joe Magnarelli Group
10/28 (8 pm) Marvin Stamm/Mike Holober Quartet
10/29 (8 pm) Bill Mays Trio with Dean Johnson, Ron Vincent
Maureen’s Jazz Cellar (Nyack, NY) www.maureensjazzcellar.com
10/9 (5:30 pm) Akiko Tsuruga
PJS Jazz Society at First Presbyterian Church (Mt. Vernon, NY) www.pjsjazz.org
10/3 (8:30 pm) Lee Odom Group with Alexis Marcelo, Gervis Myles, Bryce Collins
10/8 (9 pm) Chris Cochrane/John Thayer
10/10 (8:30 pm) Irreversible Quartet: Aquiles Navarro, Keir Neuringer, Luke Stewart, Tscheser Holmes
10/17 (8:30 pm) Jazzoetry Night w/C.A.P.S. Poetry Collective
10/20 (8 pm) Mary Halvorson Clone Decay with Kalia Vandever, Weston Olencki
10/24 (8:30 pm) Joe Fiedler Trio with Pete McCann, Bobby Previte
10/25 (8 pm) Matt Mottel
10/31 (8:30 pm) Nico Soffiato
Quinn’s (Beacon, NY) www.facebook.com/QuinnsBeacon
10/1, 8, 15, 22, 29 (3 pm) Hal Galper Trio
Rafter’s Tavern (Callicoon, NY) www.rafterstavern.com
10/5 (8 pm) The Wood Brothers with Chris Wood, Olivier Wood, Jano Rix
Tarrytown Music Hall (Tarrytown, NY) www.tarrytownmusichall.org
10/15 (3,7:30 pm) Karl Berger, Ingrid Sertso, CMS Improvisers Orchestra
Theoria Foundation’s White Feather Farm (Saugerties, NY) www.theoriafoundation.org
10/2 (7 pm) Chris Corsano with Bill Nace, Patrick Holmes
Tubby’s (Kingston, NY) www.tubbyskingston.com
10/3, 10, 17, 24, 31 (8pm): Monday Jazz Sessions with John RichmondTurning Point Café (Piermont, NY) www.piermont.club
10/22 (7:30 pm) Joe Fiedler
Westchester Collaborative Theater (Ossining, NY) www.wctheater.org/music-in-the-box
10/29 (8 pm) Jack DeJohnette, Dave Holland, Jason Moran
Woodstock Playhouse (Woodstock, NY) www.woodstockplayhouse.org
PENNSYLVANIA
10/7 (8 pm) Jaap Blonk, Kyle Press
10/20 (7:30 pm) Ben Bennett/Michael Foster/Jacob Wick Trio; Cecilia Lopez/Joe Moffett Duo
2223.fish (Philadelphia, PA) www.firemuseumpresents.com
10/5 (7:30 pm) Mollie Ducoste with Matthew Chenery, Nimrod Speaks, Elijah Cole
Cheltenham Center for the Arts (Cheltenham, PA) www.jazzbridge.org
10/1 (8/10 pm) Alex Claffy Quartet with Simon Moullier
10/4 (8/9:30 pm) Eric McGarry Quartet
10/5 (8/9:30 pm) Tony Miceli Trio
10/6 (8/9:30 pm) Oliver Mayman Band
10/7-8 (8/10 pm) Mark Whitfield Imani Allstars with Jonathan Michel, Luke O’Reilley, Mark Whitfield, Jr.
10/11 (8/9:30 pm) The Chronicles
10/12 (8/9:30 pm) Gusten Rudolph Quintet
10/13 (8/9:30 pm) Susie Meissner Sextet
10/14 (8/10 pm) Chelsea Reed Fairweather Band with Terell Stafford
10/15 (8/10 pm) Johnny O’Neal Trio
10/18 (8/9:30 pm) Matthew Fries Trio with John Hébert, Keith Hall
10/19 (8/9:30 pm) Robert Silverman Band
10/21 (8/10 pm) Webb Thomas Super Band with Vincent Herring
10/22 (8/10 pm) Tim Brey Sextet
10/25 (8/9:30 pm) John Petrucelli Quartet
10/26 (8/9:30 pm) Sam Turley Sextet
10/27 (8/9:30 pm) Mervin Toussaint Quartet
10/28 (8/10 pm) Hailey Brinnel Quartet with Kellin Hanas
