September 2024—ISSUE 269

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

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SPECIAL FE
ATURE:

IRÈNE
SCHWEIZERIN MEMORIAM

AKIKO
TSURUGABRIANMARSELLAMICHAEL
WOLFF

JULE
STYNE

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

To Contact:
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Staff Writers
Matty Bannond, Dan Bilawsky,
Fred Bouchard, Daniel A. Brown,
Jeff Cebulski, Brian Charette,
Brad Cohan, Ken Dryden,
Phil Freeman, Tristan Geary,
Pierre Giroux, Kurt Gottschalk,
Tom Greenland, Jason Gross,
Sophia Valera Heinecke, Keith Hoffman,
Terrell K. Holmes, Marilyn Lester,
Suzanne Lorge, Jim Motavalli,
Russ Musto, John Pietaro,
Mike Shanley, John Sharpe,
Elijah Shiffer, Anna Steegman,
Ken Waxman, Scott Yanow
Contributing Photographers
Nick Carter, Dzenat Drekovic, Chris Drukker,
Palma Fiacco, Rod Franklin,
Victor Diaz Lamich, Gabe Palacio,
Elmar Petzold, Luciano Rossetti, Neal Siegal,
Adrien H. Tillmann, Anna Yatskevich
IN CORRECTION (August 2024 issue)
Marianne Solivan’s Jul. 7 Mezzrow setopener was “I’m In Love” (not “Please Be
Kind”). In the Album Reviews (p. 26): theSestetto Internazionale Due Mutabili review
neglected to mention soprano saxophonist,band co-founder and Amirani Records
executive producer Gianni Mimmo. In the
Label Feature (p. 11), all We Jazz contracts
are for a single release (not, as incorrectlystated, that “there are no contracts”).
We regret the errors.

nycjazzrecord.com

September 2024 – ISSUE 269
NEW YORK@NIGHT
INTERVIEW: AKIKO TSURUGAARTIST FEATURE: BRIAN MARSELLAON THE COVER: RAY ANDERSONENCORE: MICHAEL WOLFFLEST WE FORGET: JULE STYNELABEL SPOTLIGHT: ENDECTOMORPH MUSICVOXNEWSFESTIVAL REPORTSPECIAL FEATURE: IRÈNE SCHWEIZER IN MEMORIAM
ALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY
IN MEMORIAM

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by brian charetteby sophia valera heineckeby jeff cebulski
by ken dryden
by jim motavalli
by mike shanley
by suzanne lorge

BY MARILYN LESTER

Letter from the Editor

Life seldom seems to get any easier as time marches on, and jazz musicians’ lives are no exception to the rule, given
the trials and tribulations and the inherent sacrifices that come with a profession that inherently offers limited financial
rewards. For musicians, and us as listeners, the benefits reaped from the risks makes for a less tangible but no less significant
reward.
By chance, this month’s features reveal additional health-related ordeals of three musicians, as if being a jazzmusician isn’t enough of a challenge and a reminder that every day is a precious one. You would be hard pressed to finda finer, more well-rounded trombonist than septuagenarian Ray Anderson (Cover Story). Anderson has endured several
bouts of Bell’s Palsy (a form of facial paralysis) plus laryngeal cancer. He has never sounded stronger, though: this monthAnderson plays live on half a dozen separate occasions, including two solo concerts. The ever-busy keyboardist Brian
Marsella (Artist Feature) developed aphasia (a language disorder that affects a person’s communicative skills) after a fall
he took as a toddler. But that has not slowed him down, particularly over the last two decades. He has become a frequent
presence in John Zorn’s orbit, including dozens of records on Tzadik, and has an album release concert this month atRoulette. Pianist Michael Wolff (Encore) wrote a book on his travails: On That Note: A Memoir of Jazz, Tics, and Survival
covers his battles with undiagnosed Tourette’s Syndrome and histiocytic sarcoma (a rare form of cancer). Defying allodds, he is as busy as ever now, playing in and leading/co-leading numerous trios, including two nights this month at
Iridium. Strength through adversity has helped make each of these musicians’ art that much more inspiring.
Equally inspirational is the life of the legendary Swiss pianist and activist Irène Schweizer, who left an astonishinglegacy upon her passing in July. In anticipation of a memorial planned in Zürich (Nov. 4), 16 of her close colleagues (manyof whom will be performing as part of that tribute) contributed to TNYCJR’s two-page In Memoriam (Special Feature).
We at TNYCJR tip our hats to those who, like Schweizer and composer Jule Styne (Lest We Forget), have left anindelible mark for future generations to appreciate. Meanwhile, musicians like Anderson, Marsella, organist Akiko
Tsuruga (Interview) and Wolff continue to add to this art form and keep us busy trying to keep up with all the amazing
music they produce, day in and day out, in defiance of any obstacles life throws at them.
Onwards and outwards, and see you out at the shows….

On The Cover: Ray Anderson (photo by Rod Franklin); inside: Luciano Rossetti©PHOCUSAGENCY
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 September 2024 | THE NEW YORK CITY JAZZ RECORDNEW YORK @ N IGHT
Talk about a steady gig! If you measure Jon-Erik Alto saxophonist Tia Fuller brought her boundlessimagination, her magnificent technique and her
excellent compositions to Birdland Theater last month(Aug. 4). More importantly, she brought her musicalfamily: sister Shamie Royston (piano) and Shamie’s
wunderkind 21-year-old son, Koleby Royston (drums).
The elite and well-traveled Rashaan Carter (bass) wasan honorary Fuller for the night. Featuring mostly
material from her fine, Grammy-nominated 2018 album
Diamond Cut (Mack Avenue), the family dynamic wasevident: Tia, the boisterous, extroverted younger sister,while Shamie was the subdued but ferociously talented,
protective older sibling. As Tia spun family tales andplayed the hell out of her horn, the pure joy of family
was evident from the first note. When Koleby launched
into the 12/8 African rhythms of “The Coming”, and as
he soloed after “Queen Intuition”, mom Shamie drank inwith a loving smile the seemingly effortless mastery andflawless technique of her (and drumming master, father
Rudy Royston’s) son who was schooled at Peabody
Conservatory by Professor (trumpeter) Sean Jones for the
past three years. Koleby proved he will unquestionably
be a force in this music for decades to come. Fittingly, toclose their fine set, Tia brought it full circle, dedicating
her singing and playing of Cole Porter’s “I Love You”
to her mother, the late Ethiopia Fuller, who was aprofessional singer and the family matriarch and oftensang standards with husband (and family patriarch),bassist Fred Fuller.
— Keith Hoffman

NEAL SIEGALNICK CARTER

Kellso‘s seventeen-year stint leading Sunday night
sessions at the Ear Inn in “jazz years” (which, likedog years, pass faster than normal human time), thenhis gig should be considered as historic as the preRevolutionary War building housing it. Squeezed into
a corner of the boisterous bar, The EarRegulars (asthe band is known) promulgate traditional (but nevertrite) swing jazz, the personnel irregular from week toweek, the musicianship consistently excellent. Heard
recently (Aug. 11) were the solid but supple rhythm
section of James Chirillo (guitar) and Patrick O’Leary(bass) supporting Kellso (hybrid trumpet/cornet) and
Scott Robinson (clarinet, tenor, Jazzophon) in the frontline. The set list was appropriately historical, every song(except the first, from the late ’20s) over a hundred years
old: “Back in Your Own Backyard”, “On the Alamo”,“Hindustan”, “Tishomingo Blues”, “Tea for Two” and“Someday Sweetheart”. Solos were invariably artfuland expressive, but most impressive were the ad-hoc
arrangements. Kellso typically took the first A-section
melody while Robinson countered with intricate but
nonintrusive obbligato parts, the two men switching roles
for the second A-section, continuing to alternate roles
as the number unfolded, often ad-libbing harmonizedbackground figures for guitar and bass solos. Robinson’s‘conversations with himself’ on the double-belled, twotoned (muted-wah vs. open) Jazzophon were inspiredfeats of musical ventriloquism.
— Tom Greenland

Scott Robinson, Jon-Erik Kellso @Ear Inn

Tia Fuller @Birdland Theater

On a Thursday evening at The Jazz Gallery (Aug. 8),
the music was “free-form” in two senses: the forms(compositions) were liberally interpreted, suggesting
free improvisation, while the logical coherence of thefreely improvised sections often suggested precomposed
forms. Pianist Kris Davis and saxophonist Ingrid
Laubrock thus performed from their duet album Blood
Moon (Intakt), accompanied by drummer Tom Rainey.
It’d been many months since they’d worked together,
the mood celebratory. The first set began with the cued
accents and sinewy waves of “Snakes and Lattice”,
Laubrock swapping tenor for soprano on the album
title track, a lovely Ellingtonian ballad with strange
chromatic wrinkles, the trio’s sound growing steadily
denser and more convoluted without sacrificing clarity.
“Jagged Jaunts”, a headbanger goaded by a grumbly
doubled bass line and Rainey’s intuitively precise
punctuations, segued to a free interlude with gonglike piano preparations, closing with the prickly but
hypnotic “Flying Embers”. Second set, the mood looser,began with a free (but suggestively thematic) intro, Davis
stabbing down at the keys with spear-shaped fingers,
moving to “Golgi Complex” and reprises of “BloodMoon” (this version more delicate and ephemeral) and,again, “Jagged Jaunts” (taken at a faster clip this timewith a staggered bass line), then “Whistlings”, based on
a 3-note motif. The final “composition” turned out to be
an improvisation, a tone poem evoking a crowded frog
pond in a rainstorm.
(TG)

It’s hardly newsworthy that NYC has the greatest
concentration of jazz masters. Any night you can walk
into any number of places and listen to world-class music
without paying a cover charge. That’s great for us aslisteners, but what about the dedicated musicians? Even
those at the pinnacle of the profession often can’t pay thebills on gigs alone. Enter KEYED UP!, an organization
that, for the past 10 years, has partnered with 33 local
venues to supplement the gig money received by artists
who are often playing for tips only. A fundraising event
held at Bar Bayeux (Aug. 5) included some of the best injazz lending their talents to the cause in what became athree-hour music marathon of mostly jazz standards
performed by the likes of Marianne Solivan (vocals),
Caleb Wheeler Curtis (stritch, trumpet), Jerome Sabbagh(tenor), Adam Kolker (winds), Elsa Nilsson (flute), Ben
Monder and Jerome Harris (guitar), Santiago Leibson(piano), Kiyoshi Kitagawa and (Bar Bayeux owner/bar
tender) Jeremy Stratton (bass), Vinnie Sperrazza andDiego Voglino (drums), et al. From the moment Solivan
called Sonny Rollins’ “Pent Up House” in vocalese, it was
game on. Sabbagh (tenor) and Curtis (trumpet) combined
for a beautiful rendition of Monk’s “Ask Me Now”, withbrilliant mooring by Kitagawa. Harris was the biggest starof this all-star night—from his crisp, melodic and perfectly
constructed solos to his anchoring of the various ensembles
from the floor up. The night eventually ended in the indigo
of Ellingtonia: Curtis doing Johnny Hodges proud with astunning version of Billy Strayhorn’s “Isfahan”.
(KH)

4 September 2024 | THE NEW YORK CITY JAZZ RECORDThe unique, free, open to all Sunday late afternoon It was a packed house for the opening night (Aug. 12)of a special three-night engagement at the Blue Note by
PLUMB, the intrepid trio featuring co-leaders David
Murray and Questlove (aka Ahmir Thompson) with Ray
Angry, celebrated for their eponymous 2022 multidisc
album release (J.M.I. Recordings). The evening’s second
show began with Angry alone on stage, encircled by abattery of keyboards and electronic equipment (froma Hammond B3 organ with a Sequential Prophet-10polysynth atop, located before him, to a Fender Rhodes
electric piano with a Moog Subsequent 37 analog
synthesizer on top, to his left, plus a stand crammedwith even more plugged-in gadgetry, to his right), allof which he utilized to create an ambient extraterrestrial
sonic atmosphere. The sound returned to earth with theentrance of Murray, who blew sonorous long tones ontenor, and finally Questlove playing echoing splashes
with hard-tipped small ball mallets on an outsized crash
cymbal, then laying down a funky back beat rhythm ona tambourine-topped sock cymbal. For nearly two hours
the band freely improvised. Switching between tenor andbass clarinet, Murray supplied much of the set’s melodic
content, which included a solo bass clarinet recital andreadings of his compositions “Flowers for Albert” (thetitle track to his 1976 debut recording as leader on India
Navigation) and “Evidence” (not to be confused with
Thelonious Monk’s), the latter the set’s finale, which heprefaced with an authoritative recitation of the Amiri
Baraka poem “Africa”.
— Russ Musto

ANNA YATSKEVICH

Eric Person @Saint Peter’s Church

PLUMB @Blue Note

Call it Third Stream or chamber jazz, but when The Stepping out from behind the drum kit, following
Anderson Brothers (twins Will and Peter) play classicalmusic it’s transformed into their happy place of swing.
In a program titled The Anderson Brothers Swing theClassics at Symphony Space’s Thalia Theater (Aug. 13),
the American Songbook-leaning siblings first proved
their pure jazz chops with C.P.E. Bach’s “Solfeggietto”.
The well-curated repertoire mostly encompassed thefamiliar kind of classics that have been well-embedded in
the popular consciousness, such as Rimsky-Korsakov’s“Flight of the Bumblebee”. In snippets of often humorous
narrative, Will pointed out that classical music has long
been embraced in jazz, especially by Thelonious Monk.
Will plays alto and flute, Peter plays tenor and soprano,both play clarinet—and their interplay is pure genius.
Solidly backing them were Bryan Reeder (piano), Neal
Miner (bass) and Alex Raderman (drums), with Joe
Boga (trumpet) joining for much of the set. A crowdpleaser was a super-uptempo rendition of Chopin’s“Minute Waltz”, as well as the Ellington-Strayhorn
version of Tchaikovsky’s “Dance of the Sugar-PlumFairy”, whimsically renamed “Sugar Rum Cherry”.
Modernists George Gershwin (“Prelude No. 2”) and Bix
Beiderbecke (“In a Mist”) were included, ranking withthe best of them. Most of the superb arrangements wereby Peter, but several were from “chamber jazz” group,
the John Kirby Sextet. “Avalon”, based on a Puccini aria
(Tosca), closed out an evening of superb musicianshipand foot-tapping good times.
(ML)

W H AT ’ S N E W S
For any jazzers still undecided about the upcoming U.S. presidential
election, perhaps this news tidbit might tip the scale…Vice
President Kamala Harris, on the first day of being selected byPresident Joe Biden as the presumptive Democrat nominee for
President, was seen walking out of the HR (Home Rule) Record
store in Washington, D.C. Her purchases: three jazzy items on
vinyl, including Charles Mingus’ Let My Children Hear Music, RoyAyers’ Everybody Loves The Sunshine and Ella Fitzgerald/Louis
Armstrong’s Porgy & Bess. Sidenote: her stepkids are named“Cole” (after John Coltrane) and “Ella” (after the “First Lady ofSong”). For more info visit kamalaharris.com.
Speaking of LPs, the new Crown Heights, Brooklyn jazz-vinyl
cocktail lounge Kissa Kissa (667 Franklin Ave.), which opened
earlier this year, has proven to be a unique spot for jazz listeners.
Even though there are no live performances, in the tradition of thejazu kissa, the lounge does exclusively play jazz on vinyl from its
collection of over 5,000 records. Kissa Kissa also sells records,
specializing in Japanese pressings. Order and enjoy a drink, andsoak in the sounds any jazz fan would prefer to hear as an alternative
to more customary bar music. For more info visit kissakissa.us.
Classic jazz photos!… “Jazz Greats | Classic Photographs from the
Bank of America Collection,” presenting historic snapshots of jazzlegends during America’s golden age of jazz, will be on display at
the National Arts Club (15 Gramercy Park South) from Sep. 5 –Nov 27. Over 30 photographs by photographers William Gottlieb
and Gordon Parks, among others, include shots of musicians suchas Louis Armstrong and Billie Holiday. For more info visit
nationalartsclub.org/exhibitions. The “Les Paul Thru the Lens”
exhibit at Iridium (Oct. 7-Nov. 18) will include two dozen galleryframed black and white photographs of the pioneering guitarist andinventor, including rare and behind-the-scenes images. The free
exhibit’s opening day will include “An Evening About Les”, a Q&A
with Chris Lentz and Michael Braunstein. Lentz was Paul’s longtime
friend who chronicled the pioneering guitarist and inventor’s life andcareer through personal and intimate photographs; Braunstein,Paul’s former manager, is head of the Les Paul Foundation. After
regularly performing at the since-defunct Fat Tuesdays in the ’80s,
Paul was a regular fixture at Iridium in the ’90s, right up until 2009,
the year of his passing. For more info visit theiridium.com/les-paul.
On the Upper East Side, Pierre Hotel’s evening jazz series at its
Two E Bar & Lounge will be relaunched this month (starting on
Sep. 6), featuring a rotating line-up that will start off with artists
such as The Modern Martinis, pianist Matt Baker and vocalists
Jenny Herbst, Jackie Ribas and others. For more info visit
thepierreny.com/nyc-dining/two-e-bar-lounge.

ADRIEN H. TILLMANN

jazz prayer service, Jazz Vespers (at which clapping is
encouraged), has been ongoing at the “Jazz Church,” SaintPeter’s, since 1965. Eric Person’s organ trio (Aug. 11),
positioned beneath the altar, underscored what manymight contemplate: that jazz is its own religion. The trio—
Person (alto, flute), Brian Charette (organ) and George
Gray (drums)—certainly did deliver music worthy of being
received by celestial ears, opening with Freddie Hubbard’s
modal “Little Sunflower” (Person on flute). With four
specifically-timed tunes interspersed throughout the hourlong vespers, the music selections were also carefully
curated to align with the needs of the traditional service.
Case in point, preceding the sermon with direction “tochoose a spiritual in the style of your choosing,” a fourminute version of Ellington’s “In a Sentimental Mood”(closely tied to the now-legendary version by Duke
Ellington with John Coltrane) hit the mark beautifully.
What was demonstrated throughout was that the trio,
even under performance time constraints and with little
room for extended improvisations, miraculously were able
to develop a remarkable, if not instantaneous, groove—asynergy that perhaps could be called “spiritual,” or at least
empathic. Their laid back, intuitive and fluid approach
was especially notable in Charlie Parker’s not-oft played“Another Hair-Do”. With a dose of call-and-response,
Person’s smooth style of playing, Charette’s lilting,lyrical attack and Gray’s sensitive rhythmic beats, the trio
delivered musical food for the soul.
— Marilyn Lester

the penultimate number of his last set on the final dayof his week-long residency at Dizzy’s Club (Aug. 4),
Louis Hayes (a veteran of bands ranging from Yusef
Lateef, Cannonball Adderley and Horace Silver to his
own dozen+ albums as bandleader) addressed theroom. After introducing the members of his quintet:
Abraham Burton (tenor), Steve Nelson (vibraphone),David Hazeltine (piano) and Santi Debriano (bass), thebelatedly-minted 2023 NEA Jazz Master declared, “I
have a special team this year…It’s wonderful to have ateam and I’m just happy to be part of it.” Of course, thevirtuoso drummer was much more than part of the team,he’s the steam in the engine that propels the band, as hedemonstrated with an explosive solo on Cedar Walton’s“Bolivia”. The group eased into the set with the Duke
Pearson classic “Is That So?” and then upped theenergy level with an uptempo reading of Joe Farrell’s“Arab Arab” with Burton digging in tough on the rarely
played piece, as well as on Hayes’ bluesy “Ruby”. The
tenor saxophonist laid out on the Jimmy Van HeusenJohnny Mercer evergreen “I Thought About You”, abeautiful ballad that opened with Nelson’s stirringsolo intro and featured Debriano’s sonorous arco bass,
which was underpinned by Hayes’ impeccable brushwork. Burton was again featured on “Lou’s Idea”,
which also served as a showcase for Hayes’ flawless,unmitigated drive and closed out the exciting set of thelegendary drummer’s four-night run.
(RM)

The “Shades of Blue” garden party fundraiser, presented by
National Jazz Museum in Harlem, at the Kensington Estate (Long
Branch, NJ) on Sep. 21 (1- 6 pm), will celebrate jazz in Harlem andthe 65th anniversary of Miles Davis’ Kind of Blue. The event features
the NJMH House Band led by musical director Tahira Clayton. For
more info visit jmih.org.
A two-day “bamboo music workshop” will be led by Medeski Martin& Wood percussionist Billy Martin at Ibeam Brooklyn this month(Sep. 28-29, 1-5 pm). Participants will be provided with uniquebamboo instruments, including flutes, uniquely designed and built by
Martin. For more info email gabby fluke-mogul (violinist/Creative
Music Studio Program Manager) at: flukemogul@creativemusic.org.
Jazz thanks Foundations…The Joel Foundation (established bylegendary pop rock singer-songwriter and pianist Billy Joel and hiswife Alexis) has made a $250K gift to the Brooklyn Conservatoryof Music. In an announcement posted to Instagram, the couple’s
Foundation stated: “Understanding the music is central to healing
and learning, (this) transformational gift to BKCM for its Music
Therapy Program enables a significant expansion of their important
services citywide and helps catalyze a national model.” For more
info visit bkcm.org. In Queens, the Louis Armstrong House
Museum has been awarded a $600K grant from the Andrew W.
Mellon Foundation, a three-year grant which will serve instrumental
in helping LAHM continue in its mission of preserving andpromoting Louis Armstrong’s legacy. For more info visit
louisarmstronghouse.org.
The dates for 2025’s Jazz Congress have been announced:
Jan. 8-9. Held at Jazz at Lincoln Center’s Frederick P. Rose Hall, thehighly-anticipated annual jazz conference will consist of numerous
panels, sessions and workshops, bringing together members of the
global jazz community to nurture the bond between artists,presenters, media professionals, educators and industry figures.
For more info and to pre-register go to jazzcongress.org.

