May 2024—ISSUE 265

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

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MORGENSTERN

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MOTHERERNESTDAWKINSPAULSMOKER

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

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

May 2024 – ISSUE 265
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW: DAN MORGENSTERN

Marilyn Lester (Copy Editor)
Nate Dorward (Fact-Checker)

ARTIST FEATURE: MOOR MOTHER

Advertising:advertising@nycjazzrecord.com

ON THE COVER: JAMES NEWTON

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

ENCORE: ERNEST DAWKINSLEST WE FORGET: PAUL SMOKER

Suzanne Lorge (VOXNews):
voxnews@nycjazzrecord.com

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Staff Writers
Duck Baker, Fred Bouchard,
Stuart Broomer, Daniel A. Brown,
Marco Cangiano, Brad Cohan,Thomas Conrad, Ken Dryden,
Phil Freeman, Tristan Geary,
Pierre Giroux, Kurt Gottschalk,
Tom Greenland, George Grella,
Jason Gross, Sophia Valera Heinecke,Alex Henderson, Keith Hoffman,
Terrell K. Holmes, Robert Iannapollo,
Marilyn Lester, Suzanne Lorge,
Sylvia Levine, Francesco Martinelli,Marc Medwin, Jim Motavalli,
Russ Musto, John Pietaro,
Mike Shanley, John Sharpe,
Elijah Shiffer, Elliott Simon,
Anna Steegman, Ken Waxman,
Scott Yanow
Contributing Writers
Jeff Cebulski, George Kanzler
Contributing Photographers
Caroline Conejero, Nqoba Dlamini,
Ken Huth, Alan Nahigian,Hank O’Neal, Eron Rauch,
Luciano Rossetti, Robert Sutherland-Cohen,
Richard Termine

nycjazzrecord.com

VOXNEWS
ALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY
IN MEMORIAM

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by sylvia levine
by sophia valera heineckeby terrell k. holmes
by jeff cebulski
by robert iannapollo
by francesco martinelliby suzanne lorge

BY MARILYN LESTER

Letter from the Editor
Rarely, if ever, have we at TNYCJR dedicated a Cover Story plugging a musician or event happening the monthafter the issue at-hand. But we needed to make an exception this time and simply could not let this opportunity pass
us (and you, our dear readers) by, given the significance of the second-ever “Eric Dolphy: Freedom of Sound”
festival coming to NYC for the first time on the first two days of June. The festival is in celebration and commemorationof Dolphy’s birthday and 60-year deathaversary next month. For those of you who attended that inaugural “Freedomof Sound” festival a decade ago (in Montclair, NJ), then you know this is an event not to be missed. Septuagenarian
James Newton (Cover), whose most significant influence is Dolphy (and, like Dolphy, a Los Angelean), continues toshare his passion, personal history and expertise, and will lead a listening session and symposium. Though he nolonger plays, his mere presence and return to the “right” coast is cause for celebration.
Due south of Berlin (where Dolphy died just over a week after turning 36) is Munich, Germany where now
94-year-old Vienna- and Copenhagen-reared Dan Morgenstern (Interview) was born. Moving to the U.S. in 1947,
settling in NYC a year later, the rest, as they say, is history: jazz history. His lifelong dedication to jazz includes
being an esteemed jazz critic, editor (Metronome and DownBeat) and author, as well as educator and archivist—not
to mention having been close friends with the likes of Louis Armstrong and Coleman Hawkins! This month hereceives the “Contributor to the Arts Award” from The Jazz Gallery to add to the many honors and accolades thisliving jazz legend has received over the course of his long, distinguished career.
Jazz is a history, and we show our appreciation to those whose essential and necessary contributions to its
growth, and its documentation and preservation along the way, are integral fibers and factors in its future evolution.
Tipping our hat to the past, while acknowledging the present and future directions and possibilities of this music is,in essence, TNYCJR’s monthly mission. Happy reading and listening and see you out at the shows…

On The Cover: James Newton (photo by Eron Rauch)
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 May 2024 | THE NEW YORK CITY JAZZ RECORDFRIDAY, JUNE 7, 2024

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THE JAMIE SEPTET+MIKE MCGINNIS +9

Now firmly ensconced in their latest home, Drom on

Avenue A, the revolving cast of characters that comprise
The Mingus Big Band have also settled into a new regularnight: Wednesdays. On Apr. 3 the band yet again proved
how prescient Sue Mingus was to preserve her husband’s
legacy in one of the hardest-swinging repertory bands
in the land. In John Stubblefield’s arrangement of “Songwith Orange”, pianist Arcoiris Sandoval turned Sir
Roland Hanna’s original introduction into a virtuoso
cadenza. As if that wasn’t enough, after Craig Handy(tenor), Evan Amoroso (trombone) and Alex Norris(trumpet) got done splashing enough grease to fry
bacon, Sandoval came back to finish the job with her own
bluesy take on the color orange. “Ysabel’s Table Dance”,
originally from 1962’s Tijuana Moods, was the long
workout of the night. After Dave Taylor’s dynamic bass
trombone solo, tenor saxophonist Sam Dillon flashed his
lightning technique and storehouse of ideas. The closer,
as it often is, was Mingus’ “Moanin’” from 1960’s Bluesand Roots. Jason Marshall delivered the original Pepper
Adams baritone part with enough punch to take down
George Foreman (the angry Foreman of 1973, not the niceguy selling grills!). After a remarkable trumpet battle
between Norris, Duane Eubanks and Dave Adewumi,
Marshall came back for another helping, demonstrating
both sterling technique and the lungs of a marathoner.
One hundred and two years after his birth, and 45 years
after his death, the musical legacy of Charles Mingus
lives and breathes anew every week. — Keith Hoffman

R.I. SUTHERLAND-COHEN/JAZZEXPRESSIONS.ORG

At his recent appearance (first of two) at Brooklyn
Academy of Music’s Howard Gilman Opera House(Apr. 3), Bahian Brazilian legend Caetano Veloso
appeared much younger than his 81 years might suggest.
Singing hits of his long career, from 1968’s “Baby” to thetitle track of 2021’s Meu Coco, his still supple voice easily
crossed chest and head registers, finding those sweetnotes, then clipping off crisp recitatives. His stage presence
was unpretentiously charismatic as he leaned forwards
attentively, dramatic hand gestures accompanying his
poetic lyrics, often prancing about the stage like a faun in
the forest. The tightly-scripted 90-minute show spanned
24 songs, staged before a central neon sculpture thatmorphed in 3D patterns. Precise lighting cues strobed
individual musicians in and out of darkness in sync to themusic. Though Veloso probably could have carried theshow alone with just an acoustic guitar, his band—Lucas
Nunes (guitars), Rodrigo Tavares (keyboard), Alberto
Continentino (bass), Pretinho and Thiaguinho da Serrinha
and Kainã do Jêje (percussion)—was equally marvelous,bringing the leader’s eclectic repertoire to life withtastefully layered rhythms and improvised commentary.
When Veloso started “Reconvexo”, some fans rose todance, but had to wait for the encore to really let loose.
As he performed “Baby”, “Cajuína”, “Odara”, “A Bossa
Nova é Foda” and “Lua de Säo Jorge”, many more sangalong in Portuguese. Fittingly, it was the fans who sang
the final choruses of the final song: a spirited acapellarendition of the “A luz de Tieta“.
— Tom Greenland

Caetano Veloso @Howard Gilman Opera House

Arcoiris Sandoval @Drom

Despite Rudyard Kipling’s famous dictum, pianist/composer Charu Suri has figured out a way to transcendthat “never the twain shall meet,” the twain in this casebeing the Eastern component of Hindustani raga andWestern to jazz. The first half of her program at Weill
Concert Hall (Apr. 5) began with a presentation of six
traditional North Indian ragas refashioned as jazzsongs. Accompanied by Max ZT (hammered dulcimer),J. Brunka (bass) and Joe Lastie (drums), she used lefthand arpeggios to ape the function of a tanpura by
establishing the raga’s fundamental tones, added
harmonies where (in Hindustani music) normally there
are none, and set all but one raga (“Hemant”) to three- or
four-beat meters. In contrast to the long eighth-note runs
germane to jazz, Suri’s solos favored tightly-clusteredtrills and other melodic ornaments (akin to the gamaka
of Hindustani vocals) transposed along the raga’s tonerow, occasionally departing from prescribed pitches
via chromatic motion. The most traditional reading wasof “Raga Bhairavi” (a morning raga similar to Western
Europe’s Phrygian mode), begun with a short rubato alap
section to set the mood, moving to a loose theme over aboogaloo beat with rapid piano/dulcimer exchanges. A
presentation of “Raga Bhimpalasi/Kirwani” (similar tothe harmonic minor scale) played in C minor to a funky
backbeat, featured Israeli pianist Kobi Arad. The set
concluded with “Raga Kalyani”, spurred by Sufi vocalist
Umer Piracha’s song of sweet pain in the Lydian mode,
outlined by Suri’s tactful rhapsodic touches.
(TG)

If you have a big musical appetite, Brooklyn is a nightly

4 May 2024 | THE NEW YORK CITY JAZZ RECORD“Wonderland of Music.” And wonder was revealed at
the unpretentious Lowlands Bar (Apr. 2), which hosted
the brilliant woodwinds player and modernist composer
Anna Webber, with Eivind Opsvik (bass) and Tom Rainey(drums). Canadian by birth, Brooklynite by choice, Webber
has been a favorite of critics and composing-prize jurists formore than a decade. She demonstrated at Lowlands how
to captivate a rapt audience while continuing to storm themusical ramparts, a rare and wonderful gift. During thetrio’s 25-minute opening piece, an unnamed improvisationin three parts, Webber first stabbed and writhed throughshort phrases on tenor, working herself into otherworldly
space, bringing listeners along with her. As she developed
phrases, Rainey thundered and drove the playing
forward. The saxophonist’s acknowledged influence of
Sam Rivers was clear. On “Laughter House”, she played
long, quiet, momentous lines to pindrop silence, leading to
Opsvik’s solo, in which he demonstrated his remarkably
strong arco technique. In later pure improvisation, theleader blew haunting split tones, while the bassist bowed
throughout, all brilliant and moving. The high point of
the night came towards the end, when Opsvik bowed into
the upper reaches of his instrument, Webber matching (ornearly matching) the timbre of notes, while the endlessly
creative Rainey used viciously loud mallet strikes on his
toms, creating a clash of soundwaves that could be felt
physically. This was a night of exploration and discovery—or just a Tuesday in Brooklyn.
(KH)In this leg of his solo Dream Box tour, guitarist/composer Dedicating the evening’s performance at the Village

Vanguard (Apr. 8) to the memory of Albert “Tootie”
Heath (who passed away earlier that week), bassist John
Patitucci with his trio: Chris Potter (saxophones) and
Brian Blade (drums), opened up the band’s Thursdaynight second set with a brand new original composition,“Deluge On Seventh Avenue”, inspired by the previous
day’s soaking rainstorm. The bluesy piece began witha soulful unaccompanied acoustic bass solo before
Potter and Blade joined in to play the strutting melody,the group recalling the sound of Sonny Rollins’ iconic
A Night at the Village Vanguard pianoless trio record,with Potter digging in, playing tough tenor, quoting
Dizzy Gillespie’s “Bebop” and Rollins’ “East Broadway
Rundown” in an extended solo before the leader andBlade stretched out themselves. The set continued with
Potter’s “Other Plans”, a brooding excursion from his
recently released Eagle’s Point (featuring this trio plus
pianist Brad Mehldau), that segued into the bassist’srollicking calypso “Sonrisa”. Switching to his custom
six-string electric bass guitar, Patitucci credited Chick
Corea with turning him on to the Scarlatti piece that hemerged with his own “Mali”, a North African-tinged
outing dedicated to Malian guitarist/vocalist Ali Farka
Touré. The mood mellowed with the band’s stirring
rendition of Billy Strayhorn’s “A Flower Is a Lovesome
Thing”, then ramped back up for the leader’s aptly
titled “Think Fast”, a set closer and ode to his East
Flatbush ball-playing youth.
— Russ Musto

ALAN NAHIGIANRICHARD TERMINE

Pat Metheny held the stage at 92NY (Apr. 7) for over twohours of off-the-chart brilliance, sitting unassumingly amidvarious forms draped in black. Opening with a selectionof tunes, Metheny then did something highly unusual: hespoke. What evolved was a real-time, live documentary of
the man and his work over a 50-year career of innovationand creative genius. The concert’s first half was largely
acoustic, with a succession of guitars being wrangled.
There were selections from Beyond the Missouri Sky as well
as a medley of modern standards: “Alfie”, “Rainy Daysand Mondays“ and “Garota de Ipanema”, plus Methenystaples such as “Last Train Home” and an abundanceof more that tripped easily from his virtuosic hands as
honey pouring from a jug. The guitarist waxed poetic
about the underappreciated baritone guitar and amazedwith his custom-made 42-string Pikasso. In the second
half he moved into familiar territory with electronics,
demonstrating his skills with looper and bass and rhythm
pad. But the climax was the unveiling of all that draping
to reveal a steampunk array of gizmos, including an arrayof percussion instruments: his Orchestrion automatedorchestra. As he played several hanging midi guitars,
he conducted the robotic, mechanical accompaniment,amazingly triggered by his guitar playing and footpedals. The 20-time Grammy Award winner is known
to continually challenge himself and it’s no wonder
this magician maintains such an incredible power tocontinuously amaze.
— Marilyn Lester

Pat Metheny @92NY

John Patitucci @Village Vanguard

The annual Dizzy’s Club concert showcasing The Yale
Jazz Ensemble (Apr. 8) presented the university’s bigband in a program titled “Celebrating Max Roach with
Nasheet Waits”. Hosted by tenor saxophonist (and theEnsemble’s director) Wayne Escoffery and honoring
the pioneering drummer’s centenary, the concert’s focal
point was the first two sections of Roach’s fierce 1960
socio-political musical statement, We Insist! Freedom Now
Suite. “Driva Man”, with vocal bookending (lyric by
Oscar Brown, Jr.) and instrumental music in between theuneven 5/4 time signature, created a sense of emotional
agitation, underscoring the indignities suffered by theenslaved under a white overseer. The entire segment
thundered forward, the band members fully engaged in
the execution of the piece. “Freedom Day“‘s response to
the Emancipation Proclamation reflected the uncertaintyof this new reality of liberation; there was both jubilationand hesitation, created through minor-blues segments
over fast-paced rhythm. Waits delivered high-octane
African drumming beats, with cracking cymbal andstick accents, for a truly powerful feature, as well as
underpinning the entire work. Also presented was asolid rendition of Charles Mingus’ “Eclipse”, with a
spotlight solo from Escoffery. Wayne Shorter’s joyous,
toe-tapping “Yes or No” closed out the ambitious set.
Escoffery proved a focused task-master as he led the bandthrough its paces as soloists and as a unit; his deliberate
conducting greatly aided the ensemble of young players
in producing a bright cohesive sound.
(ML)

The intimate atmosphere of Mezzrow (Apr. 6) proved

to be the perfect setting for vocalist Vanessa Rubin
to mine heartfelt meaning from the lyrics to her set of
mostly jazz and songbook standards. She also related
personal tales of love lost and found to the wildly
appreciative, sold-out house. Backed by a stellar rhythm
section of Brandon McCune (piano), Kenny Davis (bass)
and Winard Harper (drums), the singer kicked off her
second of two nights at the club swinging hard on Duke
Ellington’s “Love You Madly”, propelled by the fierybacking of the trio. The engaging warmth of Rubin’s vocal
range was in full display on her beautiful interpretationof the Irving Berlin classic “What’ll I Do” and the seldom
sung Sammy Cahn lyric to McCoy Tyner’s “You Taught
My Heart to Sing”. Her own considerable ability as a
songwriter was evident on the original “Once Was Not
Enough”, an episodic excursion that began as a lilting
waltz and then, following an absorbing cymbal-centered
Harper interlude, modulated into a pulsating sambathat had the vocalist jubilantly dancing in place during
McCune’s commanding piano solo. The Clevelandnative Rubin celebrated her hometown hero, pianistcomposer-arranger Tadd Dameron, with a medley of
selections from her album The Dream Is You: Vanessa
Rubin Sings Tadd Dameron, including “Lady Bird”, “If
You Could See Me Now”, “Good Bait” and “WhateverPossessed Me”. The vocalist closed by urging her
audience members to join her by snapping their fingers
to her sultry reading of “Black Coffee”.
(RM)

W H AT ’ S N E W S
The Jazz Journalists Association (JJA) has announced its “Jazz
Heroes” Class of 2024, saluting over 30 supporters of jazz. The listof activists, altruists, aiders and abettors of the jazz world include
community-focused musicians, presenters, philanthropists, cluband venue operators, organizers, educators and historians. Among
this year’s awardees: Marla Gibbs (best known as Florence in The
Jeffersons, who has used her TV earnings to support African
American culture in L.A.’s Watts and Leimert Park neighborhoods),
Eugene Uman and Elsa Borrero (who inherited guitarist Attila
Zoller’s Vermont Jazz Center), Katea Stitt (daughter of saxophonist
Sonny Stitt, and WPFW Program Director in Washington, D.C.)
and Catherine O’Grady (retiring director of the Ottawa Jazz
Festival). The JJA also announces all the nominees for its annual
awards at press time. For more info visit jazzjournalists.org.
Brubeck Living Legacy, Inc. (in partnership with Ubuntu Music and
The Royal Academy of Music) recently announced “The Brubeck
Living Legacy Prize” to be awarded each year to one student at
The Royal Academy of Music in London. Th chosen student will
also get the opportunity to record an album for the Ubuntu Music
record label. Founded five years ago, the Brubeck Living Legacy
supports educational opportunities and live concerts that recognize
the contributions of Dave and Iola Brubeck, and others, to modern
American music, the civil rights movement and to the communityof musicians worldwide. For more info visit davebrubeck.com.
Of news regarding historic NYC venues/institutions… After 45
years, Roulette co-founder and the performance space’s longtime
Artistic Director, Jim Staley, is stepping down from his leadershiprole after this season. From what started with his Tribeca loft to its
current downtown Brooklyn location on Atlantic Avenue, Roulette
has served as an oasis for creative and experimental music in
NYC. Its 45th Anniversary Gala (Jun. 6) will honor Staley’s
accomplishments and feature performances by many of hiscolleagues who have been associated with him and Roulette overthe decades, including John Zorn, Ikue Mori and Zeena Parkins.
For more info visit roulette.org.
The NYC Department of Cultural Affairs (DCLA) and NYC
Department of Design and Construction (DDC) recently
announced a $24+ million city-funded renovation of the legendary
performance space Nuyorican Poets Café, which celebrated its
50-year anniversary in 2023. The historic venue and cultural
institution (home to Rome Neal’s Banana Puddin’ Jazz, whichcelebrated its 20th anniversary last year, plus poetry slams, hiphop and theater) is located on the Lower East Side (236 E. 3rdStreet), in a 100-year-old tenement building; it will be closed during
the renovation, but will continue with offsite events. For more info
visit nuyorican.org.
The Louis Armstrong House Museum has been named a
finalist for the 2024 IMLS (Institute of Museum and LibraryServices) National Medal for Museum and Library Service. LAHM
is among 30 finalists and the only institution represented by NY
State. For 30 years, the National Medal has become the nation’s
highest honor bestowed to museums and libraries that havedemonstrated a significant impact in their communities. The
winner will be announced later this month. For more info visit
louisarmstronghouse.org.
In jazz camp news… Registration deadlines for the Brooklyn
Conservatory of Music’s Summer Jazz Camp (Jul. 8-12, 15-19),
Jazz Instrumental Lab Summer Intensive (Jul. 15-19) and Suzuki
Strings & Guitars Camp (Jul. 29 – Aug. 2) have been announced.
The summer camp is for all instruments and vocalists and pairs
students with world-class artists. The Summer Intensive is headedby lead instructor, saxophonist and multi-instrumentalist Peter
Apfelbaum (who has worked with everyone from Harry Belafonte
to Don Cherry to the Grateful Dead). And the weeklong Suzuki
Strings & Guitars camp, for ages 6-11, includes faculty such as
NYC-based bassist Shayna Dulberger (frequent collaborator of
William Parker, Joe Daley, Daniel Carter, Darius Jones, Warren
Smith and many others). For more info visit bkcm.org.
Now in its 28th year and directed by saxophonist Don Braden,
Connecticut’s Litchfield Jazz Camp (Jun. 30 - Jul. 26) will host six
musicians this summer, each who recently received the 2024
WDNA (Miami, FL) Music Scholarship Award (which includes
roundtrip air travel from FL to CT, room and board, tuition, acomplimentary recording session, etc). For more info visit
litchfieldjazzcamp.com.
To submit news to What’s News, email ldgreene@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | May 2024 5

I NTERVIEWDANMORGENSTERNHANK O’NEAL

contributor to the arts
Dan Morgenstern’s career as an advocate of jazz spans
more than 70 years. Former Director of the Institute of Jazz
Studies at Rutgers University for more than 30 years (19762012), he already had a well-established and impressive
career as a journalist, including as Editor of Metronome
and DownBeat as well as author of two award-winningbooks (Jazz People and Living with Jazz). This month hewill be honored at The Jazz Gallery with the “Contribution
to the Arts Award”, the latest in a long string of welldeserved prestigious awards, including the A.B. Spellman
NEA Jazz Masters Fellowship for Jazz Advocacy, plus eight
Grammys for some of his brilliant and thorough liner notes.
The New York City Jazz Record: You’re going toreceive the “Contribution to the Arts Award” fromThe Jazz Gallery in a few weeks for your lifetime ofpromoting this music and its future… Do you recall
when you first started listening to and loving jazz?
Morgenstern: It was in Copenhagen. My mother andI were living there as Jewish refugees from Austria.
Fats Waller was touring Scandinavia in 1938—mymother thought this might be something I would enjoy.
And I surely did! I had never seen anything or heard
anything like Fats Waller. He was a bundle of joy.
Everything about him moved. He was tapping his feet,moving his eyebrows: top to bottom he was a fabulous
communicator. I became a fan (and) we got some Fats
Waller records right away.
Just before the war broke out, I also got to see
the [Quintette du] Hot Club de France with Django(Reinhardt). Django was wonderful—he impressedme more than (Stéphane) Grappelli. I saw The Mills
Brothers, too. One terrific musician from Denmark who
was an influence on me was violinist Svend Asmussen,
also a great entertainer. The big deal before I left
Europe, though, was the visit of an American big band.
Timme Rosenkrantz, the Danish baron who was a huge
jazz fan, collaborated with the American Armed Forces
to bring jazz to Europe, to the soldiers. They had all
kinds of entertainment but not any real jazz. So, thefamous arranger Don Redman brought a big band—the first real American live jazz band I got to see. The
star was Don Byas—the great tenor player. It was a big
thrill to see and hear this extraordinary group.
TNYCJR: And when did you move to the States?
Morgenstern: Eventually we wound up in the U.S. in1947. My father had gotten here and brought us and I
was able to become a citizen very quickly because I wasunder 18. Not too long after that I found myself in New
York. Still legally too young to go to clubs, I managed
to sneak in anyway. Clubs were expensive for someone
like me, but you could go to the bar usually and get bywith just buying a couple of drinks. This is how I wasable to hear live jazz and meet musicians. Trombonist
Wilbur de Paris, who had a successful band, took
me under his wing and through him I got to see andMorgenstern: Of course (and) I said yes. Then hesaid, “They won’t be able to pay you. But they will
send you books and records.” I was happy that it gave
me a chance to plug the musicians and to establish
myself. The magazine was read by some American
critics, including Nat Hentoff. And Nat liked what
I was writing. He recommended me to DownBeat, so,then I started writing for DownBeat. Meanwhile, since
I had been in the army, I was able to enroll in Brandeis
University on the G.I. Bill. It was a young school andthey had a classical faculty, but no representation ofjazz at all.
(CONTINUED ON PAGE 38)

BY SYLVIA LEVINE

become friendly with people like tenor saxophonist
Coleman Hawkins and trumpeter Roy Eldridge.
TNYCJR: Can you describe how you met them?
Morgenstern: I think it had something to do with girls.
TNYCJR: What do you mean!
Morgenstern: It’s peculiar to that time. There wasstill a lot of prejudice. So if a Black musician had awhite girlfriend, it was not comme il faut, so to speak,
to bring her to the club and be seen together. I was in
the position of being a “cover.” And that began with
Coleman Hawkins and led to others. I became friendly
with some great musicians that lasted a lifetime.
I used to go the Metropole. It was unusual inthat it was a very large space with the longest bar I
ever saw and had continuous music. Small groups in
the afternoon and two bands at night. (Trumpeter)
Henry “Red” Allen was the permanent fixture there.
He had the opening band, with drummer Cozy Coleand trombonist J.C. Higginbotham. This place was likea history lesson for me. An introduction into the whole
range of music. That was the first time I saw Miles
Davis; he came in to check out Eldridge because Roy
had been to Europe and came back with a flugelhorn.
Miles wanted to see and hear what that was all about.
And trumpeter Charlie Shavers, a regular, once sent
Dizzy (Gillespie) as a substitute. Here was Dizzy,playing with a group of semi-Dixielanders.
TNYCJR: …And he could do it.
Morgenstern: This was a wonderful education because
it taught me that much of what you learn from books
or from critics about the music is wrong. [laughs.] And
what is wrong is the divisions they make between
styles, beboppers and moldy figs and all that. The
musicians, with a few exceptions, get along fine. Critics
put those brands in.
TNYCJR: So, how did you become a jazz writer?
Morgenstern: I was very lucky. Leonard Feather,probably the most prominent of jazz critics, helpedme get started. I sent him a letter and something I had
written. I think it was about vocalist Dinah Washington,just a sample, never printed, and he responded, “This ispretty good and you should go for it.” The British writer
Stanley Dance came to New York to make a bunch ofrecords for the Felsted label. When Stanley was in New
York he frequented the Copper Rail, and I went there.
He said to me, “Dan, you seem to get around a lot to hear
the music and you seem to know all of the musicians…
there is a British magazine, Jazz Journal and they need a
New York reporter. Would you be interested?”
TNYCJR: That was a significant break.

6 May 2024 | THE NEW YORK CITY JAZZ RECORD

HAPRIL 30TH – MAY 5THH

JOHNATHAN BLAKEMY LIFE MATTERS

DAYNA STEPHENS – JALEN BAKER
FABIAN ALMAZAN – LARRY GRENADIER
HMAY 7TH - MAY 12THH

DONNY MCCASLIN QUINTETGREGOIRE MARET - BEN MONDERSCOTT COLLEY - JOHNATHAN BLAKE
HMAY 14TH - MAY 19THH

KURT ROSENWINKEL QUARTETMARK TURNER - BEN STREET - JEFF BALLARD
HMAY 21ST - MAY 26THH

DAVID MURRAY QUARTETMARTA SANCHEZ - LUKE STEWART - RUSSELL CARTER
HMAY 28TH - JUNE 2NDH

BRAD MEHLDAU TRIOS(MAY 28-30): WITH VICENTE ARCHER & MARCUS GILMORE(MAY 31 - JUNE 2): WITH FELIX MOSEHOLM & JOE FARNSWORTH

COMING IN JUNE
HRENEE ROSNESHHFRED HERSCHHHIMMANUEL WILKINSHHTERELL STAFFORDH
MONDAY NIGHTS ARE RESERVED FOR

THE VANGUARD JAZZ ORCHESTRALUCIANO ROSSETTI©PHOCUSAGENCYARTIST F EATURE

The body of work developed by poet, musician andactivist, Moor Mother (the cryptonym of Camae Ayewa)
begins with oral tradition and African languages
amid a refusal to embrace the confines of Eurocentriclinguistics, all the while fiercely challenging thecultural impressions implied. Understanding how her
creativity exists starts with her immersion in Henry
Threadgill, cutting to the time she saw Travis (of theband ONO) perform in a wedding dress, then jumping
to her fascination with monks, woven together by her
mother’s love for Bruce Lee. She remembers reading
freely from a book of Joseph Jarman poems thatinspired her to speak these words that felt like hers:“It felt like looking in a mirror, like ‘oh, this is why I’m
here’. Making that connection.”In the pluriverse of Moor Mother, time is notdictated by the hands of the clock, but by the voice.
With voice, time can be reclaimed, uncovered,slipping through signatures, minutes, albums andages. The instrument of the voice carries a tone thatmakes physical objects vibrate at its frequency, thephenomenon of sympathetic reverberation. When an
emotional chord is struck, information echoes down
the nervous system, which can stir memories that once
carried that same feeling. “I just have to ensure thetechnology is there,” Ayewa says. In the final momentsof the crestal track “South Sea” on her latest album, The
Great Bailout (Anti-Records), we hear Moor Mother’svoice: “And you be, and we are, the first technology inwhich man carried far and wide to finance to torture andcontrol. I am the first form of time travel discovered, amassive change in evolution… with each visit.”
Moor Mother’s just-released new album immerses
listeners in the story of reparations for chattel
slavery paid by the British Government to the British
aristocratic class, not to the people who were trafficked
into decades of labor, their culture violated, theirdignity stripped away. The songs hold these entities
accountable: “They keep keeping the temporal rhythmof the earth’s biological clock devoid of memory.” The
tone and words warn us that if we do not remember,
we will not learn. These ideas are not newly manifested
in the Moor Mother canon but deepened on this newrecording. “The sound and impact of her words catalyze
us to a feeling of ‘right now,’” says flute player Nicole
Mitchell, her collaborator on the 2020 live show andalbum Circuit City. “Her sound is an envelopment ofalternative possibilities for new futures, while her words
open space for timelessness.” Circuit City grapples
with a poverty of time and centers displacement using
Ayewa’s Black Quantum Futurism: “praxis as a criticalframework, fusing Afrodiasporan philosophies andrituals with quantum physics, [in] recovering artifactsof Black temporal consciousness.”
An exemplary track exploring this idea is “ClockFight” from the 2021 album release Black Encyclopediaof the Air. Listeners experience an incantation of
acceptance and perseverance, building from a whisper
to inform that its speaker will not be fighting time

MOOR
MOTHERFor more info visit moormother.net. Moor Mother is at Park
Avenue Armory with Irreversible Entanglements May 18.
See Calendar.

a voice to speak outside of time

Recommended Listening:• Irreversible Entanglements—Who Sent You?
(Don Giovanni-International Anthem, 2019)• Moor Mother—Circuit City (Don Giovanni, 2020)• Moor Mother—Jazz Codes (Anti-Records, 2022)• Irreversible Entanglements—Open The Gates(Don Giovanni-International Anthem, 2021)• Irreversible Entanglements—Protect Your Light(Impulse!, 2023)• Moor Mother—The Great Bailout (Anti-Records, 2023)

BY SOPHIA VALERA HEINECKE
anymore. The surrounding soundscape of a building
breath, with hand drum and violin, help us question:
how does it feel when your time has been stolen, andyou cannot benefit from what you generated in thatduration? On the album Jazz Codes, the song “Blues
Away” balances multiple voices, overlapping rapping,casual in its delivery and tone, with another voice thatwails and pines for the satisfaction of a life without theweight of the blues. Blues songs are characterized bytheir enciphered lyrics and emotional intensity, so theform elevates the content as the second voice becomescircular, pacing above an easy beat and echoing callsfrom vocalist Fatboi Sharif.
Part of the truth is in how you tell it; Moor
Mother’s truths are told in a cadence you cannot learn.
This can be observed ascending in a notably rich way
on the song “Celestial Pathway” from Protect Your Light(Impulse!), created with the free jazz band Irreversible
Entanglements (IE). The voice is that of a preacher
absolved of proselytizing, punctuated by a captivating
anchor of bass notes from Luke Stewart, sinking you
down to a “deeper past.” Enunciated vibration on
consonants lets the sound linger, bringing awarenessback to the technology of the voice as it relates to thebody; the vibrations resonate in the eardrums before
traveling through the vagus nerve. These moments
activate our organic technology to bring us into calming
connection. Moor Mother’s work rejects the scarcity
mindset that the reward for surviving should be a small
refuge. Her world is expansive and inclusive, wherevoice relates to the whole of the community. Early in
her artistry, she recalls a formative series she facilitatedin Philadelphia called Rockers. “That helped me
develop my voice. It was interdisciplinary, any genre.
This was refreshing for so many people. Developing
your voice alongside others, seeing so many people
shine together.”
When asked about the iconic voice of Lonnie
Holley that begins The Great Bailout, Ayewa simply
states, “Lonnie reminds me of home.” Presenting The
Great Bailout this month at Park Avenue Armory is ahomecoming of a different kind, a reckoning sure toenliven the audience. “In a place like the Park Avenue
Armory, there are lots of connections to be madeabout the extension of European power that bridges
British hegemony,” says IE bassist Stewart. “The Great
Bailout is the culmination sonically of what she started
during lockdown. It is so ethereal. Ethereal music is
more accepted partially because Camae is helping to
get everyone free.” While The Great Bailout is, in someways, a culmination of questions about time, more thanthat, it is a continuation, an evolution of awakening
championed by Moor Mother, which challenges us all
to choose integrity over fear, to stand in that fear withintegrity, and to move together into the unknown.
Moor Mother’s voice is one of cultural change taking
hold in our minds through our ears, through repetition
and innovation, calling us back to acknowledge theancient and calling us forth to envision the future.

makrokosmos

orchestra
Dissolve: Album Release Show at
SHAPESHIFTER LAB“Nelson offers up three lengthy tracks,
all bursting with energy, ideas anddynamism. Big band sonics taken to the23rd century: splendid stuff.”— Jazzwise (UK)Friday, May 3 9:00 pm

837 Union St. Brooklyn, NY
Compositions by
Richard Nelson & Tim O’Dell
Album on Adhyáropa Records:
richardnelsonmusic.bandcamp.com

THE NEW YORK CITY JAZZ RECORD | May 2024 7

ON THE COVER

James Newton
Freedom of Sound

ERON RAUCH

by terrell k. holmes

W hen James Newton plays the flute, one can hear

Sunday afternoon praise shouts, birds chirping at
sunrise, classical elegance, or the gutbucket blues. He
can move quickly from zenith-scraping high notes toguttural harmonics, tapping into inexhaustible sourcesof intelligence and experience to create music thatis innovative, memorable and frequently arresting.
Regarded as an essential and influential flutist andcomposer in jazz, classical music, ballet, modern dance,electronic music and world music, he has spurned labels
by using ensembles with uncommon instrumentationand sonic textures.
Born May 1, 1953, in Los Angeles, CA, Newton
started off as a teenager playing R&B, jazz, blues andgospel on electric bass, alto saxophone and clarinet. He
eventually studied jazz with legendary saxophonist,clarinetist and flute player Buddy Collette, a founding
member of drummer Chico Hamilton’s legendary
quintet, plus a renowned educator whose students also
included Eric Dolphy, Charles Lloyd, Frank Morgan
and Sonny Criss. After taking lessons on classical flute,
Newton decided to settle on that instrument. “The flute
was really my voice, and a lot of people had told methat if I really wanted to make a living at that time,coming up in the ’70s, that I was going to have to double
because that’s what most great flutists of the day did,”
Newton said during a recent phone interview. “But I
looked in the classical world, and at that time there
were people like Jean-Pierre Rampal making a living,and my attitude was: If he doesn’t have to play soprano
and tenor saxophone, well then why should I?”
When Newton moved to New York City in early
1978, he met several influential jazz flutists who
mentored and influenced him, including Frank Wess,
Hubert Laws, Henry Threadgill, Yusef Lateef andJames Moody. “(Moody) taught me so much. One night
I went to go hear him play and he played only flute thewhole set, and I was trying to hide under the table! Thatman played so much music on the flute.” But it was
the sound of Dolphy that ultimately captured Newton.
When he speaks of Dolphy, his tone shifts into the keyof reverence. “The first thing that grabbed me was thedepth of expression and his boundless imagination. At
that time, I was sort of coming out of R&B and rock,and listening to Jimi Hendrix, electric Miles Davis andthings like that. But Eric’s voice kept calling me more
and more, and I would listen to his flute playing all
the time. I would branch out to other masters, but it
was like Eric’s voice was always the most important,and I think it was an emotional attachment I had tohis playing. But I also think it was just his brillianceand having this unbounded virtuosity and ability to
express the finer nuances of the human condition in a
way that his art kept drawing you back to it again andagain, and you would always find more and more fromit, and it would keep feeding you.”
Dolphy once said that he would sometimes listen
to birds for inspiration, something that Newton also
understands. The flute is the instrument of choice forimitating birds because it’s a higher pitched instrument,
allowing flute players to access those pitches between

flutes through various fingerings or adjusting blowing
intensity to make a pitch rise (i.e. microtonality). “Forme,” Newton says, “it also connects to the way I heard
people singing as a child in rural Arkansas. There wasa kind of moaning that you would hear the women do,
you know, when the preacher’s going, and those moans
are microtonal. When they’re singing, they’re sliding
up to pitches and sliding down to pitches to get thatextra feeling. And with bird song the other thing is,they sing it different ways at different times of the day.
And they improvise. You can take the way that Eric
used bird song on “You Don’t Know What Love Is”[which is] to me one of the greatest solos not only forthe flute but in the music, period, because it just points
so far into the future and the set of possibilities that
could be done.”
Over the years, Newton exposed himself to flute
playing from all over the world, which has informed
both his playing and composing. “I was so fascinatedwith how flute playing developed in different partsof the world. The West African Fulani flute tradition
grabbed me (and) I got to play with one of the greatest
flute players from that tradition, Yacouba Moumouni.
There seems to be a real serious connection with using
the flute and the voice together, and man, that took me
somewhere.” In addition to his studying in college ofEuropean classical music, flute playing from Bolivia
and Japanese shakuhachi players also influenced andinformed Newton’s sound. “If you walk through abamboo forest you can hear the wind blowing, feel thevibration, an evenness from the wind, that is somethingthat one can take and use as a model.” He would get
different things from each tradition and bring them into
the black music tradition he came out of. “So, it’s likeall that stuff becomes a personal gumbo, you know?”
As drummer and musical colleague Andrew Cyrillerecently said of Newton, “[He is] one of the greatest
flute players ever. James could play that instrument(and) he wasn’t taking any prisoners!”
Despite the many valuable contributions made by
Newton, and his peers as well as predecessors, he wasonce concerned that the flute hadn’t been embraced asa “standard” jazz instrument. That view has arguably
changed, to a degree. “You had so many women that
did not have the opportunities that they should have
had, respective of their talents and their gifts,” he said.
“And so, we’ve still got a long way to go. I’m a gigantic
fan of Nicole Mitchell, as a flutist, as a bandleader, asa composer. I just really love what she’s doing. She
took the voice and the flute and just did something so
different with it! I’m amazed when I listen to it.” And
Mitchell, who was mentored by Newton, returns thecompliment in her admiration and respect for him: “Asa flutist and composer (he) is a living legend (and) set
the bar really high for originality, style, soulfulness
and technique.”
Newton continues in his respect of contemporary
flute players: “There’s so many flutists, like Elena
Pinderhughes, who are doing interesting things.
And their vocabulary is expanding and changing. I
think composers have always been wise about all of

8 May 2024 | THE NEW YORK CITY JAZZ RECORD

the things the flute can offer in an ensemble, so I’m
more encouraged right now.” In recent years, he hasconcentrated exclusively on composing as he had tostop playing in 2009 after developing focal dystonia
in his left hand. “I couldn’t play at the level that I felt
like the people in the audience deserved,” Newton
explained. “They deserve the best that I can possibly
do, and I couldn’t do it, but I thank God that I’m a
composer.” And that’s what he’s been doing eversince. Currently Newton is writing for an eight-pieceensemble, John 17 in the Bible, Christ’s prayer inGethsemane to the Father. He wrote a string quartet
entitled “Compassion and Mustard Seeds in Perilous
Times” that will be recorded by the Los Angelesbased Lyris Quartet. He’s also done some revisions
to a St Matthew Passion he wrote a decade ago, which
premiered in Italy. It was two hours long, for four vocal
soloists, chorus and symphony orchestra, utilizing
Negro spirituals in responding to the Scripture, andincorporates jazz elements that come out of the Negro
spiritual.
An early and longtime collaborator, vibraphonist
Jay Hoggard remarked that “James Newton is one of
the greatest composers and instrumentalists in music
history (and) his brilliant compositional contributions,in terms of melodic, harmonic and rhythm conceptions,have yet to be fully appreciated.” Newton will continue
his commitment to the life and the music of Dolphy
by participating as a panelist in a symposium andlistening session during the upcoming SEED Artistsproduced two-day tribute to Dolphy’s life and music,“Eric Dolphy: Freedom of Sound,” at The New Schoolof Jazz. “I’m so excited about this festival because
Dolphy fans are incredibly passionate about [what] he’s
given to all of us individually. That, to me, is the markof a grand artist that will live through time. And he had
the courage to be an individual.”
When asked what advice he would offer to anyone
starting out as a musician, Newton said, simply: “Slowdown and listen. And be humble.” Newton’s words
affirmed an equally simple thing Chris Napierala(SEED Artists Creative Director) said about him: “Heis Zen.”For more info visit jamesnewtonmusic.com. Newton is at
The New School of Jazz (part of “Eric Dolphy: Freedom ofSound” presented by SEED Artists) Jun. 1-2. For tickets
and further info go to seedartists.org.
Recommended Listening:• James Newton—Paseo Del Mar(India Navigation, 1978)• John Carter Quintet—Night Fire (Black Saint, 1980)• Anthony Davis, James Newton, Abdul Wadud—
I’ve Known Rivers (Gramavision, 1982)• James Newton—Romance and Revolution(Blue Note, 1986)• David Murray/James Newton—
David Murray/James Newton Quintet (DIW, 1991)• Andrew Cyrille Trio—
Good to Go, with A Tribute to Bu (Soul Note, 1995)

NQOBA DLAMINIENCOREERNESTDAWKINSNEW HORIZONSBY JEFF CEBULSKI

A child of Chicago’s South Side, septuagenariansaxophonist and composer Ernest Dawkins has developed
an ethos within the community’s creation of Black music
and art for the better part of 50 years. After hearing oneof his father’s Charlie Parker records and encouraged topractice, he made the saxophone his main instrument by
the early ’70s. The aspiring musician woodshedded in a
local park, where he eventually was discovered by James
Johnson, a member of the recently-formed Association for
the Advancement of Creative Musicians (AACM), which
included Muhal Richard Abrams, Anthony Braxton,
Chico Freeman, Joseph Jarman, Malachi Favors and Fred
Anderson. In a 2015 podcast interview by the National
Endowment for the Arts, Dawkins remembered thatwithin a year of joining he was asked to distribute flyers aswell as compose his own music and produce recitals andother concerts. As concert education was a key element at
AACM, Dawkins attended many of them, including allnight jam sessions led by Anderson on Chicago’s NorthSide.
But the night music eventually moved south, where
neighborhood jams began to crop up with some ofmodern jazz’ finest, including Joe Henderson and Freddie
Hubbard, who would first play downtown and then makelate-night appearances. It was a rich time, both in seeing
veteran performers and in learning about the breadthof the jazz world. Dawkins remarked, “When Muhal
and them came around and gave us workshops, he said
‘Look, man, play EVERYTHING, don’t just be limited
to one thing,’ because he knew that you have to work in
different areas in this music… (for example) Threadgill
performed in marching bands because he played many
instruments.” The spirit of the AACM never wavered, but
the momentum for local gigs did. Artists grow and want toprogress, of course; so, despite the city’s Delmark Records
introduction of these musicians to contacts around theglobe, the Chicago audience wasn’t enough to support
them. In the mid-to-late ’70s, many of the founding artists
began to move east, to NYC and Europe, where businessprospects were more plentiful.