10/29 (8/10 pm) Ken Fowser Quartet with Matthew Rotker Lynn, Brian Charette, Willie Jones III
Chris’ Jazz Café (Philadephia, PA) www.chrisjazzcafe.com
10/1 (7 pm) John Colianni Trio with Boots Maleson, Wayne Henderson
10/2 (5 pm) Sinne Eeg
10/6, 13, 20, 27 (7 pm) Bill Washer & Friends Jazz Jam
10/7 (7 pm) Kate Baker Quintet with Rachel Z, Paul Bollenback, Jay Anderson
10/9 (7 pm) Hell’s Kitchen Funk Orchestra with Bill Warfield, Matt Owens, Matt Hong,
Dave Riekenberg, Carl Maraghi, Cecila Coleman, Matt Chertkoff,
Steve Count, Scott Neumann
10/9 (5 pm) Dan Wilkins Quartet with Jon Ballantyne, Gene Perla, John Riley
10/14 (7 pm) Dan Pugach Nonet + One with Nicole Zuraitis, David Smith, Mike Fahie,
Jeff Nelson, Andrew Gould, Jeremy Powell, Andrew Hadro,
Nitzan Gavrieli, Tamir Shmerling
10/15 (7 pm) Marc Copland Trio with Drew Gress, Billy Drummond
10/16 (5 pm) Hot Takes with Patrick Kerssen, Erica Golaszewski, Ron Bogart
10/22 (7 pm) Ken Peplowski Quartet with Glen Zaleski, Mike Karn, Matt Wilson
10/23 (5 pm) Joanie Samra Trio with Skip Wilkins, Paul Rostock
10/28 (7 pm) Owen Broder Quintet with Nadje Noordhuis, Carmen Staaf,
Barry Stephenson, Dan Pugach
10/29 (7 pm) Nellie McKay
10/30 (5 pm) Alan Broadbent Trio with Harvie S, Billy Mintz
10/31 (7:30 pm) Water Gap Jazz Orchestra with Matt VashlishanDeer Head Inn (Delaware Water Gap, PA) www.deerheadinn.com
10/30 (7:30 pm) Nakatani Gong Orchestra, Tatsuya Nakatani solo
Evangelical Lutheran Church of the Atonement (Philadelphia, PA)
www.firemuseumpresents.com
10/28 (8 pm) Jazzmeia Horn
Kimmel Center @Verizon Hall (Philadelphia, PA) www.kimmelculturalcampus.org
10/3, 10, 17, 24, 31 (5:30-9:30 pm) Tony Williams Quartet
La Rose Jazz Club (Philadelphia, PA) www.jazzclublarose.com
10/27 (7:30 pm) Dave Burrell/Simone Weisenfels
Philadelphia Argentine Tango School (Philadelphia, PA) www.firemuseumpresents.com
10/5 (8 pm) Andrea Centazzo with Noa Even, Matt Engle, Scott Verrastro Trio
The Rotunda (Philadelphia, PA) www.firemuseumpresents.com
10/1 (8 pm) Tuck & Patti
10/2 (8 pm) Michael Tozzi Emerging Artist Series: Brian Morris, Jr., Mike Boone, Mekhi Boone
10/7-9 (8 pm) Irwin Hall Brass & Steel Band with Shenel Jones
10/13-14 (8 pm) Jeff Kashiwa
10/15-16 (8 pm) Allan Harris with Gregoire Maret, Arcoiris Sandoval,
Marty Kinney, Norman Edwards
10/27 (7/9 pm) Aaron Graves with Ruth Naomi Floyd, Valerie Gay
South Jazz Club (Philadelphia, PA) www.southjazzkitchen.com
10/19 (8 pm) LaTasha Barnes/The Jazz Continuum
Williams Center for the Arts (Easton, PA) www.williamscenter.lafayette.edu
10/13 (8:30 pm) The Ironman Trio with Francis Gattis, Chris Coyle, Marcell Bellinger
10/19 (8 pm) Antonio Sánchez Bad Hombre with Thana Alexa, BIGYUKI, Lex Sadler
World Café (Philadelphia, PA) www.worldcafelive.com
10/30 (3 pm) Lehigh University Jazz Repertory Orchestra
Zoellner Performing Arts Center (Bethlehem, PA) www.zoellner.cas.lehigh.edu