THE NEW YORK CITY JAZZ RECORD | September 2024 5

CHRIS DRUKKER © STEEPLECHASE PRODUCTIONS APSI NTERVIEWAKIKOTSURUGAgetting organized

in town, I had the opportunity to visit his place andplay organ with him. I was amazed by the differences
between his playing and mine, and I worked
tirelessly to understand how to achieve his level ofskill. I also learned by watching his playing frombehind and learned how he used the drawbars andthe expression pedal. What impressed me the mostwas the rhythm of the bass lines he played with hisleft hand. It was truly remarkable and gave me chills
every time.
TNYCJR: You already knew Lou’s drummer, Fukushi
Tainaka, from Japan.
(CONTINUED ON PAGE 34)

BY BRIAN CHARETTE
A kiko Tsuruga is no doubt one of the most important andubiquitous Hammond organists of the early 21st century.
Her impressive C.V. reads like a list of jazz royalty,
from saxophonists Frank Wess, Houston Person and Lou
Donaldson to drummers Bernard “Pretty” Purdie, Grady
Tate, Jimmy Cobb and Jeff Hamilton. She’s played many ofthe most important jazz festivals and venues in the world,
has been a staple on the NYC jazz scene ever since her
move here from her native Japan over 20 years ago and thisyear celebrates her tenth and most recent album release as
leader, Beyond Nostalgia (SteepleChase). We caught up
with the organist and reminisced over some of our sharedpersonal experiences, including hanging out with andbeing influenced by Dr. Lonnie Smith, one of the greatest
musicians to ever sit down at the organ.
The New York City Jazz Record: We’ve been friends
for, I don’t even know how many years, having firstmet in Harlem playing organ at the since defunct
Showman’s Jazz Club.
Akiko Tsuruga: Yes. I came to the U.S. and moved to
New York in 2001 and that’s the year we met.
TNYCJR: Your parents were supportive of yourmusic at a very early age, as young as three, as I
recall. Did you play Hammond first, or did you playa Yamaha Electone (the Japanese electric organ, first
introduced in 1958, with many different sounds
and beats and features of both the Hammond andtheater organs)? And how did you come to organ
specifically?
Tsuruga: Yes, I started on Electone. It was very
common in Japan. There is a huge culture of Electone
playing in Japan. You would always hear the soundin hotel lounges. There is a whole society aroundit. Many families had them in their homes. Whenlegendary organist Jimmy Smith came to Japan he also
played a Yamaha organ. He even played a Yamaha
DX7 when they were first introduced. I started on
Hammond when I was a young adult, around when I
first met drummer Grady Tate, but I played the piano
before that.
TNYCJR: You originally met Tate, Smith’s drummer,
at a club in Japan. Though I always assumed you
met him in Harlem because I would always see you
playing there with him. Can you tell us about meeting
Grady for the first time?
Tsuruga: Grady was playing with Jimmy Smith at
the Blue Note in Osaka, Japan. At that time, younger
musicians would jam every night at a popular clubacross the street from the Blue Note called Don Shop.
We went to see Grady at the Blue Note, then invited
him to come to the jam afterwards. So, he came tohang out and play with us, and I got the chance toplay with him on both piano AND organ. We became

friends right away and he said I should move to New
York and by then a few of my girlfriends had already
moved to New York.
TNYCJR: I’ve never heard you play the piano.
Tsuruga: That night I first played with Grady, somany people were there, and there were SO manyother pianists. And I wanted to play, so I played
Hammond organ, and the audience immediately
paid more attention. And, you know, I didn’t look at
it totally differently than playing piano. That said, I
think I sound much more natural playing organ than
piano.
TNYCJR: So, then you came to New York and started
playing with Grady at Showman’s. Where else did
you play when you first got here?
Tsuruga: I would play Jazzmobile concerts with
Grady and Frank Wess. Grady was singing too.
TNYCJR: I remember; he was an amazing singer. Is
this where your relationship with Jazzmobile started?
Tsuruga: The first time I played for Jazzmobile was on
Roosevelt Island, which was actually my first official
gig with alto saxophonist Lou Donaldson. It was Lou’s
first gig with Jazzmobile, too.
TNYCJR: Do you remember when we both were at
the NAMM Show (National Association of Music
Merchants) in Anaheim, CA, and we took organist Dr.
Lonnie Smith to lunch? I was thinking about us all
together, when we had to walk four halls over in the
Anaheim Convention Center to where the cafeteria
was. We were on either side of the Doc, like his organ
security team, and we couldn’t get three feet before
someone stopped to talk to him.
Tsuruga: I remember. It took us forever to get to theplace where we had lunch.
TNYCJR: And how did you first meet the Doc?
Because we were both so lucky to have been friends
with him. He was a wonderful man and an incredible
artist.
Tsuruga: My first meeting with Dr. Lonnie was when
I visited New York. I went to hear him play with the
Lou Donaldson Quartet at the Village Vanguard.
After the performance, drummer Fukushi Tainaka
introduced me to Dr. Lonnie who asked me to playwith him. I said, “yes!” Then he took me to the stage
and we played the organ together. That was my firstencounter with Lou and with Dr. Lonnie!
After I moved to New York, I made it a point
to attend every performance of Dr. Lonnie’s, always
sitting right in the front. Eventually, when he was

6 September 2024 | THE NEW YORK CITY JAZZ RECORDHAUGUST 27TH - SEPTEMBER 1STH

JOE LOVANO & DAVE DOUGLASSOUND PRINTSLAWRENCE FIELDS - YASUSHI NAKAMURA - RUDY ROYSTONHSEPTEMBER 3RD-8THH

BILL CHARLAP TRIOPETER WASHINGTON - KENNY WASHINGTONHSEPTEMBER 10TH-15THH

BILL CHARLAP TRIOPETER WASHINGTON - KENNY WASHINGTONHSEPTEMBER 17TH - SEPTEMBER 22NDHMIGUEL ZENON QUARTETLUIS PERDOMO - HANS GLAWISCHNIG - HENRY COLE
HSEPTEMBER 24TH - SEPTEMBER 29THH

MARK GUILIANAJASON RIGBY - JASON LINDNER - CHRIS MORRISSEY

COMING IN OCTOBERHWALTER SMITH IIIH
HJULIAN LAGEH
HFRED HERSCHHHRAVI COLTRANEHHJOEL ROSSH

MONDAY NIGHTS ARE RESERVED FOR

THE VANGUARD JAZZ ORCHESTRADZENAT DREKOVIC/ UNSTABLE NETWORKARTIST F EATURE

With a well-established career already in place, pianist,keyboardist, composer, bandleader, educator Brian
Marsella can look back on two life-altering events that
profoundly helped shape the direction of his calling(which now includes at least thirty album appearances
as a sideman/collaborator and twelve as leader/co-leader). After his fall down the stairs at age two,
Marsella experienced aphasia—a language disorderthat affects a person’s ability to express and understandwritten and spoken language. That consequence shifted
him into a hyper-focus on music before he was evenfive. “I remember how difficult it was for me to learnmusic, but it also felt like the only way to help everyone
understand who I was,” he says. “It was just as difficult
as learning anything else.” That difficulty eventuallycame to feel normal, and so he was largely unfazed by itno matter where or when it arrived. From that early age,leaning into challenge was his natural state.
The second life-changing event came many years
later, in 2012, when the youthful pianist entered thestudio during his first recording session for composerconductor John Zorn’s Mount Analogue (Tzadik).
Overwhelmed by the complexity of the score he was
asked to sight read, he dropped to his knees in a cornerof the studio to pray that he could deliver. When hetook his place at the piano, he’d met the challenge andplayed with confidence. Filmmaker Dan Sharnoff, who’sknown Marsella for several decades, still follows theway his career has been entangled with the experimental
ecosystem stewarded by Zorn. “It seems like John Zorn
comes to know an artist intimately and sets out to pusheach person just beyond their specific limit,” Sharnoff
observes. “If you are in his circle he will continue to create
work for you, which also pushes him as a composer.”
And it so happens that Marsella has become a central
figure in Zorn’s world as a musician in the Masada and
Bagatelle projects, as well as a member of Cobra.
As for his own projects, Marsella has a fertile
imagination, one that helps him to exist outside ofcategory and to write new stories about how creativity
can build community. He considers the iMAGiNARiUM
series of albums (which began in 2009) the first project
for which he was the central architect. “Being a leader isabout being responsible to myself and the people goingon this journey,” he says. “You want it to be as rewarding
for them as possible. You must be organized so thepeople you need to be creative can be.” iMAGiNARiUM
encompasses different universes that can differ onvarious kinds of days and in different ways, suggesting
the persistence of human life will prevail. The sum of the
tracks coalesces into a world-building endeavor. Some
tracks disrupt the world in a relatable way, but stilllaunch listeners into fantastical microcosms. The sonictextures and vignettes acknowledge that we are moving
towards a global future by imaginatively including
different instruments and sounds.
The first chapter of the four-part iMAGiNARiUM—
The Clocks Have Gone Mad—for instance, draws thelistener’s attention to time. “Secret Ways of the

BRIAN
MARSELLA

improvising in the experimental ecosystem

For more info visit brianmarsella.com. Marsella is at Mezzrow
Sep. 19 and his iMAGiNARiUM album release concert is at
Roulette Sep. 26. See Calendar.
Recommended Listening:• Cyro Baptista—Banquet of the Spirits (Tzadik, 2007)• Zion80—Adramelech: Book of Angels, Vol. 22(Zion80 Plays Masada Book Two) (Tzadik, 2014)• Brian Marsella Trio—Outspoken: The Music of the
Legendary Hasaan (Tzadik, 2018)• Nels Cline Singers—Share the Wealth (Blue Note, 2019)• Brian Marsella/Jon Irabagon—Blue Hour
(Red Palace/Irrabagast, 2019/2022)• Brian Marsella iMAGiNARiUM—MEDIETAS(Tzadik, 2021)

BY SOPHIA VALERA HEINECKE
Songbirds” induces a hyper-awareness of time. A ticktock castanet sound disappears and reappears acrossa tapestry disrupted by a time warp disguised as arepeating vibraphone theme. Album closer “Psalm”(the only solo piano piece of the series thus far) exists
in that space of seamless becoming. Dually blissful anduncertain, cycles of notes entice listeners into a moment
to reflect on all we have heard, profoundly inducing
reveries the way dreams can—impacting reality andshifting emotional states. Chapter two, Better Watch
What You Wish For (In These Historic Times) and chapter
three, The Left Hand Is Controlled by the Right Hand, arefollowed by MEDIETAS, an expansion of the inauguralchapter, scheduled for release this month.
iMAGiNARiUM is the product of a conglomerate ofhighly-skilled musicians, each with a unique perspectiveon the project, which Marsella charts on a map acrossthe compositions. Collaboration is an important
aspect of his work. “(He) sees the best in people,” says
saxophonist Jon Irabagon, his frequent collaborator
and co-leader on their recently released duo Blue Hour
(Red Palace/Irrabagast). “He needs that chemistry andbuilds his music around that.” This ideology has also
made his other projects, such as Gatos Do Sul (Tzadik),singular. Of it, Irabagon notes it “might be [to date] hismost rigorous project.” Cyro Baptista, another mainstay
collaborator ever since Marsella began playing andrecording with the Brazilian percussionist’s Banquet
of Spirits (Marsella’s debut studio recording was withthis band in 2007), notes, “It’s funny how he connected
Chopin with Brazilian music. Especially the Chôros(that) Villa-Lobos wrote. It’s such a big influence that
I didn’t even see.” But there had to be a start, and for
iMAGiNARiUM, it was when Marsella began to think
about leading projects. Encouraged by his father, hebooked a studio for a week 17 years ago. “I had eachgroup in there for one or two days and recorded over
50 hours of music,” he says. “Everything sounded very
compartmentalized, like a compilation album of different
bands I was part of.” It took five years of sitting on the
project to get some perspective. Marsella had always
been confident he should look to different crafts andmediums to find the best ways to express his ideas, andso among other explorations, a youthful preoccupation
with Walt Disney’s Fantasia kicked in, along with hisability to choose and trust the right people.
A recent project, Archipelago X (a COVID-19-era
Zorn commission) began as a remote collaboration
in lockdown with Ikue Mori (electronics) and Sae
Hashimoto (vibraphone, percussion). “We had great
fun recording with no limitation of time spent to create
music,” Mori notes. While the process was remote,emotional involvement was the same, and Mori could
see that Marsella was more tempered at home. “I wasnever a studio musician,” he says. “I love to improvise.
I love the energy of human response. I realized I needed
to compose around what was done live. All the people I
meet in my life are sacred. We are all part of each other.
We all need to find each other to become who we are.”

One Breath Rising presents
Mala Waldron & Soulful Sound
Sunday, Sept 15, 2024 4:40 pm
Soapbox Gallery, 636 Dean Street, Brooklyn
live & livestreamedwww.onebreathrising.org

THE NEW YORK CITY JAZZ RECORD | September 2024 7

LUCIANO ROSSETTI©PHOCUSAGENCYON THE COVER

RAY ANDERSON
A Lifetime of Buzzingby jeff cebulski

If you think about “Jazz Musicians Who Embody an

Instrument’s History,” one candidate who fits the category
is the indefatigable trombonist Ray Anderson. Anderson,
who grew up in the hot bed of Chicago jazz and was inspiredby trad jazz, took up the trombone as a matter of intense
personal expression. After learning his craft in elementary
school alongside classmate and fellow trombonist George
Lewis, he went on to develop a personal style reflecting
practically all the roles and modes of trombone performance,from old-timey blues to backing the likes of experimental
composer and saxophonist Anthony Braxton to everything
in between.
Recently, his old classmate (and friend to this day) Lewis
shared this anecdote about those early days and Anderson’s
composition “Buzzing”: “At our very first trombone lesson,
way back in 1960, Ray Anderson and I were inadvertently
performing the ‘extended technique’ of blowing air throughthe instrument. Nothing was coming out—at least, nothing
one would associate with the trombone’s stentorian
character—God’s Trombone, according to 11th century saintand polymath, Hildegard von Bingen. Our teacher, Mr.
Frank Tirro, watched us with no little amusement. Then hesaid, ‘To play the trombone you have to engage in buzzing.’
He demonstrated the technique, first with his lips, then withthe lips on the mouthpiece attached to the trombone. The
sound was nearly deafening. And we were off to a lifetimeof buzzing!”“Buzzing” is as useful a metaphor to describe a careerthat has attracted generations of musicians and fans for overa half-century. As a king bee of SUNY-Stony Brook’s jazzstudies program in Long Island, Anderson (who is also theVice President and co-founder of Stony Brook’s The Jazz Loft
jazz museum and performance space) is ready to buzz aroundagain, having retired from full-time teaching (he turns 72 next
month). “I just love all those [Stony Brook] people, but I needto go back to being the performer that I was before 2003,” hesays. The trombonist has released two albums as leader plus a
handful as sideman in the last two years and is again playing
live with some regularity in New York (including six concerts
this month alone!), including one local date in anticipation ofan upcoming European tour with his new trio, Treeomitree,
about which he says, “So far, pretty much everything we’ve
done has been entirely improvised… more groove-oriented,
a lot funkier [but] not free jazz in that sense.”
Anderson is also finishing a new book (Popcorn
Moment. A Guide to Musical Improvisation), which describes
his methods for stimulating creativity and encouraging
individuation, the process of developing one’s own unique
voice. “It’s not a ‘how to play jazz’ book. It welcomes all
genres of music and prioritizes none. It’s about the skillfuluse of sound to communicate with other musicians andthe audience. For example, to start an improvisation class
I created an exercise where three volunteers stand up andplay ‘the worst music ever,’ because the first thing you mustdo, to become successful at improvising, is free yourself
from the interior voice that wants you to do everythingcorrectly.” The book also addresses the distinction between
musical technique and music itself. Anderson explains: “We
all work hard to develop technique, but a bigger vocabulary
does not guarantee a better poem. I encourage everyone to
make time to practice music, the direct expression of emotion,in addition to the technical studies.” He adds, “It’s easy
to teach technique because it proceeds in a linear fashion
from simple to more complex exercises, but the book’s goal,
developing expression, is not linear, it’s circular. The ideas
in the ten chapters are all valid all the time: they are like thespokes of a wheel that all connect to the same hub.”Courage and curiosity are two words that mark thetrombonist’s personal history. He was fortunate enoughto attend the University of Chicago’s private lab school,
which gave him access to top music educators, but his first
impressions were formed by listening to his father’s trad
jazz records—“It sounded like fun.” Chicago also offered theopportunity to discover jazz from several angles. Anderson
remembers, “Occasionally the father of the trumpet player
in our little lab would take us down to the Plugged Nickel
on a Sunday afternoon when it was legal to get kids in there,
so I heard Miles Davis, Elvin Jones, Horace Silver. What anincredible education!”
Lewis, a longtime member of the Association for the
Advancement of Creative Musicians (AACM) and authorof its definitive history, A Power Stronger Than Itself, credits
Anderson with introducing him to the AACM via visits tovarious musical happenings around town, especially on
Chicago’s South Side, where people such as veteran Chicago
tenor saxophonist Fred Anderson held sway. Certainly, thetwo trombonists formed a mutual admiration society. “I’mflattered to think I did George any good. He’s one of ourleaders in every sense.” Of Anderson, Lewis says, “Ray iscertainly one of the most amazing trombone players I will
ever hear in my life. He is a real fighter with incredible
tenacity and love of music; but the incredible ease that
seems to flow out of him belies the intense amount of work
and introspection that his music requires. When I hear him,
all I can say is: ‘How does he do it?!’”Eventually, Anderson moved to California where hecontinued his own studies. A move to NYC and freelancing
came in 1972. He caught a break when Lewis offered hima chance to replace him in Braxton’s quartet. Along withbecoming closely associated with drummer Barry Altschul’svarious groups, Anderson quickly began to attract attention
as a versatile and well-respected collaborator. Gary Valente,
one of the four trombonists in the trombone-only ensemble
Slideride, shared his time with Anderson: “That first lineup
was Ray, Craig Harris, George Lewis and myself. What agreat band. We made a beautiful record, Slideride (hat ART,
1994), toured and gigged through the ’90s into 2000. Aroundthat same time I also started playing with Ray in the George
Gruntz Concert Jazz Band. He was featured in front of theband on vocals and trombone and killed it! We also did
David Murray’s Big Band tribute to Duke Ellington’s 100thbirthday. Slideride was the trombone section in that band
and we had a ball.” Over the years Anderson has formed
lasting relationships with other musicians as well, arguably
none closer than two of his longest associations in bassist
Mark Helias and drummer Gerry Hemingway. The two are
the other members in the BassDrumBone trio, which is in
the midst of its 47th year together and whose new album
Afternoon (Auricle) was recently released.
Both Helias and Hemingway credit bassist Mark
Dresser as a key person in connecting them to Anderson. As
Helias recalls: “Dresser, who was living in New Haven at the