Deciding to remain in the Windy City, Dawkins
and his cohorts were left to pick up the mantle. Due tothe saxophonist’s own projects, he was noticed by fellow
Chicagoan Kahil El’Zabar and subsequently asked to join
the acclaimed percussionist’s ground-breaking Ethnic
Heritage Ensemble (EHE). The EHE became both a vehicle
for young musicians’ compositions and a way to help thenext generation find their place in the performing arts.
Dawkins eventually formed his New Horizons Ensemble
and became known for his advocacy of “the collective
cultural memory of the American jazz aesthetic.” In thatspirit, his creations came to address cultural, politicaland social issues. “I’ve been composing a long series
addressing African Americans and the African diaspora,”
he explained, having been commissioned to compose
suites about Emmett Till, Fred Hampton, The Chicago
Seven, Nelson Mandela, Martin Luther King and others,in “paying tribute to my Long Lost Southern Roots.” Heplans to finish a composition honoring John H. Johnson,
the late owner of Ebony and Jet magazines and the
publication Black World.
Dawkins’ last cultural exploration was “Redefining
Frederick Douglass”, a suite that incorporated narrative
rhetoric within broad stylish segments, meant to counter
historical myth with robust rejoinders. The saxophonist/composer points out, though, that he doesn’t mean tocome across as cynical or righteous. “I think sometimes we
get too serious about the music…sometimes I tell people
you can scream, you can shout, you can dance. Just don’thurt nobody.” Two years after that notable performanceof the Douglass suite, Dawkins decided to alter his New
Horizons Ensemble to pair two horns and two drummers.
“The Jazz Institute of Chicago asked me to perform an
event,” he said “in light of it being the 44th anniversary of
the New Horizons Ensemble. I came up with this concept,
a subset of the larger 10-piece groups. It’s almost like adouble trio but with the emphasis switching from one
subset to the next…down in relationship to bottom, so
it’s actually from the bottom up.” This “reiteration,” as hecalls it, The Double Down Project, will have its NYC debut
at the Brooklyn Music School this month in what will bea rare local concert under Dawkins’ name (his last NYC
performance was as part of the Winter Jazzfest in 2018).
With players that reflect the AACM’s generational depth,
both its drummers have worked with the saxophonist for
many years: Reggie Nicholson was the New Horizons’original drummer and Isaiah Spencer came along later(following legendary Chicago drummer Avreeayl Ra).
Added are three notable new-generation musicians: Kevin
King (saxophone, oboe), Steven Bowman (bass) and risingstar Thaddeus Tukes (vibes). As Dawkins says, “We (will)
inspire the intellect as well as the body and soul.”
Dawkins is very serious about the development of
new musicians. His Live the Spirit Residency has been
instrumental in developing some of the more vibrantmusicians and composers from Chicago, including Jeff
Parker (guitar), Marquis Hill (trumpet), Greg Ward (alto),
Nicole Mitchell (flute), Junius Paul (bass) and Spencer(drums). It’s his way of giving forward: “I was mentored
by great musicians such as Wes Cochran and Douglas
Ewart. In turn I mentor young musicians on how to
become professional, how to make a living in this music,
how to compose.”
And more are on the way, from multi-instrumentalist
Isaiah Collier, Alexis Lombre (piano, vocals), Micah
Collier (bass), Jeremiah Collier (drums) and Herbie
Hancock Institute of Jazz International Piano Competition
winner Jahari Stampley, as well as Devin Shaw (piano).
All are musicians Dawkins believes will be turning heads
soon. As befits a “Jazz Hero,” (the title, honor and award
bestowed on him by the Jazz Journalists Association in2022), Dawkins has never rested on his laurels. In his
own music and through his students, this longtime jazz
provocateur seeks to appeal to the mind and spirit inreaching audiences with the essence of Black music.
“TOUCHING all of the chakras is an immersive
experience,” he emphasizes. “Yes, I want the music totouch [listeners]…we want music to be inviting andparticipatory, not as if the musicians are museum artifacts
or relics to be viewed. My music is diasporic experience;
the audience is a participatory partner in the creation of
the event.”

It’s been said Smoker encompassed the history of
the horn in his trumpet playing. And while his stylealways looked forward, what he brought from thepast is notable. Besides Beiderbecke, Duke Ellington’slegendary early trumpeters Bubber Miley and Cootie
Williams echo in Smoker’s deft manipulation of the mute;also Louis Armstrong, Doc Severinsen (the dedicatee of
his composition “Blues For Doc”) and Al Hirt (in honorof whom he composed “Taurus Borealis”). Long-time
collaborator, drummer Phil Haynes, also cites Miles
Davis as an influence on Smoker both as a player andcomposer. His style also incorporated contemporaryclassical trumpet technique with bop and post-bop
stylings at the forefront. Improvisationally, he took his
influences from two prime sources: John Coltrane andAnthony Braxton. Haynes notes Smoker said to him:
“After you record an album and listen to it, then put on
a Coltrane album, any Coltrane album. You’ll realize
just how much further you have to work.” While he’scited all of these sources, Smoker said the trick is to notsound like any of them. And in that he succeeded.
Smoker worked as a composer and educatorthroughout his musical career. The processes seemed

to go hand in hand with his musical philosophy. His
first recorded group from the early ’80s was comprisedof two of his students at Coe College: bassist Ron
Rohovit (who left the band after 10 years for a careerin museum curating) and drummer Haynes whobegan a lifetime affiliation with the trumpeter thatlasted until Smoker’s passing in 2016. Haynes recalledmeeting Smoker who said to him, “You know, I’m
going to ruin your life. The harder you work at
this music, the harder it will be to make a living.”
Essentially what he was saying was they were making
difficult modern music that most people tend to reject
off-handedly. But Haynes persevered and while
maintaining his music making with the trumpeter,
also pursued his own muse and has documented his
own vision, another crucial message he learned fromhis mentor. (Next month Haynes releases The Complete
American Recordings by 4 Horns & What?, a reissue ofthe early ‘90s group’s two albums with Smoker, Herb
Robertson, John Tchicai, Andy Laster, Ellery Eskelin
and Joe Daley.)

For more info visit ernestdawkins.com. Dawkins’ Double Down
Project is at Brooklyn Music School (presented by Blank Forms)
May 14. See Calendar.
Recommended Listening:• Ernest Dawkins New Horizons Ensemble—Chicago
Now - Thirty Years of Great Black Music, Vol. 1-2(Silkheart, 1994)• Ethnic Heritage Ensemble—Ka’Real (Silkheart, 1997)• Ernest Dawkins’ New Horizons Ensemble—
Jo’burg Jump (Delmark, 2000)• Ernest Dawkins’ New Horizons Ensemble—
Mean Ameen (Delmark, 2004)• Chicago Trio—Velvet Songs (To Baba Fred Anderson)(RogueArt, 2008)• Ernest Dawkins New Horizons Ensemble (featuring
Vijay Iyer)—Transient Takes (Dawk Music, 2016)

KEN HUTH | HUTHPHOTO

LEST WE FORGETPAULSMOKERBOP SHOP’S SMOKER CELEBRATIONBY ROBERT IANNAPOLLO

It would be reasonable to assume that trumpeter,
composer and educator Paul Smoker was not known
to the world at large when his first album, QB (Alvas)
came out under his own name in 1984. But an album ofavant garde-slanted music by a little-known trumpeter
from Iowa upon which Anthony Braxton was guesting,made the jazz world sit up and take notice. Smoker
was born in 1941 in Muncie, IN. His family moved toDavenport, IA (birthplace of the great cornetist Bix
Beiderbecke) within a couple of years. Smoker grewup immersed in music and eventually gravitated to thetrumpet. According to his widow Beverly, “He heard
Harry James and that was it. He had to play trumpet.”

10 May 2024 | THE NEW YORK CITY JAZZ RECORD(CONTINUED ON PAGE 39)

L ABEL SPOTLIGHT

ECLIPSE MUSICOUT OF THE SHADOWSBY FRANCESCO MARTINELLI

Established in 2007 by guitarist and composer Tapio
Ylinen, Tampere, Finland’s Eclipse Music quickly
became an essential platform for distribution of Finnish
contemporary jazz bands and progressive musicians(as well as singer-songwriters), its role acknowledged
when the founder was given the Yrjö Award by the
Finnish national broadcaster YLE for his work inpromoting Finnish jazz. As a musician, Ylinen led his
own band, Eclipse, before taking a degree in Musicology
in 2007. “I started Eclipse Music with the purpose ofgetting my own music out there,” said Ylinen. “(And)I had a lot of friends, top notch musicians, who wereinterested in getting support. So the catalogue started
growing quickly and, ironically, I had to wait for myturn to release my own music on my own label.” Earlyon Eclipse got branded as a “jazz” label, even though
the original concept was to have a wide palette of nonmainstream music.
The label’s first release was Taistelu Pahoja Kelloja
Vastaan (The Battle Against Evil Clocks) by avant gardeband Kauhukakara. “It was weird, jazzy stuff,” Ylinen
said. “And I thought, ‘Okay, maybe we can try tofind our little niche with this kind of weird, marginal
music…’.” The catalog grew steadily in its 15+ years

The Wide Open Suite & Noises at Sea
Liberty Shipand now includes more than 200 titles in a variety offormats, from vinyl to digital. “It all led to some of mybest work as a composer,” he continues, “namely the
Mortality project. It’s something I never would haveconsidered if things had gone differently.” In 2015,
after the premature death of his wife Vuokko, andwhile in the process of grieving, Ylinen recorded a few
demos that were later arranged for Mortality. The album
features a Finnish jazz superband with Verneri Pohjola(trumpet), Aki Rissanen (keyboards), Jori Huhtala(bass) and Mika Kallio (drums). “At first I thought ofmaking an album like Tubular Bells in which I’d play
all the instruments myself. But it turned out to be too
heavy a task emotionally.” Ylinen appears mostly ascomposer, leaving the guitar duties almost integrally
to Jere Haakana and Teemu Viinikainen. Predictably,
the music has a somber, meditative atmosphere. The
listener is struck by the originality of Ylinen’s melodic
imagination, the effectiveness of the arrangements andfree-ranging improvisations that infuse the music withlife-affirming vitality. The tribute album became one of
the best-selling jazz records in Finland in 2019-20 (thesequel release comes out in September.)
Saxophonist Pauli Lyytinen, who contributed to theMortality album, leads the band Elifantree (with vocalist
Anni Elif and drummer Olavi Louhivuori), which isa constant success at European festivals. An Eclipse
regular, his talents are on full display in Machinery(the 2016 solo CD/DVD set), featuring the expressive
possibilities through multiple sounds and harmonics

Cake Walk From A SpaceshipSylvain Rifflet with Verneri Pohjola

In The Key of K
Kaisa’s Machineon soprano and tenor saxophones, accompanied solely
by vintage electronics. Another of the saxophonist’s
projects for the label is Magnetia Orkesteri (a quartet
with Pohjola, Eero Tikkanen and Kallio). Its Hypnosis isan extremely successful exercise in balancing freedom
and control, with the four musicians carefully creatinga detailed and varied sound landscape.
Then there’s saxophonist/composer Esa Pietilä, amainstay of Finland’s music scene who leads Liberty
Ship, the quartet with Rissanen (piano), Antti Lötjönen(bass) and Louhivuori (drums). This long-standing,remarkable project started over a decade ago, releasing
their debut album Approaching, followed by anambitious double album, The Wide Open Suite & Noises
at Sea (2015). The latter, an acoustic recording playedwith live electronics, comprises the first of the two-disc
set being written sketches, while the other is totally
improvised. Pietilä moves comfortably in the postColtrane, post-Ayler continuum, with an extremely
pliable instrumental voice, whispering or thundering,tender then abrasive.
Saxophone/flute player Juhani Aaltonen, one
of Finland’s founding fathers of modern jazz, has a
career well represented in its more explorative bent.
Eclipse duly documented one side of his immense
creativity on Awakening, on which he performs on
flute exclusively in duo with Finland’s electric guitar
star, Raoul Björkenheim (perhaps best known for his(CONTINUED ON PAGE 39)

Music of Haarla, Heinilä, Kasurinen & Rönka
UMO Helsinki Jazz Orchestra

Awakening
Juhani Aaltonen & Raoul Björkenheim

VOX NEWS

FEVER DREAMSBY SUZANNE LORGE

Singer/songwriter Norah Jones titled her newest

release Visions after those bouncing, hypnogogic
impressions that thwart sleep. This studio album (herninth for Blue Note) rides on the insistent pop-rockgrooves of drummer Leon Michels, who co-produced
and engineered the record. But its appeal derives fromthe vocalist’s dream-inspired musical imaginings.
Jones opens the disc with “All This Time”, a sultryslow-tempo that boasts a beseeching, neo-soul chorus.
She not only provides the tune’s candy-sweet vocals but
their harmonic backing too, playing some combinationof guitar, piano, organ and keyboards on each of thealbum’s dozen tracks. The close rapport with Michels inthis comping effort lends a casual warmth to the tunes:
it’s easy to imagine Jones and Michels as just a coupleof garage band buddies crafting a major release in theirspare time.
The opener’s vamping outro fades into bird calls,
a reminder of the dawn that dispels the phantasmsof the night. In a reverse move, Jones introduces “On
My Way” with this same chirping effect and some offkey whistling—it’s a happy device that heralds thetune’s simple construct. Such simplicity is deceptive,
however, as the bridge delves into darker changes andthe psychological complexity of the lyrics.

Jones uses this same contradictory simplicity
throughout to deliver her sympathetic messages (e.g. abuoyantly retro rhythm guitar on “Staring at the Wall”
that challenges her lament about getting through thenight). A strong, hopeful hook offsets the country bluesof “Queen of the Sea” and a clean horn section reprises
the head on the bittersweet title track. As always, herraspy vocals charm completely, especially on tunes
including the soul-steeped “I’m Awake” and thelonging-filled “Swept Up in The Night”. Jones’ Visions
tour takes her to several New York spots: The Capitol
Theater in Port Chester (May 10), Brooklyn Paramount(May 16-17) and the Apollo Theater (May 19).
Singer/composer Andrea Wolper tackles every noteon Wanderlust (Moonflower Music), her fourth album as
leader, with an infectious confidence. She devotes nearly
half of the album (her first in 13 years) to jazz coversof known tunes: Ray Charles’ “Light Out of Darkness”
is tinged with spot-on vocal blues interjections; Abbey
Lincoln’s “Music Is the Magic” takes a seductive turn;and Carole King’s “Been To Canaan” is surprisingly
intense in the mid-tempo range. But it’s Wolper’s own
writing on seven originals that distinguishes this album(aptly titled “for her peregrinations down the bywaysof improvisatory vocal jazz,” as she writes). Just listen
to her wordless vocals on the baião air “Sobe e Desce”,
the thinly veiled pathos on “Still Life”, the elevating free
vocal solos on “The Nature of Life” and the swinging lilt
of “The Winter of Our Content”. Wolper’s album release
concert is at Pangea (May 22), but you can catch her
before that at North Square Lounge (May 5).

Bassist/composer Meshell Ndegeocello follows
last year’s smashing success, The Omnichord RealBook (Blue Note), with Red Hot + Ra: The Magic City,a self-produced paean to avant gardist Sun Ra.
Though wholly Ndegeocello’s creations, these nine
experimental jazz originals derive from Sun Ra’s
“ideas, words and melodies”, Ndegeocello says. Usinga variety of tools— sampled spoken word (“El-soul
The Companion, Traveler”), ghostly choral sections(“Solipsistic Panacea (Black Antiques)”) and pointed
lyrics (“Bedlam Blues”)—Ndegeocello again renders
sound designs of tremendous ingenuity. Like Sun
Ra, she imparts wisdom through auditory images ofsurprising relevance.
The Jazz Gallery will grant a Lifetime Achievement
Award to singer Dianne Reeves at its annual gala(May 13), before she joins the esteemed pianist
Chucho Valdés and master saxophonist Joe Lovano
at 92NY (May 16). Next, the vocal “super group”
MOSS, featuring Theo Bleckmann, Peter Eldridge, Jo
Lawry, Kate McGarry and Lauren Kinhan, brings its“unique sonic art” to Joe’s Pub (May 26). Then, Teri
Roiger offers her tribute to Abbey Lincoln at Zinc Bar(May 28).
Finally, in an exciting batch of gigs, open-spirited
vocal artist Fay Victor sings in Benefit for Gaza at Nublu(May 4), plays Roulette with International Contemporary
Ensemble (ICE) and PRISM Quartet (May 16), and joins
ICE and Either/Or in co-presenting works by Talib
Rasul Hakim (Society of Black Composers co-founder)
at Bruno Walter Auditorium (May 18).

THE NEW YORK CITY JAZZ RECORD | May 2024 11

ALBUM REVIEWS

Partial Custody
Max Kutner (Orenda)
by Elijah Shiffer

G uitarist Max Kutner almost always makes
fascinating choices as a composer and bandleader.
On Partial Custody, he returns to the unlikely
lineup of electric guitar, tuba and percussion,
an instrumentation he explored in two previous
releases (also on Orenda) with his Evil Genius
trio. This time around, Kutner is joined by Ben
Stapp (tuba) and James Paul Nadien (drums,
glockenspiel), like-minded improvisers who sharethe leader’s playfulness.
As with most of Kutner’s music, it is impossible
to assign Partial Custody to a specific genre. This
album draws on influences as far-flung as progrock, free jazz, minimalism and trad jazz, with thelatter often spurred by Stapp. Several tracks are fullof quirky shifts between styles, including the Frank
Zappa-esque “Exaggeration Holmes”. Electronic
effects expand the trio’s capacity of tone colors
with space-age quonks and skronks. However,despite all the textural twists and turns, the album
has a focused sonic palette throughout—a dark
and close-up vibe, often a bit sinister. This focus isparticularly apparent on the final track, “Jet Plane”,
an epic 24-minute rager in which the trio vamps
relentlessly over the simplest of themes.
The seven tracks have a subtle story arc in theirharmonic material. The first three are more tonallyambiguous, but the others, including a glitchedout version of Brian Eno’s “Bone Jump”, trend
gradually toward more stable key centers. The
narrative reaches its inevitable conclusion in “Jet
Plane”, with its three-note vamp, a starkly obvious
riff that seemingly threatens to break into “HotCross Buns” at any moment (or perhaps Ornette
Coleman’s “Theme from a Symphony”).
The physical format of Partial Custody is a
casino chip with a QR code. This is not only a nod tothe leader’s Las Vegas upbringing but also a fitting
indicator of the album’s individualism. Kutner
creates a musical world all his own by recombining
familiar elements in unexpected ways.
For more info visit orendarecords.bandcamp.com. The
album release concert is at Mama Tried May 15. See
Calendar.

Stay
Julieta Eugenio (Cristalyn)by Mike Shanley

J ulieta Eugenio’s 2022 album Jump was a debutthat bypassed the young-player-with-potential
trappings of such releases, revealing instead a tenor
saxophonist who had already developed a strong

voice after nearly a decade of performing in New
York City. The Argentina native boldly worked
in the trio format with just bass and drums, andmastered the chordless setting. Her second-roundfeatures basically the same instrumentation, andmarks continued growth as a writer and leader. Stay
(Eugenio prefers command words as titles) isn’tbilled as a concept album specifically, but several
track titles (“Stay”, “Trapped”, “Out There”), andan original poem included in the liner notes, point
toward what she calls “an inward spiritual journey.”
Perhaps that inner turmoil is felt by most improvisers,
but that searching quality manifests in her playing.
The minor key title track finds her lengthy phrases
unfurling over steady bass and drums. Bassist
Matt Dwonszyk straddles a pedal point with upper
register licks, working so deftly with drummer
Jonathan Barber that it isn’t immediately apparent
that they’re flowing easily in 5/4.
Throughout the album, Dwonszyk slides up anddown the neck of his instrument and plucks fifths
to deepen the group sound. “Blue” begins with the
saxophonist alone, sounding pensive before really
stretching out; “Sunday Stranger” builds on a linethat begins high and soulful before dipping into the
low register of her horn. Two of the four vignettes,
entitled “Breathe” (a reference to her poem), include
Leo Genovese (Fender Rhodes). His appearance
adds a dreamlike quality to the set and serves as aworthwhile break from the acoustic dynamics of therest of the album. The third and fourth “Breathe”
tracks consist of free-flowing tenor/drum duets.
Duke Ellington’s classic “Sophisticated Lady” isthe album’s sole non-original. Eugenio uses thestandard to prove her skills of musical exploration,
as she delivers a smoky performance that gives aslight hat tip to Archie Shepp’s breathy trio version
from 1968, minus his cathartic embellishments.
If ever internal thoughts were making it
difficult for Eugenio to find her musical path, Stay
proves that eventually it revealed itself.
For more info visit julieta-eugenio.com. The album
release concert is at Bar Bayeux May 29. Eugenio is also
at Down and Out May 19. See Calendar.

Tender Mercies
Frank Gratkowski/Simon Nabatov (Clean Feed)
Verbs
Simon Nabatov 3+2 (Clean Feed)by Ken Waxman

T ender Mercies and Verbs both offer a micro and amacro view of Russian-American Simon Nabatov’s
piano and improvisational skills in sessions
recorded less than nine months apart in Cologne,
Germany’s LOFT. Tender Mercies is a free-form
dialogue with longtime associate, German Frank
Gratkowski (alto, flute, clarinet, bass clarinet) while
Verbs expands Nabatov’s trio of Stefan Schönegg
(bass) and Dominik Mahnig (drums), augmenting
the program with two slightly younger locals,
Leonhard Huhn (alto, clarinet) and Philip Zoubek(synthesizers.)
As Gratkowski moves among his horns inTender Mercies, the duo’s sounds are alternately
meticulous and madcap. Proving that free music
can be temperate, “Turn Of Events” and especially“Cagey” depend on gentling piano strums evolving
in tandem with clarion clarinet swells. Midway
through the former, as Gratkowski switches to

12 May 2024 | THE NEW YORK CITY JAZZ RECORD

alto saxophone, deconstructing the melody withtriple tonguing, aviary twitters and banshee wails,
Nabatov responds with pedal point accents andkey clanks. These storytelling inferences play alesser role on other tracks with some sequences
as belligerent as others are calm. The focus shifts
to Gratkowski’s flatulent snorts and reed shrills,
challenged by the pianist’s processional andpercussive chording. On the title tune, Nabatov
literally smacks piano wood like a drum top tocounter his playing partner’s bass clarinet snarls. As
the piece accelerates, rasping reed timbres intersectwith the pianist’s blues sensibility, climaxing as
Nabatov lays down a carpet of perfectly roundnotes, mute reed output and strangled squeaks.
Verbs is almost completely improvised, yetstill confirms the pianist’s compositional skills.
“Breathe” contains as many tonal ambiguities
and multiphonic hooks as any free jazz improv.
Sparked by keyboard sparkles and saxophone
flutters, the track builds to a crescendo of thesynthesizer’s organ-like pulses and drum beats.
Yet this accentuated groove avoids monotony
as Nabatov interpolates swift swing. Pointedly,saxophonist/clarinetist Huhn’s playing is more
orthodox than Gratkowski’s, a plus on a track like
“Race”, whose lively evolution is based around
Mahnig’s back beat, Schönegg’s pacing on bass, andsaxophone honks. As a result, the number comes
across as the session’s most jazz-like tune. There
are other measured outpourings on the release, but
the definition of the quintet’s ability are tracks suchas “Converge” and “Evolve” that forge novel paths.
The synthesizer’s ability to replicate both a steel
guitar and an accordion distinguishes “Evolve”. An
obtuse exposition, these textures evolve alongside

Aldana—Echoes of the Inner
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Prophet (Blue Note)Andersen/Daniel Sommer/e • Arild
Rob Luft—As time passes (April)c • Brian Bromberg—LaFaro
Squared Productions)o • (Be
Alice Coltrane—Carnegie Hall Concertm • (Impulse!)
Cressman & Ian Faquini—m Natalie
GUINGA (GroupUP Music)Rivere • Elephant9—Mythical(Rune Grammofon)
Emery—Inside Outliern • James(Solos & Duos) (s/r)
d • GinmanBlachmanDahl—
To Come! (Storyville)e • What’sAlex Harding/Lucian Ban—d Blutopia (Sunnyside)

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• Fred Hersch—Silent, Listening (ECM)• Mathias Landæus—Path (SFÄR)• NAOM (Nazareno Caputo/Omar Cecchi)—
RADICI (AUT)• Sam Newsome/Max Johnson—
Tubes (Unbroken Sounds)• Ken Peplowski—unheard bird (Arbors)• Sonny Rollins—Freedom Weaver(The 1959 European Tour Recordings)(Resonance)• Joana Sá—A Body As Listening(Clean Feed)• Soft Machine—Høvikkoden 1971
(Cuneiform)• Louis Stewart Trio—Louis The First(Livia-Hawk)• Void Patrol—
Live @ Victo (Les Disques Victo)• Stephane Wrembel—Triptych Phase III(feat. Jean-Michel Pilc) (Water Is Life)sour clarinet flutters, irregular bass string pops
and Nabatov’s faux percussion—banging woodand slapping internal piano strings. As the synth’s
cosmic vibrations undulate underneath, lowpitched piano creeping doubled by sax smears
define the dusky theme of “Converge”. Whencrammed oppressive textures from all reinforce
the narrative, climax is finally reached with reed
warbles and full keyboard sweeps.
Nabatov’s originality has been highlighted
over the years. These discs showcase his newest
idiosyncratic turns.

their unique way and listeners may well concurwith Wolper “that a little musical wanderlust isn’tsuch a bad way to roll.”
For more info visit andreawolper.com. The album release
concert is at Pangea May 22. Wolper is also at North
Square Lounge May 5. See Calendar.

For more info visit cleanfeed-records.com. Nabatov is atMichiko Studios May 20. See Calendar.

A World of Piano!
Phineas Newborn Jr.
(Contemporary-Craft Recordings)
by Tristan Geary

spi-raling horn
Jason Stein, Marilyn Crispell,Damon Smith, Adam Shead(Balance Point Acoustics/Irritable Mystic)by Stuart Broomer

T he Chicago-based trio of Jason Stein (bass

Wanderlust
Andrea Wolper (Moonflower Music)
by Anna Steegmann

A ndrea Wolper is an actress, writer, vocalist,
arranger, composer and improviser. Her longanticipated fourth album, Wanderlust, follows
thehighly-acclaimed
ParallelLives(JazzedMedia), released over a dozen years ago. For thisproject, Wolper again assembles a group of giftedmusicians: John di Martino (piano), Ken Filiano(bass), Michael TA Thompson (drums), Charlie
Burnham (violin) and Jeff Lederer (clarinet, fluteand co-producer). Everyone gets ample room toshine in their respective solos and, together, they
demonstrate great chemistry as Wanderlust takes us
on an adventurous musical journey.
Wolper characterizes her music as “modern jazz
improvised,” and is a brilliant musical storyteller.
She is expressive (especially in her lower vocal
register) and flawless in her phrasing: she cansound sensual, bluesy, joyful, even sinister throughthe album’s twelve tracks, which include seven
originals plus covers of songs by Abbey Lincoln,
Carole King, Sting, Ray Charles and Wayne Carson.
Her creative interpretation of “Light Out of
Darkness” (Ray Charles, Rick Ward) is noteworthy
for its outstanding instrumentation, including violin
and clarinet, and the leader’s voice, which soars
above the music. Sting’s “I Burn for You” is slow
and sensual; violin, flute and bass create the moodof all-consuming longing. Two tracks stand out asvocal/instrument duos. “Still Life” is taken at aslow, deliberate pace, the vocalist’s captivating andpoetic lyrics accompanied by di Martino’s gorgeous
playing; the instrumental sparseness accentuates
the melancholy and yearning expressed in the song.
“Nevermore”, with bassist Filiano, is similarly
gripping: bass and vocals create a dark, unsettling,ominous mood. In contrast, the joyful and upbeat“Sobe E Desce” and “Eventide” feature wordless
vocals (violin and bass lead the melody on the latterselection). Wolper recites Charlie Parker’s words
in the freely improvised “Cisluna”, a composition
credited to the full band. In “The Nature of Life”,
the leader plays the shruti box and borrows phrases
from Austrian poet Rainer Maria Rilke. “The Winterof Our Content“, which includes words and lines
from Shakespeare plays and sonnets, would lend
itself well to a Broadway musical.
This delightful album is full of surprises andworth waiting 13 years for. All tracks are gems in

DROP THE NEEDLE

clarinet), Damon Smith (bass) and Adam Shead(drums) released its debut album, Hum, in 2023—abrilliant exercise in three-way improvisation as
well as a profound exercise in multi-directional
rhythmic coordination. spi-raling horn picks up
from there with the substantial addition of guest
pianist Marilyn Crispell. Crispell is not just a great
improvising pianist, she is also a great band pianist,making her own contribution as well as interacting
and melding with the other elements in the music.
She first achieved prominence in a very special band,the long-running Anthony Braxton Quartet of the’80s-90s, when Braxton was distributing multiple
scores to the members of the group, synthesizing
a compound music. In another brilliant quartet
adventure, Crispell appeared as special guest with
the Evan Parker-Barry Guy-Paul Lytton Trio on
Natives and Aliens (Leo), adding further dimension
and a different cohesion to one of the world’s great
improvising bands. Like other gifted improvisers,
the pianist hears in surround sound, but more
importantly, she also plays that way, responding
simultaneously to multiple parts, and making
connections everywhere, as can be heard on thisproject. The Stein-Smith-Shead trio are optimum
partners, the group, here with Crispell, often
playing at maximum output while still listening.
Each track signals a different kind of interaction,from the subtle balance of “a song paid by singing”
to the aggressive “a universe of otherwise” or thejagged, rampaging “back and back out”. There
are also different kinds of delicacy evident. The
balladic “the ground laid open” and “so close it cut
my ribs” are distinguished in part by Stein’s rare
mastery of the bass clarinet’s lyrical possibilities,
while the nocturne “saturant moon water” is soevanescent it sounds like the instruments arebeing played by strong winds, falling leaves andwoodland creatures.
spi-raling horn is a forceful aesthetic statement inevery detail, from the untitled Cy Twombly paintingthat graces the cover (reference to a discussion of
the painter’s work between Crispell and Smith) tosequencing in the exact order of its recording andthe inclusion of all the music recorded. That senseof aesthetics extends to titling: drawing evocative
phrases from Nathaniel Mackey’s “Adumbrating
the Band We’d Be”, a poem from his Mu series thatappears as the album’s liner note.
For more info visit irritablemysticrecords.bandcamp.com.
Marilyn Crispell is at The Jazz Gallery with Angelica
Sanchez May 18. See Calendar.

W hen you attain Phineas Newborn Jr.’s level ofmastery (this month marks the legendary pianist’s
35-year deathaversary), only avian metaphors areappropriate. In this 180gr vinyl reissue of his 1962
Contemporary album, A World of Piano! (part ofContemporary Recordings’ “Acoustic Sounds
Series”), you’ll hear him fly across the keyboard,soar over the changes and swan dive into theblues. The album’s title, with its exclamation
point, is obviously intentional. Every track on
the recording sounds as if there should be an
exclamation point after it!
Often played with a fierce duality, evenfrantic at times, each of the pianist’s hands seem
to take on a mind of its own. There are blistering
tempos throughout, quite at home in any part of
the keyboard, with Newborn seeming to relishthe ambidextrous counterpoint as if it werechild’s play. A tag-team rhythm section of Paul
Chambers (bass) and Philly Joe Jones (drums) on
side one, and Sam Jones (bass) and Louis Hayes(drums) on side two, each provide a tightlywound springboard from which the pianist
launches.
It’s an album of standards, contemporary andclassic, with each made fresh through creative
intros and red-hot improvisations. The albumopener is a blues in disguise: an arrangementof Charlie Parker’s “Cheryl” first drenches thelistener in bebop before quickly pivoting to bluessoaked solos by Chambers and Jones. The rhythmic
duo tilt the tune on its axis of swing, surging
ahead of the beat to a point where the tune feels
like it just might tip over. Billy Strayhorn’s “LushLife” upholds a sweeping solo piano intro in astyle that Hungarian virtuoso Franz Liszt would
have found appealing. It’s the only slow burneron the album, but still showcases crystalline
licks and punchy ideas while still maintaining its
identity as a ballad.
A rendition of Sonny Rollins’ “Oleo” raises thetemperature, upping the tempo to a heady degree,
while Newborn’s silvery lines remain shimmering,even singable. The sweet anticipation of thereentry of drums, a fan-favorite characteristic of
the tune’s identity, is still the adrenaline rush it
promises to be. “For Carl”, in 3/4, blankets thelistener in double-hand piano lines, Jones andHayes buoyantly sauntering along in time, onbass and drums. “Manteca” applies the same firein a Latin setting, and “Daahoud” stands out witha suspenseful drum solo by Philly Joe Jones.
For all eight tracks, any practicing piano trio
will find a veritable masterclass of swing. And
from Newborn’s relentless waterfall of piano
artistry, any budding pianist will no doubt find aworld of ideas in improvisation.
For more info visit craftrecordings.com

THE NEW YORK CITY JAZZ RECORD | May 2024 13

UNEARTHED GEM

The Found Tapes: Live in Los Angeles
Phil Ranelin (Org Music)
by Brad CohanPhil Ranelin (soon to celebrate his 85th birthday later

this month) is a visionary trombonist and beloved culttitan whose forward-looking virtuosity and affinity forexperimentation proved transformative to both the jazz
avant garde and underground rock. Who but Ranelin canboast a jaw-dropping list of feats stretching back to the’70s? He was a cofounder of The Tribe, an artist collective
and musician-run record label, created for musicians totake charge of their own careers in producing, publishing,
managing, marketing and distributing their own music.
Within The Tribe, Ranelin also helped make indelible
marks in socially conscious Black music. As a sideman
he had a stint in legendary hard bop trumpeter Freddie
Hubbard’s influential groups. In sum, a player in thestyle of the J.J. Johnson tradition, Ranelin’s five-decade
career includes eleven records as a solo artist, four with
Hubbard, session recordings for Motown and work withartists ranging from Stevie Wonder and Ella Fitzgerald
to the Red Hot Chili Peppers and Telefon Tel Aviv. Long
out-of-print recordings as leader were reissued in theearly 2000s and those works ushered in the trombonist’s
talents to a new audience (those re-releases are how
this writer was introduced to Ranelin’s music). In 2001,
while contributing to an indie rock fanzine, two Ranelin
recordings wound up in my hands: The Time Is Now! (1974)
and Vibes From The Tribe (1976), on the now-defunct Hefty
indie label. From there, this writer-listener was hooked.
In recent years, the L.A.-based Ranelin has forgedahead at a highly creative clip, as evidenced in 2021 when
the outstanding Infinite Expressions was released (the same
year he suffered a stroke). The transcendent, spirit-lifting
epic of a record found the trombonist sounding as though
he had a new lease on life in leading a pliable and potent
quintet. It remains a set deserving of attention and wellworth seeking out. Now, thanks to the folks at Org Music,
Ranelin has enjoyed a latter-career resurgence, first withthe release of Infinite Expressions, now punctuated by The
Found Tapes: Live in Los Angeles, an essential documentof the trombonist’s history that captures three separate
live in-concert performances. This sprawling recording(available as a four-LP boxed set, three-CD set and indigital formats) epitomizes an “unearthed gem.” Thetapes were literally “found,” as the title suggests: Ranelin
had stored away the cassettes for decades and so, ofcourse, they were never heard until now. The release,with audio restored, shows Ranelin and his powerhousegroup of talented youngsters—Billy Childs (piano), Tony
Dumas (bass) and Ralph Penland (drums)—in truly mind-

blowing form in all 13 live tracks, recorded (1978-81) at
L.A.’s Maiden Voyage, Sound Room and Two Dollar Bill’s.
As Ranelin recounts in the album liner notes, “Thenight captured at the Maiden Voyage was probably oneof the last gigs, and by then the trio felt comfortableinterpreting my loose but tight concept and added their
youthfulness and adventuresome mood.” No more isthat manifest than on the first two discs and nine tracks
that make up the stunningly eclectic Maiden Voyage set.
Ranelin and company pull out all the stops during thismomentous concert. The element of surprise is what makes
the set something to behold. On the 16-minute opener, thequartet delves into some heady experimentation beforechanging gears into insistently rhythmic hard-bop with
Ranelin’s warm-as-butter tone and deeply lyrical phrases
leading the mellifluous charge. The next tune sounds like
a completely different group. “Vibes From The Tribe”
is 20 minutes of blissed-out, sweaty funk goodness ofChilds’ trippy electric piano lines and stabs; the slinky
bass grooves of Dumas and Penland’s monster beats will
incite a big dance party. Later on, they offer an improbableand pleasing take of Billy Joel’s 1977 hit, “Just the Way
You Are”, followed by a marathon-length “A Night in
Tunisia”.
Ranelin was already a musician ahead of his time and
The Found Tapes: Live in Los Angeles cements his legacy asa trailblazer with a revolutionary sound and vision thateffortlessly hurdled from post-bop, avant garde jazz andfunk to psychedelia.
For more info visit orgmusic.com

Tuesday, May 21 at 7:30 PM | Zankel HallDavid Virelles Nosotros
Ensemble featuring
Dafnis Prieto
Val-Inc, SoundChemist
with Orion Weiss, Piano
Ian Rosenbaum, Percussion
Pianist David Virelles and drummer Dafnis Prieto
lead an all-star band in music by Virelles, Henry
Threadgill, Val-Inc, and Tania León.
Tania León is holder of the 2023–2024 Richard and Barbara Debs Composer’s Chair at
Carnegie Hall.

carnegiehall.org | 212-247-7800
Box Office at 57th and Seventh

Artists, programs, dates, and ticket prices
subject to change. © 2024 Carnegie Hall.
Photos: Prieto by Henry Lopez.