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 37

CLU B DI RE CTORY• 411 Kent Avenue 411 Kent Avenue
Subway: J, M, Z to Marcy Avenue
www.411kent.org• Aaron Davis Hall 133rd Street and Convent Avenue(212-650-7100) Subway: 1 to 137th Street/City College
www.adhatccny.org• Alianza Dominicana Cultural Center 530 W. 166th Street(917-242-0811) Subway: 1, A, C to 168th Street
www.facebook.com/ADCC530• Alice Tully Hall (at Lincoln Center) 1941 Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Street- Lincoln Center
www.lincolncenter.org• The Appel Room Broadway at 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• Aron’s Place 1372 Greene Avenue
Subway: M to Knickerbocker Avenue• Arthur’s Tavern 57 Grove Street(212-675-6879) Subway: 1 to Christopher Street
www.arthurstavern.nyc.com• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street
www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues
www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue
www.barbesbrooklyn.com• Baryshnikov Arts Center 450 W. 37th Street, 4th floor(212-279-4200) Subway: A, C, E, F, V to 42nd Street-Port Authority• The Belfry 222 E. 14th Street(212-473-6590) Subway: L to Third Avenue
www.belfrynyc.com• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street
www.birdlandjazz.com• Blank Forms 468 Grand Avenue, 1D
Subway: C to Clinton-Washington Avenues
www.blankforms.org• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street
www.bluenotejazz.com• Bowery Ballroom 6 Delancey Street(212-533-2111) Subway: F to Delancey Street
www.boweryballroom.com• BRIC House Ballroom 647 Fulton Street(718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street
www.bricartsmedia.org• Brooklyn Museum of Art 200 Eastern Parkway(718-638-5000) Subway: 2, 3 to Eastern Parkway
www.brooklynmuseum.org• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street
www.bryantpark.org• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street
www.cellardog.net• Chelsea Table & Stage Hilton Fashion District Hotel, 152 W. 26th Street
Subway: C, E to 23rd Street; R, W to 28th Street
www.chelseatableandstage.com• Children’s Magical Garden de Carmen Rubio Norfolk and Stanton Streets
Subway: F to Second Avenue• City Winery 25 11th Avenue (at 15th Street)(646-751-6033) Subway: A, C, E to 14th Street
www.citywinery.com• Culture Lab LIC 5-25 46th Avenue, Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Avenue
www.culturelablic.org• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street
www.thecuttingroomnyc.com• David Geffen Hall 10 Lincoln Center Plaza at 65th Street(212-875-5030) Subway: 1 to 66th Street - Lincoln Center
www.lincolncenter.org/venue/david-geffen-hall• David Rubenstein Atrium Broadway at 60th Street(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.lincolncenter.org/venue/atrium• The DiMenna Center 450 W. 37th Street(212-594-6100) Subway: A, C, E to 34h Street-Penn Stationwww.dimennacenter.org• Diwine 41-15 31st Avenue(718-777-1355) Subway: E, M, R to 46th Street
www.diwineonline.com• Dizzy’s Club 33 W. 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• The Django 2 Sixth Avenue(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com• Downtown Music Gallery 13 Monroe Street(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com• Drom 85 Avenue A(212-777-1157) Subway: F to Second Avenue
www.dromnyc.com• Entwine Wine Bar 765 Washington Street(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Street