8 September 2024 | THE NEW YORK CITY JAZZ RECORD

time, had invited Ray to come up to play—so the communityof musicians there, particularly myself and Gerry, met Ray
and got to play with him. We had an immediate connectionthat remains to this day. Ray exhibited an unfiltered energy
and enthusiasm for making music that was infectious andbestowed permission on others to just go for it. (Once) wewere doing a workshop/residency in Sweden. Ray took
five or six high school kids, some of whom had played
their instruments for only two years and didn’t know muchabout jazz or improvising, and within two hours had themplaying a New Orleans-style blues in a convincing, energeticway (and) he did it with pure energy and enthusiasm.”
Hemingway adds: “One spring morning in 1975 I steppedout into my rear yard and heard an amazing trumpeter,
wailing so fast and furiously I was entranced with both thesound and the musical invention. I followed the sound andrealized it was coming from Dresser’s house. I was met by
Mark, who introduced me to his friend, Ray Anderson, who
had indeed been playing, but I had mistaken the range of his
playing to be from a trumpet!”Anderson’s style, which he laughingly recalls being
described as “raucous,” is clearly on display in his recent
solo recording, Marching On (Doublemoon). While it’seasy to think that the soloist is winging it on stage, thetrombonist says that’s not necessarily the case. “If you
just have that one instrument and that one player, it canbecome pretty predictable. So I’m trying to make this both
expressive of everything that I want to say and at the sametime something that people can come and enjoy listening
to—those are compositions to begin with. Every one of themis different because I have heard solo concerts where I feellike there’s not enough contrast in the music to actuallykeep me fascinated.”
The dichotomy of learning and creating continues torule Ray Anderson’s world. “I’m basically self-taught. Forty
years after I graduated high school, I got a B.A. degree
through Empire State College, where you can get credit foryour life experience.” He adds, “I love the many paradoxes
contained in music. In order to please an audience, artists
must first please themselves, but no artist is ever truly
pleased. What we have instead is, as Martha Graham said in
her letter to Agnes de Mille, “a queer, divine dissatisfaction,a blessed unrest that keeps us marching“… and buzzing.
For more info visit rayanderson.org. Anderson plays solo at
Silvana Sep. 7 and National Jazz Museum in Harlem Sep. 26. He
is also at Bar Bayeux Sep. 14, Soup and Sound Sep. 15, Harbor
Jazz Festival Sep. 21 and Scholes Street Studio Sep. 29. See
Calendar and 100 Miles Out.
Recommended Listening:• Anthony Braxton—Performance (Quartet) 1979
(hatOLOGY, 1979)• Ray Anderson—Blues Bred In The Bone (Enja, 1988)• Ray Anderson Pocket Brass Band—Where Home Is(Enja, 1998)• Ray Anderson/Bob Stewart—Heavy Metal Duo(Work Songs & Other Spirituals) (s/r, 2004)• BassDrumBone—Afternoon (Auricle, 2023)• Ray Anderson—Marching On (Solo Trombone)(Doublemoon, 2023)

2024 – 25 season

herbiehancock
sep 29Herbie Hancock
Sun, Sep 29 @ 7PM

An unforgettable musicaljourney with the jazz legend.

Meshell NdegeocelloNo More Water: The Gospelof James Baldwin
Sun, Oct 6 @ 7PM

Experience the GRAMMY®-winningcomposer, bassist and singer.

Nikki Giovanni, Javon Jackson& Christian McBride
Sat, Oct 19 @ 2PM
Esteemed writer and civil rights
activist’s poems are paired withjazzy new takes on traditional
spirituals by jazz icons.

Tyshawn Sorey Trio
& Sandbox Percussion
Featuring Aaron Diehl& Harish RaghavanFri, Nov 15 @ 7:30PM

A new work exploring the legacy
of jazz percussionist Max Roach.

Madeleine Peyroux
Sat, Nov 16 @ 7:30PM

Singing favorites and deep cuts
from her varied discography.

Jazz Vespers at Bethany @ 25
Honoring
Rev. Dr. M. William Howard, Jr.
Nov 21 @ 7:30PM
Featuring Nat Adderley Jr.,Jon Faddis, Vanessa Rubin
and Lizz Wright.

John Pizzarelli& Catherine Russell
Billie and Blue Eyes
Fri, Nov 22 @ 7:30PM

The American Songbook guitarist
and the GRAMMY®-winningjazz vocalist in concert.

Philip Bailey, Lisa Fischer,
Dianne Reeves &Christian McBride Big Band
Sat, Nov 23 @ 8PM

Dorado Schmitt & Sons
Django Festival Allstars
Sat, Nov 23 @ 6 & 8:30PM
Hot jazz honoring legendary
guitarist Django Reinhardt.

Brandee Younger Trio
Dorthaan’s Place Jazz BrunchSun, Nov 24 @ 11AM & 1PM
Brunch with thez GRAMMY®nominated jazz harpist.

Sarah Vaughan International
Jazz Vocal Competition
Sun, Nov 24 @ 3PM
The search for the world’s
next great jazz singer.

Regina Carter
Gone in a Phrase of Air
Sat, Mar 8 @ 7:30PM

A soul-stirring jazz journey throughvanished Black communities.

A star-studded lineup of singers join
the GRAMMY®-winning big band.

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

CHRIS DRUKKER

ENCOREMICHAELWOLFF

STORYTELLER IN MUSIC AND WORDS
BY KEN DRYDEN

Septuagenarian pianist Michael Wolff captivates his

audience, not just with his music, but as an author andspeaker. Early in his career, he was a sideman with Cal
Tjader, Cannonball Adderley, Nancy Wilson (he wasalso her music director) and, a learning experience hewill never forget, Sonny Rollins. Wolff got to know
pianist Bill Evans when he performed at the San
Francisco venue El Matador, where Wolff played in
Tjader’s band. As he recalls, “(Evans) was booked for
two weeks and I’d go every night and every set. One
night, Bill said, ‘I’m going to go eat, do you want tohang out?’ I asked him a million questions, ‘How is it
playing with Miles? What about this harmony? Whatdo you do with this chord?’ He was so sweet. One day
after his last show, he said, ‘I’m going to be working onsome new stuff, if you want to stand behind me, you
can watch me practice.’” Evans gave the young pianist
a lot of encouragement and Wolff recently paid tributeto him with A Letter to Bill Evans (Jazz Avenue 1), oneof several recently released Wolff albums.
An all too brief tenure with Adderley also paidhuge dividends. “When I joined Cannonball, I had
been in New York a couple of years. It was a shock
coming from California. I asked about playing ‘Giant
Steps’ or ‘Moment’s Notice’ and Cannonball said,‘We don’t play Coltrane’s exercises in this band. Why
don’t you write me some music?’ So that’s what I did.
We played a lot of my stuff. Live In Montreal (DobreLiberation Hall) [another 2024 album release featuring
Wolff, a reissue from a 1975 concert] has one of mytunes. Pianists composed a lot of music for him. I wish
he had lived, because the next album was going to
be mostly my compositions.” Wolff asked him about
his talking between numbers: “Cannonball said you
can take people further musically when you talk, so I

always talk. In the ’80s, I did stand up (comedy) for
five years!”
Wolff met his wife, actress and screenwriter Polly
Draper, when she was a guest and he was music
director for The Arsenio Hall Show. “We’ve worked ona lot of projects together, the first was The Tic Code,which I scored.” Many other collaborations followed:
the play Getting Into Heaven, the TV show The Naked
Brothers Band and the movie Stella’s Last Weekend. But a
few years ago, the pianist was in a fight for his life due
to repeated misdiagnosis of an illness that turned out
to be a rare form of cancer. Draper was instrumental in
his eventual recovery, as Wolff explained: “Polly got
me to go to Sloan Kettering Cancer Center. There had
been no treatment for my cancer; my doctor was trying
something from a genome blood test result of themutation of the DNA. Finally, he went into the lab withmy biopsy and figured out a drug to try and it worked
immediately. He cured me of this cancer and after two
years on the drug, I asked. ‘What’s the research?’ And
he said, ‘You’re the research.’ He wrote a paper for The
New England Journal of Medicine and a drug company
saw it and came up with the drug specifically for mycancer and now it’s considered a curable disease.”
Although Wolff was in great pain at times and was
unsure if he would survive, his cancer fight spurreda burst of creativity as he recovered. The pianist had
already begun work on his autobiography, On That
Note: A Memoir of Jazz, Tics, and Survival (Redwood
Publishing) well before his cancer diagnosis. He
explained, “I always loved books. Kitchen Confidential
by Anthony Bourdain is my favorite memoir. My
father-in-law wrote a book about his life—he was one of
the first venture capitalists in Silicon Valley.” It was hisfather-in-law who encouraged Wolff to write a book,because of the way he told his stories. “I started writing
a little bit every day, just thinking of something, likemy relationship with Bill Evans, Cannonball and so on.
I wanted it to sound more or less like I was speaking.”
Wolff sent excerpts to author friends and others, all ofwhom encouraged him. “I spent nine years on it; it wasway harder than any music I ever did.” Not only does
he share his life history but also his long undiagnosed
Tourette’s Syndrome, a nervous system disordermanifesting in repetitive movements or unwanted

sounds, which left him feeling like an outcast in
his youth (Wolff also recorded an audio version for
Audible, which includes music he performed for thatversion).
Wolff’s just-released Memoir (Sunnyside) features
his originals plus one standard (“You’ve Changed”).
Says Wolff, “Two songs on the album I wrote in the’70s. When I was sick and didn’t know if I was going to
live, I had this guy who was good at writing out music.
I had music on various programs and some of it was
written, so I asked him to organize all my compositions
in one place so I could get to it for my legacy. I lookedat them and thought two compositions would be great
now. One was called ‘On My Mind’ (the other was‘No Lo Contendré’, named for Spiro Agnew’s plea toan income tax evasion charge in 1973).” Wolff wrote
a significant amount during the pandemic, including
a suite for jazz piano and string quartet. His regulartrio features bassist Ben Allison and drummer Allan
Mednard, both of whom appear on Memoir. “Ben has
his own huge career and I love playing with him.
We’ve been playing together for years and he cameover when I was sick. I could barely get to the piano
but we would play and compose together. Allan is anamazing young man in his 30s. I’ll come up with thebasic part of a song, I will suggest a bass line and ask
Allan for a ‘Mednard beat.’ I encourage their input andcreativity.”
As he contemplates his future, Michael Wolff’s
already-established legacy is a foundation he cancontinue to build upon.

Leo Robin, Bob Hilliard, Bob Merrill, Stephen
Sondheim, and Betty Comden and Adolph Green.
This month marks the 30-year deathaversary of
Styne, who is probably best remembered for musicals
that have become Broadway Golden Age classics,
including Bells Are Ringing, Gentlemen Prefer Blondes,
Do Re Mi, Gypsy and Funny Girl, many of which haveproduced what have since become Great American
Songbook jazz standards. In the ’80s, with no works
on the boards (he was working on One Night Stand, amusical that never opened), the composer approached
Broadway and cabaret star, Karen Mason—he’d heard
her sing his “Time After Time” at a tribute show. “He
was a funny little man,” she remembers. “He said hewanted to talk to me about appearing in a revival of
Funny Girl. My eyes got big; I thought this was finally
my big chance. But then I found out that he offeredthis opportunity to every belter he met!” Mason,
who’d met several Great American Songbook writers,
including Styne’s longtime partner, lyricist Sammy
Cahn, adds, “They were all like that—always pitching,even when they were quite elderly.” Over the decades
many of Mason’s cabaret shows featured the music ofStyne (including an upcoming one-nighter this monthat Birdland).
Styne developed his feel for popular musicworking with jazz bands in ’20s Chicago. After highschool, he traveled with The Benson Orchestra ofChicago (led by Edgar Benson), then joined drummer
Ben Pollack’s band (which also employed clarinetist
Benny Goodman and trombonist Jack Teagarden).
He would form his own band and shortly thereafter
made the move to New York on the threshold of the’30s. Styne became a vocal coach and conductor for
Broadway entertainer Harry Richman, a job that led
him to Hollywood in 1937 and a stint at 20th Century
Fox, coaching stars such as Shirley Temple andAlice Faye, among others. He also started a band in
California, which brought him notice. In 1940 Styne
met Cahn and was championed by Frank Sinatra,
which would lead to collaborations producing manyof those aforementioned big-big hits. Hitting the
jackpot came via the 1945 film musical Anchors Aweighwith Sinatra and Gene Kelly; one of its tunes, “I Fallin Love Too Easily”, according to Cahn, “was written
one night in Palm Springs. When I sang the last line,
Jule Styne looked over at me and said, ‘So. That’s it.’
I knew he felt we could have written on, but I felt I
had said all there was to say.” In the post-war years,
tunes, such as “Give Me Five Minutes More”, “TheThings We Did Last Summer”, “Saturday Night (Is theLoneliest Night of the Week)”, “Let It Snow”, “TimeFor more info visit michaelwolff.com. Wolff is at Iridiumwith Jeff Berlin and Dennis Chambers Sep. 20-21. See
Calendar.
Recommended Listening:• Cannonball Adderley Quintet—Live In Montreal May
1975 (Dobre-Liberation Hall, 1975)• Michael Wolff Trio—Something Blue (Jimco, 1995)• Children On The Corner—Rebirth (Sonance, 2002)• Michael Wolff—Zenith(Indianola Music Group, 2014)• Wolff & Clark Expedition—2 (Random Act, 2015)• Michael Wolff—Memoir (Sunnyside, 2023)

LEST WE FORGET

JULE
STYNE

MELODICALLY SIMPLE, HARMONICALLY ATTRACTIVEBY JIM MOTAVALLIC omposer Jule Styne, born New Year’s Eve 1905 as

Julius Kerwin Stein in London, England, emigrated
to Chicago with his Ukrainian immigrant parents atage eight, having already demonstrated that he was a
piano prodigy. Encouraged there by singer-comedianHarry Lauder to take up the piano seriously, by age
ten Styne had performed with the Chicago, St. Louisand Detroit symphonies. At the Chicago MusicalCollege he met Mike Todd, destined to become amajor Hollywood film producer, who commissioned
him to write a song for a musical he was creating. And
so began the astounding career of a man that would
go on to write 1,500 published songs mainly for stage
and screen, beginning with his first “Sunday” (1926).
Styne himself estimated that he’d written 2,000 songs
total of which 200 were capital “B” big hits, many with
Sammy Cahn, as well as other collaborators including

10 September 2024 | THE NEW YORK CITY JAZZ RECORD(CONTINUED ON PAGE 34)

L ABEL SPOTLIGHT

ENDECTOMORPH MUSIC
LET PEOPLE EXPERIENCE THE MUSICBY MIKE SHANLEY

K evin Sun wasn’t thinking too far into the futurewhen he decided to release an album of his own
music and another by some friends in 2015. Like
many New York-based musicians in their early 20s,
the saxophonist saw a greater advantage to selfreleasing his work rather than trying to shop it
around to labels. “You can market it however you
want. Obviously, you don’t have a budget. Yourbudget is your own,” he says. “But it sounded likemost labels weren’t spending much anyway. At least
the ones that aren’t major labels. Another part of it
is, I had a lot of friends who were also doing theirfirst recordings and were in a similar situation. I
figured if we’re putting our music together, there’s astrength-in-numbers aspect to it as well.” His friend,
Isaac Wilson (pianist in Great On Paper, the label’s
first release and eponymous debut by the group of
the same name), once casually mashed the terms“endomorph” (a soft, round body build with a highproportion of fat tissue) and “ectomorph” (a leanbody build) together. Without really seeing a deeper
significance to the new word, Sun simply liked thesound and uniqueness of Endectomorph. “(And)it’ll show up when people search for it,” he thought
strategically.
Nine years later, Sun, now 32, is continuing toHowlJuanma Trujillo

Abiding Memory
Phillip Golub

showcase a diverse group of creative young musicians.
As of this month, six albums have been released
this year alone, with three more slated to appear
before the new year. This month’s Endectomorph
Music Festival (at The Jazz Gallery) spotlights six
different acts from the label. With the addition ofdigital distribution help from the La Reserve imprint,
Endectomorph Music is in the midst of a prolificrun. Part of its strength lies in the fact that it doesn’tadhere to a particular sound, even in a general sense.
Sun’s own Fate of the Tenor, which captures his trio
in their regular residency at the Lowlands Bar in
Gowanus, Brooklyn, feels accessible even as his tenor
frequently pushes the extremes. Fellow saxophonist
Jacob Shulman’s double-disc release High Firmament/
Ferment Below weaves together multiple takes of
his original compositions, resulting in a somewhat
dreamy ambience while the rhythm section straddles
freedom beneath the flow. Guitarist Juanma Trujillo’s
Howl also projects feelings both intense and groovy,
while the music on pianist Phillip Golub’s Abiding
Memory features tightly constructed arrangements forguitar, cello, bass and drums along with the leader’selectric and acoustic keys.
Golub, whose friendship with Sun dates backto their college days, first approached him about
releasing an album by his group Tropos, whichbecame Shadow Music, a set of extended free
improvisations with piano, vocals and percussion,
released last year. While discussing that recording
and the state of things for struggling jazz musicians,
Golub had an idea. “I proposed to him: ‘You have all<3 Bird
Kevin Sun

this amazing music on this label but you’re doing it
yourself. What if I helped you and some of the otherartists on this label helped you, and we took it up anotch and tried to make this more of a thing?’...Kevinand I began meeting every few weeks [and thinking],‘What do we want to do? What’s our vision, what’s
our capacity, how do we want to define this thing?’”Along with the pianist, guitarist Trujillo alsocame on board to help. Endectomorph continues to be
Sun’s vision and no one has proper job titles with thelabel, but each has taken on various responsibilities,
such as getting materials from the artists or writingpress releases.
Securing digital distribution through La Reserve
was a significant step because the label shifted thisyear to download releases almost exclusively. (Thetwo exceptions are Golub’s Abiding Memory, which is
being released on CD by the German Berthold label,and Sun’s State of the Tenor, which has a limited vinyl
release.) Within the U.S. at least, CD sales aren’tsustainable, Sun says, but the La Reserve agreement
helps the albums by getting the music on playlists
and streaming services. It continues to work towards
Sun’s initial goal of helping new artists tap into a newaudience. Golub agrees, adding, “One cool thing alabel can still do today is provide a context and show
a listener that there’s a community here of artists
that are part of a shared thing, who are dealing withsimilar topics and themes in their music, not thatit’s all going to sound the same. The releases help
(CONTINUED ON PAGE 35)