14 May 2024 | THE NEW YORK CITY JAZZ RECORDDavid Virelles

Dafnis Prieto

ADRIANO CLEMENTEThe Coltrane Suite and Other Impressions

DODICILUNE

Monk gestures and quotes, while Murray respondsin the time-honored way of Monk’s many tenor
saxophonecollaborators.
Otherdistinctive
selections include “Kinetic Crawl” with its almost
steady time; “Creatural”, taking off from Taylor’s
tom toms, and the engagingly low tones andhypnotic repetitions of “Passages”.

performed by David Murray and The Akashmani Ensemble, feat. Hamid Drake

The Coltrane Suite and Other Impressions
Adriano Clemente (featuring David Murray &the Akashmani Ensemble) (Dodicilune)
The Recursive Tree
John Blum, David Murray, Chad Taylor(Relative Pitch)by George Kanzler

N ew recording projects offer two distinct sides oftenor saxophonist/bass clarinetist David Murray:the inside Murray and the “out there” Murray. Asa featured artist on The Coltrane Suite and Other
Impressions, he is more in a lead player role thansoloist, applying his commanding tone to theintricate conceptual musical designs of a savantof world music and jazz, Adriano Clemente. The
other project teams him with pianist John Blumand drummer Chad Taylor in a free-wheeling,
free jazz trio wherein he can be his most openly
expressive.
Italian Clemente is a voracious polymath of amusician whose interests have ranged from classicalmusic to jazz, Middle Eastern, Indian, Cuban and
African; along the way learning to play multiple
instruments including Asian horns to Africanand Middle Eastern percussion, Venezuelan harp,
pocket trumpet and piano. The Coltrane Suite andOther Impressions features his Akashmani Ensemble,
a band with two reeds, two brass, a rhythm
section and various added occasional musicians,from percussionists to horn players and cellists—
plus his own (sometimes overdubbed) panoply:
piano, brass, reeds, percussion and non-Western
instruments (winds and percussion). His imaginingof “Coltrane’s spiritual awakening in 1957”, andsubsequent jazz journey, begins with a five-part“Mother Africa” suite, Murray’s commanding tenor
saxophone reigning over African and Afro-Cuban
rhythms and horns. Very much the protagonist
throughout the Coltrane suite, the saxophonist
fashions some of his most tradition-drenchedsoloing. A tender caress of the melody on “Shine” ismemorable and historically-grounded in the tone of
the tenor. Clemente incorporates sonic references
to Coltrane’s oeuvre, most prominently on “AllPraise”, which rides on the “A Love Supreme” rifffrom that iconic recording. And a definitive Elvin
Jones rhythm fuels the suite’s finale: “Saint John”.
Murray appears on about half of the 13 tracks on thesecond of the two-disc set (Other Impressions), forthe most part staying definitely “inside” with solos
in the mainstream tradition. Most notable are his
Sonny Rollins-esque solo on the Cuban rhythmed“Havanera”, a joyous romp on the Afro-beat “AfroFunk” and indelible turns on two versions of oneof Clemente’s most moving compositions, “AfghanChild”.
The Recursive Tree, if not listened to carefully,
could be dismissed as an earnest but derivativeextension of earlier work by tenor saxophonist
David S. Ware and pianist Matthew Shipp. But
more careful, intent listening reveals a tenor-pianowith drums trio exploring a much more varied pathof free jazz. For one thing, the music is divided
into nine distinct tracks totaling less than an hour.
And each track, although largely improvised and“free”, is distinctive and explores a different aspectof “playing without a net,” although there often isa “net” of sorts in a defining concept. That is mostclear on the album’s middle track, “Monk’s Door”.
Blum seeds the proceedings with Thelonious

For more info visit adrianoclemente.net andrelativepitchrecords.bandcamp.com. David Murray is
at Village Vanguard May 21-26. See Calendar.

fLuXkit Vancouver (i ̶ t ̶ s suite but sacred)
Darius Jones (Northern Spy/We Jazz)
by Mike Shanley

T he Fluxus movement maintained the idea thatart can exist anywhere. By extension, a fluxkit
combines pieces of both creative and everyday
objects in a small container. Therefore, anyone
who opens this package can experience an art
event. These ideas fueled the latest projectby saxophonist Darius Jones, who composed
and recorded a four-part composition duringresidencies at Western Front, the Vancouver-based
multidisciplinary center with a similar “art is life”
credo. Along with the music, fLuXkit Vancouver (i ̶ t ̶ ssuite but sacred) aims for an immersive experience,with a cover design created and manipulated byvisual artist Stan Douglas and liner notes by poet
Harmony Holiday. (The album’s Bandcamp pagealso features a link to a video that animates thegraphic score to the movement “Zubot”.)
Even without the visual addition, Jones hascreated a masterpiece full of absorbing passages
that blur the lines between notated rhythmic
structure and freedom, with frequent collaborator
Gerald Cleaver (drums), joined by Jesse and Josh
Zubot (violins), Peggy Lee (cello) and James
Meger (bass). Both violins get a hard pan awayfrom one another, bringing more clarity to theircontributions, such as their percussive additions
to the passage titled with their surname. In thesame track, Cleaver’s direct hits start to feel likegunshots, while his counter rhythms in “Rainbows”
go up against Meger’s quarter note vamps, giving
the music a Sun Ra feel. On top of the ever-shifting
settings, Jones proves that he possesses one of themost joyous and immediately recognizable alto
saxophone voices today. He often steps back andgives his collaborators space in longer pieces, butthings get more electric any time his brawny tone
interacts with the band. From the flowing threenote figure that launches “Fluxus V5T 1S1” to theballad-like conclusion of “Damon and Pythias”,
Jones’ delivery incorporates a down home, beefy
sound that can shift into fiery wails or the crisp
tone of a classical player, depending on thepassage at hand. Even a slight bit of vibrato at theend of a phrase reinforces the drama of the music.
Whether the sextet reaches turbulence or finds agroove, their performances offer deep discoveries
at every turn.
For more info visit nothernspyrecs.com andwejazzrecords.bandcamp.com. This project is at
Roulette (part of Bang On A Can’s Long Play Festival)
May 4. See Calendar.

MAY 3–4 ROSE THEATER

DUKE ELLINGTON AT 125

THE JAZZ AT LINCOLN CENTER ORCHESTRA
Throughout his career, Duke Ellington used his international
fame for the greater good. To celebrate the musical giant’s
125th birthday, members of the JLCO salute their greatest
inspiration by performing some of his more sociallyconscious repertoire.
Part of the Ertegun Jazz Concert Series.

MAY 17–18 ROSE THEATERBATTLE OF THE BIG BANDS:NOJO AND CAPTAIN BLACK BIG BAND
This rhythmic rumble between the New Orleans Jazz
Orchestra with Adonis Rose and Philadelphia’s CaptainBlack Big Band with Orrin Evans shakes the roof off
Rose Theater and features music by Count Basie, Sun Ra,
Stevie Wonder, and more.

MAY 31–JUN 1 THE APPEL ROOMARTEMIS

This multigenerational, international supergroup performs
original music from its acclaimed members: pianist andmusic director Renee Rosnes, trumpeter Ingrid Jensen,
alto saxophonist and flautist Alexa Tarantino, tenor
saxophonist Nicole Glover, bassist Noriko Ueda, anddrummer Allison Miller.

JUN 7–8 ROSE THEATERRHYTHMS OF INDIA:
THE JLCO WITH WYNTON MARSALISThe Jazz at Lincoln Center Orchestra with Wynton Marsalis
continues its commitment to cultural exchange, joining
master Indian musicians and combining two vibrant andstoried musical traditions.

Photo by Ebru Yildiz

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

THE NEW YORK CITY JAZZ RECORD | May 2024 15

UPCOMING SHOWSMAY 098:30 PMTHE

HOWARD LEVY4
MAY 17
8:30 PMAND

MAY 20
8:30 PM

Visit theiridium.com
or call 212.582.2121 for full calendar
1650 Broadway at 51st Street
New York, NY 10019

Hold That Thought
NRG Ensemble (Corbett vs. Dempsey)
I Know You Are But What Am I?
Mars Williams/Hamid Drake(Corbett vs. Dempsey)
Elastic
Mars Williams, Darin Gray, Chris Corsano(Corbett vs. Dempsey)by Ken Waxman

C hicago saxophonist Mars Williams’ death at 68
last year (he would have turned 69 last month)
ended the peripatetic career of a player embeddedin the pop and jazz worlds. Touring with The
Waitresses and The Psychedelic Furs, Williams
still maintained his jazz chops. A member of Hal
Russell’s NRG Ensemble (which he kept goingafter its leader’s death), Williams also mixed
Albert Ayler compositions and Christmas tunes
in a series of releases and regular holiday-time
touring and worked with numerous international
improvisers. These three archival releases
demonstrate his skill as a composer, improviser
and organizer.
The 1996 NRG Ensemble’s Hold That Thought
is a fierce blow-out showcasing the multiple skillsof Brian Sandstrom (trumpet, guitar), Kent Kessler(bass) and Steve Hunt (drums, vibraphone), plus
the reeds of Williams and Ken Vandermark.
From the same year, I Know You Are But What
Am I? is a dialogue between Williams’ decisive
saxophone timbres and the propulsive power ofanother Chicago world-traveler, drummer Hamid
Drake. Demonstrating the saxophonist’s rapport
with younger players, 2012’s Elastic has Williams
interacting with bassist Darin Gray and drummer
Chris Corsano.
Exhibiting organization is rare in free jazz, buton Hold That Thought Williams shepherds the NRG
through tunes that splatter, scream, yelp and rattle
at different pitches and tempos, while still retaining
forward motion. Adding sampled mumbling
voices, melody snatches and crackling static on
the extended “In the Middle of Pennsylvania”,
Williams’ breathy sax and Vandermark’s clarion
clarinet flutters are fragmented into multiphonics,
while consistency is maintained by Kessler’swalking bass. Other tunes allude to cha-chas,
Carnatic drones and march cadences, as the players
vary performances with unexpected solo interludes
that interrupt the groove. Besides guitar frails andhorn vamps, the saxophonists mirror each other’s
evolution as do Hunt’s vibes and Sandstrom’s
guitar on “Automatic Platinum”, with a slinky
exposition presaging the harsh theme. Tracks suchas “Wire Money” and “Cut Flowers” are driven atsupersonic speed by the drummer.
In contrast to Hunt’s bellicosity, Drakeeschews intensity for ingenuity on I Know You
Are But What Am I?. Although creating thrashing
ruffs and prestissimo pops, Drake’s pulse alsoverges on lyrical without power loss. Equallyadaptable, Williams’ reeds veer into textures that
resemble military bugling, bagpipe drones andflute trills. This is accomplished by lip buzzing,
triple tonguing and staccato flattement, while
maintaining horizontal movement and lyricalasides. The album’s climax is the concluding“What Am I”, as Williams blows two saxophones
simultaneously creating an exposition that sounds
like Ayler playing “In the Land of France”.
Attuned to that singsong, Drake elevates its
simplicity with sophisticated rolls and pings as

16 May 2024 | THE NEW YORK CITY JAZZ RECORD

the saxophonist scales the theme with prestissimo
whistles.
Combining Hunt’s power and Drake’s
resourcefulness, on Elastic Chris Corsano createsa prototypical free jazz session with thickened
rumbles plus interludes of quiet shuffles. Until theend, Gray isn’t as audible as Kessler. However, on“Set One 3” he propels his strings with spiccato
shakes and kalimba-like pings. The saxophonist
follows his lead with brawny projections anda concluding moderato dissolve. Before that
conclusion, it seems that the three never stop
playing, with Williams cramming so muchsqueaking reflux and fragmented honks together
that the interface becomes claustrophobic. The
drummer’s ruffs and rolls take up equivalentspace. There are reflective moments with Williams
creating kazoo-like snarls and brief melody
inferences, completed by a defining bass string
thump. Overall, the tonal shading display defines
creative music. Williams provided the same sort ofinvention every time he played. That’s ended, butthese discs serve as a fine legacy.
For more info visit corbettvsdempsey.com

A Monster Is Just an Animal You Haven’t Met Yet
Angelica Sanchez/Chad Taylor (Intakt)
by Alex Henderson

A vant garde jazz has long had its firebrands
as well as its more restrained and nuanced
improvisers. Pianist Angelica Sanchez clearlyfavors the latter approach on A Monster Is Just an
Animal You Haven’t Met Yet, forming an intimate
duo with drummer Chad Taylor.
That’s not to say that Sanchez has escaped
the influence of the firebrands altogether. Her
more forceful side comes out on “Animistic” and“Threadwork”, both of which draw on pianist
Cecil Taylor’s intensity.
Sanchez, however, is far from a by-the-book
Cecil disciple, and her style of outside expression
is no less mindful of Paul Bley, Myra Melfordor Muhal Richard Abrams. The latter, a founderof Chicago’s trailblazing Association for the
Advancement of Creative Musicians (AACM)
in the ’60s, had a more subtle approach to theavant garde, which stood in sharp contrast to theultra-dense, ferocious free jazz coming out at thattime. The AACM influence here on this album
is alive and well on Sanchez/Taylor’s probing
duets, particularly in “Tracers of Cosmic Space”,“Liminal” and “Holding Presence in Time”. The
pianist and drummer make extensive use of space,giving “Myopic Seer” and other selections anavant garde flavor that is pensive and reflective
rather than confrontational.
The improvisers take a break from their
piano/drums format on the title track, whichfinds Taylor switching to the mbira (African
thumb piano), an instrument (along with its more
modern cousin the kalimba) that a variety ofjazz musicians have featured on their recordings
over the years, including bassist William Parker,
tenor saxophonist Pharoah Sanders, Camerooniansaxophonist Manu Dibango, banjoist Béla Fleck,trumpeters Wadada Leo Smith and Jon Hassell,percussionist Ruben Dantas (with Chick Corea)
and drummer/percussionists Billy Martin, Susie
Ibarra, Cyro Baptista, Adam Rudolph and Kahil
El’Zabar. This traditional instrument works
perfectly alongside Sanchez’ acoustic pianism.
If anything, one wishes that Taylor played
the mbira more often on this album. That said,
Taylor serves Sanchez well throughout thesession. The two of them are very much in sync
when the pianist turns up the heat on “Animistic”
and “Threadwork”; he obviously appreciates
the nuance and subtlety that often goes into herplaying.
Jazz purists tend to think of free jazz in general
as harsh and abrasive, but Sanchez and Taylor
show how outside musical improvisation can beon this album of memorable duets.
For more info visit intaktrec.ch. Angelica Sanchez
is at The Jazz Gallery in duo with Marilyn Crispell
May 18; Chad Taylor is at Public Records with Chicago
Underground Duo (part of Bang On A Can’s LongPlay Festival) May 5. See Calendar.

Inner Light
Mike DiRubbo(Truth Revolution Recording Collective)by Phil Freeman

A lto saxophonist Mike DiRubbo has been on the
NYC scene for over a quarter century, leading his
own bands and popping up as a sideman here,
there and everywhere. He not only adapts his
approach to the needs of the moment but always
adds something vital to the music. DiRubbo’slatest, Inner Light, his first release since Live at
Smalls (2018), features longtime collaborator
Brian Charette (DiRubbo appears on three of theorganist’s albums) and drummer Jongkuk (JK)
Kim, both of whom appear on the saxophonist’s
prior release. Inner Light, however, is the moreplugged-in session of the two, with scorching
guitar solos by Andrew Renfroe who rounds out
the quartet here (acoustic bassist Ugonna Okegwo
played on Live at Smalls).
Most of the 11 tracks are originals, with the
exception of jazz standards “Straight Street”
and “Dearly Beloved”. The action kicks off witha high-speed bebop burner, “JK in NYC”, whichfeatures DiRubbo and Renfroe throwing lines
back and forth; eventually they step back andCharette and Kim embark in some explosiveinteraction of their own, the drummer soloing
wildly as the organist plays a repetitive threenote figure. Tracks “Scrollin’ and Trollin’”, “TheMuse” and “Inner Light” have audible bluesy grit,while “Love the Same” is a sharp right turn into
’70s smoothness, DiRubbo playing like a David
Sanborn acolyte as the rest of the band lays downa “quiet storm” groove, perfect for late-night radio
play. “Brand New” is a satisfying ballad, and the“Dearly Beloved” album closer swings hard, andalso heads into challenging territory thanks toCharette’s willingness to go off the beaten track à
la Larry Young.
For more info visit truthrevolutionrecords.com.
DiRubbo is at Smalls May 3-4. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2024 17

DAVID MURRAY QUARTETFRANCESCAJames Brandon Lewis: Tenor Saxophone, Composition
Aruán Ortiz: Piano ∙ Brad Jones: Bass
Chad Taylor: Drums

David Murray: Tenor Saxophone and Bass Clarinet
Marta Sanchez: Piano ∙ Luke Stewart: Acoustic Bass
Russell Carter: Drums

Intakt CD 419

ALEXANDER HAWKINS – SOFIA JERNBERG
MUSHO
Sofia Jernberg: Voice
Alexander Hawkins: Piano

Intakt CD 416

MARTA SANCHEZ TRIO
with Chris Tordini and Savannah Harris
PERPETUAL VOIDELLIOTT SHARP
with Sally Gates and Tashi Dorji
ERE GUITAR

Marta Sanchez: Piano, Composition
Chris Tordini: Acoustic bass ∙ Savannah Harris: Drums

Elliott Sharp: Guitar ∙ Sally Gates: Guitar
Tashi Dorji: Guitar

Intakt CD 413

Intakt CD 420

Simone Keller: Piano ∙ Abathar Kmash: Oud
Valeria Curti: Bassoon ∙ Michael Flury: Trombone
Philip Bartels: Arrangements & Toy Piano

Stephan Crump: Acoustic Bass ∙ Kris Davis: Piano
Eric McPherson: Drums

Intakt CD 423 COMING IN JUNESIMONE KELLERHIDDEN HEARTACHE

BORDERLANDS TRIOSTEPHAN CRUMP – KRIS DAVIS –ERIC MCPHERSON REWILDER

Intakt CD 421

JAMES BRANDON LEWIS QUARTET
TRANSFIGURATION

Intakt CD 418 COMING IN JUNE

Intakt CD 400

Intakt CD 422

INTAKT RECORDS www.intaktrec.ch

STEMESEDER LILLINGERQUARTET feat. Peter Evans and Russell Hall
UMBRA IIANGELICA SANCHEZ – CHAD TAYLOR
A MONSTER IS JUST AN ANIMAL YOU
HAVEN’T MET YETPeter Evans: Trumpet, Piccolo Trumpet
Elias Stemeseder: Piano, Lautenwerk, Compositions
Russell Hall: Double Bass
Christian Lillinger: Drums, Compositions

Angelica Sanchez: Piano
Chad Taylor: Drums

DISTRIBUTED BY: VIRTUAL LABEL GROUP AVAILABLE IN NYC: DOWNTOWN MUSIC GALLERY DIGITAL DOWNLOADS AND PHYSICAL CDs: intaktrec.bandcamp.com

In Concert at The Olympia Paris 1957
Miles Davis Quintet (Fresh Sound)
Miles To Miles Live
Jason Miles’ Kind of New (Ropeadope)
Electric Miles 2
Charles Pillow Large Ensemble (MAMA)
by Scott Yanow

M ay marks Miles Davis’ birthday (May 26, 1926),

as we inch closer to the trumpeter’s 2026 centennial.
Under review here, we look at an archival releaseplus two recent tributes to his fusion period.
New reissues of Miles Davis recordings fromthe ’50s have been a rather rare occurrence during
the past decade, so the album from the Spanish
Fresh Sound label is quite noteworthy. Half of theperformances on In Concert at The Olympia Paris
1957 have never been released before, and theremainder was put out previously but with inferiorsound. Fortunately, the original reel-to-reel tapes
were recently discovered and used here for thisrelease. At the time of his visit to France in 1957,
Davis was temporarily without a working band. His
classic quintet of 1955-56 was on hold, with John
Coltrane working with Thelonious Monk. Shortly
after recording Miles Ahead (with the Gil Evans
Orchestra), Davis went overseas where during
December 4-5 he was improvising the music thatwould be used prominently in the soundtrack of
the French film Ascenseur pour l’échafaud (Elevatorto the Gallows). This concert from November 30,
1957 (not to be confused with one from December
8 that came out years ago as a double-LP from the
Celluloid label) was broadcast on radio and used
the same group as heard on the soundtrack. Davis isjoined by a 19-year-old Barney Wilen (tenor), Rene
Urtreger (piano), Pierre Michelot (bass) and bebop
architect Kenny Clarke (drums) who had moved
to France. Davis is in top form on such numbers
as “Solar”, “Four”, “What’s New”, “Tune Up”,
“Now’s The Time” and “Walkin’”, playing freshand often-lively solos while sounding relatively
happy with the excellent unit.
The other two releases in this review pay
tribute to Miles Davis’ music from his fusion years.
Keyboardist/producer Jason Miles worked with
Davis on several projects, including Tutu (Warner
Bros., 1986), one of Jason Miles’ first recordings.
The music on his most recent Miles To Miles Live(with his Kind of New group) is filled with the typeof grooves that the trumpeter often utilized in the’80s. Four of the five songs (three originals plus
an electronic and spacey rendition of “Flamenco
Sketches”) feature the leader with Aaron Heick(alto, soprano), Barry Danelian (trumpet),
Sherwood Barnes (guitar), James Genus (bass) andCindy Blackman Santana (drums), while the onechord vamp “Voices On The Corner” has a similargroup that includes Barnes and Genus. The dense
ensembles, funky vamps, Heick’s solos (mostly
on alto), electronics, and danceable rhythms willcertainly appeal to fans of Miles Davis’ later years.
While Davis’ music of 1969-75 originallysounded so dangerous, forbidding, innovativeand somewhat eccentric, a half-century later in thelarge ensemble setting arranged by saxophonist
Charles Pillow for Electric Miles 2, it almost
seems conventional at times, but not quite. Someof the pieces explored were originally little
more than bass lines or brief riffs, but Pillow’s
inventive arrangements make each number soundsignificant and quite complete. It is fair to saythat not too many bands explore such pieces

as “Rated X”, “Yaphet”, “Agharta” and “Willie
Nelson”. The big band here has an infectious
group spirit and a variety of world-class players
including soloists Clay Jenkins, Tim Hagans andScott Wendholt (trumpets); Mike Davis and Alan
Ferber (trombones); Pete McCann (guitar); Henry
Hey (piano, keyboards); Alexa Tarantino, MichaelThomas, Jimmy Greene, Dave Rieckenberg and
Pillow himself (saxophones). The results seem
similar to how a Gil Evans-Miles Davis projectmight have sounded if it had taken place in the’70s. Electric Miles 2 shines fresh light on the oncecontroversial music, the rather dramatic “Great
Expectations” being the album’s high point.

display the band’s ability to weave an unbroken
legato line at a slow pace. Edwards’ “Linger”
features ethereal alto saxophone in a processional
stroll over elastic bass notes and cymbals. The
drummer’s “La Tristeza” proceeds semi-rubato,
Cassity musing on alto over embracing bass andsoft brushes. Alliance proves on this album thata multi-generational, and in this case, all-female
band, can forge a distinct group identity as aquartet that is definitely more than the sum of its
parts.
For more info visit shiftingparadigmrecords.com. The
album release concert is at Smalls May 23-24. See Calendar.

For more info visit freshsoundrecords.com, ropeadope.com
and summitrecords.com

Alliance
Alliance (Sharel Cassity + Colleen Clark)(Shifting Paradigm)by George Kanzler

A lliance is a quartet co-led by accomplished jazzartists Sharel Cassity (alto, soprano, flute) andColleen Clark (drums), both of whom have overtwenty years of professional experience. Roundingout the band are two twenty-something recent
college grads, Hannah Mayer (piano) and Carmani
Edwards (bass). The four mesh well and havehoned a group identity through gigging often
together, which yields a crisp, bright ensemble
sound on this self-titled release. Adding to theband’s appeal is its judicious choice of repertoire:
five familiar and not so familiar jazz compositions
plus four member originals. The band’s uptempo
dexterity is aptly displayed on the album opener,
the late pianist Mulgrew Miller’s “Wingspan”, adeft, nostalgic evocation of a bebop flag waver.
Cassity’s exuberant, pure-toned alto saxophone
audibly reveals her big band lead alto experience(e.g. DIVA Jazz Orchestra, Dizzy Gillespie All-Star
Big Band, Darcy James Argue’s Secret Society), as
she spins out a convincing bop tale, while Mayerchanges up the mood with her understated pianosolo. Clark and Edwards lock in to a fleet beat, thedrummer favoring crisp heads to push the time.
Faster tempos also fuel the pianist’s original,“Something New”, a snappy tune in blues form
notable for four-bar trades by the co-leaders.
Album closer, Harold Mabern’s “There But for theGrace Of…”, is a buoyant swinger given a hardbop quintet treatment with the appearance ofanother twenty-something, guest trumpeter Kellin
Hanas.
There’s a welcome degree of rhythmic andtonal variety to the album as a whole, particularly
with Cassity who is a triple-threat on alto, sopranoand flute. Mayer also turns to electric keyboards,
as heard on Edwards’ evocative chart of Herbie
Hancock’s “Maiden Voyage” (Cassity featured
on soprano). Among the varied time signatures,a 3/4, 6/8 on Jimmy Heath’s “Gemini”, featuring
Cassity’s pellucid flute, and the New Orleansinflected rhythms of Clark’s “Caro-li-na”, impress.
Likewise, the metronomic pulse beat given to
Mary Lou Williams’ “Syl-O-Gism”, makes the tunea gem well worth reviving. Two ballad originals

SACO & As It Is
Sunday, May 19 at 4:40 pm
Soapbox Gallery, Brooklyn$10 live or livestream

www.onebreathrising.org

THE NEW YORK CITY JAZZ RECORD | May 2024 19

Catch The Groove: Live At The Penthouse
1963-1967
Cal Tjader (Jazz Detective/Elemental Music)
Huracán
Cal Tjader (Liberation Hall)
by Ken Dryden

O ver four decades since Cal Tjader’s death in1982 (this month marks his 42-year deathaversary),
his legacy deserves further consideration. The
late vibraphonist and bandleader was so closely
associated with Latin jazz that fans commonly haveoverlooked the acoustic jazz he continued to play
well into the late ’60s.
The rewarding two-disc set, Catch The Groove,
documents previously unissued performances fromsix different engagements played at Jazz at thePenthouse in Seattle between 1963-67. The earliest
show features Tjader with Clare Fischer (piano),Fred Schreiber (bass) and Johnny Rae (drums),
with Bill Fitch (percussion) added for the Latinarrangements. A swinging treatment of “Take The‘A’ Train” is a nice surprise, as is his extended
exploration of Dave Brubeck’s “In Your Own
Sweet Way”, sharing the solo space with Fischer.
The Latin vibe begins with a breezy rendition of
Jobim’s “Manhã de Carnaval” and continues with
Fitch’s lively Afro-Cuban work “Insight” (which

unfortunately fades out).
The second band features Lonnie Hewitt(piano), Terry Hilliard (bass) and Rae (drums), with
Armando Peraza (percussion). Claus Ogerman’s
works have often been ponderous, but Tjader’sdriving approach to “Sunset Boulevard” is an ear
opener, as is the lyrical, whispering arrangementof the standard “Here’s That Rainy Day”. Perazais added on Hewitt’s engaging “Pantano” andTjader’s gently swaying “Leyte” conjures images ofa gorgeous beach sunset. The third show includes
a leisurely exploration of “On Green Dolphin
Street” and showcases the vibraphonist’s lyricalside, while Peraza’s effusive “Maramoor Mambo”
would get any audience on its feet. Tjader’s bandfor the next two shows includes Al Zulaica (piano),
Monk Montgomery (bass), Carl Burnett (drums)
and Peraza (percussion). The lush treatment of“The Shadow of Your Smile” is a highlight, as is theunusual choice of Milt Jackson’s “Bags’ Groove”.
Peraza kicks into high gear for “Mambo Inn” andRay Bryant’s “Cuban Fantasy”. The last set has yet
another surprise, an arco introduction by bassist
Stan Gilbert on Billy Strayhorn’s “Lush Life”, nota typical song expected from Tjader. The extensive
liner notes, vintage photos and excellent audio
restoration of the time-worn tapes all add to thevalue of this historic release.
Tjader’s Huracán was initially made as a directto-disc LP for Crystal Clear when it was firstissued in 1976, which required an entire album
side to be recorded in one take. Tjader’s bands
always came prepared to play and this session is
no exception, though this has an atypical makeup
for the vibraphonist: between nine and a dozen

instrumentalists all on the date, instead of being
overdubbed later (which was often done when herecorded for Verve). Tjader’s groups also tended
to be rhythmically focused, so having the bonusof two reeds, three brass and a guitarist changes
the dynamic considerably. The band includes Gary
Foster (alto, flute), Kurt McGettrick (baritone),Frank Rosolino (trombone), Alex Rodriguez andRonald King (trumpets), Clare Fischer (electric
piano), Rick Zunigar (guitar), Robb Fisher (electricbass), Poncho Sanchez (congas), Willie Bobo
(timbales) and Victor Pantoja (bongos, cowbell).
The leader’s solos are at a consistently high level,
while the brass and reeds make his band seemmuch larger, such as in the rapid fire “Ritmo
Caliente”, with its particularly heated solos by
Tjader and Zunigar (though it is the rhythm
section that gives this piece its high energy).
Fischer’s easygoing “Desposado” is a feature for
Foster (on flute) and the vibraphonist. The pianist
additionally contributed “Funquiado” (which may
have benefited from a faster tempo), the catchy
dance number “Bachi” (built around a repeatedriff and the flute of Foster) and the Afro-Cuban
title track, which takes time to get untracked
from the established groove until the entrance of
Rosolino’s show-stopping, vocal-like trombone(though McGettrick’s squealing baritone proves
distracting). The relaxed setting of Osvaldo Farras’“Tres Palabras” features a reflective solo from thepianist, which oddly enough is his only one on therecording.
For more info visit deepdigsmusic.com andliberationhall.com

NEW ALBUM RELEASE

Available Everywhere May 10

Appearing
live at…
MEZZROW MAY 16
BIRDLAND JULY 7With inspiration from his stylistic
ancestors Nat King Cole and Joe
Williams, John Dokes brings newlife to the deep-souled world of
baritone jazz vocals on his elegant
new album, Our Day.
Learn more at JohnDokes.com.

20 May 2024 | THE NEW YORK CITY JAZZ RECORDSONYHALL.COM
212.997.5123
235 W 46 ST
BTW 7/8 AVE@SONYHALLFEATURED SHOWSMAY SHOWS
Cloudward
Mary Halvorson Amaryllis (Nonesuch)by Stuart Broomer

D eveloping various ensemble projects over the
past 15 years, from trios to a septet in Code Girl(2018), guitarist Mary Halvorson now has founda format that brilliantly integrates improvisationand orchestration in ways at once accessible,
varied and highly original. Halvorson debuted
her sextet Amaryllis on an eponymous Nonesuch
vinyl release in 2022, a special project thoughtfully
conceived to neatly balance her qualities as a soloist
and clear interest in composition. Cloudward has an
ensemble dynamic with very specific and distinct
timbres: her own mix of traditional jazz guitar andpitch-bending electronics, Nick Dunston (bass),
the percussion of Patricia Brennan (vibraphone)
and Tomas Fujiwara (drums), and the brass ofJacob Garchik (trombone) and Adam O’Farrill(trumpet). This unit is a vehicle as noteworthy
for what’s missing—keyboards, reeds—as what’spresent.
The resulting distinctive sonic palette ismatched with the ways in which Halvorson thecomposer organizes the sextet’s music: there are
no strings of solos. Instead, each compositionis crafted to feature one or two of the group’s
individual voices, sometimes simultaneously
presenting composed and improvised lines fromGarchik and O’Farrill. The leader’s distinctive
approach is immediately apparent in the opening“Gate”, its melody emphasizing the timbres oftrumpet, vibraphone and electric guitar, before
Dunston’s bass line is foregrounded and Fujiwara’s
drums have even entered. “The Tower” continues
the unexpected, beginning with an extended
multi-tracked guitar solo that establishes analmost magical mood, with Halvorson’s subtle
electronic mutations of her warm, barely amplified
sound. Later, “Incarnadine” begins in absolute
mystery, with elusive and isolated sounds from thegroup’s various members, as well as the presenceof the album’s sole guest appearance: violinist
Laurie Anderson, whose playing adds anotherdistinctive voice to the divergent character ofthe ensemble. Much of “Incarnadine” suggests
collective improvisation, but its consistency
is such that it might equally suggest a mixed
methodology including conduction. On “Tailhead”
it’s Fujiwara’s turn to be featured, introducing acomplex work with a certain Latin tone that links tothe counterpoint of trumpet, trombone and guitar,with all six voices ultimately interweaving before
Garchik’s rare combination of trombone eleganceconditioned by refined bluster.
The concluding “Ultramarine” shifts rapidly
from solo bass to a duet with angular insistent guitar,
gradually joined by percussion and vibraphone withgrowing dissonance and ambiguous form. Then abrass melody and a sweeping guitar improvisation
arrive, together achieving a carnivalesque multidimensionality—another miracle of mood andform.
For more info visit nonesuch.com. Halvorson is at BRIC
Ballroom with Sylvie Courvoisier (part of Bang On A
Can’s Long Play Festival) May 4. See Calendar.

MAY 7

APR 30 – MAY 5
BJ THECHICAGO KID

JETHRO TULL’SMARTIN BARRE

MAY 10+11

MADELEINEPEYROUX

MAY 6
ANDRA DAYMAY 17
THE RASCALS

MAY 7–9 & 11–12
CHRISTIANMCBRIDEMAY 10ROBERT GLASPER

STRENGTH OF A WOMAN FESTIVAL

MAY 14–19
CHRIS DAVE& FRIENDS
MAY 20 & 27
EDDIE PALMIERISPRING RESIDENCY

MAY 21–22
KARL DENSON’STINY UNIVERSE
MAY 23–26
TERRACE MARTIN& FRIENDS
MAY 28–29
KELELA

FT. FELIX CAVALIERE &GENE CORNISH

MAY 21+22
BUCKETHEAD

BLUE NOTE JAZZ FESTIVAL
6.4

RITA MORENO

6.5
6.7

MS. LISA FISCHERMICHEL CAMILO“THREE + THREE”

6.9

JAZZ IS DEAD

6.12
6.14

YEMI ALADE
ELIANE ELIAS

6.16

VICTOR WOOTEN &THE WOOTEN BROTHERS

6.17
6.19+20
6.21

6.22
6.24

PRODUCED BY JILL NEWMAN PRODUCTIONSALPHONSO JOHNSON, STEVE KIMOCK,PETE LAVEZZOLI, BOBBY LEE RODGERSHALEY REINHART
MULATU ASTATKE
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6.27

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+ BILL BRUFORD
131 West 3rd Street, New York City 10012
212.475.8592 • bluenotejazz.com

IN CONVERSATION WITH ANIL PRASAD

THE NEW YORK CITY JAZZ RECORD | May 2024 21

eek!
Open 7 Days a W

shifting directions mid-stream: “3” is an intense
two-horn wall of noise that gives way to relativedelicacy, while “4” virtually reverses the pattern(though the horns are closer to an edgy free bop).
On “5”, Ramond’s gritty arco work ties together
the different segments.
Live at De Ruimte 2023
Nate Wooley (Catalytic Artist)
Transitions
Transatlantic Five (Nemu)by Stuart Broomer

Presenting

NEXT GENERATION JAZZ
Monday Nites ft. Up & Coming Talent!
7:30pm & 10:30pm Shows Every Week!
WED
5/1

Champian Fulton Trio
John Hébert Trio

7:30PM
10:30PM

THR
5/2

Rick Germanson Trio
Ben Wolfe Trio

7:30PM
10:30PM

FRI
5/3

Essiet Essiet Quartet
Nick Hempton Band

7:30PM
10:30PMSAT
5/4

Ron Jackson Trio
Hector Martignon’s Foreign Affair

7:30PM
10:30PMSUN
5/5

Tad Shull Trio
Joe Davidian Trio

6:30PM
9:30PMMON
5/6

Jacob Chung Quartet
Jihee Heo Trio

7:30PM
10:30PMTUE
5/7

Misha Piatigorsky Quartet
Dave Stryker Quartet

7:30PM
10:30PMWED
5/8

Loston Harris Trio
James Carney Quartet

7:30PM
10:30PMTHR
5/9

Joe Strasser Quartet
Sam Dillon Quartet

7:30PM
10:30PM

FRI
5/10

Tyler Blanton Quartet
Bruce Williams Quintet

7:30PM
10:30PMSAT
5/11

Tommy Campbell Trio
Helio Alves Quintet

7:30PM
10:30PMSUN
5/12

Ashley Pezzotti Quartet
Michael Kanan Trio

6:30PM
9:30PMMON
5/13

Hank Allen-Barfield Quartet
Connor Macleod Quintet

7:30PM
10:00PM

TUE
5/14

Caroyln Leonhart Quintet
Jason Marshall Quartet

7:30PM
10:00PM

WED
5/15

David Hazeltine Trio
Eric Alexander Quartet

7:30PM
10:30PM

THU
5/16

Benito Gonzalez Trio
Mariel Bildsten Septet

7:30PM
10:30PM

FRI
5/17

Eric Jacobsen Quartet
Charles Goold Quartet

7:30PM
10:30PMSAT
5/18

Jonny King Trio
Freddy Deboe Band

7:30PM
10:30PM

ViEe-wUPLIN

THE DJANGO N YC

Reserve
RESY

the
e. of
2 av ericas
am

evel

Cellar L

DINNER, LIBATIONS & LIVE JAZZ!
IN THEOF TRIBECA

For
more
info
visit
catalyticsound.com
andnemu-records.com. Wooley is at The Record Shop May 2.
See Calendar.

T rumpeter/composer Nate Wooley is increasingly

identified with expansive compositional andconceptual projects such as Seven Storey Mountain,
begun as a trio piece in 2007 and reaching 14
musicians and a choir by its sixth iteration in 2020;
likewise, Mutual Aid Music, launched in 2021, is an
outgrowth of his earlier Battle Pieces (2015), which
has now stretched to a recent four-disc set, with arange of collaborators. Then there are the extended
compositions of his Columbia Icefield quartet. As
a prolific improviser and devotee of spontaneous
encounters with collaborators from around theworld, these two recent releases respectively
present Wooley as solo trumpeter and member of
an international improvising quintet.
Wooley’s exploration of extended solo trumpet
techniques is significant, marked by the fourhour, four-disc Complete Syllables Music (2017).
This practice continues on Live at De Ruimte 2023, a
recent 32-minute presentation from the Amsterdam
performance space. It ranges through a host oftechniques (of breath, embouchure, fingering) andmessages, beginning in meditative sustained tones
and a remarkable range of devices, a brief “Reveille”
that turns suddenly to a Bronx cheer. There are
moments of meditative long tones and brief bursts,
even strange rhythmic patterns over a quietly
sustained drone, suggesting an inner voyage,echoes, closures, sudden shifts, an underworld
Odyssey… all suddenly exploding into a rumble
and torrent of sounds that one might not associatewith a trumpet. Then Wooley introduces vocal partsin which the trumpet seems to be singing in its own
voice, going beyond the mere notion of extended
techniques, suggesting the trumpet has become
sentient, that Wooley and trumpet have merged.
Transitions, conversely, presents the Transatlantic
Five, an ad hoc quintet of Wooley and Ken
Vandermark (tenor saxophone, clarinet) with theEuropean trio of Christopher Dell (vibes), ChristianRamond (bass) and Klaus Kugel (drums), recordedin Cologne in 2022. It’s a largely improvised set,with two individually composed pieces included.
Ramond’s opening “Around Town” draws
inspiration directly from Eric Dolphy’s Out toLunch (referenced in the notes) with the theme
echoing elements of that classic 1964 recording.
The trumpeter leads with a brilliant solo, a kind of
rapid-fire sputtering, while Vandermark (on tenor)
picks up on the same energy. The reedman’s “En
Attente”, arising midway through the program,is somber and mysterious. Initially a feature for
Wooley’s haunted pitches and muffled half-valves,
Vandermark takes up the same mood, carrying it
to its conclusion. The collective improvisations
take different approaches. “Transition 1” has
Wooley and Vandermark (on clarinet) pressing
the envelope with high-speed jabbing sounds andsudden shifts in timbre, Kugel matching theiranimation; “2” has the winds exploring sustainedcries and tremolos against Dell’s sustained
tones, Ramond’s abstracted, percussive bass andKugel’s varied cymbal approaches. The horns are
expressionists, Dell an impressionist, Ramondand Kugel poised between, some pieces radically

22 May 2024 | THE NEW YORK CITY JAZZ RECORD

Closer Than We Think
Dayna Stephens (Cellar Music)
by Keith Hoffman

A nyone who knows the kind, generous natureof Dayna Stephens will be unsurprised thatthe saxophonist—himself a gifted and prolificcomposer—bookended his latest recording withcompositions by 21-year-old guitar phenom,
Emmanuel Michael. “His playing and his writing
are both so soulful, so simple and yet so complex,”
Stephens recently said, while we spoke about
Closer Than We Think. Now 45, and with a dozen
leader dates behind him, Stephens finds himself thementor, rather than the mentee. “Now I have to passon what the OG’s taught me,” he noted. And what
mentors he’s had: chief among them Wayne Shorter(Stephens studied with him from 2001-2003 at thethen-Thelonious Monk Institute of Jazz). When his
working quartet with Michael, Kanoa Mendenhall(bass) and Jongkuk “JK” Kim (drums) went into thestudio exactly a year ago to record, it was just twomonths after Shorter’s passing, so Stephens wrote an
arrangement of “E.S.P.” in tribute to The Maestro.
The feel is jagged and funky, to accentuate theintricate harmonic progression. Further illustrating
the haunting nature of the tune, Michael uses botha volume pedal to hide his initial attack, and apedal that allows him to stretch intonation, making
his instrument sound almost like a pedal steel ororgan, to great effect.
The Michael-penned opener, “Bubbly”, isbased on a simple five-note motif, first stated on
guitar, then taken up by Stephens (on tenor), while
Michael provides the achingly strange and beautiful
background. The entire album is kept together by
the foundational lock between Mendenhall andKim. The bandleader’s three originals all have themoody beauty that marks his best work. “A New
Spring” is particularly lovely, with the bassist firststating the melody over the guitarist’s pedaledaccompaniment, and then Stephens gently enterson baritone. When I told him “Scrutiny” would nothave been out of place on Joshua Redman’s 2002
classic Elastic, Stephens laughed and noted it was
not intentional, but hardly surprising, as this fellow
Berkeley High alum and Bay Area native was thefirst jazz musician he saw live, when his dad took
him to Yoshi’s in Oakland in 1992.
Closer Than We Think is another excellent
addition to Stephens’ impressive canon, a result of
the leader providing creative space to his talented,
young working quartet-mates.
For more info visit cellarlive.com. Stephens is at Village
Vanguard with Johnathan Blake through May 5 andDizzy’s Club with Sasha Dobson May 21. See Calendar.

Blue Room
Chet Baker (Jazz Detective)
by Pierre Giroux

I n 1952, at age 22, trumpeter Chet Baker was hiredby Charlie Parker for some West Coast dates, and in
the same year, made his first recording as a memberof the original Gerry Mulligan Quartet. Althoughstill relatively unknown, he had a warm lyricalapproach that was somewhat hesitant and brooding,but fit well with Mulligan’s gruff, confident baritone
sax style. Their time together signaled what became
known as “West Coast jazz.” Baker’s subsequent
life story is one of musical greatness wrapped in
addiction and tragedy. Just over 35 years after his
debut he died May 13, 1988 (36 years ago this month),having fallen from the window of his second story
hotel room in Amsterdam (though the circumstances
surrounding his death have never been confirmed).
Zev Feldman, founder, producer and sleuth-inchief of the archival label Jazz Detective, is always
on the lookout for unissued material. In 2021, heapproached his Dutch colleague Frank Jockemsen of
the Netherlands Jazz Archief to check whether there
might be some unissued Chet recordings available.