www.entwinenyc.com• Fiction Bar/Café 308 Hooper Street(718-599-5151) Subway: M, J to Hewes Street
www.fictionbk.com• First Street Green 33 E. First Street near Second Avenue
Subway: F, V to Second Avenue• Flushing Town Hall 137-35 Northern Boulevard, Flushing(718-463-7700) Subway: 7 to Main Street
www.flushingtownhall.org• Fort Greene Park Myrtle Avenue at Cumberland Street
B, D, N, Q, R to DeKalb Avenue• Gallery MC 549 W. 52nd Street(212-581-1966) Subway: C, E to 50th Street
www.gallerymc.org• Gertrude Ederle Recreation Center 232 W. 60th Street(212-397-3159) Subway: 1 to 59th Street• Green Soul Studios
Subway: F to 75th Avenue
www.instagram.com/green_soul_studios• Groove Bar & Grill 125 MacDougal Street(212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street
www.clubgroovenyc.com• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue
www.ibeambrooklyn.com• Iridium 1650 Broadway at 51st Street(212-582-2121) Subway: 1,2 to 50th Street
www.theiridium.com• J. Hood Wright Park W. 173rd Street and Haven Avenue(212-927-1563) Subway: A to 175th Street• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens(718-658-7400 ext. 152) Subway: E to Jamaica Center
www.jcal.org• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street
www.jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox(212-348-8300) Subway: 6 to 125th Street
www.jmih.org• Joe’s Pub at the Public Theater 425 Lafayette Street(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com• Juilliard School Paul Hall 155 W. 65th Street(212-769-7406) Subway: 1 to 66th Street
www.juilliard.edu• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street
www.thekeepny.com• Kingsborough Community College 2001 Oriental Boulevard(718-368-6686) Subway:Q to Brighton Beachwww.onstageatkingsborough.org• Knickerbocker Bar & Grill 33 University Place at 9th Street(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com• Kostabi World 225 W. 22nd Street
Subway: C, E to 23rd Street• La Salle Open Streets Corner of La Salle Street and Claremont Avenue
Subway: 1 to 125th Street• Le Poisson Rouge 158 Bleecker Street(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue
www.lowlandsbar.com• Manhattan School of Music Neidorff-Karpati Hall
Broadway and 122nd Street(212-749-2802, ext 4428) Subway: 1 to 116th Street
www.msmnyc.edu• Marlene Meyerson JCC 334 Amsterdam Avenue(646-505-4444) Subway: 1, 2, 3 to 72nd Street
www.mmjccm.org• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam(212-501-3330) Subway: 1 to 66th Street-Lincoln Center
www.kaufman-center.org• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street
www.mezzrow.com• Michiko Studios 149 W. 46th Street, 3rd Floor(212-302-4011) Subway: B, D, F, M to 47-50 Streets
www.michikostudios.com• Miller Theatre 2960 Broadway and 116th Street(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Street• National Arts Club 15 Gramercy Park South(212-475-3424) Subway: 6 to 23rd Street
www.nationalartsclub.org• National Sawdust 80 N. 6th Street(646-779-8455 Subway: L to Bedford Avenue
www.nationalsawdust.org• Neighborhood Church of Greenwich Village 269 Bleecker Street(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street
www.ncgv.net• New Amsterdam Musical Association 107 W. 130th Street(212-234-2973) Subway: 2, 3 to 125th Street• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street• Nublu 151 151 Avenue C
Subway: L to First Avenue
www.nublu.net