Connectedness
Jacob Shulman

The Myth of Katabasis
Hayoung Lyou

VOX NEWSDIPLOMACYBY SUZANNE LORGE

It’s hard to keep up with singer Alexis Cole. Based in

New York, she is almost constantly on the road or in the
air: her formidable career has found her studying voicein India, busking throughout Europe, teaching jazz in
Ecuador, gigging solo in Japan and fronting West Point’s
touring big band, The Jazz Knights, for six years. Clichés
about jazz ambassadorships aside, Cole’s captivatingmusicality would go a long way to bridge international
divides—she’s a winning representative of our uniquely
American art form.
In 2021 she released Sky Blossom: Songs from My Tourof Duty (ZOHO), a dozen classic tunes arranged for bigband by Jazz Knights music director Scott Arcangel.
On the record, Cole’s vocals sail expertly over the large
ensemble’s sweeping sound—no easy undertaking. Evenso, she repeats this stellar display—maybe even ratcheting
it up a notch—on Jazz Republic: Taiwan, The UnitedStates, and The Freedom Of Swing (Tiger Turn), her new
release featuring the Taipei Jazz Orchestra (with stringarrangements by Arcangel and additional arrangements
by big band leaders Rich DeRosa and Chris Walden).
These two albums make for happy companion
pieces. Where the first benefits from the seamless
execution of the familiar, the second bristles withelectricity from the new. To this end, the latter’s opener,“Common Ground”, establishes the beneficent theme ofunity that threads throughout the remaining tracks—
like a version of “Begin the Beguine” that focuses on adancing partnership; a moderate-tempo “Moon River”
that taps into the lyrics’ implicit excitement; and anutterly charming “Beyond the Sea” that hints at crossborder collegiality. It’s a refreshing listen.
In another pan-oceanic collaboration, the peripateticCole recently announced the digital re-release of her
2010 album, Someday My Prince Will Come (originallyrecorded for and released by Japan’s Venus label). The
album, boasting a spectacular lineup of players, deservesa revisit: Cole is at her interpretive best on some ofDisney’s most cherished love songs, such as “So ThisIs Love”, “When You Wish Upon a Star” and the title
track. She also finds surprising colors in some lesserknown tunes from this venerable archive, including“Let Me Be Good to You” and “For Now, For Always”.
Notably, each selection stands as a prime example of jazz
vocalism, so rock-solid are the bones of the tunes andCole’s understanding of the emotional truths at theircenter. Not surprisingly, Cole names this the favorite of
all her releases.
Cole came in a praiseworthy second at the very firstSarah Vaughan International Vocal Jazz Competition(2012). By then her career was already in full motion, withseveral albums and many accolades to her credit. Her
indisputable talent no doubt set a high bar for the Sassys
out of the gate, and in subsequent years the competition

has proved a launching pad for a number of bright careers.
Another important annual award for vocalists is theInternational Ella Fitzgerald Jazz Vocal Competition andlast year’s winner, April Varner, just dropped a smashingdebut. Simply titled April by April Varner (Cellar Music),
it shows off the newcomer’s relentless improvisationalenergy and compositional skill on a near-dozen tunes
about the fourth month of the year (who knew there wereso many?). From her opener, “April Blues” (a laid-backoriginal highlighting the warmth of her instrument), to“Joy of April” (with its killer scatting), “April Come She
Will” (a florid take on the Simon & Garfunkel hit) and“Sometimes It Snows in April” (a remake as melancholicas the Prince original), Varner demonstrates a readinessfor bigger stages. At Winnie’s Jazz Bar (Sep. 7), she’s
clearly one to watch.
And ones to catch: as promised last month, Catherine
Russell brings her latest duo offering with pianist Sean
Mason, Send For Me (Dot Time), to Birdland (Sep. 3-7).
Singer Magos Herrera fronts a 10-piece band as part ofGaia Wilmer and Jaques Morelenbaum’s The Music of
Caetano Veloso, in homage to the iconic Brazilian singercomposer, at Dizzy’s Club (Sep. 6-8). Grammy-winner
Jazzmeia Horn releases her third album, Messages, via
her own Empress Legacy at Smoke (Sep. 11-15). Junowinner singer-trumpeter Bria Skonberg will celebrate
the launch of What It Means (Cellar Music), also at Dizzy’s
Club (Sep. 20-22). And two days later, singer-journalist
Tessa Souter unveils selections from her new recording
venture, The Erik Satie Project, in the same space (Sep. 24).

THE NEW YORK CITY JAZZ RECORD | September 2024 11

F ESTIVAL REPORTMONTREAL JAZZ CARAMOOR JAZZFESTIVALFESTIVAL

Rachel Therrien @Caramoor Jazz Festival

BY KURT GOTTSCHALKELMAR PETZOLD

Marcus Miller @Montreal Jazz Festival

BY TRISTAN GEARYGABE PALACIOVICTOR DIAZ LAMICHBY TOM GREENLANDMONHEIMTRIENNIALE

Brìghde Chaimbeul @Monheim Trienniale

S ince 1980, Alain Simard’s Festival International de T he audience at Caramoor’s grounds, in Katonah, T he Prequel to the Monheim Trienniale comes midway
Jazz de Montréal has attracted a mélange of local fans
and tourists—jazz aficionados and dilettantes alike.
Largest of its kind, touting a global, stylisticallyeclectic roster of name stars alongside lesser-known,
home-grown acts, it nevertheless evokes small-town
charm: families picnicking on grass swards, children
wading in shallow pools, amateur pianists young andold taking turns at a grand piano set up in Rue SteCatherine, as promenading bands squeeze throughthe throng. This review covers three days (Jun. 29Jul. 1) of the ten-day summer spectacular.
By the festival’s third day (Sat., Jun. 29), thefestival was in full swing across the three-squareblock area comprising three large concert halls on theraised Place des Arts next to an outdoor staging area.
Therein were oversize screens, speakers and lighting
cranes dwarfed by chic high-rise architecture, plus
numerous smaller stages and venues. Outdoor (andsome indoor) concerts were free, music typicallystarting around noon, ending by or around midnight.
Trad-jazzers Montréal Dixie and Swing Toniqueand soulful vocalists Madison Ryann Ward andDominique Fils-Aimé were four of many outdoor
acts keeping pedestrians’ spirits up in the drizzly
weather. Indoors, Icelandic multi-instrumentalist
Laufey impressed the capacity crowd at Maison
Symphonique de Montréal with warm expressive
singing, well-crafted confessional songwriting
and versatile musicianship. At Gesù, a mid-sizehall bordering the main area, Django Festival
Allstars, impelled by guitarist Samson Schmitt andaccordionist Ludovic Beier’s fiery solos, kept the
jazz manouche flame burning. Guitarist Al Di Meola,recently recovered from an onstage heart attack, wasequally fiery at Théâtre Maisonneuve where, after
local guitarist Frank O’Sullivan’s slow-simmering
quartet warmed the coals, he launched a fusillade
of fretboard fireworks on tunes including Chick
Corea’s “Beyond the Seventh Galaxy”, prodded byconguero Gumbi Ortiz. Later at Gesù, trumpeter
Keyon Harrold played songs from his Foreverland
album, yielding an organic fusion of hip-hop andjazz catalyzed by his antiphonal exchanges with agile
vocalists Stout and Malaya over drummer Charles
Haynes’ drunky-funk.
By Sunday (Jun. 30) the rain was gone,
but the heatwave was back. Early afternoon,

NY, were relaxed, stretched out on the grass andletting the music of the day-long (Jul. 27) Caramoor
Jazz Festival swirl around them. The concerts werespread across four stages: the Venetian Theater,
replete with faux-columns looking like the set of a
Shakespeare play; the Friends Field, a classic festival
stage where audiences splay out in a maze of lawn
chairs; the Spanish Courtyard, a more intimate closedin space, reminiscent of a parlor music setting; andthe picturesque Sunken Garden, canopied by bowing
trees. You’d never guess you were a stone’s throwfrom NYC (approximately an hour’s drive or MetroNorth train ride from Grand Central Station), except
for the regular swell of planes coming in for landingat the city’s airports and the closer Westchester
County Airport.
Drummer Willie Jones III’s quartet inaugurated
the offerings (in the Spanish Courtyard) with amaturity of dynamics, not afraid of either softness
or silence; the group held the audience in theirproverbial palm as they drifted through an achingly
gentle version of “Embraceable You”. Confessionalsolos from alto saxophonist Justin Robinson pulledsighs of approval, much of the audience audibly
reacting with expressive reverence and emotion.
Cameroonian-American singer Ekep Nkwelle (at the
Friends Field) channeled the spirited energy of Betty
Carter, but equally favored laid back grooves, as well.
She dipped low into guttural phrases with deftness,before launching them back into the sky again. While
she confidently hit the notes, somehow they didn’t hit
the spot, at times feeling strained. Trepidatious solos
from pianist Sequoia Snyder added to the feeling oflackluster. Guitarist Lolivone De La Rosa was joinedby saxophonist Ned Goold (at the Sunken Garden),a pleasantly unvarnished setup that allowed for upclose listening, with performers at eye level with theaudience. The set, however, was a tad meandering,struggling to settle into any groove and creating acreeping notion of unsteadiness.
Harpist Charles Overton’s quartet (at the
Spanish Courtyard) was a festival standout set. The
group offered stunningly arranged standards, from“Nardis” (Miles Davis, or Bill Evans, dependingon your source) and “Recordame” (Joe Henderson)
to “How High the Moon” (Morgan Lewis, Nancy
Hamilton), playing each of them as if they were

through its three-year cycle, only one of the ways inwhich the festival—in its second thousand-day run
this summer—makes its own rules. The year before
The Prequel comes a program of sound installations
around the small but thriving city of Monheim am
Rhein, Germany (15 miles south of Dusseldorf). Withthe third year of the cycle comes the festival properwith the artists at The Prequel returning to present final
works—of a sort. It’s all charmingly overcomplicated.
As such, this year’s weekend of encounters (Jul. 4-6)
came with a built-in suggestion that everything was...
becoming. The present was prologue. Performances by
Ganavya Doraiswamy, Peter Evans, Heiner Goebbels,
Darius Jones, yuniya edi kwon and others in various
groupings were short, spirited and spontaneous.
This dynamic, of course, is on-brand for improvised
music, where codas are often new beginnings. But at
Monheim it was modus operandi. It’s an ambitious andtruly international festival where the biggest thing
was the boat upon which most of the concerts were
held.
The Prequel 2024 presented 16 musicians who
found ensembles on the fly, mostly from within theirown ranks, but sometimes drawing on the town’s talent.
Peter Evans, in the opening set, went with the latterfor his Workshop Ensemble. They played a perfect,
uninterrupted 40 minutes without misstep. Their set
was immediately followed by a sort of preamble to
The Prequel, a mission statement put into practice inthe form of a round-robin of the invited musicians in
a constantly-shifting sequence of duos and trios, with
Evans—a workhorse of the weekend—kicking it off.
An odd consequence of the open schedule was thatsome artists ended up with far more stage time thanothers, Evans topping the list. Along with the various
groupings he participated in, he gave a 35-minutesolo performance in the Marienkapelle, a small stone
chapel dating from 1514. He bounced loud, broken
pocket-trumpet phrases around the packed room,soon quickening the pace to a gallop, slowing thenwith the full-bodied trumpet and something moreheart than muscle, which developed into a jet streamof overtones. His pure instrumental technique and his
structural sensibilities, when running in tandem, canbe shockingly good.
Julia Úlehla also tapped local talent, enlisting agirls chorus accompanied by a small ensemble for a set(CONTINUED ON PAGE 35)(CONTINUED ON PAGE 35)(CONTINUED ON PAGE 34)

12 September 2024 | THE NEW YORK CITY JAZZ RECORDINTAKT RECORDS www.intaktrec.ch

Ingrid Laubrock: Soprano and Tenor Sax.
Tom Rainey: Drums

Ohad Talmor: Tenor Sax., Bass Cl., Synth
Chris Tordini: Bass ∙ Eric McPherson: Drums
Joel Ross: Vibraphone ∙ David Virelles: Piano
Leo Genovese: Piano, Synth ∙ Shane Endsley:
Trumpet ∙ Russ Johnson: Trumpet
Adam O’Farrill: Trumpet
Grégoire Maret: Harmonica

Caroline Davis: Alto Saxophone
Marquis Hill: Trumpet
Julian Shore: Piano
Chris Tordini: Acoustic Bass
Allan Mednard: Drums+ GUESTSSTEMESEDER LILLINGER QUARTET
feat. Peter Evans and Russell Hall
UMBRA IIPeter Evans: Trumpet, Piccolo trumpet
Elias Stemeseder: Piano, Lautenwerk, Comp.
Russell Hall: Double bass
Christian Lillinger: Drums, Comp.

THE MAYFIELD
THE MAYFIELD
Willi Bopp: Sound Design ∙ Camille Émaille:
Percussion ∙ Gianni Gebbia: Saxophones
Heiner Goebbels: Prepared Grand Piano
Cécile Lartigau: Ondes Martenot
Nicolas Perrin: Guitar, Electronics

Intakt CD 421

Intakt CD 428

CAROLINE DAVISPORTALS VOL. 2: RETURNING

Intakt CD 422

OHAD TALMOR + GUESTSBACK TO THE LAND

Intakt CD 423

INGRID LAUBROCK – TOM RAINEY
BRINK

Intakt CD 426

Intakt CD 424

Intakt CD 408

Intakt CD 425

Distribution USA: Virtual Label Group / NYC: Downtown Music Gallery / Digital: intaktrec.bandcamp.com

DAVID MURRAY QUARTETFRANCESCABUECHI – HELLMÜLLER – JERJEN+ GUESTS PINK MOUNTAIN SAGASMARTA SANCHEZ TRIOPERPETUAL VOIDDavid Murray: Tenor Saxophone and Bass Clarinet
Marta Sanchez: Piano
Luke Stewart: Acoustic Bass
Russell Carter: Drums

Sarah Buechi: Voice ∙ Franz Hellmüller: Guitar
Rafael Jerjen: Bass ∙ Kristina Brunner:
Schwyzerörgeli ∙ Andreas Gabriel: Violine
Marianne Domide: Alphorn
Emmanuel Krucker: Hackbrett

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

Intakt CD 059

Intakt CD 150

Irène Schweizer: Piano

Irène Schweizer: Piano ∙ Oliver Lake: Alto
Saxophone ∙ Reggie Workman: Bass
Andrew Cyrille: Drums

Irène Schweizer: Piano
Maggie Nicols: VoiceJoëlle Léandre: Bass

Intakt CD 293

LES DIABOLIQUESLIVE AT THE RHINEFALLS

Intakt CD 254

TRIO 3 + IRÈNE SCHWEIZER
BERNE CONCERT

Intakt CD 006

Irène Schweizer: Piano
Hamid Drake: DrumsIRÈNE SCHWEIZER
CHICAGO PIANO SOLO

Intakt CD 008

IRÈNE SCHWEIZER – HAMID DRAKECELEBRATION

Intakt CD 065

Intakt CD 363

From the vast legacy of Irène Schweizer on Intakt Records:IRÈNE SCHWEIZER –LOUIS MOHOLO

IRÈNE SCHWEIZER –ANDREW CYRILLE

IRÈNE SCHWEIZER – HAN BENNINKWELCOME BACK

Irène Schweizer: Piano
Louis Moholo: Drums

Irène Schweizer: Piano
Andrew Cyrille: Drums

Irène Schweizer: Piano
Han Bennink: DrumsIRÈNE SCHWEIZER – JOEY BARON
LIVE
Irène Schweizer: Piano
Joey Baron: Drums

I N ME MORIAM
Irène was so important to me as a role model, inspirationand mentor. I remember meeting her in NYC in the late’80s. We had a wonderful session together at Greenwich
House Music School, and I know she was instrumental
in having me invited to perform in Zürich with Marilyn
Crispell for my first-ever gig in Europe. I got to hear her
perform live several times over the years as well as on
the many fantastic recordings she made. In every instance
I was struck by her immense knowledge of many styles
of jazz and improvisational music, which she synthesized
in a singular and recognizable way. What touched meso much beyond this was the joy and passion, the senseof fun and humor, that came through her and the piano.
A true pioneer, an amazing pianist and musician, her
contributions to the music are immense. Irène lives on in
the music she gave to all of us.
—MYRA MELFORD (piano)
Irène Schweizer is one of the pianists I most admire
and respect next to Carla Bley. Her way of lifeand passion for music was amazing. I had theopportunity to play with her and Marilyn Crispellin a three-female pianist concert at the Total
Music Meeting Festival in Berlin. Irène was one ofthose rare individuals who pursued the world she
believed in, without being influenced by the times.
—AKI TAKASE (piano)‘

In my youth Irène Schweizer was my idol. Having grown
up with classical music only, I perceived Irène’s energetic
and wild way of playing as profoundly liberating. The
first time we met, at the occasion of an encounter between
the WIM (Workshop for Improvised Music) Berne and the
WIM Zürich, I saw another side of her: she arranged thechairs for the audience and sold the tickets. This famousmusician did not think herself above offering simple
services to young musicians. Years later, I had composeda piece for both of us. One scene was about a singing bird.
After the rehearsal, we took a walk, when unexpectedly a
black bird sang loudly in the trees nearby. We burst out inlaughter. Dear Irène, I wish you birds singing in heaven.
And a woodpecker picking on a paradise tree.
—KATHARINA WEBER (piano)
A few things immediately spring to mind when I think of
Irène over the course of the last five decades: buying the
Pierre Favre Quartett’s Wergo LP (with Irène, Evan Parker
and Peter Kowald) around 1970; sharing the bill with
her at an FMP concert in Berlin in 1977 and our duet 15
years later in Antwerp; Canadian red wine and cigarillos
at a Vancouver hotel lounge in the mid ’90s; attending
her intimate solo concert in Schaffhausen in 2018… Irène
Schweizer, one of the main pianists on FMP, was theperfect example of what “free music” is about: drive,
passion and invention.
—GEORG GRAEWE (piano)

IRENE SCHWEIZER
1941-2024

PALMA FIACCO“HA!” Irene had a way of laughing that was short andto the point, and always seemed to have an exclamation
mark attached to it. It still resonates in my ears. It was
one of her many trademarks—in addition to her utterly
unmistakable piano playing. For me as a drummer, her
series with the greatest drummers in improvised music(Pierre Favre, Han Bennink, “Baby” Sommer, Hamid
Drake, Joey Baron, Andrew Cyrille, Louis Moholo) form
a whole gallery of top sparring partners for the great“drummer” on the 88 keys that was Irène. As a supportive
musician who upheld values and principles, she was also
the “mother” for many of my generation, listening to us
and playing with us. And there was nothing of the fingerwagging pedagogue about her; she simply exemplified
improvisation with a prominent expression of attitude,
courageous playing, staying power,
wonderful
momentumandswing. It was so encouraging
for us to be able to gain aworldwide audience asmusicians in a nichemusic genre with thebenefit of hearing andabsorbing her utterly
individual voice. We
learned through hervoice to listen andplay with risk…andsometimes
laughout loud: “HA!”
Thank you, Irène!
—LUCAS NIGGLI(drums, percussion)