As luck would have it, there were two previously
unissued studio sessions (Apr. 10 and Nov. 9, 1979)
from the KRO-NCRV archives recorded at VARA
Studio 2 in Hilversum.
On the first session, the trumpeter was
accompanied by a trio he had worked with before:
Phil Markowitz (piano), Jean-Louis Rassinfosse(bass) and Charles Rice (drums). For the second
session, Baker arrived late and without sheetmusic; his sidemen this time: a local trio of FrankElsen (piano), Victor Kaihatu (bass) and Eric Ineke(drums).
The first set opens with “Beautiful Black Eyes”(Wayne Shorter, Lou McConnell) played as abossa nova, with Baker’s improvising natural andfully at home in the middle register. Markowitz’
solo is smooth and straightforward. The Johnny
Burke/Jimmy Van Heusen ballad “Oh, You Crazy
Moon” features a Baker vocal; his soft and fragile
approach changed little over the years (and largely
an acquired taste). “Blue Room” (Richard Rodgers,
Lorenz Hart) is a 16-minute showcase for theband and does not disappoint. The trumpeter’s
languid approach, although restricted in range, isnevertheless precise and wonderfully melodic. The
pianist gets lengthy solo space and demonstrates his
creativity. The Belgian bassist, in his solo, shows off
a broad tone and his grasp of the full capabilities of
his instrument.
Miles Davis never recorded his composition“Nardis”, but it became an integral part of (presumed
composer) Bill Evans’ playbook. Baker takes thetune at a loping tempo, and while he does not straytoo far from the melody, his tone is pure and lyricalwith responsive support from Markowitz.

The second set includes four tracks with theDutch rhythm section: “Luscious Lou”, “Old Devil
Moon”, “Candy” and “My Ideal”. The last two
feature vocals, and sound as if Baker reached insidehimself and discovered a still lurking youthful mid’50s balladeer. On closer “Old Devil Moon” there
is some early miscommunication about harmonies,
but the band soon finds its footing with Baker’s
lyrical playing.
This archival release is certainly a welcome
addition to the Chet Baker discography.
For more info visit jazz-detective.bandcamp.com

STEPHAN CRUMPS L O W W A T E R
Acclaimed composer and bassist Stephan Crump releases
Slow Water (Papillon Sounds)
featuring an unorthodox chamber ensemble of strings, horns, and vibraphone

Patricia Brennan • vibraphone
Joanna Mattrey • viola
yuniya edi kwon • violin

Jacob Garchik • trombone
Kenny Warren • trumpet
Stephan Crump • acoustic bass

PRISM Quartet Generate Music
The all-sax PRISM Quartet presents the world premiere of
GENERATE MUSIC, a new body of work exploring the ties between
Black and Jewish Americans. Eight new pieces amplify multiple
perspectives to form a musical narrative with sounds that are
ethereal, funky, mystical, somber, raucous, joyful, and everything
in between. PRISM is joined by clarinetist David Krakauer,
violinist Diane Monroe, vocalist/poet Ursula Rucker, percussionist
Tyshawn Sorey, vocalist/trumpeter Susan Watts, electric guitarist
David Gilmore, and bassist Reuben Rogers. Composers include
Myra Melford, Fred Wesley, and Yotam Haber. Project artists
have collaborated with everyone from James Brown, Wayne
Shorter, and The Roots to Itzhak Perlman and The Klezmatics.

“As a bassist and composer,
Mr. Crump avoids obvious routes
but manages never to lose his way”
The New York Times

JUNE 9, 2024 · 7 PM
Roulette 509 Atlantic Avenue, Brooklyn
Tickets $10–$35 (pay-what-you-wish)
generate.prismquartet.com

Order now on Double-LP, CD, download:
stephancrump.bandcamp.com | stephancrump.com

THE NEW YORK CITY JAZZ RECORD | May 2024 23

Time Will Tell
Andy Milne and Unison (Sunnyside)by Tom Greenland

T ime Will Tell makes pianist Andy Milne’s twelfth
leader release and the second with Unison, which
includes John Hébert (bass) and Clarence Penn
(drums), his working trio since 2017. In contrast
to earlier work with the M-Base Collective, Dapp
Theory and more recent collaborations, thisparticular trio’s format allows the Ontario-born,
Toronto-raised, and for 30 years, New York-based
Milne the freedom to flaunt his compositional,
improvisative and interactional prowess.
The first may be heard in his elegantly designed
pieces, many based on a short series of harmonies
over relatively static base lines—harmonies that
don’t so much resolve into each (à la the chainlinked chords germane to mainstream jazz), butrather unfold into and expand out of each other,suggesting wider, less constrained harmonic
horizons. “Beyond the Porcelain Door”, “No Matter
What” and two versions of “Lost and Found” allembody these qualities. “Kumoi Joshi”, performed
in a 3+2+2+2+3 beat pattern, recalls the “drumchants” Milne worked with during his tenure in

Steve Coleman’s Five Elements. His improvisations
are often highly methodical, containing complex
melodic sequences, ‘mirrors’ and rhymes, but also
enlivened by delicate but expressive ornamentation,
including chordal passages with ‘hammered’, onbeat grace notes to give his style a certain earthiness.
Milne’s interactive prowess is heard throughout
in interlocutions with bass, drums and guest
instrumentalists Ingrid Laubrock (tenor) and Yoko
Reikano Kimura (koto). Hébert is a perfect partner,
a deft handler of complex forms who also bringsa transcendent, horn-like quality to solo spots, as
on “Beyond the Porcelain Floor” or “Apart”. The
pianist’s composition “Broken Landscape” is anuncanny mix of chromatic, nonfunctional harmonies
and what might be called “Canadiana.” Penn shines
in the cracks of tracks: in, on and around the main
action, boosting where needed, riding where not.
The drummer’s composition “Papounet” swings
smoothly in 4+5 over a pedal point.
Strong as the core is, Laubrock and Kimura add
indispensable elements to half the ten tracks. The
former infuses an ethos of quiet ecstasy, churningout rapid, wispy lines on “Beyond the Porcelain
Door” in a stuttering, husky tone and improvisingwith immaculate structure on “Kumoi Joshi”.
Kimura’s close-mic’d koto serves as an ideal sonicfoil for Milne’s piano on “Lost and Found”, cocreating an intimate musical haiku. Her poignant
melody on the second part of “Kumoi Joshi” forms
an important polytonal counterpoint to the otherparts.
For more info visit sunnysiderecords.com. The album
release concert is at The Jazz Gallery May 16. See
Calendar.

AVAILABLE MAY

Being Human
Lynne Arriale Trio (Challenge)
by Scott Yanow

S ince 1993, Lynne Arriale (who celebrates a birthday

this month) has led a series of consistently rewardingalbums, many featuring her piano playing witha trio. While she has recorded fresh renditions ofstandards, most of her recent recordings have actuallyemphasized originals, which in some cases (as is thecase on her new album) deal with contemporarysocial issues.
For her 17th album as a leader, she is joinedby two excellent players and partners: Alon Near(bass) and Lukasz Zyta (drums). The former gets theoccasional solo, while the latter takes a few drumbreaks. Their roles, however, are primarily to support
the pianist and offer stimulating interplay, which
they convincingly do on ten of the leader’s originals(“Love” is played a second time as a reprise). Eachselection has a one-word title that symbolizes
the way that lives of humans are enriched: theindividual pieces are dedicated to seven remarkablepeople (best known is environmental activist Greta
Thunberg), the Ukrainians, humankind, and peopleof faith.

,

ARBORSRECORDS.COM | DISTRIBUTED BY MVD

24 May 2024 | THE NEW YORK CITY JAZZ RECORD

24-04-26_FIMAV_NYCJR_Two-Third-PageV-co.pdf

It’s not necessary to know about the dedications
or even the meanings behind the song titles to enjoy
the music, which simply can be described as forwardlooking mainstream jazz that covers a variety of moods.
The strong album-opener, “Passion” (a modern postbop piece), is followed by jazz waltz “Courage”, somethoughtful thinking aloud at the piano in “Love”,
an upbeat piece slightly reminiscent of Keith Jarrett
in “Faith” and the adventurous “Curiosity”. The
second half includes the hard bop strut “Soul” then
“Persistence”, a modal piece that hints at McCoy Tyner.
“Heart” is one of Arriale’s strongest compositions,while “Gratitude” is an introspective ballad. “Joy”,
a happy party tune worthy of Abdullah Ibrahim,
precedes the reprise and album closing of “Love”.
As is true of all of Arriale’s recordings, Being
Human is well worth several close listens.

F or its second outing, Town of Two Faces, The Choir
Invisible—the simpatico threesome of Germantransplant Charlotte Greve (alto), Chris Tordini (bass)
and Vinnie Sperrazza (drums)—continues in the veinestablished by its winning eponymous debut. In theliner notes, Tordini characterizes the band’s sweet
spot as a kind of quiet intensity, and that description
is amply met by the ten cuts which make up this 2022
studio session. The shared writing credits signal the
predominant communal ethos: three from the penof each of the principals, alongside one cover. This
diverse authorship, an air of wistful introspection,
prevails throughout a date that privileges the pastel
hues. Yet this coloration does serve to make even theslightest hint of primary color (e.g. a multiphonicflourish here or an assertive drumroll there) assume
greater significance. An understated complexity
pervades the set, as the carefully-crafted arrangements
translate into a wealth of activity happening below thesurface. Although Greve’s elegant silky alto provides
the lead voice, Tordini’s muscular counterpoint at theintersection of melody and rhythm and Sperrazza’s
exquisite shading and tuneful beats immeasurablyenhance the overall impression.
Further affirming the collective approach, solos
tend to be brief and integrated into the fabric, whether
Tordini’s rippling intro to “21 Years” or Greve’s
dances and twirls through “17 East”. Coming halfway
through the program, “In Heaven” (a song from David
Lynch’s surreal film Eraserhead) offers a cannily-timed
change of pace. Guest vocalist Fay Victor’s bluesy
growl extracts all manner of nuance from the eerie
incantatory languor. Other highlights include thehymn-like “Sustained Imagination”, where a dirge
delicately blooms, and the sorrowful “The Audition”,
ultimately buoyed by a defiantly twisting final refrain.
Mention must also be made of the title track, sungby Greve in an attractively winsome voice (recalling
Suzanne Vega in her heyday), which concludes analbum that worms its way into your head almost
without you noticing, and once there refuses to let go.

2024-04-12

14:43

13 TO 19 MAY 2024
ONE WEEK OF CONCERTS,
SOUND ART INSTALLATIONS IN PUBLIC SPACES,FILMS, AND VISUAL ART

40

For more info visit challengerecords.com

Town of Two Faces
The Choir Invisible (Intakt)
by John Sharpe

1th

FESTIVALINTERNATIONALMUSIQUE ACTUELLE
VICTORIAVILLE
CONCERTS FROMTHURSDAY 16 TO SUNDAY 19 MAY 2024
ROSCOE MITCHELL
SOLO

PASCAL GERMAIN-BERARDISÉLÉBÉYONE

KAVAIN WAYNE SPACE /XT TRIO

NATURAL INFORMATION
SOCIETY« Basileus »KIM MYHR« Community Ensemble with Ari Brown »« Sympathetic Magic »JOËLLE LÉANDRE
MAT MANERICRAIG TABORN« hEARoes »BAZIP ZEEHOKBILL ORCUTT GUITAR QUARTETQUATUOR BOZZININICOLE RAMPERSAUDSOLOTHE DWARVESOF EAST AGOUZA« Jürg Frey: String Quartet No. 4 »SAKINA ABDOU SOLO

SOPHIE AGNELJOHN BUTCHERSPLENDIDE ABYSSE
STÉPHANE DIAMANTAKIOU« Le Double »NATE WOOLEY« Columbia Icefield »DON MALFON SOLO

FULL SCHEDULE HERE

AMMA ATERIA« CONCUSSSSION »fimav.qc.ca

For more info visit intaktrec.ch. The album release
concert is at Owl Music Parlor May 16. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2024 25

Auteur: Music Inspired by the Filmsof Wes Anderson
Amanda Gardier (s/r)
The Way I Feel Inside(Inspired by the Films of Wes Anderson)
Marty Isenberg (Truth Revolution)
by George Grella

T wo jazz albums released within six months ofeach other (and the release date of Wes Anderson’slatest movie, Asteroid City) constitute a cultural
moment. But what might this phenomenon mean?
The connection between the stylish (and oftenarch, precious and patrician) films of Anderson
and jazz, on the face of it, seems unnatural, except
for an ironic use of lounge jazz to heighten some
artifice. Perhaps such musical excursions are justa matter of time; musicians coming of age in the
21st century and exposed to the movies would
naturally gravitate to what’s current, rather thana generation or two ago when releases might havecentered around Robert Altman, Bruce Lee orBlaxploitation movies, for instance. But the essence
and commonality between these two albums is thatthe music can be heard as pure jazz without any
particular extra-musical narrative, a sign that theinspiration is found as part of the fabric of two lives.
Yet, there’s a meta-flaw here: the music does notseem to inspire thoughts of Anderson. That may be
a plus or minus for the listener, but it means on theconceptual level these releases arguably don’t meettheir goals. On the musical level they fully work—
good news for those who like jazz and/or dislike
Anderson and are unconcerned about his presenceor lack of it in these releases.
Alto saxophonist Amanda Gardier’s Auteur:Music Inspired by the Films of Wes Anderson is easy
to hear as just a substantial, enjoyable album froma musician with a warm, elegant sound and flowing
improvisational skill. The band is excellent, withCharlie Ballantine (guitar), Jesse Whitman (bass)
and Dave King (drums). They are responsive tothe leader, even as some elements don’t always fit
together, most prominently on the opening track,“Coping with the Very Troubled Child”, where
King’s solo and Ballantine’s chopping guitar seemto be part of a different tune. The rest of the album
improves with attractive themes including “I
Wonder If It Remembers Me” and the lovely ballad“The Incarcerated Artist and His Muse”. There is,however, an oddness in how the track titles work
hard at referring to Anderson’s work, while themusic seemingly in no way expresses that, or even
seems to thematically fit each title. But so what
if the text doesn’t work? Lop off two of the nine
tracks and there’s an excellent album here.
Bassist Marty Isenberg’s The Way I Feel Inside(Inspired by the Films of Wes Anderson) unfortunately
includes a musically poor bossa nova take of David
Bowie’s “Rebel Rebel”—the one track across bothalbums that is actually Anderson-esque, too, though
the worse for it. The intro to “Stephanie Says”, thealbum opener is arch, but then everything locks into

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26 May 2024 | THE NEW YORK CITY JAZZ RECORD

a muscular groove that features excellent playing
from guitarist Nir Felder as well as noticeably
wonderful tenor saxophone solos by Sean Lowellthat channel Ernie Watts and Cannonball Adderley.
That’s the spirit right there.
For
more
info
visit
agardier.com
andtruthrevolutionrecords.com. Isenberg is at Yale ClubMay 20. See Calendar.

Will Be Fire
Joe Fiedler (Multiphonics Music)
by Ken Dryden

J oe Fiedler is the kind of musician who is constantly
exploring and, even when he develops a uniquegroup, is always thinking ahead to his next project.
Fielder’s Big Sackbut and Open Sesame bands
display his immense creativity as an arranger
but his focus with his new quartet heard on WillBe Fire is squarely on his own compositions. The
album features the leader on trombone with a Line
6 unit adding electronics for special effects, joinedby Pete McCann (guitar), Marcus Rojas (tuba) anddrummer Jeff Davis (drums). While Fiedler claims

to be a newcomer to using electronic effects, he’s
evidently already a virtuoso with them. Many ofthese songs have a funky, spirited air, perfect for aparty of any size, while the electronics expand the
vocal-like sounds of his instrument. The modified
trombone almost suggests an electric violin in the
introduction to the full-bodied funky title track
album opener, though the arrangement sounds soloose that it feels like the musicians were given
only the briefest of outlines; in both their rhythm
and solo roles, the playing exhibits a great deal of
freedom.
The tempo is slower, but the party continues
with “Graffiti’s”, which is highlighted by Rojas’
masterful solo. The darker “Merger” opens witha conversational duet between the two brass
players, though the mood quickly brightens as thefull quartet joins in on the fun. “Song For Coop”
takes on a more bluesy, melancholy air as Fiedler’s
wistful trombone playing is beautifully backed by
McCann’s haunting accompaniment, a mood thatwould easily quiet even the noisiest audience.
“Squirrel Hill” is raspy, down and dirty, buoyedby the leader’s effective singing and playing as heutilizes his mute for effect, while McCann’s hardedged guitar performance delivers a rockish flavor.
“Crooked” offers a Caribbean air with its calypsolike rhythm, with engaging solos all around.
“W. 21st St.” opens with a mysterious vibe andspecial effects in a quiet setting, before it unfolds
into a showpiece for the leader.
Will Be Fire adds another impressive chapter to
Joe Fiedler’s discography.
For more info visit joefiedler.com. The album release
concert is at Ibeam Brooklyn May 4. See Calendar.

Our Day
John Dokes (Swing Theory)
by Jim Motavalli

O ld-timers and many other fans of the swinging
baritone voice may have had to content themselves
most lately with aging Frank Sinatra, Joe Williams,
Billy Eckstine and Johnny Hartman records. But inthe contemporaneous John Dokes there’s a fresh
approach to the genre in his lovely Our Day, withlongtime collaborator, the George Gee Orchestra.
With arrangements by trombonist David Gibson,the formula of the overall presentation is relatively
simple, but the right pipes are in short supply andthe result is very welcome. When he’s not attending
to his high-level day job in the corporate world, theversatile Dokes is devoting himself to the Great
American Songbook—and jazz classics. Both Bobby
Timmons’ “Moanin’” (which features Gibson’s J.J.
Johnson-style trombone) and Freddie Hubbard’s“Red Clay” are straightforward readings, marinatedin tradition, but vibrantly alive.
British singer Billy Ocean’s “Suddenly” isbeautifully rendered, but is also performed witha commercial slant (think the smooth and very
polished style of Michael Bublé). “L.O.V.E.” also
plays to the stands, but feels a more authentic
presentation. It’s no surprise to know that Nat
King Cole was a major influence on Dokes growing
up (note Cole’s 1965 recording of this tune). The
album is loosely built around songs recorded by thelate singer-pianist, so similarly Dokes’ take on the
1933 “Don’t Blame Me” (Jimmy McHugh, Dorothy
Fields) is laid back in Cole style. The vocalist
is on very sure ground with Lerner and Loewe’s“Almost Like Being in Love”, demonstrating how
standards should swing. And is Dokes going tomess up Rodgers and Hart’s “This Can’t Be Love”?
Definitely not: it’s slightly down tempo from
“Almost” but swings hard enough to bend thehinge. The take on Michel Legrand’s “I Will Wait
for You” is more relaxed—Dokes is in appealingcrooner mode. Bernard Ighner’s “Everything Must
Change”, sampled via a 1974 Quincy Jones album,
is a sentimental choice since Dokes’ father used tosing it.
Gibson’s arrangements kick on Our Day, andthe soloists dig in admirably. Dokes has the voice tosoar over a large band.

before Speed takes his. The bassist sticks to thatparticular formula heard on “Ultraviolet” for theremainder of the set: breezy compositions withlots of pep, and anchored by his omnipresent licks.
Salted throughout are a few interludes that slow
down the propulsive tempo but the change of pacelends a meditative, albeit brief, vibe. At nine songs
clocking in at a mere 32 minutes, Mohler manages
to cram enough hooks in to last a lifetime.
For more info visit contagiousmusic.net. Mohler is at
Rizzoli Bookstore May 19 and Bar Lunàtico May 20.
See Calendar.

For more info visit johndokes.com. Dokes is at Mezzrow
May 16. See Calendar.

Ultraviolet
Billy Mohler (Contagious Music)
by Brad Cohan

T he compositional breadth that bandleader andmuscle bassist Billy Mohler possesses extends allover the map. Are his tight-knit and compact tunes
cut from a jazz cloth? Certainly. Can they also be
filed under the rock idiom? No doubt. The stylistic
guesswork that comes with his work as both anavant jazz-centric leader who was once awarded afull scholarship to the Thelonious Monk Institute of
Jazz (now known as the Herbie Hancock Instituteof Jazz) and a Grammy-nominated pop and rockbassist (whose long list of credits include recordingwith Lady Gaga, Dolly Parton, Miley Cyrus and Liz
Phair, among others) is what sets him apart fromthe pack. Mohler incorporates his experiences fromboth disparate worlds with flying colors.
His long-standing group, comprised of Chris
Speed (tenor, clarinet), Shane Endsley (trumpet)
and Nate Wood (drums) who prove ideal cohorts,
has taken a page from the convergent rock/jazz
template having explored it in The Bad Plus andKneebody, respectively. Under the bass-dominantstewardship of Mohler, this unit is a topflight,
well-oiled machine and they’ve shown exactly thatprecision from the start. The quartet’s 2019 debut(appropriately titled Focus) and its 2022 sophomore
set (Anatomy) were built on the thick and nimble
low-end melodic might of Mohler; he’s a force of
nature as ringleading bassist.
The leader’s strapping grooves are front andcenter yet again on Ultraviolet, his third—andvery solid—album. Accompanied by his terrificbandmates, the quartet blurs the lines of methodical
and elastic. Mohler’s compositions are loose andjammy but free-improvisational moments are in
short supply. Like a tight rock-oriented groupbut on a post-bop Ornette-like kick, Mohler andcompany latch onto an infectious groove, a bright
melody and myriad hooks and don’t let go and tasty
earworms are copious. The title track is a catchy
delight, Mohler holding down the emphaticallyrhythmic fort as Endsley’s high-flying trumpet
lines pirouette and dance in a glorious solo turn

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THE NEW YORK CITY JAZZ RECORD | May 2024 27

Gin
Jill McCarron Trio (Jazz Bird)
by Pierre Giroux

J ill McCarron’s second release as a leader, Gin, is atestament both to her prowess as a jazz pianist andcomposer. Though born in the U.S., she moved toToronto at an early age where she completed her
education by attending Toronto’s Humber College,
majoring in jazz performance, before beginninga professional career performing in Toronto (andmusic thatMontreal)shocked clubs. After being awarded a Canada
Council grant, she moved back to the U.S. andfurthered her skills and enriched her style in New
York, studying with pianists Richie Beirach, Kenny
Werner and Hal Galper.
Gin showcases her versatility and creativity inthe company of stellar musicians, including special
guests Vincent Herring (alto, tenor) and Randy
Brecker (flugelhorn). The 13 tracks are a potpourriof jazz classics, American Songbook standards,
and a three-part original suite appropriately titled“The Gin Suite”. The session opens with “The
Jody Grind” (the title track from Horace Silver’s
1966 Blue Note recording). Led by Herring (onalto), the band remains faithful to the tune’s
rhythmic antecedents and creates a confident
reimagining of the number. “Blues Bells” is atrio chart with bassist Chris Haney and the one
track with drummer Chuck Redd (elsewhere it’s
Andy Watson). It is a stylish swinger as McCarroncommands the piano with confidence and finesse.
The bassist and drummer are each given solo
space to show they are not only passionate but
technically accomplished players.
Reaffirming her status as an impressive talent,
the pianist dives into the Bill Evans composition“Waltz For Debby” in a solo piano exposition. The
result is an expressive, insightful and tastefully
restrained rendition. The album centerpiece is thethree sectioned “The Gin Suite”: “Gin/Bitters/
The Luck Of The Draw”. These vignettes deliver afascinating musical journey encapsulating sultry
melodies in the first section, intricate harmonies
in the second and some up-tempo improvisation in
the third, demonstrating McCarron’s command not
only of composition but of arrangement. Trumpeter
Brecker (on flugelhorn) joins the McCarron trio,
as does tenor saxophonist Ada Rovatti, for a runthrough of Don Grolnick’s “The Whisperer”, anevocative and thought-provoking number thatseamlessly blends each of their unique voices andmakes for a dynamic, engaging, creative sound.
Throughout the album, McCarron shows how
her musical influences and appreciation for jazz’rich history inform her playing.
For more info visit jillmccarron.com. McCarron is at
Knickerbocker Bar & Grill May 18 and Pierre Hotel
Thursdays. See Calendar.

Green Lights
Troy Roberts (Toy Robot Music)
by Keith Hoffman

F rom its noir-influenced cover shot of a pensive
Troy Roberts with a New York City-scape behind
him, to its generous helping of more than 70 minutesof music, Green Lights is all about space and mood.
The saxophonist’s 14th leader date is a return to his
acoustic-based, straight-ahead approach, following
two recordings of his Nu-Jive fusion-based unit. The
album is unusual in that it features all leader originals.
Although hailing from Perth (like bassist Linda
May Han Oh), the only populous area in sparsely
inhabited Western Australia, Roberts has been a New
Yorker since 2012, and this is an undeniably New
York album. Anchored by Brooklyn-born bassist John
Patitucci, the project has a hip, dark feel throughout,alternately (or simultaneously) soulful and spacy.
The title track opener is a beautiful, long
and languid workout, with master guitarist Paul
Bollenback doubling the melody, then providing
understated, minimalist voicings under Roberts’tenor. The saxophonist offers new versions of twotunes he previously released on 2020’s Stuff I Heard.

charlespillow.com

Electric Miles 2, the follow up to the acclaimed Electric Miles (2018), is a further explora on ofMiles Davis’ early electric period. The NYC ensemble features soloists
such as trumpeters Tim Hagans, Clay Jenkins and Sco Wendholt;
saxophonists Jimmy Greene and Alexa Tarran no; trombonists Alan
Ferber and Michael Davis; guitarist Pete McCann and pianist Henry Hey,backed by bassists Chuck Bergeron and Ugonna Okegwo and drummer
Jared Schonig.
‘‘With skill andimagina on,
Pillow arranges
the music thatshocked the jazz
establishment
in 1969”—Doug Ramsey

28 May 2024 | THE NEW YORK CITY JAZZ RECORDHe wrote an eerie string intro for “Harry Brown”,
perfectly suitable for a tune that is in the strangest,
most challenging four-four you may ever try tofollow and on which drummer Jimmy Macbride (astalwart and experienced Roberts ally) is more thanup to the task. The second re-purposed tune, “Solar
Panels”, also employs jagged, challenging rhythmic
figures, before settling into a hard-swinging groove.
The major change, in addition to Bollenback’s
distinctive voice on guitar, is Roberts’ switch fromsoprano to tenor. On the excellent “Jive Dumpling”,
Macbride uses a second line drum technique, without
actually settling into a second line rhythm. The
guitarist again doubles the melody until the reggae
bridge, when Patitucci takes up the melody with
Roberts. It’s a thoughtful and effective approach.
The album’s high point, however, is the lovely “TheScotsman’s Ballad”. The leader here wrote a moving
melody, then improvised chorus after chorus ofvariations on that melody, never losing the essential
flow and feel. The short solo by Patitucci, one of themost respected bassists in the world, is the cherry
on top.
This is an unquestionably fine addition to thestraight-ahead side of Roberts’ recorded output.
For more info visit toyrobotmusic.com. The album release
concert is at The Jazz Gallery May 4. See Calendar.

Things Are Looking Up
Queen Esther (EL Recordings)
by Anna Steegmann

Q ueen Esther defies classification. She’s a
vocalist, writer, librettist, performer, playwrightand producer who has also started her own recordlabel. Her previous albums found critical acclaim,
especially her 2021 Black Americana project, Gild
The Black Lily. Known for collaborating with James“Blood” Ulmer, JC Hopkins Biggish Band and Elliott
Sharp, she finds inspiration in the vibrant anddiverse African-American culture of the Deep Souththrough jazz, blues, gospel and country. She has been
described as a “Billie Holiday-ish singer” and has
indeed previously explored Holiday’s body of workin theatrical performances. Things Are Looking Up,
her sixth recording as leader, is a tribute album andfeatures eight lost and rare songs sung by Holiday,
in addition to four originals. Through this release,
her intention is to transform the image many may
have of Holiday as a victim, and to show the singer
in a more positive light.
Joined by Jeff McLaughlin (guitar), Jeremy
Bacon (piano), Hilliard Greene and Thomson
Kneeland (basses) and Shawn Balthazor and Warren
Smith (drums), her voice’s rich timbre is full-bodied,hearty and captivating, while the musicians are
given ample room to shine in instrumental sections
within each tune. In “Having Myself a Time” (Robin,
Rainger), Queen Esther sounds poised and selfassured as she convincingly delivers its lyrics. This
selection is remarkable for Bacon’s exquisite piano
playing and McLaughlin’s steely guitar. “Detour
Ahead” (Carter, Ellis, Frigo) finds piano, guitar andbass creating a solid foundation, while the drums
are light and feathery. With all the markings of a
crowd-pleaser, the vocalist makes this song soundfresh and contemporary. “I’ll Look Around” (Cory,

Cross) especially shows off the range of her voicefrom tender to soaring. The title track (Gershwin,
Gershwin) is a charming, feel-good song aboutovercoming depression and recognizing “the great
little world we live in.” For the four originals, Queen
Esther wrote captivating lyrics. “Paris on the Moon”,
the most persuasive of her compositions, stands out
for its swinging, up-tempo rhythm and its enticing
story of the importance of dreams in escaping theconfining reality of living in an SRO.
For more info visit queen-esther.com. The album release
concert is at Scarlet May 6. See Calendar.

And James Brandon Lewis
The Messthetics (Impulse!)
by John Pietaro

S axophonist and composer James Brandon Lewis

has consistently been a fluid heir-apparent to theColtrane legacy, and his latest foray with the fiery,punk-laced trio The Messthetics, is evidence of that
proposition. The band, in essence a quartet now withthe addition of Lewis, moves into a genre-defying
place, a mélange of classic instrumental music andbeyond. The angular, chromatic head of opening
number “L’Orso” screams of Ornette Coleman aswell as intriguing ’70s film scores such as David
Shire’s The Taking of Pelham 123. In this cut, the four
members demonstrate a unity generally experienced
only by long-term bandmates. Similarly, in “ThatThang”, Lewis and Anthony Pirog’s (guitar) unison
flies over the throbbing rhythm section of Joe Lally(bass) and Brendan Canty (drums), besting the
tradition of Mahavishnu-inspired fusion (the piece’s
B-section dances right out of the near-Eastern
tradition). Listen for Pirog’s guttural, distortionladen solo, followed by Lewis’ own, and uniquely,
the saxophonist thrives on this minimalist, radicalcore of punk.
“Emergence” is pure instrumental rock-androll, with the tenor saxophonist blasting over the
guitarist’s poetic lines. “The Time Is the Place”
grooves as softly as its ballad-like melody, with
Pirog’s solo reminiscent of Adrian Belew enoughto conjure up ’80s King Crimson. Pirog has been
melding jazz improvisation into bottom-heavyrock for years; it was at a session for drummer
William Hooker’s 2018 Pillars…at the Portal that theguitarist first encountered Lewis, and both knew
synchronicity when it fell upon them. This writer
was present some years ago at The Messthetics gig
in Brooklyn when Lewis was asked to sit in on a
few numbers. Following this fortuitous moment, thesaxophonist mentioned he’d never played with theband before. No shock, as improvisational musicians
always create in the moment, but the entire house
felt something special that night.
Pirog’s stance at the crossroads of jazz andlatter-day rock is the bridge between Lewis and
The Messthetics’ rhythm section. The enmeshmentof genres was deliriously obvious from the start,
but in this quartet format, the band, brandishing an
Impulse! album cover caught in a Coltrane-era time
warp, speaks to the listener of what’s yet to come.
For more info visit impulserecords.com. The album release
concert is at Bowery Ballroom May 19. See Calendar.

THE NEW YORK CITY JAZZ RECORD | May 2024 29

John Zorn: The Fourth Way
Brian Marsella, Jorge Roeder, Ches Smith(Tzadik)by Tom Greenland

T he Fourth Way is the sophomore release of John
Zorn’s compositions/arrangements for piano trio
performed by Brian Marsella (piano), Jorge Roeder(bass) and Ches Smith (drums), a follow-up to
Zorn’s Suite for Piano (2002), which was inspired by
the works of Bach and Schöenberg. The Fourth Way,in contrast, was inspired by Armenian mystic/
philosopher/musician George Gurdjieff, whose
teachings are compiled in a book of the same name.
The album’s six selections are mostly shortvignettes of varying design, save one, the opener, analmost 23-minute epic excursion that puts the canny
musicians through heroic paces. Titled “Meetings
with Remarkable Men”, this remarkable track is a
study in contrasts. It’s both unified and divided,
prescriptive and uninhibited, arcane and accessible.
The arrangement moves quickly and abruptly
through many scenarios, as if we were strollingthrough a portrait gallery of these men, gazing on a
new visage every thirty seconds or so, each a uniqueand eccentric personality. Musically, progression
translates to incessant montunos, sparse flowery
ballads, staccato pinprick attacks, fast looping
minimalistic themes, free-form foley artist effects,
an Iberian/Middle Eastern meditation, ecstatic
outbursts and a stuttering boogaloo, among otherthemes. An over-arching unifying theme stitches theentirety together: initially in ten beats (4+6), later
reprised in eleven beats (3+3+2+3), then seventeen,then in a cycle of sixteen, fourteen and twelve
beats. Despite this complexity, the trio navigates
What Times Are Thesethe mercurial composition with dexterity, creativity
Jamie Baum Septet (Sunnyside)
and, most importantly, a sense of humor.
by Jim Motavalli
The final five tracks are relatively short. “Journeyto the Inaccessible” is tonal yet fluid. “Into the Abyss” F lute player/composer/bandleader Jamie Baum’s
is free form and then swinging, showcasing the sinewy What Times Are These, which grew out of her growing
thrust generated by Roeder and Smith, strong enough to interest of reading poetry during the pandemic,
obviate a melodic lead. “The Book of Pleasure” is lush, melds spoken word with music.
romantic, delicate and understated when compared to
The album gets underway with “In the Light of
the rest, while “Sacred Steps” is crisp, incessant and Day” and its repeated piano note by Luis Perdomo,
frenetic—like hardbop played ‘out,’ interjected with which is buttressed with hand percussion before
moments of pure noise, providing another feature broadening into a near-martial, insistent theme.
for Roeder and Smith’s collective drive. “Matins” Punctuated by horns, the leader’s solo meetsfunctions like an aperitif: a slow, folksy waltz with a the urgency of the moment. Trumpeter Jonathan
nursery rhyme theme, and Marsella’s piano plinking Finlayson’s entrance is as natural as breathing,“PARTIALCUSTODY”
like light rain on a thin window pane.
beforethe composition
comes full circle, returning
Featuring Ben Stapp and James Paul Nadien
Though specific influences aren’t obvious, back to that piano note for the outro. Bass clarinetist(Orenda Records 0109)
SamandSadigursky
joins Perdomo in support of Baum’s
it’s not hard to imagine how Zorn’s musical and“Max Kutner
his estimable“An early candidate for my album
ensemble cook up a most potent stew
emotional
spokenreadingof—KenMarge
Piercy’s “To Be
spiritual imagination found resonance in Gurdjieff’sof the year.”
Shimamotoof the freewheeling mixed with the(The Stash Dauber)über-exacting…”
—Nels
Cline
around the poem opens toknowledge and awareness outside of conventional of Use”; the spare section
an uplifting instrumental section featuring the bass
scientific and religious thought.
clarinetist and guitarist Brad Shepik’s luminous,
For more info visit tzadik.com. Brian Marsella is at The shape-shifting guitar playing. Tracy K. Smith’s
Stone at New School with Cyro Baptista May 23-24. See post-apocalyptic (yet hopeful) “An Old Story”,
works as art song. Ricky Rodriguez’ electric bass
Calendar.

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Featuring Ben Stapp and James Paul Nadien(Orenda Records 0109)“Max Kutner and his estimableensemble cook up a most potent stewof the freewheeling mixed with theüber-exacting…” —Nels Cline“An early candidate for my albumof the year.” —Ken Shimamoto(The Stash Dauber)
Now available exclusively via
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30 May 2024 | THE NEW YORK CITY JAZZ RECORD

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and Perdomo (on Fender Rhodes) are prominent,with an open horn solo by Finlayson. The multitracked voices heard on “In Those Years” featuresa haunting lead vocal by Theo Bleckmann, while
the title track features the instrumental approach of
Portuguese vocalist Sara Serpa (who is effectively
featured elsewhere on the album, including on
Naomi Shihab Nye’s “My Grandmother in The
Stars” and Piercy’s “I Am Wrestling With Despair”).
The thematic weave of the chosen readings
becomes clear and begins to cohesively focus
as the album progresses. Shepik’s funky guitar
underpins the music, and his lyrical repetition isused effectively. One of the most successful choiceson the release is Kokayi’s rap-singing recitation of
his own introduction to “Sorrow Song”, as well as
Lucille Clifton’s piece, which evokes somewhat of
an irritable Gil Scott-Heron meeting ’60s spiritual
jazz, which actually works out quite wonderfully.
Although Baum is not heard much as a soloist on
the pieces that include poetry, she is showcased on
the last two tracks (both instrumentals): “Dreams(for Ron Wynne)” and “In the Day of Light”, thelatter an album highlight.
What Times Are These is a challenging departurefor Baum, and kudos to her for taking it on.
For more info visit sunnysiderecords.com. The album
release concert is at Drom May 7. See Calendar.

of a drone, Taylor setting up a ticking rhythm
that allows the others to essay gently exploratory
melodies. At times the music brings to mind Herbie
Hancock’s Mwandishi or the late jaimie branch’s
Fly or Die, but the leader’s solo is a sputtering
whirlwind of squeals and squiggles that follows aline laid down in the manner of Lester Bowie, Bill
Dixon and Wadada Leo Smith. Reid and Håker
Flaten duet, before the cellist takes off on her
own; Locks hectors the audience with declamatory
poetry. “Driftless”, with less time to work its magic,
delivers more overt melody and a steadier groove.
For more info visit corbettvsdempsey.com. Mazurek is
at Public Records (part of Bang On A Can’s Long Play
Festival) with Chicago Underground Duo May 5. See
Calendar.

R ob Mazurek is a composer, bandleader andplayer of multiple instruments in the trumpet
family, but the best term to describe him might be“catalyst.” He has spent decades leading, or at leastorganizing, multiple projects including the Chicago
Underground, São Paulo Underground, Exploding
Star Orchestra and many others, plus collaboratingwith legendary figures such as trumpeter Bill
Dixon and saxophonist Pharoah Sanders. When
Mazurek brings people together, things happen.
Spectral Fiction documents a performance recorded
live at Corbett vs. Dempsey’s Chicago gallery spacein March 2023, by a stripped-down version of theordinarily sprawling Exploding Star Orchestra. The
musicians were already primed and warmed up forthe date by a concert the preceding night, playing
music from Lightning Dreamers (International
Anthem) at Chicago’s Adler Planetarium’s Sky
Theater. Mazurek is joined on Spectral Fiction by
Damon Locks (vocals, electronics—he samples ayoung woman’s voice, letting a phrase loop over andover, slowing down and speeding up, in a mannerthat recalls Steve Reich’s “Come Out”), Tomeka Reid(cello, electronics), Angelica Sánchez (Wurlitzer
electric piano), Ingebrigt Håker Flaten (bass) andthe anchor of all the Chicago Underground groups,
Chad Taylor (drums). Together they play just twopieces: “Equations of Love in Prismatic Waves ofColor” (which lasts nearly 40 minutes) and theMazurek-penned “Driftless” (13 minutes).
“Equations of Love…” is a fascinating
performance. Mazurek never seems to be leading
the ensemble; instead, the music swells to life out

HELEN SUNG AND GEOFFREY KEEZER PLAY ELLINGTON
MAY 2–3

BERTHA HOPE & JORDAN WILLIAMS PLAY ELLINGTON
MAY 4–5

MARC CARY & JAMES HURT PLAY ELLINGTONMAY 6PATRICK BARTLEY TRIO
MAY 7

JULIAN LEE AND FRIENDS
MAY 8

APA: ISAIAH J. THOMPSON QUARTET
MAY 9–12

JULLIARD JAZZ ORCHESTRA: DUKE’S LONG FORM PIECES
Dissolve
Richard Nelson/Makrokosmos Orchestra(Adhyâropa)
by Scott Yanow

G uitarist Richard Nelson is a rather adventurous

Spectral Fiction
Rob Mazurek Exploding Star Orchestra/
Small Unit (Corbett vs. Dempsey)by Phil Freeman

MAY 1arranger/composer who leads the 14-piece
Makrokosmos Orchestra. He has been a longtime
member of the Aardvark Jazz Orchestra and has
written for other groups in addition to fulfillingcommissions. His writing often utilizes overflowing
and crowded ensembles, a strong forward
momentum, and a variety of sounds and tone
colors. One may think of Bob Brookmeyer at times,
but Nelson’s arranging is quite original. Dissolve
consists of three lengthy compositions (clocking
in between 11:38 and 15:16) that utilize all of thecolors possible with the Makrokosmos Orchestra’s
instrumentation of two trumpets, euphonium,
bass trombone, French horn, alto, tenor, flute, bass
clarinet, keyboards, bass, drums, percussion andthe leader’s guitar.
Album opener “Dissolve” has quite a bit goingon at one time. It starts with dense ensembles,
has a quieter and almost peaceful section that is
occasionally punctuated by accents from the fullgroup, and a tenor solo from Adam Kolker overthe band before finishing with some otherworldly
sounds. “Float” is a bit more conventional incomparison. It finds Tim O’Dell on soprano
improvising over the long tones and “clouds ofsound” (think Claude Thornhill) supplied by theother horns. Nelson has a solo, with the ensemble
sounding closer to a jazz big band, before O’Delland those clouds return for the last part. The final
piece, “Cohere”, was written to celebrate the joyof making music together with one’s friends. Aftersome rumbling ensembles, Arcoiris Sandovalis featured on electric piano. There is also a
conversation between drummer Scott Neumann
and Rex Benincasa on bongos, and a statement fromtrumpeter Jacob Varmus, with musical commentaryfrom the other musicians. The piece and album
conclude with Sandoval taking it out on keyboards.
Dissolve is filled with stimulating, unpredictablemusic.
For more info visit adhyaroparecords.com. The album
release concert is at Shapeshifter Lab May 3. See
Calendar.