38 OCTOBER 2022 | THE NEW YORK CITY JAZZ RECORD• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• The Owl Music Parlor 497 Rogers Avenue, Brooklyn(718-774-0042) Subway: 2, to to Sterling Street
www.theowl.nyc• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue
www.pangeanyc.com• Park Avenue Armory 643 Park Avenue(212-616-3930) Subway: 6 to 68th Street
www.armoryonpark.org• Pioneer Works 159 Pioneer Street, Brooklyn(718-596-3001) Bus: B61
www.pioneerworks.org• The Plaza at 300 Ashland 85 Flatbush Avenue
Subway: 2, 3, 4, 5 to Nevins Street; G to Fulton Street• Public Records 233 Butler Street
Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue
www.publicrecords.nyc• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Street
www.rizzolibookstore.com• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue
www.rockwoodmusichall.com• Room 31 at Arlo NoMad 11 E. 31st Street(212-806-7000) Subway: 6 to 33rd Street
www.arlohotels.com/nomad• Room 623 at B2 Harlem 271 W. 119th Street(212-280-2248) Subway: B, C to 116th Street
www.b2harlem.com• Rose Theater Broadway at 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• Roulette 509 Atlantic Avenue(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue
www.roulette.org• St. Albans Congregational Church 172-17 Linden Boulevard(718-657-8282) Subway: E to Jamaica Center - Parsons/Archer
www.stalbanscc.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street
www.saintpeters.org• St. Peter’s Episcopal Church 346 W. 20th Street(212-563-5124) Subway: A, C, E to 23rd Street• Saint Vitus Bar 1120 Manhattan Avenue
Subway: G to Greenpoint Avenue
www.saintvitusbar.com• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street
www.scholesstreetstudio.com• The Schomburg Center 515 Macolm X Boulevard(212-491-2200) Subway: 2, 3 to 135th Street
www.nypl.org/locations/schomburg• Silvana 300 W. 116th Street(646-692-4935) Subway: B, C, to 116th Street
www.silvana-nyc.com• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue
www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street
www.smallsjazzclub.com• Smoke 2751 Broadway between 105th and 106th Streets(212-864-6662) Subway: 1 to 103rd Street
www.smokejazz.com• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street
www.soapboxgallery.org• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street
www.sonyhall.com• Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues)
Subway: 2 to Sterling Street• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street
www.thestonenyc.com• The Sultan Room 234 Starr Street(612-964-1420) Subway: L to Jefferson Street
www.thesultanroom.com• Theater 555 555 W. 42nd Street(646-410-2277) Subway: 1, 2, 3, 7, A, C, E, S to 42nd Street-Times Square
www.theater555.com• Westbeth Artists Complex 55 Bethune Street(212-691-1500) Subway: 1, 2, 3 to 14th Street• Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY(718-384-1654) Subway: L to Bedford Avenue
www.wmcjazz.org• Zankel Hall 881 Seventh Avenue at 57th Street(212-247-7800) Subway: N, Q, R, W to 57th Street
www.carnegiehall.org• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street
www.villagevanguard.com• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, B, C, D, E, F to W. 4th Street
www.zincjazz.com• Zürcher Gallery 33 Bleecker Street(212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayettewww.galeriezurcher.com