14 September 2024 | THE NEW YORK CITY JAZZ RECORD

Irène Schweizer not only bears the name of her countryof origin—Switzerland—but she embodies everythingthat the progressive forces of this small nation strive
for: cosmopolitanism, emancipation, justice, openness,
stubbornness and creativity. I worked with Irène asproducer and festival organizer for nearly 50 years andhave been continually surprised by her music. Thirtynine album productions on Intakt Records document her
musical genius, including Many and One Direction, thetitle of one of her solo albums, which reflects her striving
for diversity. There are only a few European personalities
who have immersed themselves so intensively in the jazzmusic of the U.S. and who have been appreciated by thegreats of American jazz—Don Cherry, Andrew Cyrille,
Oliver Lake, Reggie Workman, Cecil Taylor, George
Lewis, Marilyn Crispell and Carla Bley. As a woman, sherevolutionized jazz and rocked the jazz world in the ’70s
with her feminist improvising group Les Diaboliques, with
Maggie Nicols and Joëlle Léandre, the most important
free improvising women’s trio to perform together over
several decades. There’s her “Free Mandela!” duo with
South African drummer Louis Moholo, her recordings
with Trio 3, the piano concerto Theoria with the London
Jazz Composers Orchestra (written for her by bassist–composer Barry Guy) and her final release, Celebration(2019) with drummer Hamid Drake. With her death, theIntakt team has lost a close friend, a source of inspiration
and a partner for lively debate. But her music remains.
What a huge consolation!
—PATRIK LANDOLT (Intakt Records)
Such sad news. I knew that Irène was ill and went threetimes to Zürich to see her, my Sister. We met in 1979 anddid so many gigs and recordings together over the last
40 years, playing in different bands, in duo, quintet andof course Les Diaboliqueswith Maggie Nicols. It’sa big loss. A uniquemusician, in 1960 she
was the only woman
on the road in Europe.
And she played her
own music, createdandinventedherown music… That’s
all! A very importantmusician, a politicalperson and a pioneer,
she was also a simple
person, a good humanbeing and a real deep
and good friend. RIP
dear Irène.
—JOËLLE LÉANDRE(bass)How much I missyou! We first met in
Lugano in 1964 when
I played with Misha
Mengelberg and others.
You played with yourown trio. Since 1966 wehave been playing andrecording together onand off. It was always
a ball. You have been agreat example for yourcountry and the rest of
the world. Thank you somuch for your tribute to
the improv scene. You will
always be on my mind. Lotsof love.
—HAN BENNINK(drums, percussion)

Performing with Irène Schweizer was a joy and agreat privilege. Her exuberant and highly virtuosic
music drew on deep wellsprings of culture andhistory, and together with amazing musicians such as
Gunter “Baby” Sommer, Han Bennink, Joëlle Léandre
and Dr. Maggie Nicols (University of Edinburgh,honoris causa, 2024), we managed to make some pretty
good music together over the decades. This included
our “Bett, Bahn, und Bühne” tour, a phrase I madeup, that I felt accurately represented the demonic
eternal recurrence of touring, including the lack of afourth word, “Essen,” which we didn’t always havetime for. Irène’s work with Maggie and Joëlle as Les
Diaboliques, and with Georgina Born, Sally Potter,
Corinne Liensol, Lindsay Cooper, Annemarie Roelofs
and others as the Feminist Improvising Group,
highlighted her lifelong struggle for gender andracial equity. Irène Schweizer was one of the giants ofimprovised music in the 20th century.
—GEORGE LEWIS (trombone, electronics, composer)
My time playing with Irène in the Pierre Favre quartet
in the early ’70s (with bassist Peter Kowald, who had
recommended me) was an important introduction
for me to the broader European scene. We stayed intouch after that, especially through her seminal rolein organizing the scene in Zürich with the events at
the Rote Fabrik and the early days of Intakt Records.
My most vivid memory is of a day off on the roadin the evening, listening to records at her place.
Her final selection was the Ellington trio version of“Summertime” from Piano in the Foreground, which
has some surprises for those who think they know
Ellington! She was a “free” player with deep roots andwas a very strong individual who will be missed but
not forgotten.
—EVAN PARKER (soprano, tenor)
If I had to describe Irène in short, I would choose thetitle of her first solo album recorded in 1976 in Berlin:
Wilde Senoritas. She was truly a “wild señorita,”
courageous and fearless, independent in her creativity
and totally centered in herself. She found her way tofree jazz and free improvised music in a time andenvironment where this was not imaginable for awoman. But she had this strong urge and a huge love
for this thriving music and she did not hesitate togo right into it. The first time I saw and heard Irène
was when she played with the Feminist ImprovisingGroup (FIG) in Zürich. For me as a young female
musician, this evening was unique for the fearlessand courageous performance of the five women on
stage: Irène, Maggie Nicols, Lindsay Cooper, Sally
Potter and Georgie Born. They improvised with theelements of music, dance, theater and spoken word,with a breathtaking openness all around the topic
of womanhood, feminism and emancipation. Irène
was in the middle like a rock in the surf, totally
centered in herself, bundling up the energies andcreating moments of highly precise musical action,with strong rhythm, uptempo structures and lyrical
playfulness. Shortly after this she invited me to the
Canaille Festival, a European all-female festival. Fromthen we started playing together regularly as a duo,a collaboration that would last more than 20 years.
Playing with her was a challenge and at the sametime it felt totally safe; one was carried by her strong
sense for form, her tremendous energy, her clear
and shining chords and the rhythmical precision.
She opened many doors for me, introducing me to
the European free music scene. I will miss Irène asa straightforward, outspoken woman, critical in her
political views, with no starry airs, but honest in her
way of thinking and speaking and always helpful inbringing good ideas to realization. She was a dearfriend and a great teacher in music to me.
—CO STREIFF (saxophones, flute)

Dear Irène: You have always been a huge inspiration tome—a musical giant and a cherished friend. I treasure
the times we played and spent together. I will so verymuch miss seeing you in Europe. A great and sad loss
for us all.
—MARILYN CRISPELL (piano)
Irène... What impresses me most is what a lovely humanbeing she was. Courageous, respectful, extremely kind,
generous and full of life. Imagine what the world could
look like if we all tried a little harder to show thesethings, which she modeled so well.
—JOEY BARON (drums)
Feminist, pianist, percussionist Irène Schweizer was
my dear friend, a role model and a key actor in thefree jazz scene. I met her when I was 20, playing
my first concert in Zürich at the WIM, a small but
important center for creative music. I can picture theprecise moment, when percussionist Lucas Niggli
and I were playing duo, that Irène and Pierre Favre
came in the room and, suddenly, Lucas and I froze.
We were so impressed having our heroes stepping
into the room to listen to us! I soon learned that
she always came to listen and check out the young
players. She was always curious to see who was new
and out on the scene. Irène was the first person in
Switzerland who had a real sense of community inher musical vision: she co-founded Intakt Records,
helped organize the Taktlos and Unerhört festivals,
and put the spotlight on deserving musicians andhelped build a sense of excitement about Zürich’s
musical scene. At that time, in the ’90s in Switzerland,that was unerhört (“unheard of”)—not only was Irène
unique in her playing, but also in her concept of life,of sharing, loving and exchanging creative ideas. We
played three duo concerts, first in Köln (Cologne)
20 years ago, and the last one in 2019 just before
she began to get sick. I remember these concertsvery well; musically she pushed me to experiment
to the extreme. Irène made me realize very youngthat musicians have to stick together, listen to eachother and be part of a community. Partly that is why I
moved to NYC, to feel and be part of a new and larger
community. There are three women who are mymusical role models creatively, and in the way theybuilt their careers and place in the scene: Carla Bley,
Geri Allen and my personal mentor Irène Schweizer.
I miss them all deeply.
—SYLVIE COURVOISIER (piano)
There was nobody like Irène. Not only a virtuosic
pianist but a musician of wit, warmth, imaginationand originality. I never heard her play with less thana hundred percent commitment. It was a privilege
to make music with her. She listened intently andboth reflected what others played in her own unique
way and kept us on our creative toes. You couldn’t
be anything but fully present in her presence. In ourtrio, Les Diaboliques with bassist Joëlle Léandre, wewere three strong, unique, very different women who
complemented each other and Irène was at the heartof everything we did. It was such a joy. Her warmth
as a friend was second to none. She was so kind. We
shared a profound love of jazz which created an extra
bond as free improvising sisters. When Bill Evans died,
we were both heartbroken and now many of us areheartbroken to lose Irène. An extract from a poem I
wrote about her: Irène, mercurial miracle, liquid fire,
earthed and inspired.
I will remember you always.
—MAGGIE NICOLS (vocals)
Regarding Irène, with love, I will always remember the
many musical adventures, too many to list here, thatwe played together through the years!
—ANDREW CYRILLE (drums)

THE NEW YORK CITY JAZZ RECORD | September 2024 15

ALBUM REVIEWS

Re Up
Greg Skaff (Soulmation)
by Jeff Cebulski

V eteran NYC guitarist Greg Skaff’s seventh album,

Re Up, finds him moving from a fairly restrained
approach, as shown on his previous trio album, Polaris(2021), to a reenergized state. That prior recording
featured eminent bassist Ron Carter and the loquacious
and recently deceased drummer Albert “Tootie” Heathin an initially restive performance, which then settled
down considerably. According to the liner notes tothis new album, the title refers to “an act or instance ofreplenishing.”
Skaff’s current working trio—the eloquent Ugonna
Okegwo (bass) and the horizontally colloquial Jonathan
Barber (drums)—support the leader’s newly energetic
and lyrical compositions and interpretations, with thebassist’s refined yet syncretized approach fitting theoriginal arrangements like a glove, while the drummer
traverses his kit without ever getting in the way.
The album begins with typical Skaff-ian energy:“Faith” aggressively moves forward, nicely pairedwith a strutting version of Monk’s “Green Chimneys”,
followed by a Metheny-ish run up and down the fretboard on “No Cover” and the funky swing of “Swerve”.
The pace begins to turn on “Peace Place”, a waltzy,
breezy affair that leads to “Reach Down Deep”, awalking blues that the guitarist shines on. He sparkles
on a solo rendition of Ellington’s “Fleurette Africaine”(Skaff also played a group version on 2017’s Soulmation)that could serve as a fine example of lyrical arrangement
in self-accompaniment. Following this solo respite, thetitle cut replenishes the energy of the album as the trio
engages in significant swing. “Southern Pacific” chugs
along appropriately before the guitarist closes out
the new album with another solo spotlight through areprise of “Peace Place”, not modifying the melody or
rhythm significantly, but perhaps sending a message.
Greg Skaff isn’t just a talented guitarist, he is athoughtful, inventive artist that never proffers mere
repetition. With his current trio on Re Up, the guitarist
signifies a return to his “Peace Place” after all.

by April Varner is her debut album of eleven songs, allwith “April” in the title. Her talented collaborators are
Caelan Cardello (piano, organ), Reuben Rogers (bass),
Miguel Russell (drums), Benny Benack III (vocals,
trumpet), Dayna Stephens (tenor) and the recently
deceased Russell Malone (guitar), with guest Theo
Bleckmann (vocals) who produced one track (Ulysses
Owens, Jr. produced the majority of the album).
A deeply emotional and persuasive singer,
Varner’s voice is radiant, at times haunting, vulnerable
yet always confident in its delivery, as well as masterfulin improvisational scat and the art of vocalese. She
makes every note count. Her singing comes to the fore
throughout, especially the selections where just one
instrumentalist accompanies her. For her composition“April Blues” (one of two originals), she is joined byRogers, whose soulful playing complements her voice
and accentuates her mature delivery and impeccablephrasing. Accompanied by Malone (in one of his final
recordings), “April Come She Will” is a beautiful
rendition of the Simon & Garfunkel song. The standard“April in Paris” (Vernon Duke, Yip Harburg), a
swinging duo with Cardello, surprises with its freshinterpretation and the vocalist’s inventive phrasing.
All her bandmates perform on “April Give Me One
More Day” (Joe Shank, Paul James, Lou Singer). The
track sounds vintage in the best way and contemporary
at the same time. The liner notes praise Varner’s
phrasing, vowels and turns, akin to Anita O’Day’s
delivery of ballads. Stephens and Benack III contributeforcefully to this gorgeous track, making this song
even more mesmerizing. Prince’s “Sometimes It Snowsin April” is outstanding and, at seven minutes, thelongest track on the album. Its languid beginning andmelancholy mood are enhanced by Russell’s featherydrums, Cardello’s heartfelt and tender piano, Rogers’
expressive bass and the leader’s sincere, luminous
singing, all of which transform the composition into adazzling jazz tune.
April Varner sounds like a seasoned pro, mature
beyond her years, and unquestionably on the road tostardom.
For more info visit cellarlive.com. Varner is at Winnie’s Jazz
Bar Sep. 7. See Calendar.

For more info visit gregskaff.com. The album release concert
is at The Django Sep. 1. See Calendar.
Captured Alive
Toots Thielemans (Choice-Candid)
by Sophia Valera Heinecke

April by April Varner
April Varner (Cellar Music)
by Anna Steegmann

April Varner, now 27, started taking piano lessons at
six and classical voice lessons at eight in her hometown,
Toledo, OH. She has performed regionally, nationallyand internationally, making her Carnegie Hall debut
at 16, and has been recognized for her achievements innumerous ways, including winning the International
Ella Fitzgerald Jazz Vocal Competition (2023). April

Before Toots Thielemans (1922-2016), the harmonica
was largely far removed from the world of jazz, somuch so that the Belgian Thielemans (whose eightyear deathaversary was last month) has been creditedwith legitimizing the instrument in the genre. This CD
and LP reissue of Captured Alive (recorded in 1974,
originally released by Choice) has been remastered andincludes two additional bonus tracks.
Energizing at times and melancholy at others,
the album showcases the abundant capabilities of theharmonica, even with its inherent limited pitch range(which Thielemans quickly makes it easy to forget on suchtracks as “Airegin”). The staccato moments are followedby the harmonicist’s aptitude for slides and spectrums.
With his unique sound, Thielemans became a go-to for‘60s film scores (The Pawn Broker, Midnight Cowboy),expertly escalating tensions and building suspense.
The sweeping melancholy heard on “I Never Told You”

16 September 2024 | THE NEW YORK CITY JAZZ RECORD(from That Cold Day in the Park) is particularly cinematicand evokes a more traditional Americana aesthetic ofharmonica playing that harkens to railroad travel andopen fires. Along with Cecil McBee (bass) and Freddie
Waits (drums), the young Joanne Brackeen (piano) adds
a depth to the simplicity with low rhythmic moments
and floating melodic lines. She is solid in creating thebackground on her original “Snooze” (the album closer),which is an uptempo piece with a hypnotic pianistic
circular flow around the leader, who employs single
sharp notes and chords that weave in and out.
It’s been said that Thielemans was well-liked forhis modesty and kind demeanor, yet he is self-described
as a Brussels “ket” (“street kid” in slang). Perhaps thisself-concept informed how he could see the unique fit
in composing jazz for harmonica and bringing it tosophisticated compositions such as Coltrane’s “Giant
Steps”. In the album’s rendition, the leader opens, hissolo fading into an inviting moment of silence before
Brackeen steps in and the two subsequently offer
moments of breathy tenderness that bring forth striking
intimacy. Here and elsewhere, Captured Alive showcases
superb harmonica/piano pairings, especially where
one partner settles while the other is unsettling or
when the collaboration adds a flavor of mystery, as inone of the bonus tracks, “Stella by Starlight”. Here theleader starts by bringing mystery in atonal harmonica
riffs while Brackeen’s piano lines float, melodic andgraceful. Towards the end, Thielemans holds bright,
sustained notes to accompany light arpeggios, until the
track fades out.
Captured Alive is a multidimensional offering sureto engage those both familiar or new to the harmonica
as part of the ethos of jazz and blues.
For more info visit candidrecords.com

Agnel, John Edwards, Steve Noble—
R • Sophie
Three On A Match (Otoroku)
Benjamin—e • Lakecia
Phoenix Reimagined (Live) (Ropeadope)c • Raymond Burke—Southland Recordings (1958-1960) (GHB)o • TheMatt Choboter—Unburying, From Liminals,
m Emerging (ILK Music)
de Waal—Fire Øjne (April)m •• Emil
Sandy Evans—The Running Tide (s/r)
e • Ingebrigt Håker Flaten’s (Exit) Knarr—(Sonic Transmissions)n • Breezy
Jason Kao Hwang—d Soliloquies (True Sound)
Klein, Frank Rosaly, Marta Warelis—e • Tobias
tendresse (Relative Pitch)d • Joëlle Léandre—Lifetime Rebel (RogueArt)

n
e
w
r
e
l
e
a
s
e
s

• Lux Quartet (Myra Melford, Allison
Miller, Dayna Stephens, Scott Colley)—
Tomorrowland (Enja)• William Parker, Cooper-Moore, Hamid
Drake—Heart Trio (AUM Fidelity)• Ken Peplowski—
Live at Mezzrow (Cellar Music)• Jerome Sabbagh—
Heart (Analog Tone Factory)• Angelica Sanchez, Barry Guy,
Ramon López—Live JAZZDOR (Maya)• Jason Stein—Anchors (TAO Forms)• Colin Stetson—
The love it took to leave you (Envision)• Luke Stewart Silt Trio—
Unknown Rivers (Pi Recordings)• Natsuki Tamura/Satoko Fujii—Aloft (Libra)• Papo Vazquez Mighty Pirates Troubadours—
Songs del Yucayeke (Picaro)

A Night at the Village Vanguard:
The Complete Masters (Blue Note)
Freedom Weaver:The 1959 European Tour Recordings (Resonance)
Sonny Rollins
by Tom Greenland

Turning 94 this month (Sep. 7), tenor saxophonist andliving legend Sonny Rollins looms ever large in the jazz
universe, despite ten years of retirement, and especiallywith the release of two live recordings documenting aparticularly creative phase of his career in the late ’50s.
First is Blue Note’s A Night at the Village Vanguard:
The Complete Masters, a remastering with new packagingof Rollins’ historic live date on November 3, 1957 at thevenerable venue (a first for him and one of the first live
recordings for the venue after it changed its booking
policy to focus on jazz), a three-set (one matinee, twoevening) gig with two different, superb rhythm sections.
All this material, much touted and analyzed, has been
available, but sourced from engineer Rudy Van Gelder’s
dub of his original tape recording. Recovery of this analog
master enabled a new transfer and mix, with patently
improved fidelity: drummer Elvin Jones’ expressive
grumbles and groans are more audible than ever before,
Rollins’ saxophone deeper and cleaner, Wilbur Ware’s
bass more imminent and resonant. Rollins’ remarks tothe audience and asides to bandmates aren’t cropped,
providing useful context. Interestingly, the two evening
sets were extremely impromptu: Ware and Jones, invited
to sit in (on borrowed instruments) after the music hadalready begun, remained onstage the rest of the night.
Rollins called standards he figured they’d know, telling
Ware, “Oh, you can hear it,” when the bassist explainedthat he didn’t know “Old Devil Moon”, later scatting arhythmic pattern he wanted Jones to play just seconds
before he counted off the tune. Van Gelder’s recording
now reveals all these details for posterity. Track order
isn’t chronological (only two, “I’ve Got You Under My
Skin” and “Old Devil Moon”, come from the afternoon
set with bassist Donald Bailey and drummer Pete LaRoca), so listeners won’t experience the progression ofeach set, but the incredible music, bursting with both
rigor and spontaneity, still “speaks” for itself over 60
years later.
A second document keeping Rollins’ legacy looming
and luminescent is Resonance’s Freedom Weaver: The
1959 European Tour Recordings, which culls concerts andradio and TV sessions in Stockholm (Sweden), Zürich
(Switzerland), Laren (Holland), Frankfurt (Germany)
and Aix-en-Province (France) over a ten-day period inearly March. Like the Vanguard sessions, Rollins wasworking in his preferred trio format, enjoying the terra
firma support of bassist Henry Grimes throughout,with La Roca on most cuts except for three withdrummer Joe Harris from a Stockholm broadcast studioand three with Kenny Clarke from Aix-en-Provence.
This material has been available on bootlegs andYouTube posts, but here it appears in highest fidelity,
in chronological order, with Rollins’ imprimatur.
Eschewing the safety-net of a chording piano pulls thetenor saxophonist’s art and craft into sharp focus: hisburly yet nuanced sound; prolific development of shortmotifs (sometimes several simultaneously) into epic
narratives; canny deployment of rhythmic phrases;
integration of Coleman Hawkins, Charlie Parker andothers’ ideas into an organic synthesis; and, above all,a restless quest to give his very best. Grimes is a big
part of this endeavor, both for the bedrock he provides
and his ability to shift with the various “quakes”
fomented by Rollins, but the drummers are equallycrucial, especially since most tracks contain lengthy“traded 4’s” (alternating 4-bar solos) sections between
saxophone and drums. La Roca, who was experiencing
personal and professional difficulties with Rollins
and didn’t finish the tour, channels this energy intocrackling, highly-charged interactions, but it is Clarke’s
drumming, described by Rollins as “a magic carpet” toplay over, that invokes the saxophonist’s most creative
conjurations during their three extended exchanges
that end the compilation.
For more info visit bluenote.com and resonancerecords.org

SEPTEMBER SHOWSAUG 27 – SEPT 1

DIZZY GILLESPIEBIG BANDSEPT 2PEDRITOMARTINEZ
Bright Moments
Ryan Keberle (Posi-Tone)
by Dan Bilawsky

Leave it to Ryan Keberle to create something

remarkably fresh through the art of retrospective.
The noted trombonist celebrates the silver jubilee of
his arrival to New York by looking through his backcatalog, cherry-picking some favorite pieces andrecasting them for a mighty octet on his new album,
Bright Moments. Moreover, he enlists contemporary
Michael Dease (best known for his work on trombone)
to exclusively play baritone saxophone on this record.
With solid material, ace orchestrations, a horn section
additionally featuring woodwind doublers Patrick
Cornelius (alto, soprano, bass clarinet, flute) and Diego
Rivera (tenor, flute), plus Alex Norris (trumpet) and thelabel’s favored rhythm section in Art Hirahara (piano),
Boris Kozlov (bass) and Rudy Royston (drums), theresults are every bit as strong as one might expect.
Having released 16 albums with several different
ensembles, there was no shortage of tunes to choose
from, and Keberle capitalizes on his deep discography.
He kicks things off with “Quintessence”—a tributeto Ivan Lins and a callback to indie combo Catharsis’
Azul Infinito. Both straightforward and sophisticated,
the tune serves as a perfect(ly) upbeat introduction.
Following is a triptych drawn from chamber trio
Reverso’s folio: the contemplative and kaleidoscopic“Stillness Within”, inspired by Gabriel Fauré’s
Requiem and benefitting from Hirahara’s talents; “AllEars”, which owes a debt to Ravel’s “Le Tombeau deCouperin” and broadens its original scope with somehelp from Cornelius and Rivera’s multi-instrumental
skills; and “Sisters of Mine”, a tender composition
saluting the leader’s younger sisters. Through thoseinitial offerings, Keberle shows keen insights, and withwhat follows he continues to impress. “To Be and Not
to Do”, originally commissioned for Belgian trombone
troupe Crossbones, utilizes bounding strength.
“Edu”—an energized nod to Edu Lobo sourced from
Collectiv do Brasil’s Considerando—features fluid andfierce trumpeting from Norris. A trio of moving works
from Catharsis’ The Hope I Hold reimagines the originalfour-voice synthesizer lines through this band’s fivebrilliant horns. And “When I’m Away”, looking backto Keberle’s Double Quartet debut, blends longing andexhilaration to tell the tale of the traveling artist.
Though it’s a cliché to note that an artist has one
foot in the past, the other in the present and their eyeson the future, it doesn’t make it any less true here.
Keberle lives up to that ideal on Bright Moments.
For more info visit posi-tone.com. Keberle is at Smalls
Sep. 12. See Calendar.