MAY 13

AKIKO/HAMILTON/KOVALCHECK TRIO
MAY 14

SARAH HANAHAN: AMONG GIANTS
MAY 15ALLAN HARRIS’ HARLEM AFTER DARK
MAY 16JEONG LIM YANG’S ZODIAC TRIO 7PM
LAWRENCE FIELDS TRIO 9PM
MAY 17–19

VICTOR GOINES QUARTET
MAY 20CHRISTIAN X. M. MCGHEE ORCHESTRA
MAY 21

SASHA DOBSON & HER QUARTET FEAT. PETER BERNSTEIN
MAY 22–23

SUN RA AT 110 WITH SULLIVAN FORTNER’SGALACTIC FRIENDS
MAY 24–26

CYRUS CHESTNUT TRIO
MAY 28BRAZILIAN JAZZ ICON: A CLAUDIO RODITI TRIBUTE
MAY 29NANNY ASSIS WITH SPECIAL GUEST RON CARTER
MAY 30–JUN 2

DION PARSON AND 21ST CENTURY BAND

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

212.258.9595
BROADWAY AT 60TH ST.

THE NEW YORK CITY JAZZ RECORD | May 2024 31

D-DayMonty Alexander (MVD Entertainment)
by Marilyn Lester

O n the auspicious day of June 6, 1944, twosignificant events happened an ocean apart. The
greater of these was the World War II Allied
invasion of German-held France, the Normandy
landing of D-Day. The other event was the birth ofMontgomery Alexander in Jamaica, West Indies, themusician who would go on to international fame asa jazz pianist. In homage to the battle that brought
World War II to its close, Alexander has released
D-Day, with a dozen tracks of mostly originals. The
short spoken intro by the pianist espouses that now“everywhere is war.”
The first musical track “I’ll Never Smile Again”(Ruth Lowe) begins with pathos; Alexander’splaying then widens to pick up the pace, deliveredin his embellished, Art Tatum-esque style.
Curiously it ends with a kind of cowboy-ridingthe-trail feeling, with drummer Jason Brown
applying sticks like hoof beats. The irony of asmile is also captured in Charlie Chaplin’s 1936
“Smile”. Although lyrics were set later, in 1954,

the sentiment of them, “Smile, though your heartis aching,” comes through. Alexander’s brisk andlight interpretation manages to exude a measure ofhope with a forward-pulsing energy.
His style as a player is heavy on harmonicand rhythmic intensity; “Aggression” is a fierce
statement of that ethos, and a pointed pianistic
comment on militant pugnacity. With defining
backing statements from bassist Luke Sellick and
Brown, the power of music to agitate is clearly
demonstrated. In contrast, Alexander’s “Riverof Peace” is a gentle, flowing tune that finds his
trickling notes delivered as healing waters. The
jubilation of peace is reflected in “V.E. Swing”, thepianist’s ode to the Swing era with glissandi andother happy-making embellishments in its jaunty
dance party tempo. A bass feature allows Sellick
to joyously stretch out. The penultimate track,“D-DayVoices”, threads Alexander’s statements
on war and peace with various vintage radio clips.
Underscored throughout by the trio, the piece ends
with his statement,“we don’t need no more trouble.”
The album closer is the traditional “Day-o”,
recorded live, with Alexander vocally leading theaudience. A full band and calypso beat showcase anumber full of joy, happiness and solidarity.
As a musical statement, a tone poem about war
and peace, what better way to end D-Day than witha living example of how the world can be whenpeople gather together to, paraphrasing that old’60s chestnut, make love not war.
For more info visit mvdshop.com. Alexander’s 80thbirthday album release concerts are at Birdland May 28- Jun. 1. See Calendar.

A Nuyorican Tale
Carlos Henriquez (s/r)
by Russ Musto

F ollowing in the tradition of his previous effort,
The South Bronx Story, on this, his fourth album asa leader, longtime Jazz at Lincoln Center Orchestra
bassist Carlos Henriquez presents a diverse programthat proudly pays homage to his pedigree as a
New York native of Puerto Rican ancestry. While
the prior release focused on the bassist’s personal
history and experience growing up, A Nuyorican
Tale conveys the overall Nuyorican experience andcomplex history of families who migrated to New
York City and the South Bronx from Puerto Rico.
The album features nine original pieces on which
he clearly demonstrates his formidable abilities, notjust as a virtuoso instrumentalist, but also as anaccomplished bandleader and capable composer.
The date features the bassist’s working nonet (whichperennially holds down the fort at Dizzy’s Club
during New Year’s Eve week): Jeremy Bosch (flute,
vocals), Michael Rodriguez and Terell Stafford(trumpets), Marshall Gilkes (trombone), Melissa
Aldana (tenor), Robert Rodriguez (piano, Fender
50 years of jazz recordings

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32 May 2024 | THE NEW YORK CITY JAZZ RECORD

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Rhodes), Obed Calvaire (drums) and Anthony
Almonte (congas, vocals). Album opener, “Nuyorican
Souls”, sets the tone, blending Afro-Cuban, jazz andR&B musical sensibilities with bilingual lyrics thatspeak to the plight of a Latino people with “rhythmin our blood.” The group delivers smooth ensemble
playing throughout that often gives it a largerthan-its-size big band sound, laced with plenty ofsolo power. Henriquez demonstrates his virtuosic
bowing on “Bodegas Groove”, a funky tribute to therapidly disappearing establishments that have long
been the cornerstones of Latino neighborhoods. An
album highlight is “Afro Monk”, which pays tributeto the iconic pianist who was a longtime residentof “San Juan Hill,” the so-dubbed neighborhood of
Manhattan’s Upper West Side, razed in the early’60s to make way for the construction of Lincoln
Center. Also memorable are the NOLA-flavored
throwdown of “Robert’s Red Line” (referring to theracist banking practice known as redlining) and thepulsating Afro-Cuban rhythms in “Ritmo’s 53”.

and group fade. “Twelve Clowns” in sing-song 3/4
evolves from Sigler’s Ed Bickert-esque arpeggiations
to Knuffke’s playful bluesy statement. The wistful“Seasons” and samba-strut of “Shunting Line” wrap
this satisfying set, the double-bass’ undercurrents
of attentive aplomb assuring success.
In a recent DownBeat essay on methods andtechniques for bebop improvisers, Veneziani
exhorts students to master kernels (pockets) ofphrasing, control (brake) tempos, loop shortsections and stick with eighth notes. Good advice
to hear such pros expound.
For more info visit andreaveneziani.com. Veneziani is atCafé Erzulie May 1. See Calendar.

Veneziani, a firm, gentle leader with a sprightly
sense of melody, keen ear for ensemble interaction,
and a didactic nose to sniff out and codify
instructive lessons. The Tuscan-born bassist arrived
in New York in 2009 as a Fulbright Scholar; with amaster’s degree in music from NYU, he carved out
a niche as a sideman (e.g. Ben Monder, Houston
Person, Brian Lynch, George Schuller) and also
became an educator on the faculty of the New York
Jazz Workshop. This new release, a belated sequel
to his imaginative 2012 leader debut Oltreoceano(with pianist Kenny Werner and drummer Ross
Pederson), presents eight originals cut from whole
cloth and devoted to highlighting his new band’s
personalities, including Kirk Knuffke (cornet),
Charlie Sigler (guitar) and Allan Mednard (drums).
Telltale hallmarks illuminate Veneziani’s
compositional style. Melodies favor a series of short,weighted motifs that may call and respond. Poised,subdued themes shift up-tempo into solos. Subtle
harmonic progressions may circle back or echo.
Except on the opener and closer and one gravid
intro, the leader eschews soloing, ostensibly to fix
his beam on aural observation, congenial dialogue,
aesthetic cohesion and forward impetus. The title
track and “In Perpetuum” share twisting structuresand sequences that elicit inventive solos from allhands. The dreamlike “Gravity” harkens to a famous
ballad by Thad Jones (another stellar cornetist) as
Knuffke waxes adventurous. “Bop-Be”, suffusedwith light humor, finds a tip-toe unison line à la
Lee Konitz-Warne Marsh, interrupted by a free-forall, followed by edgy duets and Mednard’s snappy
fills. Knuffke’s yearning lines reminisce of Kenny
Wheeler on a peaceful “Rainbows”; Mednard’s
rimshots set up his own and Sigler’s sunny arcs

New Members

Terence Blanchard
Anthony Braxton
Libby Larsen
Steven Mackey
Roscoe Mitchell
John Williams
Rosanne CashCharles Ives Living

Solo Concerts: Bremen/Lausanne
Keith Jarrett (ECM)
by Terrell K. Holmes

T he Lighthouse shines as a beacon on Andrea

2024 New Members andAward Winners in Music

American Honorary Member

For more info visit carloshenriquezmusic.com.
Henriquez is at Rose Theater with Jazz at Lincoln Center
Orchestra’s ”Duke Ellington at 125” tribute May 3-4.
See Calendar.

The Lighthouse
Andrea Veneziani (s/r)
by Fred Bouchard

Arts and Letters

I n 1973, two years after his solo piano debut,
Facing You, and two years before The Köln Concert
would ensure his place in jazz history, Keith Jarrett(who turns 79 this month) played a pair of solo
piano concerts in Germany and Switzerland in
March and July that he viewed as part of his “antielectric music crusade.” The resulting album, Solo
Concerts: Bremen/Lausanne, is in some ways more
accomplished than Köln, and is the album thatsignaled Jarrett’s arrival as a master improviser (healso composed all the music).
The Bremen concert begins slowly as Jarrett
muses among the chords, trying out different colors
and textures. Once he establishes a theme he plays
variations on it, then mines new melodies fromthe variations to create music of stunning depth
and beauty. Jarrett lays down waves of arpeggios
complemented by bass notes that rumble like thetide coming in. He moves from classical piano,
gospel-inflected block chords and barrel house,
with some stride thrown in for good measure.
And he was just warming up. The Lausanneconcert, performed a few months later, is a tour deforce, with compositions shifting in creative ideas,such as a garrulous, full-bodied blues rhythm
underpinned with crescendos of heavy, full force
block chords. This concert includes one of Jarrett’s
most memorable excursions, a stretch of impassioned,
intense playing that continues to build until it ends
with a slowly diminishing acquiescence of the bass
notes. His opening excursion into prepared piano on
the second half of this concert is stark, almost eerie,and pitch perfect. He alternates with more gospel
influenced chords, which are the ones that seem tomove his soul the most. One section of the concert,
towards the end, consists of an all-out assault on
the keys. Some might interpret this as a challenge
to the audience; others might think that Jarrett had
momentarily run out of ideas. Jarrett? No, he wasonly creating.
Fifty years later, because of Jarrett’s creativity
and dynamism, Solo Concerts: Bremen/Lausanne sounds
as fresh as the day it was first released, and this recent
vinyl boxed set reissue (part of ECM’s “Luminessence”
series) will be welcomed by the countless Jarrett fans
who wore out their copies long ago.

Sean Shepherd
Arts and Letters Awards

Michael Fiday
Keith Fitch
Stephen A. Taylor
Amy Williams
Virgil Thomson Award in Vocal Music

Rhiannon Giddens
Benjamin H. Danks Award

Aaron Helgeson
Andrew Imbrie Award

Anthony Cheung
Wladimir and Rhoda Lakond Award

James W. Newton, Jr.
Goddard Lieberson Fellowships

Vijay IyerŽibuoklė Martinaitytė
Walter Hinrichsen Award

Jesse JonesCharles Ives Fellowships

Fang Man
Susie Ibarra
Charles Ives Scholarships

Elise Arancio
Jacob Beranek
Luke BlackburnLiam Cummins
Isaac Santos
Justin Weiss

American Academy of Arts and Lettersartsandletters.org

For more info visit ecmrecords.com

THE NEW YORK CITY JAZZ RECORD | May 2024 33

Discover the Present
Altin Sencalar (Posi-Tone)by Thomas Conrad

T rombonist Altin Sencalar first got noticed in 2020

with the release of Realization by the Sencalar/
Glassman Quintet. The band’s front line wasunusual: Sencalar on trombone and co-leader Chris
Glassman on bass trombone. At the time, Sencalar
was pursuing a masters degree at Michigan State
University, whose Jazz Studies program has beenturning out promising talent of late. A case can bemade that the appearance of a hot new trombone
player is a more noteworthy event in jazz than
the arrival of, say, a comparably capable tenor
saxophonist or pianist. The reason is simple: there
are many more of the latter two than the former. But
there are jazz fans (including your correspondent)with a special fondness for the rich sonorities andexpressive depth of a trombone in the right hands.
Discover the Present, Sencalar’s fifth recording as
leader or co-leader, opens with an intriguing coverof Herbie Hancock’s “Maiden Voyage”. The original
version (the title track from Hancock’s 1965 Blue Note
album) is famous for its mesmerizing moodiness andits subliminal tension. Sencalar’s rendition is fasterand more extroverted. He introduces new voicingsand colors and bathes Hancock’s haunting melody inbrighter light. The trombonist’s solo here comes fromdeep within the song, then flows free. The album
closer, “You’re My Everything”, features the leader’sintricate arrangement, which oversees an eight-pieceensemble with many moving parts. The melody ispassed repeatedly through four horns (the otherthree are saxophonists Diego Rivera and Markus
Howell and trumpeter Anthony Hervey). The fourpiece rhythm section makes this Harry Warren song
sound like it was always meant to be a bossa nova.
If there is a reservation about this intelligent
record it is that Sencalar, like so many current jazzmusicians, insists on writing most of what he plays.
Eight of the remaining nine tunes are originals.
All are competent and professional. All launchsolid solos by the leader and his sidemen. But ascompositions, none are truly memorable. Discover the
Present would have been stronger if it had contained
more of what Sencalar does best: create fresh jazzinterpretations of the works of great composers.
For more info visit posi-tone.com. Sencalar’s album
release concert is at Barbés May 30. See Calendar.

Slow Water
Stephan Crump (Papillon Sounds)
by Kurt Gottschalk

T he Mississippi River has long been a thoroughfare

for the migration of music in America. Generationsof musicians with sufficient moxie left the factories
and fields of the South to make their way north,feeding growing urban centers from New Orleans
to Memphis and St. Louis, working barges along theMissouri River to Kansas City and the Illinois River
to Chicago. For such a powerful cultural tributary,
relatively little music has been written about theriver itself. The New York City-born bluegrass

G LO B E U N I T Y

Can You Hear It?
Mikko Innanen, Stefan Pasborg,
Cédric Piromalli (Clean Feed)
Post Koma
Koma Saxo (We Jazz)
HietsuMikko Innanen Autonomus (Fiasko)
by Daniel A. Brown

T hree recent releases here highlight the music ofFinnish reeds player Mikko Innanen, a musician
who isn’t hidebound to tradition yet brings acertain reverence and sophistication to jazz. Equally
comfortable with alto, soprano, sopranino, tenor
and baritone saxophones (as well as flutes), therecently-turned 46-year-old Innanen has performed
with elders including John Tchicai, Han Bennink
and Barry Guy, and is a long-established figure in
the contemporary Finnish and European scenes.
Since his earliest forays 25+ years ago, he relishes in
exploring, even upending, ideas of what jazz is andwhat the music is becoming and his latest releases
are all indicative of those very same investigations.

A 21st-century reboot of the jazz-organ trio
format, Can You Hear It? finds Innanen joined
by Cédric Piromalli (organ) and Stefan Pasborg(drums), for a varied nine-song collection. Album
opener “Pratsch” is propelled by a rollicking
vamp of playful retro-funk; Lori Freedman (theveteran Canadian bass clarinetist) appears as aguest vocalist, interrogating the listener withpoetic questions (“What was it? What will it be?”)as the band raises “Pratsch” to a scalding groove.
“Earth” is a languid gospel number, with Innanen
layering burnished bluesy lines over Piromalli’s
chordal swells. The band delivers “Roy’s Message”
with evident glee, a prog-leaning showcase for theorganist and drummer who goad Innanen to digeven deeper.
The brainchild of Swedish bassist and producer
Petter Eldh, his Koma Saxo project is a high-aiming
merger of live instrumentation and sampling. Post
Koma is concise: 13 tracks in 34 minutes play like acryptic suite. Courtesy of Eldh’s digital morphingand production, assembled players—Innanen (alto,
baritone), Maciej Obara (alto), Jonas Kullhammar(flute), Otis Sandsjö (tenor), Christian Lillinger(drums)—are, to some degree, presented as
indistinguishable, phantom-like presences. “Portal
Koma” is an electronic-dub showcase where thehorns are tantamount to alarm systems gone awry.
Drenched in reverb, “Eka Amok” features horns

34 May 2024 | THE NEW YORK CITY JAZZ RECORD

playing weeping, cascading lines; the mournful
melodies of “Natt Koma” dissolve into a glitchedbass-and-drum beat. The risk-taking style of Eldh’s
aesthetic might be jarring for some, but adventurous
listeners will pursue the odd world of Post Koma.
The ensemble Mikko Innanen Autonomus’
Hietsu emphasizes the saxopohonist’s interest in
working with a variety of instrumental tonalities.
Available in an attractive vinyl version (and digitalformat), strings are the prominent players. The
forefront of Maija Linkola and Elina Viitasaari(violins); Lotta Poijärvi viola); Antti Lötjönen (bass)
and Petri Kumela (contrabass guitar) provide an
exciting underpinning to the unpredictable playingof Innanen, pianist Håvard Wiik and drummerPeter Bruun. The manic flow of “Side A” takes arudimentary, Albert Ayler-like theme that is carriedalong by Wiik and Innanen, embroiled in a tug of
war of ideas and themes, until the performance issnatched away from them by the strings, dissolving
into a veritable bramble of plucks, arco runs andgliding squeals. “Side B” boasts a syncopatedostinato line straight from the Sun Ra galaxy, Innanen
guiding the group with upper-register melodies intoa pure abstraction. Hietsu is a demanding listen andwholly worth the challenge.
For more info visit cleanfeedrecords.bandcamp.com,
wejazzrecords.bandcamp.com and fiaskorecords.com

master John Hartford is one notable exception,and country singers Johnny Cash and Roger Miller
deserve honorable mention for separate efforts,
both called “Big River”.
Memphis-born bassist Stephan Crump takes
a more granular approach to composing for themighty Mississipp’. There’s no singing on his
Slow Water, and the subject matter isn’t people
working on the river, but the ways rivers work. The
67-minute suite (in 16 continuous sections) takes as
its subject the nonhuman lives that depend on rivers
to survive. Crump currently lives near Brooklyn’s
Gowanus Canal, a 1.8-mile waterway connecting to
New York City’s upper harbor. He drew inspiration
not only from the canal but from other waterways
such as Puget Sound in the Pacific Northwest, theMissinaibi River in Ontario and the Onyar River inSpain, further informed by science journalist Erica
Gies’ 2022 book Water Always Wins.
That sourcing can be heard in the little ripples
and jetties of Crump’s delicate compositions.
These works are not literal, sonic renderings,
even if the title Slow Water suggests quite well
the sound and feel. Crump assembled a stellar
chamber ensemble for the project: Patricia Brennan(vibraphone), Jacob Garchik (trombone), yuniya
edi kwon (violin), Joanna Mattrey (viola) and
Kenny Warren (trumpet), along with his own
lyrical bass. No drums, no reeds, no piano, and thebrass instruments lay low in the mix. The musicalcurrents follow complementary, but not identicalpaths, more easily felt than discerned through thesometimes murky whole. The mighty Mississippi isknown by many nicknames, Big Muddy being themost popular. But such a sobriquet doesn’t take
into account the beauty of the sun shimmering on

its wide surface on a clear day. Crump’s lovely suitetakes all such river-born phenomena into account.
For more info visit stephancrump.com. The album release
concert is at The Jazz Gallery May 15. See Calendar.

RevealMicah Thomas (Artwork)by Marco Cangiano

M icah Thomas’ new outing, Reveal, confirms all

the promises showed in his previous albums suchas Tide and Piano Solo. Recorded in just one day
and without isolation booths, this release is a true
piano trio, very much in the Bill Evans tradition.
Nowadays, there’s a certain cliché that most suchtrios are little more than a piano sustained bya rhythm section. But here with Reveal, Thomasand his partners—Dean Torrey (bass) and Kayvon
Gordon (drums)—perform something special.
Cruising through nine originals, most of which
are taken at a deliberate medium tempo, the empathic
trio concocts a highly-sophisticated approach to thematerial by unfolding intricate, melodic lines againstcomplex and ever-evolving harmonic palettes.
While perhaps not always memorable, Thomas’

originals mainly follow a similar structure whereby
a melodic line opens and is then built upon as itproceeds, leaving ample space for Torrey to display
his marvelous sound and cherry-picking of notes.
In this style, the bassist reminds one of Evans alum
Chuck Israels who never felt the need to show off his
technical skills, but rather focused on choosing theright notes. But it is Gordon’s drumming that elevates
the trio to another level. His capacity to listen andunderline the work of his partners is reminiscent of
the great Evans drummer Paul Motian.
As each tune unfolds, it reveals many surprises
and turns as the pace accelerates to then slow
down again. Perfect examples are two versions of
the opener “Little Doctor”, showcasing the trio’s
creativity at its best. There are many influences one
can hear—virtually the entire piano jazz oeuvre
since the late ’50s—but Thomas’ trio always comeout on their own. “Look at the Birds”, thoughreminiscent of early Keith Jarrett, evolves in amuch more complex fashion; “Lightning” revisits
but then quickly departs from some post-bop
material through an E.S.T. lens; “Troubled Mind”
seems inspired by some of Paul Bley’s ethereal
atmospheres, with occasional atonal peaks and“Denardirn” ebbs and flows in both volume andpace as in some of Brad Mehldau’s works. A final
take-away from Thomas’ piano style is that his is a
deep sound combined with an uncommon restraint
and focus on each single note and chord.
Reveal may be considered as a step into
maturity, but chances are this trio has room to groweven further.
For more info visit micah.io. Thomas is Roulette May 2.
See Calendar.

ANDRÉ 3000 • NORAH JONES • LAUFEY

JAZZ,
THE MONTREALWAY!

KILLER MIKE • HIATUS KAIYOTE • FREDDIE GIBBS X EL MICHELS AFFAIRPINK MARTINI • CORY WONG • FUTURE ISLANDS • ROBERT GLASPER
T H E E S A C R E D S O U L S • O R V I L L E P E C K • Z I G GY A L B E R T S
ALEXANDRA STRÉLISKI • APASHE AVEC ORCHESTRE • BERLIOZ
C H A R L OT T E DAY W I L S O N • D O M I N I � U E F I L S -A I M É
E L I S A P I E • G E O F F R OY • K U R T V I L E A N D T H E V I O L AT O R S
OCEAN ALLEY • T H E Y U S S E F DAY E S E X P E R I E N C E
AL DI MEOLA • ALFA MIST • AMBROSE AKINMUSIRE • ANA MOURA • BUTCHER BROWNC E D R I C B U R N S I D E • C O RT E X • C O RY H E N RY • C H I E F A DJ UA H • DAV E H O L L A N D
DELUXE • ERICK THE ARCHITECT • ERIK TRUFFAZ • HELENA DELAND • ICHIKO AOBAJESSE COOK • JEREMY DUTCHER • JOEP BEVING • JOEY ALEXANDERJOSHUA REDMAN GROUP FEAT. GABRIELLE CAVASSA • JULIAN LAGE • KENNY GARRETTKID KOALA • LEIF VOLLEBEKK • LISA FISCHER • MADISON CUNNINGHAM • MAKAYA MCCRAVENMARCUS MILLER • NAÏKA • OLIVER JONES AT 90: A CELEBRATION WITH FRIENDS • P L A N E T G I Z AP O K E Y L A FA R G E • P R E S E R VAT I O N H A L L J A Z Z B A N D • P R O T O J E X T I P P Y ( Z I O N I )S H A BA K A • STA N L E Y C L A R K E N • 4 E V E R • VIEUX FARKA TOURÉ • YAYA BEY • YELLOW DAYS
AND MANY MORE!

ALL-INCLUSIVE PACKAGES AVAILABLE :+ LODGING OPTIONS + UNLIMITED ACCESS TO INDOOR SHOWS + MERCHANDISEMONTREALJAZZFEST.COM
THE NEW YORK CITY JAZZ RECORD | May 2024 35

“...It's like having the chance to hang out for extended times with a brilliant
conversationalist, whose mind is an engaging blend of insight, curiosity, humility,and humor... you take a deep breath and think how lucky you are to have this timewith Phil.”—Fritz Byers, Jazz Spectrum“... from Buddy Rich to Paul Smoker, [Anthony] Braxton, [Dave] Liebman,[Lee] Konitz, [Ellery] Eskelin, [Drew] Gress, Mark Feldman and Herb
Robertson to freedom.”— Corner Store Jazz“...will prove to be of immense interest to fans of jazzmusic history and a singularly ideal and unreservedly recommended addition topersonal, professional, community and college/university library Jazz
History/Memoir collections and supplemental curriculum studies lists.”—James A. Cox, Editor-in-Chief, Midwest Book Review

Lingering
Meg Okura/Kevin Hays Duo(Adhyâropa)
by Elliott Simon

Reaching for the Stars:
Trios/Duos/Solos
Hasaan Ibn Ali (Omnivore)by Duck Baker

T he poignant finale concluding violinist Meg F or over a half a century, the only available

philhaynesmusic.bandcamp.com/music

Available at Amazon.com

feat. Godwin Louis + Jeremy Corren+ Savannah Harris

Music of rhythmic sophisticationand lyrical depth [...] brimming withspringy energies and smart details.
– Nate Chinen, WBGO

JOE’S PUB
MAY 28TH

425 Lafayette St, New York, NY | publictheater.org/programs/joes-pub | orbareket.com

OR BAREKETQUARTET

Okura and pianist Kevin Hays’ Lingering is thealbum’s title track, which best represents the
harmonious unification of two artistic spirits.
Hays’ delicately tender “Waltz for Wollesen”
and Okura’s spirited Appalachian fiddle romp,“Again n’ Again”, also vividly showcase theirsynergy, the two adventurous improvisations
providing each musician with a platform
for their individual artistry. But it’s inside
Okura’s musical collection (titled “Seven Short
Pieces”)— the focus of the album that begins
after the first four selections and precedes thelast three tracks—where the true enchantment
unfolds.
This
seven-partcycle,
which
draws
inspiration from Jewish, Eastern and jazz
traditions, is a soulfully personal statement
created out of diverse cultures and musicalstyles in the form of a sophisticated renderingof the Jewish concept of ascension via “sevenheavens” towards unity within plurality. It
begins with “Aleph” (‫)א‬, the initial letter ofthe Hebrew alphabet whose structure itself,with hands extending upward and downward,
embodies the transition from earthly existence
to enlightenment. Based on a subtly intricate
but wonderfully uplifting melody, the twomusicians delicately converge to buoyantly
explore the dynamics and harmonic possibilitiesof their instruments’ timbral union.
“Aleph” also suggests primordial breath orair, and alongside mem (‫ )מ‬and shin (‫)ש‬, make up
the three Hebrew “mother letters” that together
symbolize the interconnectedness of celestial
and worldly forces. Mem denotes water andrenewal as expressed in the composition “Maim
Korim (Cold Water)”. This imagery is artfully
articulated by a beautifully-crafted arrangement
that
proceeds
withelegant
instrumental
exchanges. Meanwhile, shin, associated withfire and the divine spark, finds expression in“Shamaim (Heavens)”, revealing a solemn andgrandiose depiction grounded in sweeping
chords and soaring melodies. “Lilah (Night)”
is when the heavenly presence is most palpable
and the barriers between the physical andspiritual worlds are thin. Here, Asian and Jewish
accents merge with Hays’ jazz sensibilities for asincere awe-inspiring moment after which “HoraTarantella” portrays ecstatic glory.
Okura is perhaps best known for thrillingcompositions
andexpansivesoundscapes
performed with her Pan Asian Chamber Jazz
Ensemble. This duet however, imbued withclassical influences and a sacred chambermusical soul, offers the most intimate portrayal
yet of her spirituality, compositional masteryand instrumental prowess.
For more info visit adhyaroparecords.com. The
album release concert is at Metropolitan Museum of
Art May 10. See Calendar.

36 May 2024 | THE NEW YORK CITY JAZZ RECORD

recording by the late Hasaan Ibn Ali (who would
have turned 93 this month) was The Max Roach
Trio Featuring The Legendary Hasaan (Atlantic,
1965). The pianist had taped an unreleased
follow-up date leading a quartet that featured
tenor saxophonist Odean Pope, but the mastertape was destroyed in the Atlantic Records
warehouse fire in February 1978, a few years
prior to when the pianist died in 1980. Persistentrumors that a copy had survived proved true
when Omnivore released Metaphysics: The Lost
Atlantic Album (2021), which proved to be every
bit the masterpiece that Ali’s fans had dreamed ofhearing for decades. Omnivore followed that up
with an amazing two-disc set called Retrospect In
Retirement of Delay: The Solo Recordings, and has
now put together a third collection of previously
unheard material: Reaching for the Stars: Trios/
Duos/Solos, which sheds yet even more light on
the landscape of this genius’ musical world.
The six piano trio tracks are drawn from ademo tape made sometime before The Legendary
Hasaan sessions, and four of the six pieces
appear on both releases. Drummer Kalil Madi,and especially bass master Henry Grimes, bringsomething different to the table (from Max Roachand Art Davis, the bassist and drummer on The
Legendary Hasaan) and the pianist’s soloing hereis terrific. That said, the balance isn’t optimaland the performances aren’t quite as polished as
we might expect from a demo. The other two trio
performances, “Viceroy” and “Per Aspera Ad
Astra”, are in some ways the best of the demo
tracks. These are really great pieces, more likeusual post-bop tunes than The Legendary Hasaan
tracks, showing that, like Herbie Nichols,
Hasaan could write effectively in very different
styles (something that, as Nichols pointed
out, Monk didn’t really do). Those seeking toapprehend Hasaan’s point of departure from theharmonic frameworks of Monk and Elmo Hopewill probably return to these two tracks quite
often.
There are also three duo tracks with vocalist
Muriel Gilliam and two solos, all standards towhich Ali applies his unique and challenging
harmonic vision, as demonstrated so brilliantly
on Retrospect. Gilliam (aka Muriel Winston)
was a fine singer, and she deserves praise fordelivering her vocals without getting completely
distracted by all the permutations to which her“accompanist” subjects the tunes (her pitch does
wander somewhat in a couple of places—small
wonder!). Of the solos, the ferocious version of“After You’ve Gone” is a standout track (though
for most Ali fans possibly not the revelation
annotator Ethan Iverson makes it out to be).
Thanks again to Omnivore for their continued
efforts to preserve this giant’s legacy. Dare wehope for more?
For more info visit omnivorerecordings.com

IN PRINT

A fter making a name for himself with John

Lurie’s Lounge Lizards and his own band The
Jazz Passengers (which he co-founded withthe late trombonist Curtis Fowlkes), few otherartists made hay during the pandemic as did
saxophonist/actor/educator Roy Nathanson.
Encouraged by his son, trumpeter Gabe
Nathanson, the album title 82 Days refers to thetime that the elder Nathanson performed on his
Flatbush, Brooklyn balcony, attracting othersin the neighborhood to join in, raise money
for charities and inspire a new music school
based on the “porch jams.“ Motivated by thiswonderful turn of events, Nathanson documents
some of the music from then, mostly solo or induets, creating a sad, moving beauty, reflecting
the loneliness and search for a semblance of
normalcy during the pandemic lockdown.
The song selection reflects the saxophonist’s
wide ranging tastes: two spirituals, two early’70s pop hits, two WWII-era pop numbers andone latter-day Monk composition, alongside
three originals, all full of ambient sounds. “GoDown Moses” and “Amazing Grace” (bothdone solo) almost bookend the album, with theformer featuring a sampled male chorus, wind
and thunder alongside Nathanson’s melancholy
drawn-out baritone. Conversely, “Amazing
Grace” is a brief take on solo soprano, highflying and joyous. In between, Onyx Collective’s
Julian Soto adds a lovely echo-filled vocal toSimon and Garfunkel’s “Bridge Over Troubled
Water”, while soul singer Nick Hakim brings
the heartache to an otherwise comic take (withcrowd chatter and broken glass) to “Tennessee
Waltz”. Son Gabe applies some sweet singing
at the end of Bill Withers’ “Ain’t No Sunshine”,
while Nathanson senior adds some zany
saxophone playing along with bird sounds,
cars whizzing by and French dialog. Tenor
saxophonist Isaiah Barr (also of Onyx Collective)
delightfully weaves around Nathanson’s alto
on Monk’s “Green Chimneys” (also featuring
muted dialog and occasional drum beats) andblithely plays off Nathanson (crowd noises
included) on the 1936 Charlie Chaplin standard“Smile”. Nathanson also adds two interestingoriginals: the brooding “All The Bones Had
Names”, featuring Bam Rodriquez’ bubbling
bass and Aidan Scrimgeour’s supple electric
piano along with soulful, hushed vocals, andthe exotic, modal “Bend in the Night”, topped
off with Soto’s tender, subtle voice. Nathanson/
Scrimgeour’s“Something
Different”
ends
the album on a hopeful note with Cleo Reed’s
charming vocals, adding a hint of resiliency tothe proceedings.
For more info visit enjajazz.de. Nathanson is at SaintPeter’s Church with The Jazz Passengers (part of theCurtis Fowlkes Memorial) May 1 and Roulette (partof Bang On A Can’s Long Play Festival) May 5. See
Calendar.

W hat an impressive complex of webs this finemusical narrative weaves in a new collaborative
effort from percussionist/composers Adam
Rudolph and Tyshawn Sorey, an astonishingcase in point. The concerts sampled and heldby this two-volume LP set—one a duo and one
a quintet—invite, excite and disorient only
to regroup with the redoubled power of theconsummate artists’ creativity and invention. The
duo performance was recorded in New York’s
East Village in December 2021. It seems that
Sorey is largely in the left channel and Rudolphin the right, but when Rudolph’s overtone
flute enters 1:39 into the second side, a literalinterweaving occurs. Moments like that twonote evocation, an organic interruption mirroreda few seconds later and then echoed by Sorey’s
malleted percussion, place all of the variously
shaded preceding and succeeding sounds instark relief. In retrospect, all of the music on thefirst side becomes melodic, a study in percussive
counterpoint as the piece gains momentum in theraw power of spontaneous creation. The moans
and muffled thwacks opening the second side
inhabit conjoining spaces; each tone functions as
a respite, and each silence gathers energy for the
next interjection until the flute establishes a spaceof high-register introspection.
The second volume, from a Brooklyn concert
in February 2023, finds the duo augmented by Sae
Hashimoto and Russell Greenberg (of the ensemble
Yarn/Wire) and Levy Lorenzo (of International
Contemporary Ensemble). A layer of electronics
pervades, notably on Sorey’s piano, which heplays as Rudolph conducts. That relationship isthen reversed. These ambient occurrences areespecially powerful on the second side, bolstering
rasping staccatos in a hallucinatory environment
whose size is as variable as the music inhabiting
it. Overtonal vocalizations also play a pivotal role,
especially in the mystical section beginning at
9:43 with a slowly gargantuan drum roll, building
clear through to the cymbal crash at 13:19. The
parabolic music glides by with effortless ease,
but it is within the minuscule moments of lightand shade, of change amidst ebb and flow, thatriches are most abundant. The nearly inaudible
but humorous bike horns opening Volume I’s firstside anticipate the sudden dash into an excitingly
metered dialogue, first serially interactive andthen polyphonic as Rudolph and Sorey crescendo.
Moments such as this abound throughout bothalbums, and if more density foregrounds as thesecond album’s sinewy threads intertwine, somuch the better!
Archaisms I and II form a stunning invention,
tension and resolution in every gesture, whether
roared or whispered. The superb production
ensures ecstatic listening from start to finish.
For more info visit metarecords.com and defkaz.com.
Rudolph’s Hu Vibrational is at BRIC Ballroom (partof Bang On A Can’s Long Play Festival) May 5. See
Calendar.