(INTERVIEW CONTINUED FROM PAGE 6)TNYCJR: I was also glad to see a new album by themetal-leaning Titan to Tachyons, led by Orbweaver
guitarist Sally Gates. Pretty heavy stuff and not justbecause there are two bassists. You played on one trackon the first record. What brought about you becoming
a full-time second bassist with the band?
TD: Zorn had the idea to add me to what was alreadya collaborative project having worked with Matt
[Hollenberg] and Kenny [Grohowski] in the studio fora few of his recordings. Matt, Sally and I were
meticulous about orchestrating three low-stringed
instruments. Sometimes that means, as a bassist,letting Matt cover the low end while I use various
pedals to take me up in the higher treble ranges tomake all the voices work. And he is coming more froma guitarist point of view, so he is also traversing a line
between roles.
TNYCJR: Are we OK with the terms “jazz” and “metal”?
TD: That’s difficult to say, isn’t it? Usually when nonmusicians ask me what kind of music I play, I just say“rock” or “jazz” without the need to qualify thosewords with “weird”. I just tell them they won’t likely
hear it on the radio. That said, I don’t think there isanything remotely metal about the trio-convulsantmusic and the Titan record has very little to do withjazz. Both use genre as a tool, pulling from tradition
and reinterpreting it. I suppose this is why we getinundated with new sub-genres all the time. But
a power chord doesn’t necessarily say anything about
genre. It is a contemporary way to achieve dynamics.
But, if I’m reading into your question correctly, thoseterms are often tossed around without muchconsideration. Usually people must mean “loud” or“improvisation”.
TNYCJR: I hear jazz, or maybe let’s say ‘non-rock’musicians ‘doing’ metal and so often it is just so
superficial, almost like they are doing a puppet show.
What do jazz musicians not get about metal, or heavyrock or heavy music? Or, put another way, what does ittake to bring a metal approach convincingly into otherforms of music outside of rock?
TD: The puppetry works both ways and it is reallya matter of authenticity as opposed to just having theskills to reproduce. The feel, attack and overall
atmosphere of playing a rock club with monitors anda large PA system are much different than playing an
intimate, acoustic jazz club. I guess what I’m saying
is that it is not always appropriate to bring a specificapproach to a form and it is important to maintain
one’s own authenticity and not just haphazardly
duplicate what you’ve been taught. If you’re going toborrow from a style that is inspirational, it is importantthat your individuality is present; that you’re using it
to express something of yourself, not just regurgitating
something you like.
TNYCJR: You played in Dan Weiss’ Starebaby and lastyear did a record with Weiss and Miles Okazaki (HiveMind, Tzadik), two musicians who, like you, seem tohave a knack for integrating heavy music with a jazz
approach. How did that group come about? What is
the working method in the group? Can we expect tohear more from the trio?
TD: I believe that was again a Zorn prompt andperhaps something he and Miles talked about. That
record is 100% improvised and though Zorn was
mostly hands-off with the direction, he does like tofeature players at their best and showcase all of theirskills, thus the variety—and openness—of that record.
No plans with that trio at the moment.

TNYCJR: Do you have a preference in playing electricversus upright?
TD: I don’t but I do have a preference for being able
to go back and forth. If I’ve been focused on one fora while I will tend to miss the other.
TNYCJR: What’s coming up for you?
TD: I started my own micro-indie label in 2020 andwill be releasing a few things this fall including somesongs that Buzz Osborne and I collaborated on, an
improv duo with tenor saxophonist Phillip Greenlief,some film music and a new record by Ahleuchatistas,
which I collaborated on. In the meantime, I’m trying tofocus on finishing my “singer/songwriter” album
which I’ve been talking about for years.

through his music, Massey gathered around himself.
Further, that community, both living and passed on,
has shown who Massey was through his music on their
albums and in their performances and the empty spacethat Massey’s passing left in their lives. v
Recommended Listening:• Sonny Stitt–Kaleidoscope (Prestige, 1950-52)• Lee Morgan–Leeway (Blue Note, 1960)• Cal Massey–Blues to Coltrane (Candid, 1961)• Jackie McLean–Demon’s Dance (Blue Note, 1967)• Archie Shepp–Attica Blues (Impulse!, 1972)• Fred Ho & Quincy Saul–The Music of Cal Massey:
A Tribute (Mutable Music/Big Red Media, 2011)