SEPT 3–8

SHABAKASEPT 10–15
BÉLA FLECK,EDMAR CASTAÑEDA,ANTONIO SANCHEZSEPT 16–19

BADBADNOTGOODSEPT 20–22

SID SRIRAM &FRIENDSSEPT 23–25

COMMON& PETE ROCKTHE AUDITORIUM TOURSEPT 26–29

MARC REBILLETWE OUTSIDESEPT 30

RUTHIE FOSTERSEPT 25

LALAH HATHAWAYVANTABLACK TOUR
WITH VICTORY BOYD

THE TOWN HALL

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

THE NEW YORK CITY JAZZ RECORD | September 2024 17

Live at Scholes Street Studio
Stephen Gauci, Santiago Leibson, Adam Lane,
Colin Hinton (Gaucimusic)
by John Sharpe

In another communiqué from the coalface, tenor
saxophonist Stephen Gauci further documents his
fertile associations in Brooklyn. Live at Scholes Street
Studio features his regular bandmates Adam Lane(bass) and Colin Hinton (drums), with the addition ofArgentinean Santiago Leibson (piano). This set is as
free as it comes, but still recognizably derived from thejazz vernacular. Gauci honed his chops in hardbop jam
sessions in Orange, NJ, and those roots occasionallysurface amid a language built from some of the more
extreme pitches that can be extracted from a saxophone.
This facility makes for a bracingly original conception,
which swerves from ripe falsetto to muscular bottom
end.
Although Leibson has frequently partnered with
Gauci, this time out he supplements his customary
percussive pianistics with a synthesizer situated atop
his keyboard. His restless approach meshes well withthe saxophonist who rarely settles on a melodic or
metrical idea for long. On synth, Leibson inclines todrones that likewise don’t constrain the reedman’s

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choices, as demonstrated on “#1”, in which oscillating
electronics fuse appealingly with Gauci’s squealing
altissimo blare and Lane’s creaking arco. Not enough isheard from the bassist away from Gauci’s outfits, so it
is good to catch his sinewy lines and hefty bow-work infruitful exchange here. Meanwhile, Hinton’s amalgamof precise gestures and rhythmic fragments imparta flexible forward motion to the three untitled longform improvs. Among many captivating episodes isthe atmospheric passage midway through “#2”, where
Lane’s halting figures and pizzicato strum butt up
against the accordion-like tone of Leibson’s waxing andwaning circuitry, followed by Gauci’s distant echoes ofColtrane as the cut progresses. Then there is the finely
poised section in the sober balladic “#3”. Rasping bass,
rippling piano, clattering brushes and the saxophonist’s
gently astringent tenor all seem to pull in different
directions before they commit to a four-way sprint for
the finish tape to cap another sterling outing.
For more info visit gaucimusic.com. Stephen Gauci is at
Ibeam Brooklyn with Ken Kobayashi Sep. 20. Santiago
Leibson is at Nublu with Matt Pavolka Sep. 9, Mezzrow
with Allan Mednard Sep. 12, and Bar Bayeux with Adam
Kolker Sep. 19. See Calendar.

What is What
Jack Wright (Relative Pitch)
by Brad Cohan

Saxophonist Jack Wright has long been in the vanguardof the free-improvisational landscape, known for his
extended techniques—tongue clicks, over-blowing,
multiphonics and microtones. An iconoclast, thePhiladelphia-based musician, now in his early 80s (andstill touring) has gone against the grain since the late ’70s
when music became his full-time gig. Described as “anundergrounder by design,” he’s an incredibly prolific
one at that, having racked up dozens of recordings on
primarily DIY labels (including his own Spring Garden
Music imprint). He’s also partnered with fellow outliers
such as Ron Stabinsky, Evan Lipson, Damon Smithand Bhob Rainey, to name a few. Yet Wright lives on
an island unto himself. What is What manifests thatmindset: it’s a bare-bones solo release, accompaniedwith nothing but his saxophone stash. What unfolds isa transcendent, in-the-raw performance that showcases
the all-improvised prowess that’s made him a cult heroin his genre.
The four lengthy pieces that comprise theprogram—recorded on the spot and off the cuff—
highlight the saxophonist’s versatile skill sets. And
What is What leaves no stone unturned. Wrightprovides a master class on the horns as he moves fromsoprano, alto and tenor and back to soprano again,
with doses of hair-raising urgency and emotional rangethat both thrills and confounds. Each improvisation
is an exercise in mind-bending gymnastics, but one
in which he hones in on an intimacy that sounds as
if he’s playing the gig in your living room. Subtlety
is a key component to this album, even when Wrightlets loose with occasional squawks and squeals, as
he does on “What is Tenor”, but it’s his singular,
ever-shape-shifting language that stands on its own.
“What is Soprano” and “What is Alto” are perpetuallymutating sound-worlds with long, lyrical passages,
expressionistic tones, textures and abstract measuresthat up the intoxicating ante.

18 September 2024 | THE NEW YORK CITY JAZZ RECORDJack Wright’s What is What is a sublime documentof the saxophonist’s non-conformist ethos in which heoccupies his very own realm removed from any scene.
Just as he likes it.
For more info visit relativepitchrecords.com. Wright is at
The Record Shop Sep. 3. See Calendar.

ChesapeakeBill Warfield and the Hell’s Kitchen Funk Orchestra(Planet Arts)
by John Pietaro

The Hell’s Kitchen Funk Orchestra, founded and led
by trumpeter Bill Warfield, continues on its trajectory
as not simply an ensemble, but as a moveable feast. Theband, comprised of NYC studio, jazz and Broadway
mainstays, lives its designation well and enjoys each
moment together, like commercial big band musiciansof the ’30s working only for the after-hours gigs tocome. And in that vein, Warfield attracts guests that
continue to catapult the band further, such as theleader’s fellow Baltimore native, alto saxophonist Gary
Bartz (who appears on half of the dozen tracks), andNew York instrumentalists in saxophonist Blue Lou
Marini (absolutely aerial on “Wilpan’s Walk”) andtrombonist Conrad Herwig (on five selections).
On Chesapeake, Eugene Albulesco’s solo piano
album opener “Beneath the Stacks” is pensive anddreamy: it’s Chopin as much as it is Bill Evans, Ellington
and the Chesapeake Bay, to which this new release
pays homage. But pulse was never far behind. The
recording builds to a hip samba/mambo, “Terrestris”(Tom Harrell), its sinewy melodic lines a canvas forthrobbing improvisations. And Warfield’s arrangementof The Meters’ “Cissy Strut” encompasses the funk on
every level, not the least of which comes through Paul
Shaffer’s R&B-loaded Hammond organ. This number
explodes into Kurt Bacher’s baritone saxophonesolo and Scott Neumann’s artfully fractured, utterly
liberated drum breaks.
Herwig comes alive in Mingus-bred fashion (he isafter all a Mingus Big Band alumnus) on “Nusia’s Poem”,
his understated but thoroughly thriving trombone
shining in a solo-statement just prior to composer Bartz’singing alto improv. The reed-heavy ensemble, arranged
by Warfield, captures some of Gil Evans’ later sounds,
particularly as the soloists improvise and fill over
the through-composed sections. Hoagy Carmichael’s
well-known “Baltimore Oriole”, an album highlight,
breathes new life through guest vocalist Jasia Ries,
reminding this writer of a young Cassandra Wilson’s
foray with the group New Air, but containing a darker,
smokier sound. Another highlight is Warfield’s solo
flight on “Wilpan’s Walk” (Cecil McBee), yet anotherpretty damned-perfect orchestration by the leader. And
listen for woefully under-recognized Bruce Arnold’s
shredding guitar on “Light”, mobilizing every voice
about it.
This band boasts so much of Warfield’s timewith the Mel Lewis Jazz Orchestra—its innate swing
over every groove, every tempo, and its resounding
atmospheric tapestry with corners affixed from eachparticipating musician’s moment on any bandstand,studio or pit.
For more info visit planetarts.org. Warfield is at Silvana
Sep. 28. See Calendar.

MINGUS BIG BAND
EVERY WEDNESDAY
7.30pm & 9.30pm
THURSDAY, SEPT 5th / 7pm

Eric Vloeimans & Will Holshouser
w/ Kinan Azmeh
FRIDAY, SEPT 13th / 7pm

David Haney New York Jazz Stories
w/ Joe Lovano, Judi Silvano
SUNDAY, SEPT 29th / 6pm

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85 Avenue A(Betw 5th and 6th St.)New York, NY 10009 Tel:212 777 1157

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RecordingEastlawnRecords.com

PLANET D NONET - ECHOES OF HARLEM

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

G LO B E U N I T Y

The Bach Project
Michelle Nicolle (Earshift Music)
Mompou Revisited: Intimate Impressions
Lluís Capdevila (s/r)
Exoplanet: Plays the Music of Christian Korthals
The Composers’ Orchestra Berlin/Hazel Leach(JazzHaus Musik)
by Daniel A. Brown

In the realm of contemporary music, the ongoing
relationship and information exchange between jazzartists and the compositions of both past and present
composers exists in an increasingly liminal space.
Through harmonic kinship and advanced ideas,
notable jazz elders including Duke Ellington, Charles
Mingus and Cecil Taylor, pushed the threshold andblurred lines between the staid concert hall andthe late-night bandstand. Three recent recordings
highlight current jazz musicians honoring andinterpreting three centuries of composers: Johann
Sebastian Bach (18th c.), Frederic Mompou (20th c.)
and Christian Korthals (present day).
Considered sacrosanct by many, Bach remains
the gold standard for classical music audiences.
Thankfully, on The Bach Project, Australian vocalist

Michelle Nicolle isn’t hindered by Bach’s looming
shadow. The album’s eight tracks are confident
chamber jazz, featuring Nicolle with Geoff Hughes(guitar), Tom Lee (bass) and Ronny Ferella (drums).
Opener “March in D’Ornette” is a mashup that fuses
Bach’s piano-keyboard masterwork with the earlystyle of Ornette Coleman. “Little Fugue in Gm with
‘Round Midnight’” is Baroque meeting the blues. On
the sacred aria “Kommt, ihr angefochtnen Sünder”
the vocalist mixes scat-style inflections with thecomposition’s original German, the band spiraling out
a winning blend of cantata and jazz. Nicolle and herband pull a laudable hat-trick with The Bach Project:through inspiration, reverence and execution, thequartet avoids what could have been a gimmick andinstead forges new ground in interpreting the musicof Bach, and just as crucially, the bona fide mastercomposers of modern jazz music.
Spanish composer Frederic Mompou (1893-1987)
explored the mesmerizing styles of his predecessors—
Fauré, Ravel and Satie—through a compositional
approach Mompou called “primitivism.” Without
forgoing the earthy mysticism inhabiting much of
the composer’s work, with Mompou Revisited: Intimate
Impressions, Catalan-born Lluís Capdevila (piano),
Petros Klampanis (bass) and Luca Santaniello (drums)
frame the deceptively simple pieces with a buoyant
sophistication. Klampanis lays down an ostinato
underpinning for “The Boat”, pushed by a funky
groove by Santaniello, as Capdevila injects filigrees
of arpeggios and intervals; “Secret” evokes the ninth-

DAN PUGACH

chord ballad vibe of early ’60s Atlantic Records-era
John Coltrane, while “IV” is straight-up, cooking
piano trio swing.
Founded in 2010 by composer-conductor Hazel
Leach, the Composers’ Orchestra Berlin (C.O.B.) is alarge-scale ensemble that boasts a formidable rosterof musicians, as versant in innovative contemporaryclassical as they are with free jazz. On Exoplanet, theorchestra orbits around works by Gen X saxophonistcomposer Christian Korthals. As a ten-year veteran of
C.O.B., Korthals is the ideal roadmap for the ensemble
and this recent recording finds his fiery romanticism
intact and on full display. “Schöpfung” is an
unpredictable mix of droning strings, spoken word,
propulsive bass and attacking and decaying brasslines. The titular composition begins with a heraldlike motif, inexplicably shifting to a passage fromthe string section that is a blur of pizzicato jabs androllicking arco licks that sound like Aaron Coplandnavigating a bluegrass hoedown. The listener isfurther disarmed by conceptions of classical-jazz by“Wild und Weit”, a piece arriving with a complex,
syncopated piano-bass-percussion that seems to dare
the string section to arrive. The talents and generous,
collaborative vibe of C.O.B. are a refreshing example
of applied diplomacy and truly move as one. And themusic of Korthals serves an accurate compass point toguide them into interesting stratospheres.
For more info visit earshift.com, lluiscapdevila.com andjazzhausmusik.de

BIG
BAND
BIANCA REIMAGINEDFEATURING GRAMMY® WINNING VOCALIST NICOLE ZURAITISALBUM RELEASE CONCERTOCTOBER 1 DROM NYC
85 Avenue A, New York, NY 10009, USA

LISTENTICKETS

WWW.DANPUGACH.COM
20 September 2024 | THE NEW YORK CITY JAZZ RECORDThe Brubeck Octet Project
Jon De Lucia (Musæum Clausum)by Elijah Shiffer

With a career as long and illustrious as Dave Brubeck’s,

it’s no surprise that there are hidden gems in his
discography that may be too often overlooked. With thisnew release, The Brubeck Octet Project, alto saxophonist
Jon De Lucia revisits the earliest of Brubeck: a vibrantcollection of octet arrangements first recorded in 1946 and1950. De Lucia is no stranger to such a tribute; his 2018
album Live at the Drawing Room draws mostly from thecatalog of saxophonist/clarinetist Jimmy Giuffre, again
with an octet (and featuring tenor legend Ted Brown).
For The Brubeck Octet Project, he is joined by Brandon Lee(trumpet), Becca Patterson (trombone), Scott Robinson(tenor), Jay Rattman (baritone, clarinet), Glenn Zaleski(piano), Daniel Duke (bass) and Keith Balla (drums).
These players admirably give this music all the warmthand excitement necessary to keep it alive without eversounding like a copy of the original recordings.
The arrangements—some by Brubeck, othersfrom tenor saxophonist Dave Van Kriedt and baritone
saxophonist-clarinetist Bill Smith—have a chamberjazz vibe recalling Miles Davis’ Birth of the Coolsessions, but with a character all their own. Many of
the tracks are standards, or at least based on standard
changes; however, even the most familiar melodies
are inventively transformed throughout. Counterpoint
often runs rampant, reaching a gloriously Baroque levelin Brubeck’s take of Jerome Kern’s “The Way You Look
Tonight” and in Van Kriedt’s “Fugue On Bop Themes”.
Smith’s use of mixed and layered meters, especially in
his striking reimagining of Cole Porter’s “What Is This
Thing Called Love”, is a clear precursor of Brubeck’s
later rhythmic explorations with his iconic quartet. Oneof today’s foremost proponents of the “cool school”
sound on alto, De Lucia finds a worthy foil in Robinson,
particularly in the unaccompanied saxophone duo
improvisation that opens Harold Arlen’s “Let’s Fall
In Love”. This album is a rare opportunity to hear
Robinson, whose name has long been synonymouswith the word “multi-instrumentalist,” here focusing
on a single instrument. His airy, light-colored tone andoften startling facility in the altissimo register define hissound as a unique voice on tenor.
For more info visit jondelucia.com. De Lucia is at Ornithology
Jazz Club Sep. 13. See Calendar.