Hans Reichel DAXOPHONIE

82 Days
Roy Nathanson(Enja Yellowbird)
by Jason Gross

Archaisms I
Archaisms II
Adam Rudolph/Tyshawn Sorey(Meta/Defkaz/Yeros)by Marc Medwin

Hans Reichel

DAXO
PHONIEISBN 978-3-95593-147-6

Hans Reichel: Daxophonie
Klaus Untiet/Peter Klassen (Wolke Verlag)
by Francesco Martinelli

S carcely known today even in Europe, guitarist

Hans Reichel who would have been 75 this month(he passed away almost 13 years ago) was amember of the lively creative scene of Wuppertal,
Germany, with bassist Peter Kowald and dancer
Pina Bausch. But Reichel was a universal artist,with a strong visual component, beautifully
documented in this handsome volume. Travelinghis own personal and individual path within
European improvisation, he created a musicof complex beauty and subtle humor. He wasintroduced internationally to a larger audience byguitarist Fred Frith in 1976 on his Guitar Solos 2(Caroline), after the release of his 1973 debut
Wichlinghauser Blues (FMP). Reichel carried on his
unique solo explorations (Bonobo and The Deathof the Rare Bird Ymir), with variously modified
guitars: “A guitar is six strings, all the rest you canmake yourself,” he said . He worked with equallyoriginal musicians from the German scene such
as Rüdiger Carl, Ernst-Ludwig Petrowsky andSven-Åke Johansson, and memorably with Tom
Cora, as well.
In the late ’80s, Reichel presented his invented
instrument, the Daxophone, named from theGerman word for badger (dachs), because he had
been impressed by the call of the badger recordedon an album of animal sounds. The Daxophone, of
the friction idiophones category of instruments,
is constructed with a wooden piece called a
tongue, fixed to a wooden block, which holds one
or more contact mics; a snakewood soundboard
is laid on top. This construction, among otherfunctions, changes the resonating length of asound and hence its pitch (much more detail is in
the book). Today, numerous Daxophone makers
and ensembles follow on the foundation ofReichel’s Shanghaied on Tor Road or The World’s 1st
Operetta Performed on Nothing But the Daxophone.
The instrument’s sounds need to be heard to bebelieved, and because of its form is also made to bevisually stunning, creating a look that resembles
an unknown, mysterious alphabet. And indeed amain source of income for Reichel was his workin creating typefaces, including the well-known,
you guessed it, Dax. This magnificent bookhas been issued to celebrate Reichel’s legacy. It
includes in stunning graphics the catalogue of
his works, from sculpture to typefaces as wellas his photographs, especially from his extended
stays in Japan. The book also covers others of
his invented and modified instruments (withfull descriptions and history of the Daxophone),a discography with record covers, comments,
interviews, anecdotes and documents from his
exhibitions. It’s a treasure trove, and hopefully
will send new generations to discover Reichel’screativity.
For more info visit wolke-verlag.de

THE NEW YORK CITY JAZZ RECORD | May 2024 37

(INTERVIEW CONTINUED FROM PAGE 6)TNYCJR: Brandeis was founded by American Jews after
the war in response to the quotas many universities had
for Jewish students.
Morgenstern: Yes, that was Brandeis. George Wein had
a club, Storyville, in nearby Boston, before he was doing
the Newport Jazz Festival. I went there and asked him
if we could bring some jazz to Brandeis. Our first band
was a quintet with Stan Getz and Bob Brookmeyer. I
also became editor of the school paper, The Justice, andwrote some pieces about jazz. The first musician I wrote
about was Louis Armstrong. I made a point of including
a photo of him wearing his Magen David [Jewish star].
I had met Louis through a strange set of circumstances.
I knew a little-known trumpet player, Nat Lorber, who
introduced me to Jeann Faillows who was taking care ofLouis’ correspondence. Most she handled with a printed
sheet: Louis’ advice about laxatives, Swiss Kriss (whichwas) a thing with him. Louis signed the sheet and she justput that in the return envelope.
TNYCJR: I’ve seen pictures of Louis on the toilet,
promoting Swiss Kriss!
Morgenstern: There were serious letters too. He loved
to write. And for a guy who never even finished grade
school, he was a born writer, with a great vocabulary. So
backstage at The Roxy—the biggest movie theatre in Times
Square, when movie theaters also had stage shows—Louiswas with the All-Stars. Jeann snuck me and Nat into thedressing room where we met Louis and Jack Teagarden…
And when the stage manager came in, Louis said, “These
are my friends! Take ‘em in and make sure they get really
good seats!”
TNYCJR: That was nice.
Morgenstern: That was Louis. I got to know him, and hebecame a lifelong friend. From then on, I started writing
professionally. I went from Jazz Journal to Metronome. After
Metronome folded, I was the editor of Jazz. I was then able
to join DownBeat as editor. The publisher wanted me there
in Chicago, and I ended up liking Chicago. The first thing
I noticed was that I walked faster than everybody else.
TNYCJR: You’re a New Yorker… Let’s take a leap forward
to how you took on the leadership of the Institute of Jazz
Studies. You were clearly not an academic. You didn’t
actually graduate from Brandeis?
Morgenstern: You are right about that… So, how did I startin academia? Two people at Rutgers, jazz fans—one wasa professor, the other an administrator—had started theafternoon concert series “Jazz: The Personal Dimension”
at Carnegie Recital Hall. They came to me and asked if I
would be an advisor. I was working on my first book, Jazz
People, when these guys then asked me out of the clear
blue sky if I would consider becoming the Jazz Institute’s
director. They had an archive there that had been dormant
for quite a while. Because I was about to become a father
and I was more than a little concerned about that, I wasvery open to their offer.
TNYCJR: And you were the Institute’s director for morethan 30 years…
Morgenstern: When I got there, the archive was in abasement collection and was accessible by appointmentonly. You had to try to find something on your own… atotal waste of a great collection.
TNYCJR: What did the archive consist of?
Morgenstern: It was an active research source. Its founder,
Marshall Stearns, was a major figure in serious jazz research
and writing who started it in a building he owned. When

38 May 2024 | THE NEW YORK CITY JAZZ RECORD

he died, those same people who approached me had urged
the president to acquire the archive for Rutgers and werecommitted to preserving it. It was already a fairly sizeable
collection, a complete jazz resource. But Rutgers had no
particular place for it. It went into the basement of thelibrary at the Newark campus. This was when I was hired.
I had a nice title, an office on the same floor as themusic department, but no staff. A student, Vincent
Pelote, was a big jazz fan and volunteered to help out.
And Rutgers faculty member Chris White, a professionalbassist, also volunteered. But I needed somebody fulltime. So, they approved an assistant who turned out tobe terrific. At first I wasn’t sure how this would workout because his background didn’t have jazz in it with acapital “J”. But my new assistant—Ed Berger—loved jazz.
Professor Berger would write Benny Carter’s biography(Benny Carter: A Life in American Music). The outcome
was a terrific biography, discography and record ofarrangements.
We then got the Institute moved to the Newark
campus’ Dana Library. But it was still just Ed and myself.
Ed had the great ability to relate to people who came toconsult. He was a terrific help and we became very close.
He was my partner more than my assistant. And thestudent I mentioned, Vincent, continued to help out. He
eventually became a formal assistant to us. He was oneof the few Black academics interested in jazz at that time.
We managed to get him a scholarship to become a Rutgers
campus librarian.
TNYCJR: You were able to build the Institute into aworld-class collection. Did you have a vision of what you
wanted to do with it?
Morgenstern: Yes. First, the thing Ed and I wanted wasto get everything organized so it would be accessible toresearchers—the people teaching jazz, writing books
about jazz, doing jazz on the radio, the whole array andspectrum of people working in jazz. And we were able
to do that. Our collection and the student population had
grown and the Institute had become cramped and we
had made efforts to enlarge it with a budget not only forcurrent stuff, recordings and so forth, but also to approach
established private collectors to leave their collections to
us. We also were in the process of collecting instrumentsthat had belonged to famous musicians… (So) a new Dana
Library was constructed. The architect who was engaged
to develop the new library was actually an émigré: Iranianand a jazz fan. A capsule indication of the international
spread of jazz: a Dutch librarian, an Iranian architect, andboth very much into jazz. The Institute got a radio show
on WBGO when it was brand new, called “Jazz from theArchives”, based on our library.
TNYCJR: WBGO is now celebrating its 45th anniversary,with no small thanks to you.
Morgenstern: We also made records available to thestation. They would come once a week and borrow an
armful of LPs, and that’s how they got something to playon the air!
Morgenstern will receive the “Contribution to the Arts Award”
at The Jazz Gallery (part of its annual Honors Gala) on May 13.
For more info visit jazzgallery.org/2024-gala.
Recommended Liner Notes:• Fats Waller & His Rhythm—If You Got To Ask, You
Ain’t Got It! (Bluebird-Legacy, 1926-43)• Louis Armstrong—Portrait of the Artist as a Young Man(Columbia, 1923-34)• Art Tatum—God Is in the House (Onyx, 1940-41)• Coleman Hawkins—The Hawk Flies(Milestone, 1944-49/1957)• Clifford Brown—Brownie: The Complete EmArcy
Recordings of Clifford Brown (EmArcy, 1954-56)• Louis Armstrong and the All Stars—The Complete Decca
Studio Recordings (Mosaic, 1950-58)

(LABEL SPOTLIGHT CONTINUED FROM PAGE 11)
collaboration with William Parker and Hamid Drake),
who plays a wide variety of acoustic string instruments.
The guitarist also can be heard on the 2017 Eclipse
release Beyond with his band Triad, which followed
his successful Scorch trio (with bassist Ingebrigt Håker
Flaten and drummer Paal Nilssen-Love). It’s not so
scorching as the previous band, but his inspirationfrom Hendrix’ classic unit is clear.
Following Eclipse’s catalog is a path of discovery
into the rich Finnish scene. Eclipse artist, bassist
Kaisa Mäensivu, who released her leader debut withher band Kaisa’s Machine’s In The Key of K (2017),
has recently been signed by Greenleaf Music and isalready a considerable talent. Ylinen first met her at
the Tampere Jazz Festival, where he heard one of thefirst-ever shows by Kaisa’s Machine. Says the bassist,“Tapio always keeps his ears open for discovering
new things in the scene (and) Eclipse is an indie labelthat has done great work in the Finnish jazz scene.”
There’s also saxophonist Max Zenger, who won theEuropean Broadcasting Union’s (EBU) jazz ensemble
competition in 2018 with his band Globus. He began
recording for Eclipse in 2016 (Maxxtet’s Chapter 1)
and has since become a permanent member of theprestigious UMO.
About the perspectives of the music, “Jazz andprog fans seem to still want CDs and vinyl, so I see
them sticking around,” says Ylinen. “But the vast
majority of listeners are using streaming platforms, so
I’m keeping my eyes open for future developments inthat arena.” Regarding public support, he adds: “Wewouldn’t have anything like the active jazz scene that
we have if it wasn’t for public funding. High-quality
music needs public support in all areas of the musical

U

SE

EW

D

N

landscape. Finland is a peripheral place, and it can bevery hard to break out from the far north unless there
are incentives to at least give it a fair try.”
A wide sampling of the Eclipse Music catalog
reveals a commitment to excellency in sound andpresentation, to artistic freedom and experimentationand to representing at best the plurality of a thrivingmusical community beyond separations of genre andgeneration.
For more info visit eclipsemusic.fi(LEST WE FORGET CONTINUED FROM PAGE 10)
Smoker was always generous with his talent.
He made many recordings as a sideman for manymusicians, both contemporaries (Oliver Lake, Lou
Grassi, Burton Greene, Braxton) and younger players(Haynes, Adam Lane, Harris Eisenstadt). He also co-led
groups with them, including the Paul Smoker/Vinny
Golia quartet, Joint Venture (with saxophonist Eskelin,
Drew Gress and Haynes) and Brass Reality with David
Taylor, Robertson and Haynes. When asked why hechose Smoker for his Po Band, leader/drummer Grassi
said, “Herb Robertson was the original trumpeter.
When he decided to leave, I asked him if he knew a
replacement. He suggested Smoker. I barely knew
him but when I heard him, I loved his playing. Very
disciplined but very free.”
Smoker met his wife, pianist/educator Beverly
at Coe College in Cedar Rapids, IA, in the ’70s, where
subsequently both landed teaching gigs. “We taught
there from 1970- 90. We were looking for some placecloser to New York City since Paul was playing a lot
more there. I was offered the piano chair at Nazareth

College in Rochester and we moved there in 1990.”
The trumpeter also landed a gig there, building the
jazz department and forming a student ensemble ofsome note. The 25 years he spent in the area were
productive, but this period was also colored bya massive heart attack (2001) from which he did
recover, and wound up playing again, but problems
persisted. In 2010 he was given a left ventricularassist device (LVAD), an implant that boosted hisheart function. While it did restrict some travel, he
was still able to perform including at the Bop Shopin Rochester (where he held his first post-LVAD
concert). In the six years since receiving the implant,
Smoker continued to play and sit in with visiting
bands until he passed away on May 14, 2016 at age
75. His spirit lives on.
For more info visit paulsmoker.com. “Celebrating Smoker:
A Celebration of the Life and Music of Paul Smoker” is at
Lovin’ Cup (presented by Bop Shop Records and featuring
Ken Filiano, Vinny Golia, Herb Robertson, Damon Short, etal.) in Rochester May 4-5. For further info visit bopshop.com.
Recommended Listening:• Paul Smoker Trio (with special guest Anthony
Braxton)—QB (Alvas , 1984)• Joint Venture (Ellery Eskelin, Drew Gress,
Phil Haynes, Paul Smoker)—Ways (Enja, 1989)• Paul Smoker/Vinny Golia Quartet—Halloween, the Sequel (Nine Winds, 1997)• Paul Smoker—Duocity in Brass & Wood
(Cadence Jazz, 2001)• Oliver Lake, Paul Smoker, Scott R. Looney, Lisle
Ellis—Urban Rumination (Metaphysical Media, 2005)• Phil Haynes/Paul Smoker—It Might Be Spring(Alvas/Corner Store Jazz, 2011)

MINGUS BIGy BAND
Residenc

EVERY
WEDNESDAY
236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504

2 SETS
7.30pm
9.30pmEmail: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Criss Cross, ECM, Enja, ESP,
Fresh Sound, High Note, Pi, Savant,Sunnyside, Venus and many more.

May 16, 2024

Brenda Earle Stokes
May 19, 2024

Joaquin Nunez& Habana Safari

May 23, 2024

Pedrito Martinez

85 Avenue A, NYC 212-777 1157

www.dromnyc.com

THE NEW YORK CITY JAZZ RECORD | May 2024 39

CALENDAR
Wednesday, May 1

ê = Recommended Shows• Johnny O’Neal Trio; Bobby Harden with Off Da Hook

Andy Statman Trio with Larry Eagle, Jim Whitney; Mamady Kouyate and his
Mandingo Ambassadors
Barbès 7, 8, 10 pm $20
Birdland 7, 9:30 pm $40-50• Take 6êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar
Night with Karrin Allyson
Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $30-45• BJ The Chicago Kid
Café Erzulie 7 pm
• Andrea Veneziani
Cellar Dog 7, 8:30 pm $5• Willerm Delisfort TrioêHelen Sung/Geoffrey Keezer Play Ellington
Dizzy’s Club 7, 9 pm $20-50êChampian Fulton Trio; John Hébert Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êDavid Janeway, Cameron Brown, Victor Jones; Joe Wittman Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Los ALiENS with Sebastian Cruz, Stomu Takeishi, Ricardo Gallo;
NoLand with Bentley Anderson, Lucia Hinojosa, Ricardo Gallo
Nublu 7 pm $15
One Manhattan West 12:30 pm• Emmanuel Michael Duo• Kate Baker Quartet with Jim Ridl, Dean Johnson, Zack Brock
Pangea 7 pm $25
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Harlem Jazz Session with Peter Brainin
Room 623 at B2 Harlem 8, 9:30 pm $20
êCurtis Fowlkes Memorial with Roy Nathanson & The Jazz Passengers feat.
Elvis Costello; Steven Bernstein MTO with Catherine Russell;
Harriet Tubman; Elliott Sharp Saint Peter’s Church 6:30 pm
Shrine 10 pm• Luke Richards Quintet
Silvana 8 pm
• Cole Johnson• Matt Garrison Quartet with Noah MacNeil, Trifon Dimitrov, Joe Abba; Adam
Niewood Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, Peter Washington,
Smoke 7, 9 pm $35-55
Billy Drummond• Ricardo Gallo/Jessica Pavone The Stone at The New School 8:30 pm $20
êJohnathan Blake My Life Matters with Dayna Stephens, Jalen Baker, Fabian
Almazan, Larry GrenadierVillage Vanguard 8, 10 pm $40

Arthur’s Tavern 7, 10 pm• Kenny Warren’s Sweet World with Christopher Hoffman, Nathan Ellman-Bell
Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Gili Yalo
• Big Lazy with Stephen Ulrich, Andrew Hall, Yuval Lion
Barbès 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30• Birdland Big Band; Take 6 Birdland 5:30, 8:30, 10:30 pm $25-50
Birdland Theater 7, 9:30 pm $25-35• Shai Maestro Quartet
Blue Note 8, 10:30 pm $30-45• BJ The Chicago Kid• Ehud Asherie Quartet; Miss Maybell
Cellar Dog 7, 8:30, 11 pm $10êBertha Hope/Mike King Play Ellington; Dabin Ryu & Lex Korten
Dizzy’s Club 7, 9, 11 pm $15-50
êEssiet Essiet Quartet; Nick Hempton BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êTrickster with Miles Okazaki, Paul Cornish, Anthony Tidd, Sean Rickman
The Jazz Gallery 7:30, 9:30 pm $35-45
Knickerbocker Bar & Grill 9 pm
• Kuni Mikani/Jon RocheêMartin Wind Quartet with Ed Neumeister, Jim McNeely, Matt Wilson;
Cameron Campbell Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Composers Concordance Ensemble Jazz Influence with Strings
Mount Morris Ascension Presbyterian Church 8 pm $25• Jazz Jam with Patience Higgins Patrick’s Place 8 pm
• Kaz George; Georgia Heers Room 623 at B2 Harlem 7, 8:30, 10 pm $20
êJazz at Lincoln Center Orchestra Duke Ellington at 125
Rose Theater 8 pm $55-200
Shapeshifter Lab 9 pm $20• Makrokosmos Orchestra
Shrine 9 pm
• Colin Bharat QuartetêMike DiRubbo Quartet with Benito Gonzalez, Ugonna Okegwo, JK Kim;
Jason Marshall Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, Peter Washington,
Smoke 7, 9, 10:30 pm $35-55
Billy Drummond
Soapbox Gallery 8 pm $25• Dan LoomisêMatt Nelson, Jessica Pavone, Ches Smith
The Stone at The New School 8:30 pm $20
êJohnathan Blake My Life Matters with Dayna Stephens, Jalen Baker, Fabian
Almazan, Larry GrenadierVillage Vanguard 8, 10 pm $40
êJerry Bergonzi, George Garzone
Zinc Bar 7, 8:30 pm $35

Thursday, May 2

Saturday, May 4êJames Carney Quartet with Michaël Attias, Chris Lightcap, Allan Mednard

Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Rachael & Vilray• Musics with Ilusha Tsinadze, Gocha Tsinadze, Chris Tordini, Jason Nazary;êTerry Waldo’s Gotham City Band

Arthur’s Tavern 10 pmêMax Light; Sam Newsome/Owen Howard with Adam Kolker, Jeremy Stratton
Bar Bayeux 5:30, 8, 9:30 pm• Ari Hoenig Trio with Gadi Lehavi, Gilad Hekselman
Bar LunÀtico 9, 10:30 pm $10• Dolunay with Jenny Luna, Adam Good; Falsa with Umer Piracha,
Roshni Samlal, Siddharth Ashokkumar, Tom Deis, Paul Arendt
Barbès 8, 10 pm $20
Birdland 7, 9:30 pm $40-50• Take 6• High Society New Orleans Jazz Band; Jenna Esposito
Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $30-45• BJ The Chicago Kid• James Burton Quintet; Clovis Nicolas Quartet
Cellar Dog 7, 8:30, 11 pm $5
David Rubenstein Atrium 8 pm
• Phony Ppl
êBertha Hope/Mike King Play Ellington; Dabin Ryu & Anthony Pearlman
Dizzy’s Club 7, 9, 11 pm $15-50
êRick Germanson Trio; Ben Wolfe Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
Greenwich House Music School 8 pm $20• Raquel Acevedo Klein
The Jazz Gallery 7:30, 9:30 pm $40-50• Roy Hargrove Big BandêTim Berne with John Hébert, Tom Rainey, Gregg Belisle-Chi
Lowlands 8, 9:30 pm $10• Caelan Cardello/Rufus Reid; Ray Gallon Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Mike Young and Soul Guard Patrick’s Place 7 pmêJill McCarron
Pierre Hotel 6 pmêEugene Chadbourne, Bill Orcutt, Brandon Lopez; Nate Wooley, Aaron
Rubinstein, Kevin Murray
Record Shop 7:30 pm
Red Rooster Harlem 6:30 pm• Lynette WashingtonêMicah Thomas with Immanuel Wilkins, Kalia Vandever, Thomas Morgan,
Lesley Mok
Roulette 8 pm $25• Michael Veal’s Armillary Sphere Shrine 8 pm
Silvana 7, 9 pm
• Private Label; JS Band• Dual 3 with Savannah Harris Sisters 8 pm
• Helio Alves Quartet with Chico Pinheiro, Joe Martin, Alex Kautz; Rico Jones
Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, Peter Washington,
Smoke 7, 9 pm $35-55
Billy Drummond• Jessica Pavone Trio with Ben Copperhead, Sara Schoenbeck
The Stone at The New School 8:30 pm $20
êJohnathan Blake My Life Matters with Dayna Stephens, Jalen Baker, Fabian
Almazan, Larry GrenadierVillage Vanguard 8, 10 pm $40

Friday, May 3• Denton Darien

449 La Scat in Harlem 8 pm

449 La Scat in Harlem 8 pm
• Denton Darien• Helio Alves/Guilherme Monteiro

Bar LunÀtico 9, 10:30 pm $10• Alex Asher and Slow Motion with Joel Matteo, Julia Chen, Mike Lavalle;

Banda de Los Muertos with Oscar Noriega, Jacob Garchik, Chris Speed, Ben
Holmes, Justin Mullens, Curtis Hasselbring, Brian Drye, Rachel Drehmann,
Jim Black, Mireya I. Ramos Barbès 8, 10 pm $20
êKamasi Washington
Beacon Theatre 8 pm $60-200êBill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30• Caelan Cardello Trio; Take 6 Birdland 5:30, 8:30, 10:30 pm $20-50
Birdland Theater 7, 9:30 pm $25-35• Shai Maestro Quartet
Blue Note 8, 10:30 pm $30-45• BJ The Chicago Kid• Bang on a Can Long Play Festival: Sylvie Courvoisier/Mary Halvorson;
Marc Ribot; BlankFor.ms with Jason Moran, Marcus Gilmore
BRIC House Ballroom, Media House and Stoop 4:30, 8:30, 10:30 pm• Noriko Ueda Quartet; Matt Martinez Quartet
Cellar Dog 7, 8:30, 11 pm $10êMarc Cary/James Hurt Play Ellington; Dabin Ryu & Jacob Hiser
Dizzy’s Club 7, 9, 11 pm $15-60• Ron Jackson Trio; Hector Martignon’s Foreign Affair
The Django 7:30, 9, 10:30 pm, 12 am $25
êJoe Fiedler’s New Quartet with Pete McCann, Marcus Rojas, Jeff Davis
Ibeam Brooklyn 7:30 pm $20
êBang on a Can Long Play Festival: Ekmeles performs George Lewis,
Hannah Kendall, Georg Friedrich Haas
Irondale Center 2:30 pmêTroy Roberts with Paul Bollenback, Massimo Biolcati, Joe Peri
The Jazz Gallery 7:30, 9:30 pm $25-35
Knickerbocker Bar & Grill 9 pm
• Teddy Kingsbury
êMartin Wind Quartet with Ed Neumeister, Jim McNeely, Matt Wilson;
John Chin Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Patrick’s Place 7 pm
• George Young QuartetêJazz at Lincoln Center Orchestra Duke Ellington at 125
Rose Theater 8 pm $55-200êBang on a Can Long Play Festival: Darius Jones fLuXkit Sextet;
Immanuel Wilkins + Jason Moran; Anna Webber Shimmer Wince
Roulette 4, 6:30, 11 pm
Shrine 7 pm
• Steven Blane Trio
• Jazz Vocal Club; Charley Gordon Sextet
Silvana 7, 8 pm
Sistas’ Place 8, 9:30 pm $30• TC the Third Quartet• Mike DiRubbo Quartet with Benito Gonzalez, Ugonna Okegwo, JK Kim;
Jon Beshay Quartet and Jam Smalls 7:30, 9, 10:30 pm, 12 am $40
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, Peter
Washington, Billy Drummond Smoke 7, 9, 10:30 pm $35-55
êBéla Fleck with Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz,
Bryan Sutton, Zakir Hussain, Bruce Hornsby, Anat Cohen
Stern Auditorium at Carnegie Hall 8 pm $27-135

40 May 2024 | THE NEW YORK CITY JAZZ RECORD• Aimée Niemann, Jessica Pavone, Abby Swidler

The Stone at The New School 8:30 pm $20

êDjango a GoGo: Stephane Wrembel with Jean-Michel Pilc, Angelo DeBarre,

Serge Camps, Franck Anastasio
Town Hall 8 pm $45-65
êJohnathan Blake My Life Matters with Dayna Stephens, Jalen Baker, Fabian
Almazan, Larry GrenadierVillage Vanguard 8, 10 pm $40

Sunday, May 5• Dariada David Jazz Brunch; Jazz Jam

449 La Scat in Harlem 1, 4 pm

• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pm
• Bang on a Can Long Play Festival: DoYeon Kim Quartet;
Yacouba Sissoko Duo

BAMCafé 2, 3 pmêStephane Wrembel Django a GoGo

Barbès 8 pm $20

êHyeseon Hong Jazz Orchestra; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40
Birdland Theater 7, 9:30 pm $20-30
Blue Note 8, 10:30 pm $30-45êBang on a Can Long Play Festival: J. Pavone String Ensemble; Hu
Vibrational with Adam Rudolph; Rafiq Bhatia with Chris Pattishall; Mivos
Quartet Performs Ingrid Laubrock, George Lewis and Henry Threadgill
BRIC House Ballroom, Media House and Stoop 2, 3, 5, 6 pmêWayne Escoffery Trio
Cellar Dog 7, 8:30 pm $5êMarc Cary/James Hurt Play Ellington
Dizzy’s Club 5, 7:30 pm $25-60• Tad Shull Quartet; Joe Davidian Trio
The Django 7:30, 9, 10:30 pm, 12 am $25• Bang on a Can Long Play Festival: William Parker with Cooper-Moore,
Griff Spex, Jason Hwang, Charlie Burnham, gabby fluke-mogul,
Melanie Dyer, Eri Yamamoto, Anne Marie Sandy; ICE Plays Courtney Bryan
Irondale Center 12, 2 pm
• Welf Dorr with Elias Meister, Dmitry Ishenko, Yuko Togami
The Keep 9 pm
• Emily Braden Trio with Joe Block, John Sims; Alyson Murray Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êAndrea Wolper Trio with Pete McCann, Boris Kozlov
North Square Lounge 12:30, 2 pm
• Jazz Brunch with Boncellia Lewis
Patrick’s Place 12 pm• Bang on a Can Long Play Festival: Josh Johnson;
Rob Mazurek/Chad Taylor; Raw Poetic and Damu the Fudgemunk
Public Records 3, 4:30, 6 pm
• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 am• Composers Concordance with Ali Baba & The 40 Thieves
Rockwood Music Hall Stage 1 6 pm
• Marcus Goldhaber; Mimi Jones and Jam
Room 623 at B2 Harlem 6, 8, 10 pm $20• Bang on a Can Long Play Festival: Jazz Passengers; Eileen Myles, SteveGunn, Ryan Sawyer Trio
Roulette 4, 8:30 pm• Juan Carlos Polo, Arturo O’Farrill, Marty Kenney
Saint Peter’s Church 5 pm
Shrine 8 pm
• Shrine Big Band• Rob Deutsch; The Outside In Silvana 7, 10 pm• Lezlie Harrison Quartet; Aaron Johnson Boplicity and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, Peter Washington,
Billy Drummond
Smoke 7, 9 pm $35-55
êJohnathan Blake My Life Matters with Dayna Stephens, Jalen Baker, Fabian
Almazan, Larry GrenadierVillage Vanguard 8, 10 pm $40• Lauren Kinhan Band
• BJ The Chicago Kid

Monday, May 6• Sabeth Perez with Glenn Zaleski, Yasushi Nakamura, Keita Ogawa
Bar LunÀtico 9, 10:30 pm $10

Birdland 7 pm $20-30• Gabrielle Stravelli Trio
• Vince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $30-40• World Famous Harlem Gospel Choir; BJ The Chicago Kid

Blue Note 1:30, 8, 10:30 pm $30-45

Cellar Dog 7, 8:30 pm $5• Our Delight• Patrick Bartley Trio with Russell Hall, Stefan Klein

Dizzy’s Club 7, 9pm $20-65• Jacob Chung Quartet; Jihee Heo Trio

The Django 7:30, 9, 10:30 pm, 12 am $25• Gian Perez, Matei Predescu, Samantha Kochis; Main Drag Conduction

Orchestra; Stephen Gauci, Adam Lane, Kevin Shea; Kenneth Jimenez,
HeryPaz, Rodolfo Zúñiga; Ayako Kanda, Matt Hollenberg, Patrick Golden
Main Drag Music 7 pm $15• Spike Wilner Trio; Ed Cherry Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êSteph Richards with Joshua White, Stomu Takeishi, Max Jaffee
Nublu 151 7 pm $22.66
Red Rooster Harlem 6:30 pm• Ahmaya Knoelle
Scarlet Lounge 7 pm
• Queen Esther
Shrine 7 pm
• Press Play• Jochen Rueckert Quartet with Mike Moreno, John Ellis, Matt Penman;
Mike Boone Quartet and Jam Smalls 7:30, 9, 10:30 pm, 12 am $35
êDuke Ellington Center Big Band Celebrating Duke’s 125th Birthday
Symphony Space Peter Jay Sharpe Theatre 8 pm $45-150

êVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,

Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi, Terell Stafford,
Scott Wendholt, Dion Tucker, Jason Jackson, Robert Edwards,
Douglas Purviance, Adam Birnbaum, David Wong, John Riley
Village Vanguard 8, 10 pm $40• Adam Levy Trio with Larry Grenadier, Kenny Wollesen
Zinc Bar 7, 8:30 pm $35

Tuesday, May 7• Dred Scott, Gary Wang, Diego Voglino

Bar Bayeux 8, 9:30 pm• Vol. 3.1 with Spencer Zahn Bar LunÀtico 9, 10:30 pm $10• Tamar Korn; Slavic Soul Party with John Carlson, Kenny Warren,Peter Hess, Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 7, 9 pm $20
êBill Charlap Trio
Birdland 7, 9:30 pm $40-50
Birdland Theater 5:30 pm $20-30• Caelan Cardello TrioêChristian McBride
Blue Note 8, 10:30 pm $30-45êBrandi Disterheft Trio
Cellar Dog 7, 8:30 pm $5• Julian Lee with Esteban Castro, Gervis Myles, Miguel Russell
Dizzy’s Club 7, 9pm $25-45• Misha Piatigorsky Quartet; Dave Stryker Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êJamie Baum Septet+ with Jonathan Finlayson, Sam Sadigursky,
Chris Komer, Brad Shepik, Luis Perdomo, Matt Clohesy, Jeff Hirshfield, Sara
Serpa, Aubrey Johnson, Keita Ogawa; Mike McGinnis +9 with
Caroline Davis, Jeff Hermanson, Peter Hess, Justin Mullens,Barry Saunders, Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza
Drom 7, 9 pm $30• Jeff Pearring; Jack Wright/Dave Taylor; Gian Perez,
Dylan DelGiudice, Orchid McRae, Michael Gilbert
Ibeam Brooklyn 7:30 pm $20• Kevin Sun Trio Plus with Adam O’Farrill, Walter Stinson, Kayvon Gordon
Lowlands 8, 9:30 pm $10• Brooks Hartell Trio; Michael Kanan Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deborah Newallo Experience Red Rooster Harlem 6:30 pm• Briony Price/Dr. Samuel O. Boateng; Dorian Wylde Quintet
Shrine 7, 9 pm
Sisters 8 pm
• Aliya & Javen• Jordan Young Trio; Tyler Mitchell Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êDonny McCaslin Quintet with Gregoire Maret, Ben Monder, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40
York College 7 pm
• Terrell SpringerêMarc Copland Trio with John Hébert, Billy Drummond
Zinc Bar 7, 8:30 pm $35

Wednesday, May 8• Arthur Kell Quartet with Brad Shepik, Nate Radley, Allan Mednard

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Rachael & Vilray• Mamady Kouyate and his Mandingo Ambassadors
Barbès 10 pm $20
êBill Charlap Trio
Birdland 7, 9:30 pm $40-50êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar
Night with Bria Skonberg
Birdland Theater 5:30, 8:30 pm $25-35
êChristian McBride
Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Vanderlei Pereira Trio
• Isaiah J. Thompson with Julian Lee, Marty Jaffe, Miguel Russell
Dizzy’s Club 7, 9 pm $25-45• Loston Harris Trio; James Carney Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Kinan Azmeh & NDR Bigband Drom 6 pm $30
êJoe Fonda with Sam Bardfeld, Kenny Wessel, Rob Garcia
Ibeam Brooklyn 8 pm $20• Janice Friedman Trio; Tyler Henderson, Caleb Tobocman,
Hank Allen-Barfield
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êChris Dingman Duo
One Manhattan West 12:30 pm• Santiago Leibson/Kazuki Takemura
Ornithology Jazz Club 6:30 pm• Nancy Kearin Trio with John DiMartino, Yoshi Waki
Pangea 7 pm $25
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Harlem Jazz Session with Peter Brainin
Room 623 at B2 Harlem 8, 9:30 pm $20
Silvana 8 pm
• Louisa Lee Poster• Tim Hegarty Quartet; Neal Caine Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êMusic of Benny Golson with Eddie Henderson, Ralph Moore, Steve Davis,
Mike LeDonne, Buster Williams, Carl Allen
Smoke 7, 9 pm $35-55• Sasha Argov Project with Uri Gurvich, Uri Caine, Peter Slavov, Rodolfo
ZunigaThe Stone at The New School 8:30 pm $20
êDonny McCaslin Quintet with Gregoire Maret, Ben Monder, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40

Thursday, May 9êTerry Waldo’s Gotham City Band

Arthur’s Tavern 10 pm• Max Light; Bruce Barth with Adam Kolker, Jeremy Stratton

Bar Bayeux 5:30, 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Yacouba Sissoko & SIYA
• Miss Maybell & The Jazz Age Artistes
Barbès 8 pm $20
êBill Charlap Trio
Birdland 7, 9:30 pm $40-50• High Society New Orleans Jazz Band; Bacha Mdzinarashvili Quintet
Birdland Theater 5:30, 8:30 pm $20-40êChristian McBride
Blue Note 8, 10:30 pm $30-45• Richard Clements Quintet; Carol Morgan
Cellar Dog 7, 8:30, 11 pm $5• Juilliard Jazz Orchestra with Ian Munoz, Adam Stein, Nicklas Caldwell,
Robert Gilliam, Sion Song, Miles Keingstein, Nathaniel Williford,
Ace Williams, James Haddad, James Sarno, Kate Kortum, Siya Charles,
Ilai Macaggi, Andre Perlman, Tyler Bullock, Edwin Corne, Daniel Song,
Hank Allen-Barfield; Corbin Jones Big Band with Alphonso Horne,
Adison Evans, Corbin Jones, Sammy Miller
Dizzy’s Club 7, 9, 11 pm $15-50• Joe Strasser Quartet; Sam Dillon Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Dana Lyn with We the Gleaners
Greenwich House Music School 8 pm $20
êMichael Blake’s Chroma Nova with Guilherme Monteiro, Skye Steele,
Gili Lopes, Rogerio Boccato
InterContinental New York Barclay’s Club 6:30 pm $55
Iridium 8:30 pm $35-40• Howard Levy 4êAdam Birnbaum Trio with Matt Clohesy, Keita Ogawa
The Jazz Gallery 7:30, 9:30 pm $25-35• Steve Sandberg/Gene Pritsker Kostabi World 7 pmêTim Berne with Ches Smith, Brandon Seabrook, John Hébert
Lowlands 8, 9:30 pm $10êColin Stranahan Trio; Simon Moullier, Joe Martin, Joe Dyson
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êMichaël Attias LuMiSong with Santiago Leibson, Matt Pavolka, Mark Ferber
Nublu 151 7 pm $22.66
êTowner Galaher’s Organ Trio Patrick’s Place 7 pmêJill McCarron
Pierre Hotel 6 pm
Red Rooster Harlem 6:30 pm• Lynette Washington• Nice Brass; Baklava Express Shrine 7, 8 pm
Silvana 7 pm
• Jun Iida
• Nick Finzer Quartet with Luther S. Allison, Raul Reyes, Bryan Carter;
Greg Murphy Trio and Jam Smalls 7:30, 9, 10:30 pm, 12 am $35
êMusic of Benny Golson with Eddie Henderson, Ralph Moore, Steve Davis,
Mike LeDonne, Buster Williams, Carl Allen
Smoke 7, 9 pm $35-55
Soapbox Gallery 8 pm $25• Ricardo Gallo• E-Folk with Uri Gurvich, Elias Meister, Leo Genovese, Panagiotis Andreou,Ronen Itzik
The Stone at The New School 8:30 pm $20
êDonny McCaslin Quintet with Gregoire Maret, Ben Monder, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40

Friday, May 10
449 La Scat in Harlem 8 pm
• Denton Darien• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pmêIgor Lumpert with Peter Evans, Jeff Miles, Drew Gress, Kenny Grohowski

Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• ArmoBarbès 8 pm $20• Mehrnam Rastegari• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êBirdland Big Band; Bill Charlap Trio

Birdland 5:30, 8:30, 10:30 pm $25-50

Birdland Theater 7, 9:30 pm $25-35• Billy Stritch Trio
• Mary J. Blige with Robert Glasper Strength of A Woman• Dave Schumacher and Cubeye with Josh Evans, Peter Brainin,

Silvano Monasterios, Alex “Apolo” Ayala, Joel Mateo, Yusnier Sanchez;
Corey Wallace Dubtet
Smalls 7:30, 9, 10:30 pm, 12 am $40
êMusic of Benny Golson with Eddie Henderson, Ralph Moore, Steve Davis,
Mike LeDonne, Buster Williams, Carl Allen
Smoke 7, 9, 10:30 pm $35-55• Madeleine Peyroux; Jill Sobule Sony Hall 8 pm $49-85• NUBIA with the Bergamot String Quartet with Uri Gurvich, Ledah Finck,
Sarah Thomas, Amy Tan, Irène Han, Leo Genovese, Peter Slavov,
Ronen Itzik
The Stone at The New School 8:30 pm $20
êBlank Forms 8th Anniversary with HiTech; Joe McPhee/Tcheser Holmes;
Lucy Railton
Ukrainian National Home 8 pm $35
êDonny McCaslin Quintet with Gregoire Maret, Ben Monder, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40
Weill Recital Hall at Carnegie Hall 8 pm $95• Horacio Lavandera

Saturday, May 11
449 La Scat in Harlem 8 pm
• Denton Darien
Arthur’s Tavern 10 pm• Fred Thomas of the JBs• Anant Pradhan & Larry McDonald

Bar LunÀtico 9, 10:30 pm $10• Underground Spiritual Game Barbès 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30• Bill Charlap Solo; Bill Charlap Trio

Birdland 5:30, 8:30, 10:30 pm $30-50

Birdland Theater 7, 9:30 pm $25-35• Billy Stritch Trio
• World Famous Harlem Gospel Choir; Christian McBride

Blue Note 1:30, 8, 10:30 pm $30-45• James Austin Quartet; Nick Green Quartet

Cellar Dog 7, 8:30, 11 pm $10• Juilliard Jazz Orchestra with Ian Munoz, Adam Stein, Nicklas Caldwell,

Robert Gilliam, Sion Song, Miles Keingstein, Nathaniel Williford,
Ace Williams, James Haddad, James Sarno, Kate Kortum, Siya Charles,
Ilai Macaggi, Andre Perlman, Tyler Bullock, Edwin Corne, Daniel Song,
Hank Allen-Barfield; Corbin Jones Big Band with Alphonso Horne,
Adison Evans, Corbin Jones, Sammy Miller
Dizzy’s Club 7, 9, 11 pm $15-50• Tommy Campbell Trio; Helio Alves Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25• Nicola Caminiti Quartet with Lex Korten, Ben Tiberio, Miguel Russell
The Jazz Gallery 7:30, 9:30 pm $25-35
Knickerbocker Bar & Grill 9 pm
• Mikey Migliore• Todd Coolman, Jonny King, Billy Mintz; Anthony Wonsey Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Wayne Tucker and The Bad Mothas; Jesse Fischer Group
Nublu 151 7 pm $22.66
Patrick’s Place 7 pm
• Dave Hillard Band
• A.Kanda, Luke Rovinsky, James Paul Nadien; No Land with Drew Wesely,
Warren “Trae” Crudup
Record Shop 7:30 pm
Shrine 9 pm
• Ken Kobayashi Project
Silvana 8 pm
• Mitchell TrioêAntonio Hart Quartet
Sistas’ Place 9, 10:30 pm $30• Dave Schumacher and Cubeye with Josh Evans, Peter Brainin,
Silvano Monasterios, Alex “Apolo” Ayala, Joel Mateo, Yusnier Sanchez;
Saul Rubin Zebtet and Jam Smalls 7:30, 9, 10:30 pm, 12 am $40
êMusic of Benny Golson with Eddie Henderson, Ralph Moore, Steve Davis,
Mike LeDonne, Buster Williams, Carl Allen
Smoke 7, 9, 10:30 pm $35-55• Madeleine Peyroux; Jill Sobule Sony Hall 8 pm $49-85• Uri Gurvich with Dan Blake, Vinnie Sperrazza
The Stone at The New School 8:30 pm $20
êDonny McCaslin Quintet with Gregoire Maret, Ben Monder, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40

Sunday, May 12

Blue Note 8, 10:30 pm $30-45• Duduka Da Fonseca Quartet; Ai Murakami Quartet

Cellar Dog 7, 8:30, 11 pm $10• Juilliard Jazz Orchestra with Ian Munoz, Adam Stein, Nicklas Caldwell,

Robert Gilliam, Sion Song, Miles Keingstein, Nathaniel Williford,
Ace Williams, James Haddad, James Sarno, Kate Kortum, Siya Charles,
Ilai Macaggi, Andre Perlman, Tyler Bullock, Edwin Corne, Daniel Song,
Hank Allen-Barfield; Corbin Jones Big Band with Alphonso Horne,
Adison Evans, Corbin Jones, Sammy Miller
Dizzy’s Club 7, 9, 11 pm $15-50• Tyler Blanton Quartet; Bruce Williams Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
The Jazz Gallery 7:30, 9:30 pm $25-35• Tyler Bullock• Joe Camardo/Marshall Herridge
Knickerbocker Bar & Grill 9 pmêMeg Okura/Kevin Hays
Metropolitan Museum of Art 6 pm
• Todd Coolman, Jonny King, Billy Mintz; Peter Beets Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êCelebrating Marshall Allen’s 100 Years on the Planet with Tyler Mitchell,
Chris Hemingway, Nicoletta Manzini, Giveton Gelin, George Gray,
Elson Nascimento, Jorge Silva, Marshall Allen
Nublu 151 7 pm $22.66
êAhmed Abdullah with Monique Ngozi Nri, Don Chapman, Norbert Marius
P.I.T. 7 pm
• Jazz Jam with Patience Higgins
Patrick’s Place 8 pm
• Michael Rosen; Alison Shearer Room 623 at B2 Harlem 7, 8:30, 10 pm $20
Silvana 8 pm
• Jacob Varmus• Dariada David Jazz Brunch; Jazz Jam

449 La Scat in Harlem 1, 4 pm

• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pm
• Maendros with Lefteris Bournias, Megan Gould, Philip Mayer, Mavrothi
Kontanis, Umut Yasmut

Barbès 6 pm $20• Grace Fox Big Band; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $25-40
Birdland Theater 7, 9:30 pm $25-35
êWorld Famous Harlem Gospel Choir; Christian McBride
Blue Note 1:30, 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Peter Zak Trio
• Juilliard Jazz Orchestra with Ian Munoz, Adam Stein, Nicklas Caldwell,
Robert Gilliam, Sion Song, Miles Keingstein, Nathaniel Williford,
Ace Williams, James Haddad, James Sarno, Kate Kortum, Siya Charles,
Ilai Macaggi, Andre Perlman, Tyler Bullock, Edwin Corne, Daniel Song,
Hank Allen-Barfield
Dizzy’s Club 5, 7:30 pm $25-50• Ashley Pezzotti Quartet; Michael Kanan Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êSteve Swell/James Paul Nadien; Jeff Pearring/Yuko Togami; Samantha
Kochis/Kevin Murray
Ibeam Brooklyn 8 pm $20• Welf Dorr with Shoko Nagai, Dmitry Ishenko, Kevin Shea
The Keep 9 pm
• Mary Foster Conklin Quartet with John DiMartino, Yoshi Waki, Warren
Vache; Naama Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Ben Cassara Trio with Nicki Adams, Eddy Kaimovich
North Square Lounge 12:30, 2 pm

• Billy Stritch Trio

THE NEW YORK CITY JAZZ RECORD | May 2024 41

• Kaz Tap & Jazz Kazunori Kumagai, Alex Blake, Monday Michiru, Keita

Ogawa, Max Pollak, Anthony Morigerato
Nublu 151 7 pm $22.66• Jazz Brunch with Boncellia Lewis Patrick’s Place 12 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 am• Richard Cortez; Mimi Jones and Jam
Room 623 at B2 Harlem 6, 8, 10 pm $20
êAndrew Lamb, Hilliard Greene, Juan Pablo CarlettiSaint Peter’s Church 5 pm
• Peter Louis Octet; Vote for Lawson
Shrine 8, 10 pm• George Crotty; Compass Trio Sisters 8 pm
• Joe Strasser Quartet; Asaf Yuria Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êMusic of Benny Golson with Eddie Henderson, Ralph Moore, Steve Davis,
Mike LeDonne, Buster Williams, Carl Allen
Smoke 7, 9 pm $35-55• World Famous Harlem Gospel Choir
Sony Hall 7:30 pm $35-49
êPRISM Quartet
Symphony Space Leonard Nimoy Thalia 7 pmêDonny McCaslin Quintet with Gregoire Maret, Ben Monder, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40• David Leon with Matt Moran, Lester St. Louis, Dorothy James, Emily
Batsford, Andy Manjuck
Roulette 8 pm $25
Silvana 9 pm
• Pittson Family Band
• Jed Levy Quartet with Sam Bevan, Alvester Garnett; Benny Benack
Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êKurt Rosenwinkel with Mark Turner, Ben Street, Jeff Ballard
Village Vanguard 8, 10 pm $40• So Brasil Celebrating Jobim: Hendrik Meurkens, Portinho,
Misha Tsiganov, Gili Lopes Zinc Bar 7, 8:30 pm $35

Wednesday, May 15• Yuichi Hirakawa Jazz Group Arthur’s Tavern 7 pmêJerome Sabbagh/Melissa Aldana with Joe Martin, Bill Stewart