TNYCJR: What made Aerosmith such a great band?
TD: A solid blues background, a good rhythm section,
collaboration, tension and a flamboyant frontman. v
For more information, visit trevordunn.net. trio-convulsant
avec folie à quatre is at National Sawdust Oct. 28th andTitans to Tachyons is at St. Vitus Oct. 11th. See Calendar.
Recommended Listening:• Phillip Greenlief/Trevor Dunn–
Untitled (Evander Music, 1996)• Ben Goldberg/John Schott/Trevor Dunn–
Almost Never (Nuscope, 1999)• Louie Belogenis, Tony Malaby, Trevor Dunn,
Ryan Sawyer–Twice Told Tales (DIW, 2002)• John Zorn Electric Masada–
At The Mountains of Madness (Tzadik, 2004)• Endangered Blood–Work Your Magic (Skirl, 2012)• Trevor Dunn trio-convulsant avec folie a quatre–
Séances (Pyroclastic, 2022)(LEST WE FORGET CONTINUED FROM PAGE 10)
made for Franceschini. Ho recorded this with his Green
Monster Big Band for The Music of Cal Massey: A Tribute(Mutable Music/Big Red Media, 2011), an album thatshows the music as a Mingus-worthy balance of sensual
blues, political fire and improvisational freedom.
Massey is integral to Shepp’s arguably best andmost important albums, Attica Blues and The Cry of My
People. Massey wrote two of the pieces on each album
and is one of the arrangers and conductors (along withFranceschini) as well on the latter while it is his
flugelhorn heard behind Waheeda Massey’s vocals on“Quiet Dawn”. The musical partnership between
Shepp and Massey seemed ideal, with serious,
uncompromising politics mixing naturally withmusical craft and a sense of beauty and humanity.
Ho argues that Massey’s politics were unpalatableto record companies like Blue Note and that he wasdeliberately blacklisted and kept from recording.
While there is no direct proof for this, it was neither
uncommon nor, from a record executives standpoint,
illogical in an era when, like today, advocacy for thepromised equality for all American citizens was met
with an atavistic backlash from the political andbusiness establishment. But, like the earlier blacklisted
screenwriters of Hollywood, Massey kept writing
music, heard not in his voice but through musicians
like McLean and Shepp.
The most tantalizing part of Massey’s legacy is
how it appears like something of a ghostly presence,or even a ghost story. Regular listeners to WKCR andPhil Schaap at times heard the late DJ note Massey’s
compositional contribution to one album or anotherand then, with some combination of passing regret andreverence, speak of the community of musicians that,

THE NEW YORK CITY JAZZ RECORD | OCTOBER 2022 39

Intakt CD 389

Intakt CD 388

Intakt CD 383

INTAKT RECORDS WWW.INTAKTREC.CH

Charlotte Greve: Saxophone, Composition
Manuel Schmiedel: Piano · Marc Muellbauer: Bass
Moritz Baumgärtner: Drums

Urs Leimgruber: Saxophone · Christy Doran: Guitar, Devices
Bobby Burri: Double Bass, Devices · Fredy Studer: Drums,
Percussion

JAMES BRANDON LEWIS QUARTET
MSM MOLECULAR SYSTEMATIC MUSICLIVEJames Brandon Lewis: Tenor Sax · Aruán Ortiz: Piano
Brad Jones: Bass · Chad Taylor: Drums

Intakt CD 395

Intakt CD 393

OM
50

Intakt CD 386

LISBETH QUARTETTRELEASELUCAS NIGGLI – MATTHIAS LOIBNERSTILL STORM

TIM BERNE – MATT MITCHELL
ONE MORE, PLEASEKATHARINA WEBER
IN MÁRTA’S GARDEN

Matthias Loibner: Hurdy-Gurdy, Electronics
Lucas Niggli: Drums, Percussion

Tim Berne: Alto Saxophone
Matt Mitchell: Piano

Katharina Weber: Piano

Intakt CD 390

Intakt CD 391

Intakt CD 382

COMING IN OCTOBERCLEMENS KURATLE YDIVIDE
LUMUMBAKAJA DRAKSLER – SUSANA SANTOS SILVAGROWBUECHI – HELLMÜLLER – JERJEN
MOON TRAIL

Dee Byrne: Alto Saxophone
Elliot Galvin: Piano, Electronics
Chris Guilfoyle: Guitar · Lukas Traxel: Bass

Kaja Draksler: Piano
Susana Santos Silva: Trumpet

Sarah Buechi: Voice · Franz Hellmüller: Guitar
Rafael Jerjen: Bass

COMING IN OCTOBERCOMING IN OCTOBER

DISTRIBUTED BY: VIRTUAL LABEL GROUPNYCJR_FP_Oct2022.indd 1

AVAILABLE IN NYC: DOWNTOWN MUSIC GALLERYDIGITAL DOWNLOADS: intaktrec.bandcamp.com

22.09.22 15:45