And Then Again
Bill Charlap Trio (Blue Note)by Fred Bouchard

Imagine: three gentlemen friends gather for a musicalevening, as they’ve done for nearly 28 years; thefriends are pianist Bill Charlap (son of American
Broadway composer Moose Charlap and jazz/cabaret

singer Sandy Stewart) and the Washingtons, drummer
Kenny and bassist Peter, unrelated by blood but
joined in unity of purpose. The musical evening is at
the venerable venue, the Village Vanguard. The trio
first recorded there over 20 years ago, an outing that
was also released on Blue Note (Live at the Village
Vanguard), a date featuring mostly Tin Pan Alley
ballads and snappy boppers. Fast forward two decades
to the present and the trio has once again returned to
the familiar venue to record their newest release, And
Then Again. Its eight tracks feature familiar themes ofmutual and long-standing interest.
True to their long history as a trio, vintage melodies
are burnished with respect and embellished withgrace, as each partner pitches in at will with relevant
comments, gestures and inspired asides. The threeacknowledge five Tin Pan Alley maestro collaborations
interpreted through the lens of their own well-honed
style. The classics are duly saluted, discussed, parsed,
then respectfully dismissed. Kern and Hammerstein’s“All the Things You Are” (1939) gets a Latin jolt. Van
Heusen and DeLange’s “Darn That Dream” (1939)
wanders on a wisp of cloud. Youmans and Caesar’s“Sometimes I’m Happy” (1927) creeps in like the Pink
Panther. Hoary composition dates notwithstanding, andeven if the three sound a tad less nimble and scrappy
here, they’ve lost nary a tick in terms of wisdom,
pliability and aesthetic. A sigh (bass glissando),interjection (sforzando), bon mot (felicitous turnaround)or exclamation (“klook-mop”) may drop here and there,
as the discussion ranges. From the well-worn to thenot-so-pat, all tunes are stated with exquisite precisionand harmoniousness. The tones sought and timbres
achieved are of concord, not complacency. Revered
keyboard giants garner devoted, distinctive homages,
from Kenny Barron, who wrote the title track in 1991,
to Thelonious Monk’s “‘Round Midnight” (1944) and
Dave Brubeck’s “In Your Own Sweet Way” (1955). En
garde for that last one: pianissimo cymbal chorus, raftsof modulations, verse-as-coda.
Established fans of this trio as well as belated
listeners can extend cordial appreciation of And Then
Again: all’s right with our world.

and bandleader chops. Wollesen hands off the drum
duties to Waits and tackles and shines on an array of
instruments including electric vibraphone, marimba,
bells, glass marimba, congas, tenor, organ, steel pan andwhat he calls “Wollesenics,” his homemade collectionof percussion items.
What crystallizes over the album’s nine bodymoving, melodic tracks is sonic euphoria: the music isvibrant, melodic and danceable. The blissed-out fusionthat comes to light on the group’s eponymous debut isn’t
a surprise, as it features Wollesen’s indelible hallmarks.
Curiously, this isn’t a very downtown NYC-sounding
record, something you might otherwise expect. Instead,it’s music you might hear coming from Chicago’s
post-jazz and rock scene or Los Angeles’ avant garde
underground (the Otherly Love label is L.A.-based).
Vibraphone and marimba-splashed compositions as inalbum opener “Agora” invoke the worldly sounds ofTortoise crossed with the mind-altering psychedelia of
Bitches Brew. It’s a thrillingly bright combination thatwill surely get people on their feet. Electronics also are at
the foundation of the album’s disparate mix of sounds.
Coleman’s synthesizer and electric piano-driven
swooshes and swirls on “Sam” lend hallucinatory feels.
Scherr aces it on the jam-sounding “Fifty Five”, adding
face-melting doses of bluesy and funky shredding as
the leader drapes the tune with vibraphone goodness.
A trippy and fantastic debut, Wollesen’s Latrala
should appeal to those clamoring for the jam-band
sounds of Medeski Martin & Wood and the strange andbeautiful music of The Lounge Lizards.
For more info visit otherlyloverecords.bandcamp.com. Kenny
Wollesen is at Bar LunÀtico with Eivind Opsvik Overseas
Sep. 22 and Bar Bayeux with Sasha Dobson Sep. 26. See
Calendar.

For more info visit bluenoterecords.com. The album release
concert is at Village Vanguard Sep. 3-8 and Sep. 10-15. See
Calendar.

LatralaLatrala (Otherly Love)
by Brad Cohan

If you’ve been on hand to witness the freewheeling
drumming wizardry of Kenny Wollesen live in concert
or have heard recordings culled from his mountainhigh discography as leader, collaborator or sideman,
you’re in-the-know of the joy, exuberance and smarts
he brings to the table. Wollesen’s energy is positively
infectious. Whether he’s swaying and writhing behind
the kit for John Zorn, John Lurie or Sex Mob, thehigh-energy toms and snare thwacks, rattling cymbal
crashes, percussive flourishes and sensitive touches,
his rhythmic action is something to behold. And as itturns out, his talents extend far beyond the drum set.
The self-titled debut of Latrala—his all-star groupof Tony Scherr (guitar), Christopher Thomas (bass),
Michael Coleman (keyboards) and drummer Nasheet
Waits (drums)—illuminates his multi-instrumental
THE NEW YORK CITY JAZZ RECORD | September 2024 21

UNEARTHED GEM

Ain’t No Sunshine (Live in Seattle)
Brother Jack McDuff (Reel to Real)by Ken Waxman

Representative of a certain time and place, this live twoCD (also available as a limited edition two-LP) set by thelate Brother Jack McDuff (whose centennial celebrationis two years from this month) captures a period in 1972
when the ’60s soul-jazz boom had faded and the organist
was meeting changing times by playing pop tunes, asevidenced in the Bill Withers-penned title track. Though
the combo was expanded with a horn section and guitarist
Vinnie Corrao was encouraged to emphasize the wahwah pedal, the ten tunes avoid simplistic formulas thatwould culminate in disco and smooth jazz within a few
years. Yet McDuff, who may have kept arrangements
tight and measured, didn’t neglect the loose swing thatcharacterized his music since he began recording as aleader in 1960. Ballads, blues, pop or jazz tunes all movewith a foot tapping pulse, mostly attributable to theorganist’s concentrated bass line. Originally a bassist,

his work here is complemented by emotional resonationfrom his instrument’s top keys and intensified by brief
but solid soloing from Corrao, Leo Johnson (tenor,
flute, clarinet), Dave Young (tenor, soprano), Ron Davis(drums) and an unidentified trumpeter.
McDuff was also wedded to jazz tradition, fromthe band’s variations on “Three Blind Mice” (a take offfrom the Jazz Messengers’ version) to the coda add-onof “April in Paris” to “Blues 1 and 8”, emphasizing theblues feeling that often arose from the spaces between
the notes. Featuring McDuff originals, the group sounds
more confident on the second half, working up a head ofsteam on the first (“Unknown” titled) track and going on
from there. There are stand-out passages on many tunes.
Johnson’s light flute peeps may be prominent on the title
cut and “6:30 In The Morning”, but by pairing them withthe horns’ jackknife riffs on the first tune and sluicing,upward organ extensions on the second, needlessprettiness is avoided. McDuff’s vision is original enoughto match Johnson’s woody clarinet with comprehensive
organ juddering on “Middle Class Folk Song”. Plus,
whether the track has a late-night club feel or neardanceable beats, each player gets several breaks, ranging
from Davis’ solid expression on Latin percussion, to
hard bop-like horns snarling to an interlude on “I’m
Getting Sentimental Over You”, where saxophone slurs
are honied, furry and defiantly pre-modern.
Made up of previously unissued tapes, this set is avaluable addition to the McDuff catalog.
For more info visit cellarlive.com

Live In Montreal May 1975
Cannonball Adderley Quintet(Dobre-Liberation Hall)
by Jason Gross

B y the time Cannonball Adderley arrived in Canada
in the mid ’70s, he had already made a name forhimself not only in Miles Davis’ sextet but also withhis own 1967 crossover hit “Mercy, Mercy, Mercy”(written by his pianist-keyboardist Joe Zawinul),
as well as in TV and film appearances (e.g. Clint
Eastwood’s 1971 movie Play Misty for Me included live
footage of Adderley playing the 1970 Monterey Jazz
Festival). And though Miles and his other sidemen
subsequently dug deep into fusion, Adderley (whose
96th birthday would be this month) stuck by hardbop, for the most part, right up to the end. In Live In
Montreal May 1975, alongside his longtime companion,
brother Nat Adderley (cornet), his quintet included ayoung Michael Wolff (piano) who just joined the band
(replacing Hal Galper), Walter Booker (bass) and Roy
McCurdy (drums); the booklet from the packaging(available in both CD and LP formats) shows the fullband elegantly decked out in their dashikis.
A six-song set begins with Nat’s fast-paced “Fiveof a Kind” with a nimble Fender Rhodes solo fromJAZZFESTARTSWESTCHESTER, THE CITY OF WHITE PLAINS & THE WHITE PLAINS BID

WHITE PLAINSSEPT. 11–15, 2024

Presented by:

F E AT U R I N G :Nicole Zuraitis Quartet | Pasquale Grasso Trio |Vijay Iyer Trio, feat. Tyshawn Sorey & Linda May Han Oh |Anaïs Reno Quintet | Brandon Sanders |Julius Rodriguez | Ekep Nkwelle Quintet | AND MORE!

For Tickets & Concert Details Visit:artsw.org/jazzfest

Friday, Sept. 13
Nicole Zuraitis

22 September 2024 | THE NEW YORK CITY JAZZ RECORD

Wolff, and McCurdy unleashing an explosive solo.
Ron Carter’s “First Trip” appropriately features fellow
bassist Booker, but also the lithe skills of Wolff, withsome wonderful rumbling by McCurdy at the end.
The crowd pleaser, “Mercy, Mercy, Mercy”, sounds
more laid back than the single and has Cannonball’s
soprano solo buried in the mix, while Booker’s bass
is more emphasized. The song’s lovely soulful nature
still shines through to its dramatic, extended ending.
Following is a brief, swinging take on Zawinul’s“The Scene”. After an extended spoken introduction
from the leader, including a humorous history
lesson about imperialism (later in the set he preaches
somewhat tongue-in-check about sin, repentanceand heaven), Wolff’s “Waban” starts with a somber
segment by Booker (on cello) and subtle shadings
from the composer who then dominates with someelaborate, elegant playing. Wolff and Booker thenenjoy a nice extended duet towards the end. The final
piece, Zawinul’s “Country Preacher” is dedicated toReverend Jesse Jackson (then a community activist),heard as an easy-going soul groove with a blaring horn
chorus and an extended honking solo from the leader.
Sadly, the pseudo-preaching proved to beprescient as Cannonball died only a few months after
this concert at 46 years old. Appropriately, Jackson led
the funeral service.

infectious Latin-flavored theme, adding percussionist
Alex Acuña, that is simmered to perfection. Charles
McPherson’s greasy blues “The Viper” adds trumpeter
Terell Stafford and organist Jim Alfredson, a soulful
workout of McPherson’s arrangement excellently
played. Dease’s “Father Figure” is a joyful celebrationof fatherhood, prominently showcasing himself
and Davis, as well as Whitaker’s agile playing. The
bassist also provides an updated, potent, swinging
arrangement of the decades-old standard “Broadway”(1940).
The band’s musical chemistry and total focus
on each chart is readily apparent on each and every
selection, adding another important chapter to thediscography of the multi-talented Michael Dease.
For more info visit lecoqrecords.com. Dease is at Smallswith Ryan Keberle Sep. 12. See Calendar.

quickly established himself as one of the outstanding
trombonists of his generation. He actually started ontenor saxophone, before being offered the baritone
chair as a high school freshman. But by his senioryear he switched to trombone and made All State onthat instrument (following three years as an All Statetenor saxophonist). Dease’s albums have only recently
showcased his considerable chops on baritone, in
addition to trombone. While veterans discouraged
him early on from doubling on two vastly different
instruments, he has forged distinctive sounds on
both. This is his second full album playing baritone
exclusively and he sounds like he has been playing the
big horn for his entire career, with a gritty tone andnimble playing.
For Grove’s Groove, he recruits a sterling cast,
including seasoned players such as Steve Davis(trombone), Bill Cunliffe (piano), Rodney Whitaker(bass), Ulysses Owens, Jr. (drums), and rising star informer Dease student Jocelyn Gould (guitar, vocals),plus several special guests. Although a prolificcomposer and arranger, the leader encouraged his
players to contribute charts as well, keeping the solos
short, so to feature everyone. The title track (by Davis)
is a tribute to the late Roy Hargrove, who encouraged
Dease to double on baritone and trombone. The 1924
Youmans-Caesar tune, “Tea for Two” is the definitionof an old warhorse with a rather dated lyric (it was
actually a placer lyric not intended to be permanent),
but Gould’s refreshing arrangement, clear vocals andswinging guitar bring new life to it, with Dease’s
playful side on display, along with Davis’ hip muted
trombone. The baritone player’s “Seiko Time” is an

SEP 3

SALSA MEETS JAZZ:CARLOS HENRIQUEZ AND BOBBY ALLENDE
SEP 4–5

BENNY BENACK III: SOME ENCHANTED EVENINGSEP 6–8

SEP 9

CHARENÉE WADESEP 10TOBIAS MEINHART GROUP: “THE PAINTER” ALBUM RELEASE
SEP 11–12
To The Surface
Lawrence Fields (Rhythm ‘N’ Flow)by Jeff Cebulski

W hen Michael Dease first came to New York, he

KENNY DORHAM CENTENNIAL CELEBRATIONGAIA WILMER & JACQUES MORELENBAUM:
THE MUSIC OF CAETANO VELOSO

For more info visit liberationhall.com

Grove’s Groove
Michael Dease (Le Coq)
by Ken Dryden

AUG 30–SEP 1

R ising pianist Lawrence Fields has brightened themusic of several ensembles, most notably over thecourse of the past decade with Dave Douglas and Joe
Lovano’s Sound Prints and Chief Xian aTunde Adjuah(formerly Christian Scott). Lovano says Fields “playswith a beautiful sound and feeling and can swing!” To
The Surface, the pianist’s debut album as leader, is atrio that ably demonstrates that Lovano claim.
The energetic and melodic Yasushi Nakamura(bass) and the versatile, invigorating Corey Fonville(drums) spiritedly complement Fields’ mellifluous
style, which might resemble artists such as McCoy
Tyner, Keith Jarrett and Danilo Pérez without being
dryly neotraditionalist or imitative. The bassist,
especially, melds the pianist and drummer with his
uncanny rhythmic sense and note intuition. Most ofall, Fields swings.
“Moving On” and “Vision” each begin with aspritely refrain held up by Nakamura’s deep, textured
plucking and then almost effortlessly build momentum
from waltz to blues, pushed by Fonville’s garrulous
stick work. That sturdy, supportive duo serves Fields
well on the title track as well, with the pianist freely
navigating the keys as he pleases. Album opener“Parachute” is a display of pianistic dexterity anddazzling tone. “New Season Blues” sounds derivative,
though quickly ventures into more inventive territory.
The sole cover is “I Fall in Love Too Easily”, whichmoves from a quiet solo piano opening to a lovely
interpretation featuring a solo by Nakamura. The
head-nodding but fragmented “Sketches” emerges
with a hip-hop beat that supports Fonville well,leading into “The Lookout”, a straight-ahead vehicle
with an improvised, neo-chamber interlude that
ultimately turns back into swing (as if these guys can’t
help themselves!). And perhaps that proclivity is theessence of Lawrence Fields, the pianist.
To The Surface is testimony to the pianist’s innerswing and sparkling tone, making this debut certainly
one to pay attention to.
For more info visit rhythmnflowrecords.com. Fields is
at Village Vanguard with Joe Lovano/Dave Douglas’
Soundprints through Sep. 1 and at The Django with Jerome
Sabbagh Sep. 13. See Calendar.

KEVIN HAYS’ 7TH SENSE BAND
SEP 13–15

MATT WILSON TURNS 60!
SEP 16

JAVIER NERO JAZZ ORCHESTRASEP 17

FUNMI ONONAIYE ANNUAL BIRTHDAY CELEBRATIONSEP 18DERRICK GARDNER AND THE JAZZ PROPHETS
SEP 19TATUM GREENBLATT QUINTETSEP 20–22

BRIA SKONBERG QUINTET WITH HERLIN RILEY
SEP 23

FUTURE OF JAZZ ORCHESTRA: ELLINGTON AT 125
SEP 24TESSA SOUTER: THE ERIK SATIE PROJECTSEP 25JUMAANE SMITH: “COME ON HOME” ALBUM RELEASESEP 26–28

SAVION GLOVER AND ELEW CELEBRATE BUD POWELL
SEP 29CARLOS HENRIQUEZ SEPTET & HIGHBRIDGE VOICESOF THE SOUTH BRONXSEP 30

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

212.258.9595
BROADWAY AT 60TH ST.

THE NEW YORK CITY JAZZ RECORD | September 2024 23

UNEARTHED GEM

What It Means
Bria Skonberg (Cellar Music)
by Jim MotavalliLouis in London
Louis Armstrong (Verve)by Marilyn Lester

O n July 2, 1968, Louis Armstrong, riding highwith his release of “What a Wonderful World”,
was recorded live at the BBC in London, with hisband The All-Stars: Tyree Glenn (trombone), Joe
Muranyi (clarinet), Marty Napoleon (piano) andBuddy Catlett (bass). The session was broadcast
just over two months later as BBC TV’s Show Of The
Week–Louis Armstrong. Nearly half the material on
the newly released Louis in London was previously
unreleased and the 13-track collection from thatevent has now been issued as a double-LP and CD
release. The music captures Armstrong at a peakof popularity and before chronic health issues
worsened (he died in 1971). Ever the showman,
Armstrong was, per usual, full of joy onstage,
once more luring the audience into the palm of his
hand.
The opener is a fulsome reading of his longtime
theme song, “When It’s Sleepy Time Down
South”. Armstrong’s bright, consummate trumpet
playing sets the tone before his vocal reveals
the musicality—phrasing, dynamics and organic
scat—that helped make him a star. This one tune is
all one needs to know about Louis Armstrong. It’sa microcosm of the whole. The big hits are here,of course: “Hello, Dolly!”, “Mame” and “Mackthe Knife”, plus a cache of treats, including thefirst composition he’s known to have played inpublic—W.C. Handy’s “Ole Miss”, here delivered
as a raggy New Orleans blues accelerated to an
uptempo number flirting at the edges of swing; each
All-Star has a superb spotlight moment. Anotherold standard, “(Back Home Again In) Indiana”(1917), features a deft piano intro leading to an
ensemble rendition in a modernized arrangement.
True to older arrangements of considered tempo,“A Kiss to Build a Dream On”, finds Armstrong’s
vocals delivering the lyric with pathos and feeling.
Comedy appears in a vocal duet with Glenn in“Rockin’ Chair”—good hammy entertainment. The
anticipated event was, of course, the penultimate,“What a Wonderful World”, with Armstrong sanstrumpet, his vocal backed by Glenn and Muranyi.
By the closer, “When the Saints Go Marching In”(joined by Jill Brown), an already stoked audience
clapped their way through and delivered rousing
applause at the finale.
There’s little doubt that Louis Armstrong
was one of the most popular and influentialmusicians and entertainers of the 20th century.
Louis in London is not only a superb testament to
his legacy in an introductory Cliff Notes kind ofway, but stands on its own as a vital part of theextraordinary whole.
For more info visit ververecords.com. David Ostwald’s
Louis Armstrong Eternity Band is at Birdland Theater
Wednesdays and Louis Armstrong Monthly Jazz Jam
is at Flushing Town Hall Sep. 11. See Calendar.

It’s safe to say that trumpeter-vocalist Bria Skonberg
is heavily invested in swing music, but she’s no purist,as shown on this, her seventh studio album, What It
Means.
Fronting a band with contributions from ten
musicians, album opener “Comes Love” (Sam Stept, Lew
Brown and Charles Tobias), kicks things off in spirited
fashion, starting in loping swing time with the leader’sswaggering trumpet and Aurora Nealand (soprano) to
the fore. Halfway in, the tune goes Latin with Herlin
Riley (drums) serving up a danceable beat. “Sweet Pea”
(Tommy Roe’s 1966 tune) features a retro Skonberg scatfriendly vocal. Her trumpet solo in Armstrong territory
has Chris Pattishall (piano) listening closely, while Don
Vappie (guitar) gets in some good licks. “Do You Know
What It Means to Miss New Orleans?” (Eddie DeLange,
Louis Alter) answers its own question and thisinterpretation of the oft-covered tune is both poignant
and dreamy. Sonny & Cher’s 1967 hit, “The Beat GoesOn”, enters uncharted territory with the leader’s upbeat
vocal sung as a rock-jazz hybrid. Up-front are Grayson
Brockamp (bass) with strong moments from Ethan
Santos (trombone), Rex Gregory (tenor) and Skonberg,
whose high notes cap the effective arrangement. Shesings John Lennon’s “Beautiful Boy” (a song for John
and Yoko Ono’s son, Sean), and reveals it be one of
Lennon’s loveliest compositions. Also from the rockworld is Van Morrison’s “Days Like This”, featuring
riffing horns plus a guest vocal from Gabrielle Cavassa.
“In the House”, akin to the rousing New Orleans secondline of “Elbow Bump”, is a Skonberg original and has alovely melody articulated on trumpet, while Pattishallstretches out with great support from Brockamp andRiley. Louis Armstrong’s “Cornet Chop Suey” (donewith his Hot Five in 1926) sounds utterly authentic to
its origins. The album closes with a beguiling (given a
bit sappy) mashup of Billy Joel’s “Lullabye (Goodnight,
My Angel)” and Thad Jones’ “A Child is Born”… What
It Means: a varied program in a cohesive listen.
For more info visit cellarlive.com. The album release concert
is at Dizzy’s Club Sep. 20-22. See Calendar.