Bar Bayeux 8, 9:30 pmêMarta Sanchez with Chris Tordini, Savannah Harris

Bar LunÀtico 9, 10:30 pm $10• Buck And A Quarter Quartet; Mamady Kouyate and his
Mandingo Ambassadors

Birdland Theater 5:30, 8:30 pm $30-40
Cellar Dog 7, 8:30 pm $5êJeff Hamilton, Akiko Tsuruga, Steve Kovalcheck
Dizzy’s Club 7, 9pm $20-45• Hank Allen-Barfield Quartet; Connor MacLeod Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
êThe Jazz Gallery Gala Honoring Dianne Reeves, Reggie Workman,
Tania León, Dan Morgenstern with Anat Cohen, Arta Jekabsone,
Wayne Tucker, Nasheet Waits, Melissa Almaguer
The Jazz Gallery 7:30, 9:30 pmêRyan Siegel Ensemble; Matt Lavelle’s 12 Houses with Jose Abreu,
Mary Cheney, Ras Moshe, Lee Odom, Claire Daly, Cheryl Pyle,
Hilliard Greene, Jeremy Carlstedt, Art Baron, Matt Lambiase,
Stephanie Griffin; Stephen Gauci, Adam Lane, Kevin Shea; Yoni Kretzmer& Juan Pablo Carletti’s BIGGISH; Lisa Mezzacappa, Yuma Uesaka,
Colin Hinton
Main Drag Music 7 pm $15êAlan Broadbent, Harvie S, Billy Mintz; Pasquale Grasso Trio with
Ari Roland, Clifford Barbaro Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Jun Iida with Mark Ferber, Pablo Menares, Ghcris McCarthy, Aki Ishigur
Nublu 151 7 pm $22.66
Red Rooster Harlem 6:30 pm• Ahmaya Knoelle
Shrine 11 pm• Villagers Brass Band
Sisters 8 pm
• Kamra; Yaz Lancaster• Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio; ELEW Trio
Smalls 7:30, 9, 10:30 pm, 12 am $35• NYYS Jazz Ensemble with Chris Potter
Times Center 7 pm $35
êVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,John Riley
Village Vanguard 8, 10 pm $40

Barbès 8, 10 pm $20
Birdland 7, 9:30 pm $40-50êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar
Night with Peter Bernstein Birdland Theater 5:30, 8:30 pm $25-35
êChris Dave, Charlie Hunter, Rich Medina
Blue Note 8, 10:30 pm $30-45êAkiko Tsuruga Trio
Cellar Dog 7, 8:30 pm $5• Allan Harris with Irwin Hall, John Di Marino, Jay White, Sylvia Cuenca,
Alan Grubner
Dizzy’s Club 7, 9 pm $25-55
êDavid Hazeltine Trio; Eric Alexander Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êNick Lyons, Adam Lane, Kresten Osgood
Ibeam Brooklyn 8 pm $20
Iridium 8:30 pm $35-40• Mark LettieriêStephan Crump with Patricia Brennan, Mat Maneri, Erica Dicker, Jacob
Garchik, Kenny Warren
The Jazz Gallery 7:30, 9:30 pm $25-35• Robber Crabs with Elijah Shiffer, Max Kutner
Mama Tried 8 pm
• Kavita Shah Trio; Adam Ray Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• BZ Sounds with Ben Zwerin, Josh Deutsch, Patrick Cornelius,
Guilherme Monteiro, Manu Koch, Yuval Lion
Nublu 151 7 pm $22.66
One Manhattan West 12:30 pm• Rafael Enciso Duo• Jazz Power Initiative 20th Anniversary Celebration with Antoinette
Montague, Ariacne Trujillo Duran Trio, Judd Nielsen Organ Group, et al.
One Vanderbilt 6 pmêSheila Jordan/Cameron Brown
Pangea 7 pm $25
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Harlem Jazz Session with Peter Brainin
Room 623 at B2 Harlem 8, 9:30 pm $20
êDoYeon Kim with Tyshawn Sorey, Yoon Ho-Se
Roulette 8 pm $25• Noah Garabedian Quartet with Dayna Stephens, Carmen Staaf,
Jimmy Macbride; Chris Beck Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• Jane Monheit with Max Haymer, Karl McComas-Reichl, Curtis Nowosad
Smoke 7, 9 pm $35-55
The Stone at The New School 8:30 pm $20• Sam Kulik/David FirstêKurt Rosenwinkel with Mark Turner, Ben Street, Jeff Ballard
Village Vanguard 8, 10 pm $40

Tuesday, May 14

Thursday, May 16

Monday, May 13• Brandon Seabrook String Society

Bar LunÀtico 9, 10:30 pm $10êVince Giordano and the Nighthawks• Jerry Weldon TrioêLeo Genovese, Sean Conly, Diego Voglino

Bar Bayeux 8, 9:30 pm• Slavic Soul Party with John Carlson, Kenny Warren, Peter Hess,
Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 9 pm $20
êBill Charlap Trio
Birdland 7, 9:30 pm $40-50êAnn Kittredge; Michael Wolff Trio with Ben Allison, Allan Mednard
Birdland Theater 5:30, 8:30 pm $20-30êChris Dave, Charlie Hunter, Rich Medina
Blue Note 8, 10:30 pm $30-45êBlank Forms/FourOneOne presents: Ernest Dawkins Double Down Projectwith Kevin King, Thaddeus Tukes, Carmani Edwards, Isaiah Spencer,
Reggie Nicholson
Brooklyn Music School 8 pm
Cellar Dog 7, 8:30 pm $5• Johnny O’Neal TrioêMarc Cary From Stride Piano to Bebop
David Rubenstein Atrium 7 pmêHilary Gardner with Justin Poindexter, Noah Garabedian, Aaron Thurston,
Sasha Papernik
Dizzy’s Club 7, 9pm $20-45• Carolyn Leonhart Quintet; Jason Marshall Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Kevin Sun Quartet with Max Light, Walter Stinson, Jon Starks
Lowlands 8, 9:30 pm $10• Jamale Davis Trio; Neal Miner Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deborah Newallo ExperienceRed Rooster Harlem 6:30 pmêBill Charlap TrioêDianne Reeves, Chucho Valdés, Joe Lovano 92NY 7:30 pm $45
êTerry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Heidi Krenn with Ray Gallon, Cameron Brown

Austrian Cultural Forum 6:30 pm

Bar Bayeux 8, 9:30 pm• Max Light
Bar LunÀtico 9, 10:30 pm $10• Sofía Rei/Jorge Roeder• Pre-War Ponies with Daria Grace, J. Walter Hawkes, Jim Whitney,

Willie Martinez; Living Language with Nikhil P. Yerawadekar
Barbès 8, 10 pm $20
êBill Charlap Trio
Birdland 7, 9:30 pm $40-50• High Society New Orleans Jazz Band; Miss Maybell &The Jazz Age Artistes
Birdland Theater 5:30, 8:30 pm $25-40
êChris Dave, Charlie Hunter, Rich Medina Blue Note 8, 10:30 pm $30-45• Wayne Tucker Quintet; Will Terrill Quartet Cellar Dog 7, 8:30, 11 pm $5êJon Irabagon, Rob Duguay, Kresten Osgood Dada Bar 8 pm
• Jeong Lim Yang with Santiago Leibson, Tom Rainey; Lawrence Fields
Trio with Yasushi Nakamura, Mark Whitfield, Jr.; Markus Howell Quartet
with Luther S. Allison, Marty Jaffe, Michael Piolet
Dizzy’s Club 7, 9, 11 pm $15-50• Benito Gonzalez Trio; Mariel Bildsten Septet
The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 7:30, 9:30 pm $30• Brenda Earle StokesêJeff Miles, Shinya Lin, Michael Gilbert, Ken Kobayashi; Jeff Pearring,
Eri Yamamoto, Zach Swanson, Billy Mintz
Ibeam Brooklyn 8 pm $20

42 May 2024 | THE NEW YORK CITY JAZZ RECORD• Mark Lettieri

Iridium 8:30 pm $35-40

êAndy Milne Unison with John Hébert, Nate Winn

The Jazz Gallery 7:30, 9:30 pm $25-35

êBat Channel with Tim Berne, Eivind Opsvik, Jeff Davis, Gregg Belisle-Chi

Lowlands 8, 9:30 pm $10êJohn Dokes Quartet with Steve Einerson, Alexander Claffy, Jay Sawyer

Mezzrow 7:30, 9, 10:30 pm, 12 am $35
The Opera House 8:30 pm $50
Ornithology Jazz Club 6:30 pm• Eric Jacobson QuartetêChoir Invisible with Charlotte Greve, Chris Tordini, Vinnie Sperrazza
The Owl Music Parlor 8 pm $12• Mike Young and Soul Guard Patrick’s Place 7 pmêJill McCarron
Pierre Hotel 6 pm
Red Rooster Harlem 6:30 pm• Lynette Washington
êICE; PRISM Quartet
Roulette 8 pm $25
êNeal Kirkwood Big Band
ShapeShifter Lab 7 pm $20• Seydurah Avecmoi; Paul Austerlitz Band Shrine 7, 10 pm• Peter Galperin; Andrew Danforth Silvana 7, 9 pm
• Adam Larson Quartet; Sarah Hanahan Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• Jane Monheit with Max Haymer, Karl McComas-Reichl, Curtis Nowosad
Smoke 7, 9 pm $35-55
Soapbox Gallery 8 pm $25• Akihito Gorai Group• Sam Kulik/David Watson The Stone at The New School 8:30 pm $20
êNona Hendryx Celebrates Betty Davis
Symphony Space Peter Jay Sharpe Theatre 8 pm $30-55
êKurt Rosenwinkel with Mark Turner, Ben Street, Jeff Ballard
Village Vanguard 8, 10 pm $40
êBebel Gilberto

Friday, May 17
449 La Scat in Harlem 8 pm
• Denton Darien• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pm• Will Bernard & Freelance Subversives with Moses Patrou
Bar LunÀtico 9, 10:30 pm $10• La Banda Chuska with Felipe Wurst, Sam Day Harmet, Adele Fournet,
Erica Mancini, Abe Pollack, Joel Mateo Barbès 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30

êBirdland Big Band; Bill Charlap Trio Birdland 5:30, 8:30, 10:30 pm $25-50

Birdland Theater 7, 9:30 pm $25-35• Gil Gutierrez Trio
• Chris Dave Meets The Soul Rebels RebelhedzBlue Note 8, 10:30 pm $30-45• Ehud Asherie Quartet; Jamale Davis Quartet Cellar Dog 7, 8:30, 11 pm $10• Victor Goines Quartet with Oscar Rossignoli, Yasushi Nakamura, Ulysses
Owens, Jr.; Markus Howell Quartet with Luther S. Allison, Marty Jaffe,Michael Piolet
Dizzy’s Club 7, 9, 11 pm $15-55• Eric Jacobson Quartet; Charles Goold Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Tony Romano Quartet with Paul Carlon, Jennifer Vincent, Rob Garcia
Ibeam Brooklyn 8 pm $20
êKris Davis’ Pyroclastic Records Festival with Kris Davis/Craig Taborn;
Sylvie Courvoisier/Cory Smythe The Jazz Gallery 7:30, 9:30 pm $35-45
êMiho Sasaki
Knickerbocker Bar & Grill 9 pm
• James Austin Trio; Jon Davis Trio Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Jharis Yokley & BIGYUKI Nublu 151 7 pm $22.66• Jazz Jam with Patience Higgins Patrick’s Place 8 pm
Room 623 at B2 Harlem 10, 11:30 pm $20• Cameron CampbellêBattle of the Big Bands: New Orleans Jazz Orchestra and Captain BlackBig BandRose Theater 8 pm $40-175êÁlvaro Torres with Hery Paz, Sean Conly, Kresten Osgood
ShapeShifter Lab 9 pm $20
Silvana 7 pm
• Jade Santrell• Sasha Berliner Quartet; Philip Harper Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40• Jane Monheit with Max Haymer, Karl McComas-Reichl, Curtis Nowosad
Smoke 7, 9, 10:30 pm $35-55• Sam Kulik, David Greenberger, Sam Sowyrda, David Nagler
The Stone at The New School 8:30 pm $20
êKurt Rosenwinkel with Mark Turner, Ben Street, Jeff Ballard
Village Vanguard 8, 10 pm $40

Saturday, May 18
449 La Scat in Harlem 8 pm
• Denton Darien• JT Bowen & The Mighty Kings of Soul Arthur’s Tavern 10 pmêGregory “Organ Monk” Lewis Trio Bar LunÀtico 9, 10:30 pm $10• La Lá; Brooklyn Qawwali Party with Kenny Warren, Oscar Noriega,
Brian Drye, Xavier Del Castillo, Michael Gamble, Tony Kieraldo,
Noah Jarrett, Conor Elmes, Brook Martinez Barbès 8, 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êBill Charlap Solo; Bill Charlap Trio with Peter Washington,
Kenny Washington
Birdland 5:30, 8:30, 10:30 pm $30-50
Birdland Theater 7, 9:30 pm $25-35• Gil Gutierrez Trio
• Chris Dave, Savion Glover, Weedie Braimah
Blue Note 8, 10:30 pm $30-45• Greg Glassman Quartet; Simona Premazzi Quartet
Cellar Dog 7, 8:30, 11 pm $10

êVictor Goines Quartet with Oscar Rossignoli, Yasushi Nakamura,

Ulysses Owens, Jr.; Markus Howell Quartet with Luther S. Allison,
Marty Jaffe, Michael Piolet Dizzy’s Club 7, 9, 11 pm $15-55• Jonny King Trio; Freddy DeBoe BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êKris Davis’ Pyroclastic Records Festival withAngelica Sanchez/Marilyn Crispell; Kris Davis/Benoit Delbecq
The Jazz Gallery 7:30, 9:30 pm $35-45
êJill McCarron/Will Lyle
Knickerbocker Bar & Grill 9 pm
• James Austin Trio; Johnny O’Neal Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êICE with George Lewis; Either/Or Music by Talib Rasul Hakim
New York Public Library for the Performing Arts 2 pmêMoor Mother & Irreversible Entanglements
Park Avenue Armory 7, 9 pm $45• Jamaican Jazzmatazz with Derrick Barnett Patrick’s Place 7 pmêBattle of the Big Bands: New Orleans Jazz Orchestra and Captain BlackBig BandRose Theater 8 pm $40-175• Maurer Metrailler Quartet; Bill Warfield and The Hell’s Kitchen Funk
Orchestra
Shrine 7, 8 pm
Silvana 7 pm
• Citywide Trio
• Sasha Berliner Quartet; Stacy Dillard Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40• Jane Monheit with Max Haymer, Karl McComas-Reichl, Curtis Nowosad
Smoke 7, 9, 10:30 pm $35-55• Composers Concordance Flautos & Flautists St. John’s in the Village 8 pm
• Sam Kulik, Dave Scanlon, David Grollman
The Stone at The New School 8:30 pm $20
êKurt Rosenwinkel with Mark Turner, Ben Street, Jeff Ballard
Village Vanguard 8, 10 pm $40

Sunday, May 19• Dariada David Jazz Brunch; Jazz Jam 449 La Scat in Harlem 1, 4 pm
• Beyond Flute Group with Cheryl Pyle 6BC Garden 4 pm
Apollo Theater & Music Café 8 pm $60• Norah Jones• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pm
• Night Service with Jon Lampley Bar LunÀtico 9, 10:30 pm $10• Curtis Hasselbring and His Curhachestra with Raphael McGregor,

Adam Minkoff, Dan Rieser; Tambor y Caña with Willie Quintana,
Daniel Prim, Jeickov Vital, Juan Diego Villalobos, Kevin Costante
Barbès 8, 10 pm $20• John Koozin and the Neighborhood; Afro Latin Jazz Orchestra
Birdland 5:30, 8:30, 10:30 pm $20-40
Birdland Theater 7, 9:30 pm $25-35• Gil Gutierrez Trio
• Chris Dave, Savion Glover, Weedie Braimah Blue Note 8, 10:30 pm $30-45êMessthetics with James Brandon Lewis, Steve Gunn, Wendy Eisenberg
Bowery Ballroom 7 pm $30
Cellar Dog 7, 8:30 pm $5• Organ GroovesêVictor Goines Quartet with Oscar Rossignoli, Yasushi Nakamura,
Ulysses Owens, Jr.
Dizzy’s Club 5, 7:30 pm $25-55• Jed Levy Quartet; Ray Gallon Trio The Django 7:30, 9, 10:30 pm, 12 am $25• Joaquin Nunez & Habana Safari Drom 7:30, 9:30 pm $30• Welf Dorr with Elias Meister, Carlo De Biaggio, Yuko Togami
The Keep 9 pm
• Paul Jost, Jim Ridl, Dean Johnson; Vanisha Gould Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Kate Baker Trio with Jim Ridl, Dean Johnson
North Square Lounge 12:30, 2 pm
• Jazz Brunch with Boncellia LewisPatrick’s Place 12 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 amêBilly Mohler with Nate Wood, Jason Palmer, John Ellis
Rizzoli Bookstore 5 pm
• Ana Hoffman; Mimi Jones and Jam Room 623 at B2 Harlem 6, 8, 10 pm $20
Saint Peter’s Church 5 pm
• Sivan Arbel• Pasquale Grasso Quartet; Aaron Johnson Boplicity and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• Jane Monheit with Max Haymer, Karl McComas-Reichl, Curtis Nowosad
Smoke 7, 9 pm $35-55
êKurt Rosenwinkel with Mark Turner, Ben Street, Jeff Ballard
Village Vanguard 8, 10 pm $40
êSonny Fortune Tribute: George Cables with Santi Debriano, Steve Johns,
Craig Handy
Zinc Bar 7, 8:30 pm $35

Monday, May 20êBilly Mohler with Chris Speed, Nate Wood Bar LunÀtico 9, 10:30 pm $10• Reginald Chapman’s Chaphouse with Maxx Spinelli, Julia Chen,
Ryan Easter, Mark McIntyre, Eli Rojas Barbès 7 pm $20

êVince Giordano and the Nighthawks Birdland Theater 5:30, 8:30 pm $30-40êEddie Palmieri

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

Imani Rouselle

Dizzy’s Club 7, 9pm $20-50• Ed Palermo Big BandThe Django 7:30, 9, 10:30 pm, 12 am $25
Iridium 8:30 pm $35-40

Cellar Dog 7, 8:30 pm $5• Saul Rubin Quartet• Christian X. McGhee Orchestra with Georgia Heers, Olivia Chindamo,• Naama Gheber Quartet; Raphael Silverman Quartet• Alex Lozupone, Ayumi Ishito, Dave Sewelson, Marcus Cummins, Stephen

Moses; Adam Caine’s Main Drag Guitar Orchestra; Stephen Gauci, Adam
Lane, Kevin Shea; Travis Sullivan, Jeremy Carlstedt, Michael Bates; Ken
Kobayashi Ensemble
Main Drag Music 7 pm $15• Sam Yahel Trio; Pasquale Grasso Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êSimon Nabatov Trio with Mark Helias, Tom Rainey
Michiko Studios 8:30 pm $15
Red Rooster Harlem 6:30 pm• Ahmaya Knoelle• Joe Farnsworth Quartet with Micah Thomas, Yasushi Nakamura,
Sarah Hanahan; Miki Yamanaka Trio and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35• One Breath Rising presents SACO & As It Is with Saco Myoji,
Michael TA Thompson, Sakurako Kataoka
Soapbox Gallery 4:40 pmêRodney Jones
SoulBK 7 pm $20• Vanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,John Riley
Village Vanguard 8, 10 pm $40• Marty Isenberg with Sami Stevens, Moshe Elmakias, Rodrigo Recabarren,
Alicyn Yaffee
Yale Club 7 pm

Tuesday, May 21• Vuyo Sotashe/Chris Pattishall Joe’s Pub 7 pm $25• Yaniv Taubenhouse Trio with Rick Rosato, Jerad Lippi;
Wilfie Williams Trio

Mezzrow 7:30, 9, 10:30 pm, 12 am $35
One Manhattan West 12:30 pmêAndrea Wolper
Pangea 7 pm $25
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Harlem Jazz Session with Peter Brainin
Room 623 at B2 Harlem 8, 9:30 pm $20• Yarn/Wire with Sae Hashimoto Roulette 8 pm $25
Shrine 8 pm
• Private Label Trio
• Tom Guarna Quartet; Willerm Delisfort Sextet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êCyro Baptista, Eric Mingus, Peter Apfelbaum, Marcus Rojas
The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sanchez, Luke Stewart, Russell Carter
Village Vanguard 8, 10 pm $40• Tomoko Omura Trio

Thursday, May 23êTerry Waldo’s Gotham City Band Arthur’s Tavern 10 pmêMax Light; Peter Bernstein with Adam Kolker, Jeremy Stratton

Bar Bayeux 5:30, 8, 9:30 pm• Stringwise with Jorge Glem, César Orozco Bar LunÀtico 9, 10:30 pm $10• Brain Cloud with Dennis Lichtman, Tamar Korn, Raphael McGregor,
Skip Krevens, Kevin Dorn, Andrew Hall Barbès 8 pm $20

êGil Evans Project with Ryan Truesdell, Ethan Helm, Dave Pietro,êAdam Birnbaum, Matt Penman, Diego Voglino

Bar Bayeux 8, 9:30 pm• Molly Miller with Jay Bellerose, Jennifer Condos
Bar LunÀtico 9, 10:30 pm $10• Tamar Korn; Slavic Soul Party with John Carlson, Kenny Warren, Peter
Hess, Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 7, 9 pm $20
êGil Evans Project with Ryan Truesdell, Ethan Helm, Dave Pietro,
Tom Christiansen, Alden Banta, Adam Unsworth, David Peel, Augie Haas,
Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer,
George Flynn, Marcus Rojas, Wendy Gilles, Gary Versace, Nate Radley,
Chico Pinheiro, Jay Anderson, Lewis Nash
Birdland 7, 9:30 pm $35-45
Birdland Theater 5:30 pm $20-30• Caelan Cardello Trio
• Karl Denson’s Tiny Universe Blue Note 8, 10:30 pm $30-45êChampian Fulton Trio
Cellar Dog 7, 8:30 pm $5• Sasha Dobson with Dayna Stephens, Peter Bernstein, Neal Miner,
Jerome Jennings
Dizzy’s Club 7, 9pm $20-45• Joe Farnsworth Trio; People of EarthThe Django 7:30, 9, 10:30 pm, 12 am $25• Dan Pappalardo Trio with Max Light, Eric McPherson
Lowlands 8, 9:30 pm $10• Antonio Ciacca Trio; Tardo Hammer, Lee Hudson, Steve Williams
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deborah Newallo ExperienceRed Rooster Harlem 6:30 pm• Weston Olencki + TAK Ensemble with Madison Greenstone,
Charlotte Mundy, Marina Kifferstein, Ellery Trafford Roulette 8 pm $25
Silvana 9 pm
• Music KreweêSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa,Charles Goold
Smalls 7:30, 9, 10:30 pm, 12 am $35
êDavid Murray Quartet with Marta Sanchez, Luke Stewart, Russell Carter
Village Vanguard 8, 10 pm $40
êDavid Virelles’ Nosotros Ensemble with Dafnis Prieto, Gary Thomas,
Ranee More, Rashaan Carter, Dabin Ryu, Brandon Ross,
Curtis MacDonald, Val-Inc Zankel Hall 7:30 pm $45-55

Tom Christiansen, Alden Banta, Adam Unsworth, David Peel, Augie Haas,
Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer,
George Flynn, Marcus Rojas, Wendy Gilles, Gary Versace, Nate Radley,
Chico Pinheiro, Jay Anderson, Lewis Nash Birdland 7, 9:30 pm $35-45• High Society New Orleans Jazz Band; Vana Gierig Trio
Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $30-45• Terrace Martin• Bruce Harris Quartet; Miki Yamanaka Quartet Cellar Dog 7, 8:30, 11 pm $5
David Rubenstein Atrium 7:30 pm• Tali Rubinstein Quartet• Sun Ra at 110 with Sullivan Fortner’s Galactic Friends; Joe Block OpenHeart Trio with Paul Sikivie, JK Kim Dizzy’s Club 7, 9, 11 pm $15-50
êRoberta Piket Trio; Mark Whitfield The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 8 pm $30• Pedrito MartinezêSylvie Courvoisier/Patricia Brennan The Jazz Gallery 7:30, 9:30 pm $25-35• Tarek Yamani with Alexander Claffy, JK Kim Joe’s Pub 9:30 pm $25• JD Walter Quartet with Jim Ridl, Francois Moutin, Ari Hoenig;
Andrea Domenici Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êGuillermo Gregorio Ensemble with Sarah Bernstein, Iván Barenboim, Ken
Filiano, James Paul Nadien Michiko Studios 8:30 pm $20
êTowner Galaher’s Organ Trio Patrick’s Place 7 pmêJill McCarron
Pierre Hotel 6 pm
Red Rooster Harlem 6:30 pm• Lynette Washington• Kishoten; Spaghetti Eastern Silvana 7, 9 pm
• Jon Cowherd Trio; David Gibson Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êRussell Malone Quartet with Rick Germanson, Vincent DuPont, Neal
Smith
Smoke 7, 9 pm $35-55
êCyro Baptista, Sae Hashimoto, Brian Marsella, Tim Keiper
The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sanchez, Luke Stewart, Russell Carter
Village Vanguard 8, 10 pm $40
Zinc Bar 7, 8:30 pm $35• Sandy Quartet

Friday, May 24
449 La Scat in Harlem 8 pm
• Denton Darien• Johnny O’Neal Trio; Bobby Harden with Off Da Hook

Wednesday, May 22
Arthur’s Tavern 10 pm• FMS with Day Kornegay• Charlie Ballantine Quartet with Jon Cowherd, Tony Scherr, Dave KingBar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Rachael & Vilray• Mamady Kouyate and his Mandingo Ambassadors Barbès 10 pm $20
êGil Evans Project with Ryan Truesdell, Ethan Helm, Dave Pietro,
Tom Christiansen, Alden Banta, Adam Unsworth, David Peel, Augie Haas,
Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer,
George Flynn, Marcus Rojas, Wendy Gilles, Gary Versace, Nate Radley,
Chico Pinheiro, Jay Anderson, Lewis Nash Birdland 7, 9:30 pm $35-45
êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar
Night with Guest Host Peter Bernstein Quartet
Birdland Theater 5:30, 8:30 pm $25-35• Karl Denson’s Tiny Universe Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Samba de GringoêSun Ra at 110 with Sullivan Fortner’s Galactic Friends
Dizzy’s Club 7, 9 pm $25-50
êMichael Rabinowitz Quartet; Edsel Gomez Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30• Jazz Composers’ Showcase with Ben Kono, Michael Thomas,
John Lowery, Carl Maraghi, Sam Hoyt, John Lake, Chloe Rowlands,
Dave Adewumi, Nick Grinder, Jasim Perales, Sam Blakeslee,
Jennifer Wharton, Chris McCarthy, Olli Hirvonen, Evan Gregor,
John Sturino
The Jazz Gallery 7:30, 9:30 pm $25-35

Arthur’s Tavern 7, 10 pm• Urban Achievers with Tyler Blanton, Josh Dion, Al Street, Stephan
KondertBar LunÀtico 9, 10:30 pm $10• Habbina Habbina with Amit Peled, Ran Livneh, Dani Danor
Barbès 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30• Birdland Big Band; Gil Evans Project with Ryan Truesdell, Ethan Helm,

Dave Pietro, Tom Christiansen, Alden Banta, Adam Unsworth, David Peel,
Augie Haas, Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer,
George Flynn, Marcus Rojas, Wendy Gilles, Gary Versace, Nate Radley,
Chico Pinheiro, Jay Anderson, Lewis Nash
Birdland 5:30, 8:30, 10:30 pm $25-45
êMatt Wilson’s Good Trouble with Tia Fuller, Dawn Clement, Ben Allison
Birdland Theater 7, 9:30 pm $25-35
Blue Note 8, 10:30 pm $30-45• Terrace Martin• Chris Beck Quartet; Steve Ash Quartet Cellar Dog 7, 8:30, 11 pm $10êCyrus Chestnut Trio with Eric Wheeler, Chris Beck; Joe Block Open Heart
Trio with Paul Sikivie, JK Kim
Dizzy’s Club 7, 9, 11 pm $15-55• Steve Davis Quintet; JC Hopkins Biggish BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êSirius String Quartet with Gregor Huebner Joe’s Pub 7 pm $20• Peter Zak Trio; Bryn Roberts Trio Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Jazz Jam with Patience Higgins Patrick’s Place 8 pm
• Max Bessessen; Pete Rodriguez
Room 623 at B2 Harlem 7, 8:30, 10, 11:30 pm $20

THE NEW YORK CITY JAZZ RECORD | May 2024 43êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder,

Kenny Wollesen
Roulette 8 pm $25• Matthew McDonald; Dave Mullen and Butta Silvana 8, 10 pm• Sharel Cassity Quartet; Philip Harper Quintet
Smalls 7:30, 9, 10:30 pm, 12 am $40
êRussell Malone Quartet with Rick Germanson, Vincent DuPont, Neal
Smith
Smoke 7, 9, 10:30 pm $35-55
êCyro Baptista, Felipe Hostins, Brian Marsella, Jason Fraticelli, Tim Keiper
The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sanchez, Luke Stewart, Russell Carter
Village Vanguard 8, 10 pm $40

Saturday, May 25• Denton Darien• KJ Denhert & The NY Unit

449 La Scat in Harlem 8 pm
Arthur’s Tavern 10 pmêCarmen Staaf/Adam Kolker Bar Bayeux 6 pm
• Mandingo Ambassadors Bar LunÀtico 9, 10:30 pm $10
Barbès 8 pm $20• Helen Gillet• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30• Caelan Cardello Trio; Gil Evans Project with Ryan Truesdell, Ethan Helm,
Dave Pietro, Tom Christiansen, Alden Banta, Adam Unsworth, David Peel,
Augie Haas, Scott Wendholt, Riley Mulherkar, Ryan Keberle, Nick Finzer,
George Flynn, Marcus Rojas, Wendy Gilles, Gary Versace, Nate Radley,
Chico Pinheiro, Jay Anderson, Lewis Nash
Birdland 5:30, 8:30, 10:30 pm $20-45
êMatt Wilson’s Good Trouble with Tia Fuller, Dawn Clement, Ben Allison
Birdland Theater 7, 9:30 pm $25-35
Blue Note 8, 10:30 pm $30-45• Terrace Martin• Jade Synstelien Quartet; Kyoko Oyobe Quartet
Cellar Dog 7, 8:30, 11 pm $10êCyrus Chestnut Trio with Eric Wheeler, Chris Beck; Joe Block Open Heart
Trio with Paul Sikivie, JK Kim
Dizzy’s Club 7, 9, 11 pm $15-55• Jason Tiemann Quartet; Craig Handy and 2nd Line Smith
The Django 7:30, 9, 10:30 pm, 12 am $25• Tap Day Celebration with Melissa Almaguer
The Jazz Gallery 7:30, 9:30 pm $35-45
Kostabi World 7 pm
• Charles Neidich• Peter Zak Trio; Jesse Green Trio Mezzrow 7:30, 9, 10:30 pm, 12 am $40
Patrick’s Place 7 pm
• Annette St. John
• Don Malfon; Michael Foster’s The Ghost; Kevin Murray
Record Shop 7:30 pm• Quddus Quintet; Baklava Express Silvana 8, 10 pm
êTK Blue’s Randy Weston Tribute Band Sistas’ Place 9, 10:30 pm $30• Sharel Cassity Quartet; Eric Wyatt Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $40
êRussell Malone Quartet with Rick Germanson, Vincent DuPont,
Neal Smith
Smoke 7, 9, 10:30 pm $35-55
êCyro Baptista/Billy Martin
The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sanchez, Luke Stewart, Russell Carter
Village Vanguard 8, 10 pm $40

Sunday, May 26• Dariada David Jazz Brunch; Jazz Jam 449 La Scat in Harlem 1, 4 pm
• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pm
Bar LunÀtico 9, 10:30 pm $10• Bob Lanzetti• Stéphane Wrembel; Baklava Express with Josh Kaye, Daisy Castro,
Max O’Rourke, James Robbins, Jeremy Smith Barbès 8, 10 pm $20

êRussell Malone Quartet with Rick Germanson, Vincent DuPont,

Neal Smith
Smoke 7, 9, 10:30 pm $35-55
êDavid Murray Quartet with Marta Sanchez, Luke Stewart, Russell Carter
Village Vanguard 8, 10 pm $40

Monday, May 27êLucian Ban/Alex Harding with Mat Maneri, Bob Stewart, Brandon Lewis

Bar LunÀtico 9, 10:30 pm $10

Rogerio Boccato; Curtis Nowosad Quartet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êNicholas Payton Trio with Peter Washington, Kenny Washington
Smoke 7, 9 pm $35-55
êMiles Okazaki/Dan Weiss
The Stone at The New School 8:30 pm $20
êBrad Mehldau Trio with Vicente Archer, Marcus Gilmore
Village Vanguard 8, 10 pm $40

Thursday, May 30êVince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $30-40êEddie Palmieri
Blue Note 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Zaid Nasser Trio
• Simon Mogul Quartet; Sean Hong Wei Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Spike Wilner Trio
Red Rooster Harlem 6:30 pm• Ahmaya Knoelle
Shrine 10 pm• Villagers Brass Band
• Eric Alexander/Mike LeDonne Quartet; Steve Kirby Trio
Smalls 7:30, 9, 10:30 pm, 12 am $35
êVanguard Jazz Orchestra with Dick Oatts, Billy Drewes, Rich Perry,
Ralph Lalama, Gary Smulyan, John Chudoba, Brian Pareschi,
Terell Stafford, Scott Wendholt, Dion Tucker, Jason Jackson,
Robert Edwards, Douglas Purviance, Adam Birnbaum, David Wong,
ohn Riley
Village Vanguard 8, 10 pm $40

Tuesday, May 28• Ambler with Brad Shepik, Bob Lanzetti, Ben Monder, Diego Voglino
Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Hinman vs. Levy
• Three Blind Mice with Francis Jacob, Stomu Taekeishi, Gintas Janusonis;
Slavic Soul Party with John Carlson, Kenny Warren, Peter Hess,
Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 7, 9 pm $20
êMonty Alexander 80th Birthday Celebration
Birdland 7, 9:30 pm $35-45
Birdland Theater 5:30 pm $20-30• Caelan Cardello Trio
Blue Note 8, 10:30 pm $30-45• Kelela
Cellar Dog 7, 8:30 pm $5• Ehud Asherie TrioêClaudio Roditi Tribute with Bruce Harris, Scott Robinson, Tomoko Ohno,Peter Washington, Sam Martinelli, Sofia Kriger
Dizzy’s Club 7, 9pm $20-55
êPete Malinverni Quartet; Itai Kriss Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25• Anne Burnell/Mark Burnell with James Cammack, Zach Brock
Don’t Tell Mama 6 pm $20
êOr Bareket Quartet
Joe’s Pub 9:30 pm $20• Matt Panayides Trio; Chris Flory Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Deborah Newallo Experience Red Rooster Harlem 6:30 pm
Shrine 8 pm
• Leo Yablans
Sisters 8 pm
• Sam Weinberg• Abraham Burton Quartet; Jason Clotter Sextet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBrad Mehldau Trio with Vicente Archer, Marcus Gilmore
Village Vanguard 8, 10 pm $40
êTeri Roiger Abbey Lincoln Tribute with James Weidman, John Menegon,
Steve Williams
Zinc Bar 7, 8:30 pm $35

Wednesday, May 29• Christian Wiggs Big Band; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40êMatt Wilson’s Good Trouble with Tia Fuller, Dawn Clement, Ben Allison
Birdland Theater 7, 9:30 pm $25-35• World Famous Harlem Gospel Choir; Terrace Martin
Blue Note 1:30, 8, 10:30 pm $30-45
Cellar Dog 7, 8:30 pm $5• Ned Goold Trio
• Mute with Kevin Sun, Christian Li, Jeonglim Yang
Church of the Transfiguration 5 pm $25• Cyrus Chestnut Trio with Eric Wheeler, Chris Beck
Dizzy’s Club 5, 7:30 pm $25-55• Alex Minasian Quartet; Peter Zak Trio
The Django 7:30, 9, 10:30 pm, 12 am $25• MOSS with Theo Bleckmann, Peter Eldridge, Jo Lawry, Kate McGarry,
Lauren Kinhan
Joe’s Pub 6 pm $25• Welf Dorr with Taulant Mehmeti, Dmitry Ishenko, Dave Miller
The Keep 9 pm
• Melissa Stylianou, Tal Yahalom, Vitor Goncalves; Jamile Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
North Square Lounge 12:30, 2 pm
• Erli Perez Trio
• Jazz Brunch with Boncellia Lewis Patrick’s Place 12 pm• Nate Lucas All-Stars; Sing Harlem Gospel Brunch
Red Rooster Harlem 10 am• April Varner; Mimi Jones and Jam Room 623 at B2 Harlem 6, 8, 10 pm $20• Eri Yamamoto, David Ambrosio, Ikuo Takeuchi
Saint Peter’s Church 5 pm
Scholes Street Studio 3 pm
• Ras MosheêMichael Blake Quartet; Jeff McGregor Quintet and Jam
Smalls 7:30, 9, 10:30 pm, 12 am $35

êBen Allison Quartet with Steve Cardenas, Michael Wolff,• Yuichi Hirakawa Jazz Group Arthur’s Tavern 7 pm
• Julieta Eugenio Trio with Matt Dwonszyk, Jonathan Barber
Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Rachael & Vilray• Mamady Kouyate and his Mandingo Ambassadors
Barbès 10 pm $20

êMonty Alexander 80th Birthday Celebration

Birdland 7, 9:30 pm $35-45

êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s Guitar

Night with James Chirillo

Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $30-45êVictor Gould Trio
Cellar Dog 7, 8:30 pm $5êNanny Assis/Ron Carter
Dizzy’s Club 7, 9pm $20-50• Spike Wilner Trio; Neal Miner Trio The Django 7:30, 9, 10:30 pm, 12 am $25
êMingus Big Band
Drom 7:30, 9:30 pm $30
êAlex Harding/Lucian Ban with Bob Stewart, Brandon Lee Lewis
The Jazz Gallery 7:30, 9:30 pm $25-35• Lafayette Harris Trio; Jihee Heo Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êNir Felder
One Manhattan West 12:30 pm• Hannah Carter Quartet with Levi Pugh, Nolan Nwachukwu, Gerald Chavis
Pangea 7 pm $25
Red Rooster Harlem 6:30 pm• Rodrigo Bonelli Trio
• Holman Alvarez Quartet with Patricia Brennan, John Hébert, Kate Gentile
Scholes Street Studio 8 pm
Shrine 9 pm
• Leni Stern Band
Silvana 9 pm
• Muffin Man• Kelela

44 May 2024 | THE NEW YORK CITY JAZZ RECORDêTerry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Max Light; Grassroots Jazz Effort with Adam Kolker, Jerome Sabbagh,
Jeremy Stratton, George Schuller Bar Bayeux 5:30, 8, 9:30 pm• Chris Morrissey with Charlotte Greve, Ryan Dugree, Marco Bolfelli,Bill Campbell

Bar LunÀtico 9, 10:30 pm $10• Lovestruck Balladeers with Jake Sanders, Dennis Lichtman, Sean Cronin,
Dalton Ridenhour, Mike Davis Barbès 7:30, 9:30 pm $20• Monty Alexander 80th Birthday Celebration Birdland 7, 9:30 pm $35-45• High Society New Orleans Jazz Band
Birdland Theater 5:30 pm $30-40• Soullive with Eric Krasno, Alan Evans, Neal EvansBlue Note 8, 10:30 pm $50-65• Brandon Lee Quintet; Mariel Bildsten Quartet Cellar Dog 7, 8:30, 11 pm $5• Dion Parson and the 21st Century Band with Melvin Jones, Ron Blake,
Carlton Holmes, Reuben Rogers, Victor Provost, Alioune Faye;
Brandon Sanders Quartet with Keith Brown, Eric Wheeler, Chris Lewis,
Georgia Heers
Dizzy’s Club 7, 9pm $15-55• Manuel Valera Quartet; Lee Taylor
The Django 7:30, 9, 10:30 pm, 12 am $25
êEva Novoa; Jonathan Reisin with Shinya Lin, Jarred Chase
Ibeam Brooklyn 8 pm $20
êLuciana Souza Trio with Chico Pinheiro, Scott Colley
The Jazz Gallery 7:30, 9:30 pm $35-45• Jake Hart Quartet with John Hart, Bill Moring, Tim Horner;
Joe Davidian Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Mike Young and Soul Guard Patrick’s Place 7 pmêJill McCarron
Pierre Hotel 6 pm
Red Rooster Harlem 6:30 pm• Lynette Washington
Silvana 7 pm
• Peter Glynn• Eden Ladin Quintet; David Gibson Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35• Nicholas Payton Trio with Peter Washington, Kenny Washington
Smoke 7, 9 pm $35-55
êMiles Okazaki, Tim Berne, Nasheet Waits
The Stone at The New School 8:30 pm $20
êBrad Mehldau Trio with Vicente Archer, Marcus Gilmore
Village Vanguard 8, 10 pm $40

Friday, May 31• Denton Darien

449 La Scat in Harlem 8 pmêArtemis with Renee Rosnes, Alexa Tarantino, Nicole Glover,Ingrid Jensen, Noriko Ueda, Allison Miller
The Appel Room 7, 9:30 pm $65-100• Johnny O’Neal Trio; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pm• Belo & The Beasts with Eduardo Belo
Bar LunÀtico 9, 10:30 pm $10
Barbès 8, 10 pm $20• Ourida; Super Yamba• Bill Saxton Harlem All-Stars Bill’s Place 7,9 pm $30
êBirdland Big Band; Monty Alexander 80th Birthday Celebration
Birdland 5:30, 8:30, 10:30 pm $25-45
êScott Robinson Quartet
Birdland Theater 7, 9:30 pm $20-30• Soullive with Eric Krasno, Alan Evans, Neal EvansBlue Note 8, 10:30 pm $50-65• Bebop Collective; Jinjoo Yoo Quartet Cellar Dog 7, 8:30, 11 pm $10• Don Was and The Pan-Detroit Ensemble City Winery 7:30 pm $39-85
David Rubenstein Atrium 7:30 pm• Carolina Mama
• Dion Parson and the 21st Century Band with Melvin Jones, Ron Blake,
Carlton Holmes, Reuben Rogers, Victor Provost, Alioune Faye;
Brandon Sanders Quartet with Keith Brown, Eric Wheeler, Chris Lewis,
Georgia Heers
Dizzy’s Club 7, 9pm $15-55• David Gibson Quartet; Richard Cortez BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êHarish Raghavan Quintet with Walter Smith III, Lage Lund, Taylor Eigsti,
Kendrick Scott
The Jazz Gallery 7:30, 9:30 pm $35-45
êStephanie Griffin Ensemble; Amanda Monaco’s Deathblow;
Cheryl Pyle’s Musique Libre Femmes Celebrating Women Composers
Michiko Studios 7 pm $20• Jazz Jam with Patience Higgins Patrick’s Place 8 pm
• Brazil Night with Sarah Cabral, Gili Lopes
Room 623 at B2 Harlem 7, 8:30, 10 pm $20• Joe Morris Quartet with Adam Lane, Rob Brown, Matt Rousseau
Scholes Street Studio 8 pmêNicholas Payton Trio with Peter Washington, Kenny Washington
Smoke 7, 9, 10:30 pm $35-55
êBrad Mehldau Trio with Felix Moseholm, Joe Farnsworth
Village Vanguard 8, 10 pm $40

Wednesday, February 1êMonte Croft Trio

CONNECTICUT

333 Lounge 7:30, 9:30 pm
Douglas-Moore,
Wong, Dominic
Coles; Seth Cluet			
CaféNine (NewEric
Haven,CT) cafenine.com• Ian
		5/4 (4 pm) Michael Coppola411
KJam

5/7 (7 pm) Matt Pearl
5/11 (4 pm) Gary Grippo Jam
5/18 (4 pm) Tony Di Jam
5/25 (4 pm) Chervansky, Tappan & Ice Jazz JamFirehouse 12 (New Haven, CT) firehouse12.com
5/3 (8:30/10 pm) Sam Bardfeld Trio with Jacob Sacks, Michael Sarin
5/10 (8:30/10 pm) Anna Webber Shimmer Wince with Adam O’Farrill,
Mariel Roberts, Elias Stemeseder, Lesley Mok
5/13 (8:30/10 pm) Andy Milne & Unison with John Hébert,
Clarence Penn
5/20 (8:30/10 pm) Adam Rudolph Sunrise Quartet with Alexis Marcelo,
Kaoru Watanabe, Stephen Haynes
5/27 (8:30/10 pm) Taylor Ho Bynum JAK4 with Jacqueline Kerrod,
Allison Burik, Ken Filiano
Palace Theater Poli Club (Waterbury, CT)palacetheaterct.org/shows/jazz
5/10 (7/9 pm) Sam Martinelli
5/24 (7/9 pm) Fred Lipsius
Side Door (Old Lyme, CT) thesidedoorjazz.com
5/3 (8:30 pm) Christos Rafalides Quartet with Gabriel Chakarji,
Yunior Terry, Alon Benjamini
5/4 (8:30 pm) Lew Tabackin Trio
5/5 (8:30 pm) Tom Guarna Quartet with Dave Kikoski, Joe Martin,
Joe Dyson
5/6 (8:30 pm) Rick Germanson Trio with Nat Reeves, Willie Jones III
NEW JERSEY
Brothers Smokehouse (Ramsey, NJ) brotherssmokehousenj.com
5/3 (7 pm) Craig Handy
5/10 (7 pm) Akili Bradley
5/17 (7 pm) Paul Bollenback
5/24 (7 pm) T.K.Blue
5/31 (7 pm) Rodney Jones
Englewood Public Library (Englewood, NJ) englewoodlibrary.org
5/4 (7 pm) Matthew Fishteyn
5/19 (7 pm) Muneer Nasser Jazz Group
Express Newark (Newark, NJ) expressnewark.org
5/18 (12-10 pm) AAPI Jazz Fest 2024: Linda Oh with Fabian Almazan;
Akiko Tsuruga; Gordon Au; Kengchakaj; JK Kim;
Catbus Collective and Jam
Jazz House Kids (Montclair, NJ) jazzhousekids.org
5/16 (7 pm) Michela Lerman Marino
5/30 (7 pm) Juanga Lakunza Quartet
Moore’s Lounge (Jersey City, NJ)
winardharperjazz.com/moore-s-lounge
5/3, 5/10, 5/17, 5/24, 5/31 (8 pm) Winard Harper Hosts The Jazz Jam
5/5, 5/12, 5/19, 5/26 (7 pm) Winard Harper Hosts The Jazz Jam
Nicholas Music Center, Rutgers University (New Brunswick, NJ)
nbjp.org
5/17 (7:30 pm) Jerry Weldon Sextet & The New Brunswick Chamber
Orchestra “100 Years of Rhapsody in Blue”
Parlor at Hailey’s Harp and Pub (Metuchen, NJ)
haileysharpandpub.com
5/9 (7 pm) Cynthia Sayer & Her Joyride Quartet
Shanghai Jazz (Madison, NJ) shanghaijazz.com
5/1 (7 pm) Stéphane Séva Swing Ondulé Trio with Dan Levinson,
Conal Fowkes
5/2 (7 pm) Dan Crisci Piano Trio
5/3 (7 pm) Eldorado Slim with Scott Sharrard
5/4 (7 pm) John Lee with Karl Latham, Freddie Hendrix, Alex Collins
5/7 (6:30 pm) Bob Himmelberger Trio
5/8 (7 pm) James Gibbs III
5/10 (7 pm) Don Braden Quartet
5/14 (6:30 pm) Ted Brancato Trio
5/16 (7 pm) John Zweig Band
5/18 (7 pm) Nicki Denner Trio
5/21 (6:30 pm) George Naha Trio
5/24 (7 pm) Cesar Orozco & Jorge Glem’s Stringwise
5/30 (7 pm) Leonieke Scheuble
Sharp Theater, Ramapo College (Ramapo, NJ) ramapo.edu
5/5 (8 pm) Tony DeSare Quartet
Tavern on George (New Brunswick, NJ) tavernongeorge.com
5/2 (7/8:45 pm) Yvonnick Prene Quartet

100 MILES OUTTavern on George (New Brunswick, NJ) tavernongeorge.com
5/7 (7/8:30 pm) Zach Dessel Quartet and Jam
5/9 (7/8:45 pm) Winard Harper & Jeli Posse
5/14 (7/8:30 pm) Adisa Terry Quartet Quartet and Jam
5/16 (7/8:45 pm) Forbidden Tropics
5/21 (7/8:30 pm) Adisa Jacob Hurlock Quartet and Jam
5/23 (7/8:45 pm) Ray Blue Quartet
5/28 (7/8:30 pm) Owen Walter Quartet and Jam
5/30 (7/8:45 pm) Mark Gross Quartet

Maureen’s Jazz Cellar (Nyack, NY) maureensjazzcellar.com
5/17 (8 pm) Jill McCarron Trio with Will Lyle, Andy Watson

The Woodland (Maplewood, NJ) maplewoodartsandculture.org
5/1 (8 pm) Django á Gogo Music Festival: Stephane Wrembel with
Josh Kaye, Adrien Chevalier, Joe Correia, David Langlois,
Nick Driscoll, Joe Boga, Scott Kettner, Sarah King
5/2 (8 pm) Django á Gogo Music Festival: Gypsy Guitars Trio withAngelo Debarre, Serge Camps, Frank Anastasio
5/3 (8 pm) Django á Gogo Music Festival: Stephane Wrembel with
Josh Kaye, Ari Folman-Cohen, Nick Anderson

Uncle Cheef (Brewster, NY) unclecheef.com
5/2 (7:30 pm) Grease Patrol
5/3 (7:30 pm) Champian Fulton
5/4 (7:30 pm) Early Times
5/5 (11:30 am/6:30 pm) Brazillian Jazz BrunchWith Marcio Philomena; JD Smoothe
5/10 (7:30 pm) Rodney Jones
5/11 (7:30 pm) Ed Cherry
5/17 (7:30 pm) Rich Hinman vs Adam Levy

NEW YORKBlue Door Art Center (Yonkers, NY) bluedoorartcenter.org
5/26 (2 pm) Po’Jazz House Band
Cunneen-Hackett Arts Center (Poughkeepsie, NY)
cunneen-hackett.org
5/17 (8 pm) Chourmo with David Torn, Tim Berne, Tom Rainey

South Street Jazz (Peekskill, NY)
hightopproductions.net/south-street-jazz
5/19 (7 pm) Adam O’Farrill’s Stranger Days
Tubby’s (Kingston, NY) tubbyskingston.com
5/5 (8 pm) Joe McPhee meets The Ghost with Michael Foster,John Moran, Joey Sullivan

Westchester Collaborative Theater (Ossining, NY)
wctheater.org/music-in-the-box
5/25 (7:30 pm) Ray Blue BandPENNSYLVANIA

Chris’ Jazz Café (Philadephia, PA) chrisjazzcafe.com
Jazz at The Lodge (Ossining, NY) jazzatthelodge.com
5/1 (7:30/9 pm) Justin Farquhar Jazz Orchestra
5/2, 5/10, 5/23 (7/8:30 pm) Organ Groove with Jesse Lewis,
5/2 (7:30/9 pm) John Dimase
Paul Connors, Jon Doty
5/3 (7:30/9 pm) Neil Podgurski
5/4 (7/8:30 pm) Kelly Green Quartet with Elijah J. Thomas,
5/4 (7:30/9:30 pm) Kate Kortum & the Tim Brey/Behn Gillece Quartet
Luca Soul Rosenfeld, Evan Hyde
5/7 (7:30/9:30 pm) Eric McGarry Quintet
5/11 (7/8:30 pm) Gerry Malkin Jazz Collective with Dom Chichetti, Vinnie 5/8 (7:30/9 pm) Michael Kaplan’s Superband
Cutro, Mike McGuirk, Bobby Leonard, Renato Thoms 5/9 (7:30/9 pm) Freedom Over Certainty
5/16 (7/8:30 pm) Sarah Cion, Mike Rubino, Dan Asher, Bill Reeve
5/10 (7:30/9 pm) Future Tense Quartet
5/30 (7/8:30 pm) Organ Groove with Dave Kain, Paul Connors,
5/11 (7:30/9:30 pm) Darryl Yokley
Jon Doty
5/15 (7:30/9:30 pm) UArts Z Big Band
5/31 (7/8:30 pm) Homecoming with Steve Count, Robert Castelli
5/16 (7:30/8:45 pm) Cameron Sewell-Snyder
Jazz Forum Arts (Tarrytown, NY) jazzforumarts.org
5/17 (7:30/9 pm) Luke Carlos O’Reilly’s Quartet
5/3, 5/4 (7/9:30 pm) Jazz Passengers with Steven Bernstein
5/18 (7:30/9 pm) Pete Malinverni Trio
5/5 (4/6/8 pm) Ali Ryerson Quartet with Ricardo Peixoto and Jam
5/24 (7:30/9:30 pm) Larry Price Quintet
5/10, 5/11 (7/9:30 pm) Jeremy Pelt Quartet
5/25 (7:30/9:30 pm) Tonya Lynette
5/12 (4/6 pm) Kate Baker Brazilian Quartet
5/29 (7:30/9 pm) Ikechi Onyenaka
5/17, 5/18 (7/9:30 pm) Peter Bernstein Quartet
5/30 (7:30/9 pm) Susie Meissner
5/19 (4/6 pm) Ben Sher & Antropofagia Quartet with Vanderlei Pereira
5/31 (7:30/9 pm) Josh Lawrence Quintet
5/24, 5/25 (7/9:30 pm) Alex Bugnon Quartet
Fire Museum (Philadelphia, PA) firemuseumpresents.com
5/26 (4/6 pm) Livio Almeida Quartet
5/6 (8 pm) La Perla
5/31 (7/9:30 pm) Paquito D’Rivera Quintet
5/11 (8 pm) Cooper-Moore, Pheeroan akLaff, Bobby Zankel
The Jazz Loft (Stony Brook, NY) thejazzloft.org
5/30 (8 pm) J. Pavone String Ensemble
5/1 (1/7 pm) Strictly Sinatra: Tom Manuel with Steve Salerno,
Solar Myth (Philadelphia, PA) arsnovaworkshop.org
Keenan Zach; Jam with Keenan Zach
5/2 (8 pm) Avram Fefer, Hill Greene, Reggie Nicholson Trio
5/2, 5/3, 5/4 (7 pm) Jazz Loft Big Band Strictly Sinatra
5/4 (8 pm) Chicago Underground Duo with Rob Mazurek, Chad Taylor
5/6 (7 pm) Stony Brook University Jazz Orchestra
5/6 (8 pm) Ligeti Quartet Performs the Music of Wadada Leo Smith
5/7 (7 pm) Stony Brook University Jazz Combos& Anna Meredith
5/13 (7 pm) Bright Moments Series
5/7 (8 pm) Even Odds with Dan Weiss, Matt Mitchell, Miguel Zenón
5/15, 5/22, 5/29 (7 pm) Jam with Keenan Zach
5/9 (8 pm) Jim White/Marisa Anderson
5/16 (7 pm) Bad Little Big Band
5/10 (8 pm) Tarbaby with Orrin Evans, Eric Revis, Nasheet Waits +5/17 (7 pm) Jamile Staevie Ayres with Miki Yamanaka, Mikey Migliore,
Ursula Rucker
JK Kim5/11 (8 pm) Tarbaby with Orrin Evans, Eric Revis, Nasheet Waits +5/18 (7 pm) Loft Big Band with Rich DeRosa and Warren Vache
Kai Davis
5/30 (7 pm) Interplay Jazz Orchestra with Joe Devassy,
5/13 (8 pm) Luke Stewart Silt Trio with Brian Settles, Chad Taylor,
Gary Henderson
Trae Crudup
5/31 (7 pm) Bill Mays Trio with Dean Johnson, Ron Vincent
5/14
(8
pm)
Nate Wooley Columbia Icefield with Susan Alcorn,
Jazz on Main (Mt. Kisco, NY) jazzonmain.com
Ava Mendoza, Ryan Sawyer
5/2 (7 pm) Adam Beaudoin Quartet
5/17 (8 pm) Kim Myhr’s Sympathetic Magic with Håvard Volden,
5/3 (7/9 pm) Gustavo Casenave Trio
David Stackenäs, Eve Risser, Adrian Myhr, Hans
5/4 (7/9 pm) Jane Irving TrioHulbækmo, Michaela Antalová, Ingar Zach,
5/5 (12 pm) Cary Brown
Magnus Nergaard
5/10 (7/9 pm) Kate Curran
5/18 (8 pm) Donny McCaslin with Jason Lindner, Jonathan Maron,
5/11 (7/9 pm) Conigliaro Consort
Nate Wood
5/12 (12 pm) Cary Brown
5/19
(8
pm)
Moor Mother with Steve Montenegro, Lea Bertucci,
5/16 (7 pm) Pete Ayres Trio
Henry Fraser
5/18 (7 pm) Giacomo Gates
5/31 (8 pm) Nicole Mitchell Black Earth Ensemble with Mankwe
5/19 (12 pm) Madoka Mooney/Ron Drotos
Ndosi, Darius Jones, Chris Williams, Angelica Sanchez,
Lydia’s Café (Stone Ridge, NY) lydias-cafe.com
Teddy Rankin-Parker, Luke Stewart, Avreeayl Ra
5/4 (7 pm) Nico Soffiato/Dean Sharp Duo
Union
Transfer(Philadelphia, PA) utphilly.com
5/18 (7 pm) Jimmy Madison with Tim Regusis, Tarik Shah,
5/5 (8 pm) Kamasi Washington
Awan Rashad
5/24 (8 pm) Sun Ra Arkestra: Marshall Allen 100th
5/25 (7 pm) John Bruschini with John Mulkerin, Rich Mollin,
Chris Bowman
Birthday Celebration

THE NEW YORK CITY JAZZ RECORD | May 2024 45

C LU B D I RE C TO RY• 449 La Scat in Harlem 449 Lenox Ave.
Subway: 2, 3 to 135th Str.
• 6BC Garden 6th Str. and Ave. B
Subway: F to Second Ave.
6bgarden.org• 92NY Lexington Ave. at 92nd Str.
(212-415-5500) Subway: 6 to 96th Str.
92ny.org• Apollo Theater & Music Café 253 W. 125th Str.
(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Str.
apollotheater.org• The Appel Room Broadway at 60th Str., 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• Arthur’s Tavern 57 Grove Str.
(212-675-6879) Subway: 1 to Christopher Str.
arthurstavernnyc.com• Austrian Cultural Forum 11 E. 52nd Str. at Madison Ave.
(212-319-5300) Subway: 6 to 51st Str.
acfny.org• BAMCafé 321 Ashland Pl.
(718-636-4139) Subway: M, N, R, W to Pacific Str. ; Q, 1, 2, 4, 5 to Atlantic
Ave.
bam.org• Bar Bayeux 1066 Nostrand Ave.
(347-533-7845) Subway: 2, 5 to Sterling Str.
barbayeux.com• Bar LunÀtico 486 Halsey Str.
(917-495-9473) Subway: C to Kingston-Throop Ave.
barlunatico.com• Barbès 376 9th Str. at 6th Ave., Brooklyn(718-965-9177) Subway: F to 7th Ave.
barbesbrooklyn.com• Beacon Theatre 2124 Broadway at 74th Str.
(212-496-7070) Subway: 1, 2, 3 to 72nd Str.
beacontheatre.com• Bill’s Place 148 W. 133rd Str. btwn. Lenox and 7th Ave.
(212-281-0777) Subway: 2, 3 to 125th Str.
billsplaceharlem.com• Birdland / Birdland Theater 315 W. 44th Str. btwn. 8th and 9th Ave.
(212-581-3080) Subway: 7, A, C, E, F, N, Q, R, to 42nd Str.
birdlandjazz.com• Blue Note 131 W. 3rd Str. at 6th Ave.
(212-475-8592) Subway: A, C, E, F, V Grand Str. Shuttle to W. 4th Str.
bluenotejazz.com• Bowery Ballroom 6 Delancey Str.
(212-533-2111) Subway: F to Delancey Str.
boweryballroom.com• BRIC House Ballroom, Media House and Stoop 647 Fulton Str.
(718-683-5600) Subway: 2, 3, 4, 5 to Nevins Str.
bricartsmedia.org• Brooklyn Music School 126 Saint Felix Str., Brooklyn(718-907-0878) Subway: 4 to Atlantic Ave. -Pacific Str.
brooklynmusicschool.org• Café Erzulie 894 Broadway, Brooklyn
Subway: J, M, Z to Myrtle Ave.
cafeerzulie.com• Cellar Dog 75 Christopher Str. at 7th Ave.
(212-675-6056) Subway: 1 to Christopher Str. /Sheridan Sq.
cellardog.net• Church of the Transfiguration 1 E. 29th Str.
Subway: N, Q, R, W to 28th Str.
littlechurch.org• City Winery 25 11th Ave. (at 15th Str.)(646-751-6033) Subway: A, C, E, L to 14th Str.
citywinery.com• Dada Bar 60-47 Myrtle Ave., Queens
Subway: M to Forest Ave.; M to Fresh Pond Rd.
dadabar.nyc• David Rubenstein Atrium Broadway at 60th Str.
(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
atrium.lincolncenter.org• Dizzy’s Club 33 W. 60th Str., 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• The Django 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 to Franklin Str.
thedjangonyc.com• Don’t Tell Mama 343 W. 46th Str.
(212-757-0788) Subway: A, C, E, F, V to 42nd Str. -Port Authority
donttellmama.com• Drom 85 Ave. A(212-777-1157) Subway: F to Second Ave.
dromnyc.com• Greenwich House Music School 46 Barrow Str.
(212-242-4770) Subway: 1 to Christopher Str.
greenwichhouse.org• Ibeam Brooklyn 168 7th Str. btwn. Second and Third Ave.
Subway: F to 4th Ave.
ibeambrooklyn.com• InterContinental New York Barclay’s Club 111 E. 48th Str.
(212-755-5900) Subway: 6 to 51st Str.
intercontinentalnybarclay.com/• Iridium 1650 Broadway at 51st Str.
(212-582-2121) Subway: 1,2 to 50th Str.
theiridium.com• Irondale Center 85 South Oxford Str.
(718-488-9233) Subway: C Lafayette Str. ; G to Fulton Str.
irondale.org• The Jazz Gallery 1158 Broadway, 5th fl(212-242-1063) Subway: N, Q, R, W to 28th Str.; F, M to 23rd Str.
jazzgallery.org• Joe’s Pub 425 Lafayette Str.
(212-539-8770) Subway: N, R to 8th Str. -NYU; 6 to Astor Pl.
joespub.com• The Keep 205 Cypress Ave., Queens(718-381-0400) Subway: L to Jefferson Str.
thekeepny.com• Knickerbocker Bar & Grill 33 University Pl. at 9th Str.
(212-228-8490) Subway: N, R to 8th Str. -NYU
knickerbockerbarandgrill.com• Kostabi World 225 W. 22nd Str.
Subway: C, E to 23rd Str.
• Lowlands 543 Third Ave., Brooklyn(347-463-9458) Subway: R to Prospect Ave.
lowlandsbar.com• Main Drag Music 50 S. 1st Str. btwn. Kent and Wythe Ave., Brooklyn(718-388-6365) Subway: L to Bedford Ave.
maindragmusic.com• Mama Tried 787 3rd Ave., Brooklyn(718-788-1401) Subway: D, N, R, W to 25th Str.
mamatriedbk.com• Metropolitan Museum of Art 1000 Fifth Ave. at 82nd Str.
(212-570-3949) Subway: 4, 5, 6 to 86th Str.
metmuseum.org• Mezzrow 163 W. 10th Str.
(646-476-4346) Subway: 1 to Christopher Str.
smallslive.com• Michiko Studios 15 W. 39th Str. Floor 7(212-302-4011) Subway: N, Q, R, W to Times Squaremichikostudios.com• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Str.
• New York Public Library for the Performing Arts 40 Lincoln Center Plaza(212-870-1630) Subway: 1 to 66th Str.
nypl.org• North Square Lounge 103 Waverly Pl. at McDougal Str.
(212-254-1200) Subway: A, B, C, E, F, V to West 4th Str.
northsquareny.com/about-jazz.php• Nublu 62 Ave. C btwn. 4th and 5th Str.
(212-979-9925) Subway: F, V to Second Ave.
nublu.net• Nublu 151 151 Ave C
Subway: L to 1st Ave.
nublu.net• One Manhattan West 395 9th Ave.
Subway: A, C, E to Penn Station
manhattanwestnyc.com• One Vanderbilt 1 Vanderbilt Ave.
Subway: 4, 5, 6, 7 to Grand Central
onevanderbilt.com• The Opera House 288 Berry Str.
Subway: L to Bedford Ave.
• Ornithology Jazz Club 6 Suydam Str., Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Ave.
ornithologyjazzclub.com• The Owl Music Parlor 497 Rogers Ave.
(718-774-0042) Subway: Subway: 2 to to Sterling Str.
theowl.nyc• P.I.T. 411 South 5th Str., Brooklyn(347-763-0333) Subway: J, M to Hewes Str.
propertyistheft.org• Pangea 178 Second Ave.
(212-995-0900) Subway: L to First Ave.
pangeanyc.com• Park Avenue Armory 643 Park Ave.
(212-616-3930) Subway: 6 to 68th Str.
armoryonpark.org• Patrick’s Place 2835 Frederick Boulevard(212-491-7800) Subway: B, D to 155th Str.
patricksplaceharlem.com• Pierre Hotel Fifth Ave. at 61st Str.
(212-940-9109) Subway: 4, 5, 6 to 59th Str.
thepierreny.com• Public Records 233 Butler Str.
(347-529-4869) Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Ave.
publicrecords.nyc• The Record Shop 360 Van Brunt Str.
(347-668-8285) Subway: Bus: B61to Van Brunt Str./King Str.
360recordshop.com• Red Rooster Harlem 310 Malcolm X Blvd.
(212-792-9001) Subway: 2, 3 to 125th Str.
redroosterharlem.com• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Str.
rizzolibookstore.com

46 May 2024 | THE NEW YORK CITY JAZZ RECORD• Rockwood Music Hall 196 Allen Str.
(212-477-4155) Subway: F, V to Second Ave.
rockwoodmusichall.com• Room 623 at B2 Harlem 271 W. 119th Str.
(212-280-2248) Subway: B, C to 116th Str.
b2harlem.com• Rose Theater Broadway at 60th Str., 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
jazz.org• Roulette 509 Atlantic Ave., Brooklyn(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Ave.
roulette.org• Saint Peter’s Church 619 Lexington Ave. at 54th Str.
(212-935-2200) Subway: 6 to 51st Str.
saintpeters.org• Scarlet Lounge 468 Amsterdam Ave.
Subway: 1, 2 to 79th Str.; 1,2 to 86th Str.
scarletloungenyc.com• Scholes Street Studio 375 Lorimer Str.
(718-964-8763) Subway: L to Lorimer Str. ; G to Broadway
scholesstreetstudio.com• ShapeShifter Lab 837 Union Str., Brooklyn(646-820-9452) Subway: D, N, R, W to Union Str.; B, Q to 7th Ave.;
shapeshifterlab.com• Shrine 2271 Adam Clayton Powell Blvd. btwn. 133rd & 134th Str.
(212-690-7807) Subway: B, 2, 3 to 135th Str.
shrinenyc.com• Silvana 300 W. 116th Str.
(646-692-4935) Subway: B, C, to 116th Str.
silvana-nyc.com• Sistas’ Place 456 Nostrand Ave. at Jefferson Ave., Brooklyn(718-398-1766) Subway: A to Nostrand Ave.
sistasplace.org• Sisters 900 Fulton Str.
(347-763-2537) Subway: C to Clinton-Washington Ave.s
sistersbklyn.com• Smalls 183 W 10th Str. at Seventh Ave.
(212-252-5091) Subway: 1 to Christopher Str.
smallslive.com• Smoke 2751 Broadway btwn. 105th and 106th Str.
(212-864-6662) Subway: 1 to 103rd Str.
smokejazz.com• Soapbox Gallery 636 Dean Str.
Subway: 2, 3 to Bergen Str.
soapboxgallery.org• Sony Hall 235 W. 46th Str.
(212-997-5123) Subway: N, R, W to 49th Str.
sonyhall.com• SoulBK 706 Nostrand Ave, Brooklyn(347-240-8440) Subway: S to Park Pl.; 2, 5 to President Str.
soulbk.com• St. John’s in the Village 218 W. 11th Str.
(212-243-6192) Subway: 1 to Christopher Str.
stjvny.org• Stern Auditorium at Carnegie Hall 881 Seventh Ave.
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Ave.
carnegiehall.org• Stone at The New School, The 55 West 13th Str.
(212-229-5600) Subway: F, V to 14th Str.
thestonenyc.com• Symphony Space 2537 Broadway at 95th Str.
(212-864-5400) Subway: 1, 2, 3 to 96th Str.
symphonyspace.org• Times Center, The 242 W. 41st Str.
(212-556-4288) Subway: 7, A, C, E, F, N, Q, R, to 42nd Str.
thetimescenter.com• Town Hall 123 W. 43rd Str.
(212-997-1003) Subway: 7, B, D, F, M to 42nd Str. -Bryant Park
thetownhall.org• Ukrainian National Home 140 2nd Ave.
(212-529-6287) Subway: 6 to Astor Placeukrainianeastvillage.com• Village Vanguard 178 Seventh Ave. South at 11th Str.
(212-255-4037) Subway: 1, 2, 3 to 14th Str.
villagevanguard.com• Weill Recital Hall at Carnegie Hall 154 W. 57th Str. at Seventh Ave.
(212-247-7800) Subway: N, R to 57th Str.
carnegiehall.org• Yale Club 50 Vanderbilt Ave.
Subway: 4, 5, 6, 7 to Grand Central
yaleclubnyc.org• York College CUNY, 94-20 Guy R. Brewer Blvd., Queens
Subway: E to Jamaica Centeryork.cuny.edu• Zankel Hall 881 Seventh Ave. at 57th Str.
(212-247-7800) Subway: N, Q, R, W to 57th Str.
carnegiehall.org• Zinc Bar 82 W. 3rd Str.
(212-477-8337) Subway: A, C, E, F, V, Grand Str. Shuttle to W. 4th Str.
zincbar.com

I N ME MORIAM
CASEY BENJAMIN (Oct. 10, 1978 – Mar. 30, 2024) The
colorful saxophonist who worked primarily with Robert
Glasper as well as Stefon Harris & Blackout, died in
Maryland at age 45 from a pulmonary thromboembolism. He
was a graduate of the Fiorello H. LaGuardia High School ofMusic and Art and Performing Arts and met Glasper while
studying music at the New School for Social Research. Other
collaborations included Kris Bowers, Brandee Younger, DJ
Logic and John Medeski, among others.
PHIL DELIRE (Mar. 13, 1956 – Apr.1, 2024) The Belgian
producer and recording engineer, who died at age 68,
notably worked on albums by Philip Catherine, Kandahar,
Marc Moulin and Fawzi Al-Aiedy.
VLADIMIR FEIERTAG (Dec. 27, 1931 – Mar. 28, 2024) The
Russian jazz writer and promoter died at age 92. He was a
graduate of the Rimsky-Korsakov University of Music andLeningrad University and, starting out as a pianist, leda jazz orchestra in his student days. In 1960, with Valery
Myssovsky, he published the first encyclopedia on jazz in
Russian, later writing ten books on jazz and more than 100
articles on the subject (both international and indigenous)
for major jazz magazines. He also wrote liner notes fornearly three dozen Melodiya releases. In 1966 he became alecturer at the state agency Lenconcert. He organized thefirst jazz concert series in Leningrad, and in a number ofcities throughout the Soviet Union and then the RussianFederation. In the ’90s he gave lectures abroad (U.S.,
Germany, Denmark, Austria) and became a successful music
manager, touring Europe and Russia with many Russian
and Ukrainian bands. Feiertag also hosted several jazz radio
programs (winning the 1998 Willis Conover Award, named
for the famed Voice of America broadcaster). Feiertag was a
director of the Soviet Jazz Federation, which organized andadvocated for musicians as well as promoters.
CAROL GREEN (Nov. 10, 1960 – Mar. 20, 2024) The Chairof the Redwood Entertainment group of companies passed
away at the age 63. She began in the music industry with theMetropolitan Opera in the ’70s. She was also involved with
the Dr. Pepper Music Festival in Central Park and several
major rock venues including the Underground, Heartbreak,
The Ritz and the Red Zone. Green later worked with Ron
Delsener Productions, organizing concerts and becoming amanager. After founding Redwood in 1983, Green offeredan array of services across the music business, including
marketing, personal management and representation, public
relations and radio promotion, as well as the production ofshows across genres.
JOHN GOLDSMITH (? – April 10, 2024) The drummer/
percussionist, who died at an unknown age, was active since
the ’70s, with credits including Sun Ra, Rahsaan Roland Kirk,
Bobby Bradford and Carl and Earl Grubbs in The Visitors,
the brothers’ modern jazz quintet based in Philadelphia.
KEITH LANNY GOODING (May 3, 1935 – Apr. 8, 2024)
Passing at age 88 at home, the pianist/vocalist also played
vibes and tenor saxophone. He worked at the Bob Burns
Supper Club in Santa Monica, CA, from 1963-83 as well as
the Skyway East Restaurant for over 20 years. Gooding, amember of the American Federation of Musicians since 1947,
also performed with several local bands in Richland County,CA.
ALBERT “TOOTIE” HEATH (May 31, 1935 – Apr. 3,2024) The hard bop drummer and 2021 NEA Jazz Master,died at age 88 of leukemia in Santa Fe, NM. He was the last
surviving member of a legendary jazz family that included
older brothers bassist Percy (d. 2005) and saxophonist
Jimmy (d. 2020) as well as percussionist nephew, James
Mtume (d. 2022). With Percy, Jimmy and Stanley Cowell, thebrothers formed The Heath Brothers band in 1975, the firsttime they ever played together as a unit. Heath was bornin Philadelphia, PA, and was known since childhood as“Tootie” for his love of tutti-frutti ice cream. Equipped witha toy drum set, he’d listen as older brother Jimmy jammed in

BY MARILYN LESTER
the family home with the likes of John Coltrane and Benny
Golson. He took up drumming seriously at age 11, latersneaking into local clubs to hear drummers Max Roach and
Kenny Clarke play. Charles “Specs” Wright, the drummer
with brother Jimmy’s band, became his teacher. Though notnecessarily an innovator as a modern jazz drummer, he wasrespected for his subtlety and refined approach, which wasanchored in tradition and technique. In his teens, “Tootie”
became the house drummer at Philadelphia’s Blue Noteclub, where he played with the likes of Thelonious Monk
and Lester Young. He made his recording debut at age
22 on John Coltrane’s first record as leader, and later thatyear on Nina Simone’s first studio album. Heath moved to
NYC in 1960, joining The Jazztet, a sextet co-led by Golson
and trumpeter Art Farmer. He also had a long partnershipwith Catalan pianist Tete Montoliu, spending part of thelate ’60s in Copenhagen, and as the house drummer at the
Café Montmartre accompanying Sonny Rollins, Dexter
Gordon and many others. After the 1994 death of Modern
Jazz Quartet drummer Connie Kay, Heath took his place,remaining with the group until it disbanded in 1997. Heath
was later the producer and leader of The Whole Drum Truth,a jazz drum ensemble featuring Ben Riley, Ed Thigpen, Jackie
Williams, Billy Hart, Charli Persip and Leroy Williams.
In his later years Heath was on the jazz faculty of
Stanford University in Palo Alto, CA, and would move toSanta Fe, NM, where he spent his last decade. As a recording
legacy, Heath released six albums under his own name, thelast two (recorded in 2013 and 2014) were by a trio including
pianist Ethan Iverson and the bassist Ben Street. Among
major albums to which he contributed were The Incredible Jazz
Guitar of Wes Montgomery (1960), Kenny Dorham’s Trompeta
Toccata (1964), Herbie Hancock’s The Prisoner (1970), Yusef
Lateef’s The Gentle Giant (1972) and Anthony Braxton’s In the
Tradition (1974). He worked on leading albums for O’Be andMuse, more recently Sunnyside, as well as having shareddates with his brothers on Columbia, Antilles and Concord.
Heath had sideman credits with Coltrane, J.J. Johnson,
Cannonball and Nat Adderley, Mal Waldron, Johnny Griffin,
Billy Taylor, Bennie Green, Clifford Jordan, Mel Rhyne,
Walter Benton, René Thomas, Johnny Lytle, Sonny Red,
Bobby Timmons, Les Spann, Blue Mitchell, Charlie Mariano,
McCoy Tyner, Coleman Hawkins, Ray Brown, Milt Jackson,
James Moody, Ben Webster, Harry “Sweets” Edison and Joe
Pass, among a host of other major jazz names.
DAVID IRVING (Oct. 21,1940 – Apr. 3, 2024) A professor
and expert in jazz improvisation with a 45-year tenure at Del
Mar College (retiring in 2017), Irving, passed away at age
83 in Portland, TX. Irving began playing guitar at age 4 andwas also an accomplished bass and French horn player. He
taught jazz studies at DMC and directed the MWF Jazz Band,also helping to support various music endeavors, including
the Texas Jazz Festival, the annual Tuba Christmas event,and the Corpus Christi Municipal Band.
BOB LANESE (Aug. 2, 1941 – April 9, 2024) Long-based inGermany, the trumpeter died there at age 82. Clevelandborn, he began as a member of the house band for the city’s
Alpine Village nightclub. After an army stint, he toured
Europe with the Glenn Miller Orchestra and landed a job
with Norddeutsche Rundfunk big band in Hamburg. For
30 years, Lanese was lead trumpeter for the James Last
Orchestra, as well as playing on a handful of albums withcredits under Klaus Weiss, Slide Hampton/Duško Gojković,
Peter Herbolzheimer, Knut Kiesewetter, NDR Big Band and
Clark Terry.
DOUG MCINTOSH (1944 – Apr. 10, 2024) The musician andeducator died peacefully in Exeter, NH, after a brief illness,
at age 80. He was inspired in junior high to pursue music
after hearing jazz saxophonist Charlie Mariano perform.
McIntosh, who played an assortment of woodwind, brass,and keyboards, was a music educator for 28 years in the
Burlington MA Public Schools. A skilled arranger, he also
wrote for professionals as well as student ensembles. He wasa member of the International Association of Jazz Educatorsand Massachusetts Music Educators Association.

PACIFICO MASCARENHAS (May 21, 1935 – Apr. 9, 2024)
Born in Belo Horizonte, State of Minas Gerais, Brazil, thecomposer died at age 88. He was a main member of Turmada Savassi in the ’50s and, among other credits, the founderof the conjunto group, Quarteto Sambacana.
PHIL NIMMONS (Jun. 3 1923 – Apr. 5, 2024) The Canadianjazz clarinetist, composer, bandleader and educator, diedin Toronto at age 100. Nimmons played free jazz andmainstream styles, as well as other genres including classicalmusic. He composed more than 400 pieces in various genresand helped develop the jazz performance program at the
University of Toronto, becoming its director emeritus in1991. He had albums on Verve, Radio Canada International,
RCA Victor, Sackville, CBC and Opening Day.
CHARLIE ROBINSON (1934 – Apr. 13, 2024) The guitarist
and teacher, who died at age 90, had albums on Ashland,
Inner Truth, Visionwind Music Productions and credits withKen Hardin, Charles Haynes and Mike Newman.
JOHN SINCLAIR (Oct. 2, 1941 – Apr. 2, 2024) The jazz
poet, activist and MC5 manager died at age 82. Most of
his pieces included musical accompaniment by a varying
group of collaborators dubbed Blues Scholars. He was a
producer of the Ann Arbor Blues and Jazz Festival and otherconcert presentations. Sinclair released numerous albums,
collaborating with players including Michael Ray, MC5’s
Wayne Kramer, Phil Ranelin, Ed Moss, Elliott Levin, Ras
Moshe and Don Fiorino. He also wrote liner notes for albums
by the Art Ensemble of Chicago, The Lyman Woodard
Organization, Larry Nozero, Rebirth Brass Band, Michael
Ray and The Cosmic Krewe and Kermit Ruffins.
ENRIQUE LLÁCER SOLER “REGOLÍ” (Jun. 20, 1934
– Apr. 11, 2024) Also known as Regolí, the Spanish jazzand classical percussionist and composer, passed away at
age 89. Soler started his jazz career in 1952 in Barcelona
jam sessions while a student in conservatories in Valencia
and Madrid. He also studied under Kenny Clarke in Parisand Philly Joe Jones in New York. In 1966 he wrote adrum set method, La batería: técnica, independencia y ritmo.
Subsequently, Soler became the percussion soloist for
the Spanish National Orchestra and also started teaching
percussion at the Madrid Royal Conservatory. In his later
years he focused on classical music but remained active in
the Spanish jazz scene through the ’80s in units such as the
Canal Street Jazz Band.
JOHN TATGENHORST (Aug. 22, 1938 – Apr. 2, 2024)
The composer/arranger and drummer died at age 85 after
several years of ill health. He received a music degree from
Ohio State University and went on to have his own radio
show. He arranged music for the OSU Marching Bandfor over 40 years. He taught music lessons privately, wasthe drum set player for Nick Clooney’s local morning TV
show and wrote for many music publishing companies,
advertising agencies, corporations, orchestras and marchingbands including Penn State Blue Band and Purdue’s AllAmerican Marching Band.
JOE VIERA (Sep. 4, 1932 – Apr. 7, 2024) The German
saxophonist and music pedagogue died in Munich at age
91. He attended his first jazz concert in 1952 on the day of
his final high school exam and was moved to purchase his
first saxophone (a soprano) and form a band with a guitarist
friend. In the ’50s he became a member of the Riverboat
Seven and then had releases in the ’60s onward for Lyodon,
Universal Edition, Calig, dhfi and Chaos. He was a professor
at the University of Duisburg-Essen and also taught andlectured at institutions such as the Universities of Munichand Passau. He also co-founded the International Jazz
Federation, the Union of German Jazz Musicians (sitting on
the Board for over 40 years) and the Burghausen International
Jazz Festival. He wrote liner notes for albums by Gustav
Brom, Yancy Körössy, Pony Poindexter, Anita O’Day, Jan
Hammer, Grooveyard, Helmut Nieberle/Helmut Kagerer
and others.

THE NEW YORK CITY JAZZ RECORD | May 2024 47

samarajoy
jun 23

Two-time GRAMMY® winnerSamara Joy — breakout starof the Sassy Awards vocal jazzcompetition — returns to NJPAC.
Prudential presents North to Shore is sponsored by
Prudential, NJEDA, NJM Insurance, United Airlines,
CRDA, Outfront, and NJ Travel and Tourism

alvin ailey
americandance theater

njpac arts education

may 10 – 12

Alvin Ailey American
Dance Theater
returns to NJPAC
with three
performanceson Mother’s Day
weekend.

jul 14 – 20
upright bass players | ages 14 – 18
Dive into an immersive week of masterclasses, performances, small ensemble work,
studio sessions, lectures and workshops on
the Montclair State University campus.
To learn more,email artseducation@njpac.org.

@NJPAC • 1.888.MY.NJPAC • njpac.org
One Center Street, Newark, NJ

JazzRecord_color_9.5x12_Apr.indd 1

Major support for the Milt Hinton Institute for Studio Bass is provided by theDavid G. Berger Family Foundation.

3/22/24 9:18 AM