Disciplinary Architecture
Matt Pavolka (Sunnyside)
by Scott Yanow

Themusicians in Matt Pavolka’s quartet—Ben
Monder (guitar), Santiago Leibson (keyboards) andAllan Mednard (drums)—clearly enjoy playing thebandleader’s originals on Disciplinary Architecture, thebassist’s first album since his leader debut (The Horns
Band) ten years ago. The musicianship is top-notch, as theyinteract closely with each other over a variety of complex

24 September 2024 | THE NEW YORK CITY JAZZ RECORD

grooves and rhythm patterns, and their enthusiasm isaudibly obvious. The music is ensemble-oriented, often
dense. While Monder and Leibson sometimes take thelead, the contributions of each musician are important to
the group’s forward momentum and overall sound, evenwhen some of the parts come across as repetitious. For
listeners, this set might generate a variety of opinions.
The performances generally have no obvious beginningor end and could be twice as long, or even briefer,
without the results changing much.
The unusual song titles are obscure references,many taken from novels. Most intriguing is album
opener “An Aged Flamingo In A Dried-Up Pool”. The
quartet creates some strange sounds that suit the piece’s
unique title before the music becomes a wandering slow
strut. More conventional, although not predictable, isthe medium-tempo blues “And Then We Towed New
Zealand Out To Sea”, which has some excellent electric
piano playing from Leibson along with Mednard,
whose drumming is prominent in the mix. In contrast,“Lighter-Complected Invaders from The North”,
groove music that largely stays in one place even as
some rhythmic patterns come and go, has its moments
despite also being at times tedious. Monder’s rockfish
guitar highlights “Ricin Beans” and a repetitive bass
pattern powers “Nuts And Bulbs”. The guitarist andkeyboardist stretch out a bit on the 7/4 “Defeating The
Porpoise”, while the ballad “The Word For Moonlight
Is Moonlight” has thoughtful and inventive solos
from Monder, Leibson and the leader. The complex
time signatures and rhythms of the title track alsooffer particularly inspirational solos from the guitarist
and keyboardist, leading to “Vile, In The Sunshine
Crawling”, the album closer, which is intensely bothpassionate and abrasive.
Suffice it to say, Disciplinary Architecture is far frombackground music.
For more info visit sunnysiderecords.com. The album release
concert is at Nublu Sep. 9. See Calendar.

Burning UpChloë Sobek/Tim Berne (Relative Pitch)
by John Sharpe

Whilethe circumstances around how young
Australian bass violone-ist (a six-string precursor ofthe double bass) Chloë Sobek and Brooklyn stalwart
alto saxophonist Tim Berne came to record at his
home on June 17, 2023 appear to be unknown, theoutcome reveals that it was a splendid encounter. A
palpable sense of exploration pervades the five jointly
improvised tracks. Taking stock after an introductorystream of rattles, scrapes and stray bass resonances on
the opening “Scorpius”, Berne replies with a series ofpithy squeaky exclamations. As Sobek takes up her bow,the saxophonist’s phrases lengthen and veer across thestave. Thus begins a captivating duet in which the pairnavigate flights of inspiration, moments of fleeting
consonance, responsive recalibrations, judicious useof silence and adroit contrasts. Illustrative of this lastis the delicious juxtaposition at the start of “Signe”,
where Sobek greets Berne’s perky pure-toned fanfareswith muffled taps and knocks, as if someone is inching
up darkened stairs with an unwieldy suitcase in tow.
In her stifled growls, scuffed plucks and creaking
groans, Sobek often seems as if she is physically wrestlingsound from a recalcitrant instrument. The finely detailed

recording also presents a great opportunity to hear Berne
operating more at the extremes, away from the structured
outlets as in his Snakeoil (ECM, 2011), which he more
often frequents. Berne’s repeated motif in “Disquiet
Souls” takes wing when Sobek turns from texture to a
tolling note, thereafter alternating with passages where
high-whistling multiphonics braid with splinteringarco. At times his querulous figures conjure an almost
diaphanous fragility. Although the saxophonist’s tart
lyricism peers through from early on, it is particularly
noticeable as the session progresses; Berne repurposes
fragments of his regular vocabulary to notable effect,using them to create a storytelling arc, with wind ups oftension, digressions and sort-of-resolutions that elevate
this above-the-boilerplate improv date.
This set could stand as Exhibit A for the premise thatfirst time meetings can sometimes produce outstanding
results.
For more info visit relativepitchrecords.com. Berne is at
Lowlands Sep. 3. See Calendar.

eek!
Open 7 Days a W

SEPTEMBER 2024

Jeff Kazee Solo Piano
begins at 6:30pm

out to touch the future in their musical journeys, there
are still others who drill down in a quest for somemythic point of origin. Shabaka, composer and playerof wind instruments, does both—and plenty more,
and his Perceive its Beauty, Acknowledge its Grace is aneclectic and emotionally electric experience that rejects
and reflects categorizations. It’s a visionary record of
mostly originals, with almost two dozen artists helping
the British-born, Barbados-raised musician bring his
vision to life. Shabaka plays clarinet, flute, svirel andshakuhachi, adding a passage of tenor saxophone (after
taking a break from the instrument for a year). Guests
include esperanza spalding, Jason Moran, Floating
Points, Brandee Younger and Shabaka’s father (whorecites a poem).
Nine players take the field for “I’ll Do Whatever You
Want”, synthesizer and shakuhachi shaping the earlyexchanges. The musicians sweep across peaks and dips
together, covering ground without troubling the gas
pedal until Laraaji’s sinister vocal arrives late, shifting
the mood. Strings are a frequent feature throughout thealbum, as heard on “Living”, in which two harps join astring trio of violin, viola and cello. For this track Shabaka
selects the svirel (an end-blown flute from Russia),
sticking to a circular pattern while vocals from Eska swirl
around like helixing streams of smoke. The bandleader
also echoes fragments of that pattern on “Breathing”,
the following track. And this is where he additionallyreconnects with his saxophone, on top of contributions
via clarinet and flute. Rajna Swaminathan pushes thepiece forward on mrudangam (a double-sided drum from
India), creating truly uplifting and joyous music.
Perceive its Beauty, Acknowledge its Grace explores
fresh impulses and uncommon instrumentations
but always feels more like a homecoming than anexperiment. Shabaka is leaning forward, drilling down
and shooting out in infinite directions, inviting us tojoin as listeners in his journey.
For more info visit impulserecords.com. The album release
concert is at Blue Note Sep. 3-8. See Calendar.

7:30pm & 10:30pm Shows Every Week!
Todd Herbert Quartet
Greg Skaff Trio

6:30PM
9:30PM

MON
9/2

Ricardo Grilli Quartet
Sean Hong Wei Quartet

7:30PM
10:30PM

TUE
9/3

Carlos Abadie Latin Quartet
Edsel Gomez Quartet

7:30PM
10:30PMWED
9/4

Champian Fulton Trio
Wilfie Williams Trio

7:30PM
10:30PMTHU
9/5

Joe Farnsworth Quartet
Rick Germanson Trio

7:30PM
10:30PM

FRI
9/6

Eric Person Quartet
Joe Strasser Quartet

7:30PM
10:30PMSAT
9/7

Erena Terakubo Sextet
Nick Hempton Band

7:30PM
10:30PMSUN
9/8

Jed Levy Quartet
Michael Kanan Trio

6:30PM
9:30PMMON
9/9

Benny Benack III Quartet

10:30PM

TUE
9/10

Hector Martignon’s Foreign Affair
Jamile

7:30PM
10:30PMWED
9/11

John Di Martino Trio
Boyce Griffith Quartet

7:30PM
10:30PMTHU
9/12

Joe Magnarelli Quartet
Max Johnson Trio

7:30PM
10:30PM

FRI
9/13

Tommy Campbell Trio
Jerome Sabbagh Quartet

7:30PM
10:30PMSAT
9/14

Eric Alexander Quartet
AC Lincoln Quintet

7:30PM
10:30PMSUN
9/15

Pete Malinverni Quartet
William Hill III Trio

6:30PM
9:30PM

Fri - 9/27
Darnell White Trio

MON
9/16

Rico Jones Quartet
Raphael Silverman Quartet

7:30PM
10:30PM

TUE
9/17

Benito Gonzalez Trio
Helio Alves Quintet

7:30PM
10:30PM

Fri-Sat there is a cover of $20 per personfor parlor seating during live music from 8-10:30pm

WED
9/18

Tyler Blanton Quartet
Ben Wolfe Trio

7:30PM
10:30PM

Sets at 8:00pm & 9:30pm

Thu - 9/5
Chris Norton

If there are musicians who lean forward, stretching

LATIN TUESDAYS

SUN
9/1

Wed - 9/4
Kieran Brown Quartet

Perceive its Beauty, Acknowledge its Grace
Shabaka (Impulse!)by Matty Bannond

Presenting The Return Of

Live Jazz & Supper
WED thru SAT

Fri - 9/6
N'Kenge
Wed - 9/11
Jeff Kazee Trio
Thu - 9/12
Sonny Step Quartet
Sat - 9/14
Lucy Wijnands Quartet
Wed - 9/18
Neal Caine Trio
Fri - 9/20
Simona Daniele Quartet
Sat - 9/21
Alma Micic Quartet
Thu - 9/26
Anna Siciliano Quartet

ViewUPFor Reservations, Menu &Show Details, Visit:LINE

C LU B R O O M N YC .CO M

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310 West Broadway, SOHO—NYC-

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Reserve
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DINNER, LIBATIONS & LIVE JAZZ!
IN THEOF TRIBECA

THE NEW YORK CITY JAZZ RECORD | September 2024 25

IN PRINT

3 Shades of Blue: Miles Davis, John Coltrane,
Bill Evans and the Lost Empire of CoolJames Kaplan (Penguin Random House)
Living Space: John Coltrane, Miles Davis, andFree Jazz, from Analog to Digital
Michael E. Veal (Wesleyan University Press)by Terrell K. Holmes

I n the jazz realm, 1959 was defined by the releaseof several landmark albums. Most prominent
among them, of course, was Miles Davis’ Kind ofBlue, a masterpiece that listeners are still praising—and discovering. In 3 Shades of Blue: Miles Davis,
John Coltrane, Bill Evans, and the Lost Empire of
Cool, author James Kaplan provides a fascinating
snapshot of the years before and after the releaseof that iconic album, providing fascinating
insights into the lives of the titular giants. Miles
Dewey Davis III (whose 33-year deathaversary is
this month), son of a dentist and violinist/musicteacher mother, was raised in upper-class comfort,

with private music lessons and horseback riding,among other privileges. John William Coltrane(whose centennial will be marked two years fromthis month) was a late bloomer who played clarinet
and then alto in high school, though it wasn’t
until his discharge from the Navy in 1946 that his
career truly began, including an obsession withthe tenor. The bookish William John (Bill) Evans(whose 44-year deathaversary is this month) was a
prodigy who was already a multi-instrumentalist
at age seven. Their paths to fame would featuresimilar triumphs and pitfalls, each affected by
Charlie Parker. Jazz transformed in the wake of
Parker’s death, and that’s where Davis, Coltrane
and Evans came in, moving inevitably toward theirrendezvous in Kind of Blue. Kaplan’s intelligent,enthusiastic style of writing taps many sources of
information, including his interviews with Davis,
to construct an engrossing narrative. 3 Shades ofBlue will compel its readers to learn more about
the people, places, incidents and recordings withwhich Kaplan has enriched this splendid book.
Living Space (by Michael E. Veal) takes
what might be described as an interdisciplinary
approach to the later music of Coltrane and Miles,
by examining how certain extra-musical concepts
can be applied to musical structure and illuminate
what the author believes is an unjust dismissalof what these men were working toward. One ofseveral compelling arguments made is that one
reason that Coltrane’s later music is so disparaged

26 September 2024 | THE NEW YORK CITY JAZZ RECORD

is that it didn’t have the proper context. Muchof the music he recorded wasn’t released until
after his death and, it should be noted, not inchronological sequence. Veal argues that Coltrane
was following a harmonic and rhythmic structure,
which would have clarified his trajectory, andhe also examines the impact of what the author
terms Miles Davis’ “lost” quintet: with Davis,
Wayne Shorter (tenor, soprano), Chick Corea(electric piano), Dave Holland (acoustic, electricbass) and Jack DeJohnette (drums). Veal suggeststhat the reason why this band has gone relatively
unnoticed is because they made no records:
existing recordings are bootlegs. The author does
believe there is a positive aspect to the bootlegs;
his reasoning is that these recordings of concerts
are more authentic in capturing the spontaneityof live improvisation without overdubs, filtering,
splicing or any other studio enhancements. Living
Space is a highly technical, intelligently written andpassionate book whose style and structure is nearly
metafictional. He inserts excerpts and quotations
from poetry, science fiction, visual art, photographs
and pictures of structures to support his themes
and points. Veal’s perspectives as a musician andteacher gives this book an enviable depth, and heconvincingly makes his case throughout.
For more info visit penguinrandomhouse.com andweslpress.org. Coltrane b-day tributes are at Marcus
Garvey Park Sep. 20 and Birdland Sep. 24-28. See Calendar.

Bite of the Street
Mac Gollehon & The Hispanic Mechanics(Nefarious Industries)
by John Pietaro

Mac Gollehon may be the best-kept secret over four

decades of top recording artists and producers. The
prodigious trumpeter, who doubles on most every brass
and woodwind, plus keyboards, percussion and guitars,
can boast studio and stage hours with the likes of David
Bowie, Mick Jagger, Brian Eno, Bruce Springsteen,
Blondie and Latin superstars Hector Lavoe and Frankie
Ruiz, plus legions more. Upon his New York arrivalin 1979, time spent with the Fania label saw Gollehon
become first call for salsa dates, leading to a core
career as an instrumentalist and arranger in the wider
Latin field. Beyond 200 Gold records, he has crafted a
discography as leader, split between solo albums andthose with his wily-entitled Hispanic Mechanics.
With the band’s latest, Bite of the Street, the leader’s
immersion in dark NYC streets remains, but here, thegrit is realized widely, with album opener “SouledOut”, conjuring an expressionist Brazil ’66: blaring
trumpet out front, backed by group vocalizations andthe throbbing bass line of Eric Klaastad with synthshading by the leader. The double-time groove of Ismael
Sanchez’ hand drumming falls into dubious battlewith Gollehon’s horn towards a climactic close, at once
glorious and perfectly ominous. Danger is amplified in
the electronics of “Maczone”: think ’70s Miles against
hyperactive dark-night disco. Cuts like this led Gollehon
to be credited as the pioneer of Latin electronic dancemusic. And the urgency is stripped bare with thetitle cut’s brass onslaught, distorted keyboards andthe flagrant assault of drummer Jeanne Carno andpercussionist Sanchez. But the hard swing of “Coming
at You”, where the rhythm section is so entrenched ingroove and the surrounding improv, is incendiary andmarks, potentially, a whole other genre. Keyboardist
Adam Perez’ trading fours with Gollehon—already on
overdrive—turns jazz-fusion on its head. Later, “High
Drama” flays genre to the bone, with a perpetual motion
bass line and thicket of rhythm, which howls of Weather
Report. Album closer “Sleepwalker” unites ’60s rockwith, yep, all of the above.
So much of what’s captured on this album might bethat next thing critics have long searched for.

originals and an expanded group—including MiguelZenón (alto), Alex Sipiagin (trumpet), Matt Brewer(bass) and Johnathan Blake (drums), with the leader
primarily playing Fender Rhodes and Minimoog, inaddition to piano.
The expansive album opener “Elusive Dots” isa whirlwind of ideas energized by the addition of
Chris Potter, who guests on the album’s first three
tracks (playing tenor here), as well as an engaging
solo by Zenón and the leader, who briefly switches
to Minimoog. Tsiganov’s upbeat “April” is the firstof three songs adding vocalist Hiske Oosterwijk.
This cheerful number is filled with potent solos allaround, supported by Brewer’s intricate bass line andBlake’s forceful drumming. The wordless vocals blend
perfectly with the band and exchanges between Potter(again on tenor) and Zenón as the piece builds to its
furious climax. Potter makes his final appearance on
the session (switching to soprano) for “Up Journey”, atension-filled, twisting vehicle that defies the listener
to anticipate each sudden change of direction. One
might guess that the straight horn is Potter’s primary
instrument from his wild flight. The leader plays
grand piano for his solo spotlight, while Sipiagin and
Zenón also shine in their features. Oosterwijk returns
for “Painter Of Dreams” (with Tsiganov remaining on
piano); its intricate unison line between the trumpeterand singer proves magical, while the band devours
the demands of this intriguing composition. “LongAgo and Far Away” (Jerome Kern, Ira Gershwin) is
the first of the album’s two standards; Tsiganov’s
unusual rhythms and stunning finale keeps thisoldie fresh. His fleet-fingered solo on the Rhodes isfueled by his interplay with the phenomenal Blake.
The leader again returns to piano for “Seeley Street
Song” (the final selection featuring Oosterwijk), a
happy, waltzing ballad that reveals the vocalist’s
terrific upper range. Zenón nearly steals the showwith his fiery feature, though Sipiagin’s lyricism isalso notable. The leader’s best electric piano playing
can be found in his infectious “Chain Of Events”, with
its funky air, the leader adding a bit of Minimoog toboot. The alto saxophonist’s gritty playing contrasts
with his more expected approach, as Blake’s drumbreaks provide some extra punch and encouragement.
Tsiganov’s novel setting of “I Loves You Porgy”(George Gershwin) is a perfect final chapter of a very
enjoyable session.

Wheeler tribute project, Hopkins’ quartet includes
Reg Schwager and Ted Quinlan (guitars) and Michel
Lambert (drums), all of whom have a prior connection
with the tributee: both Schwager and Lambert recordedwith Wheeler (Trio Improvisations, 2001), and while
Quinlan does not seem to have made any records withthe trumpeter, he did work with him.
The set begins with the title track, which is a gentle
jazz waltz. As with the rest of the album, the interplay
between the two guitarists (who often accompany
each other’s solos) is the centerpiece of the music.
Unfortunately, though, there are no liner notes, so one
would have to guess which guitarist solos when. Suffice
it to say, Schwager and Quinlan have complementarystyles and blend together very well. Some heat is
generated on “Foxy Trot”, which has the leader playing
a rhythmic bass line that drives the group. “We Salute
the Night” begins as a warm ballad before transforming
into a swinging selection. “Nicolette”, a modern straightahead post-bop jazz waltz, is a particularly rewarding
number for the guitarists. “Mark Time”, which begins
with a drum solo, has one of Wheeler’s better-known
melodies and finds the guitarists echoing each other’sideas. The final three selections are grouped together
as “The St. Catharines Suite”, consisting of the bassist’s
likable “Montebello”, Wheeler’s laidback and quietly
explorative “Kitts”, and “Salina St.”, a piece with agroove that the trumpeter had composed for a groupwith six guitarists.
Who Are You? (The Music of Kenny Wheeler), an album
with some melodic solos by the leader though primarily
a showcase for the two guitarists, succeeds at putting
the focus on some of Wheeler’s originals, all of which
are proven here to be worthy of further exploration.
For more info visit tprrecords.ca

For more info visit crisscrossjazz.com. Tsiganov is at
Russian Vodka Room Mondays. See Calendar.

For more info visit NefariousIndustries.com. Gollehon isat Minton’s Sep. 7, Parkside Lounge Sep. 26 and Hawkins
Park City Island’s Music in the Park Sep. 29. See Calendar.
Who Are You? (The Music of Kenny Wheeler)
Duncan Hopkins (Three Pines)
by Scott Yanow

K enny Wheeler (1930-2014), who passed away ten

Painter Of Dreams
Misha Tsiganov (Criss Cross Jazz)
by Ken Dryden

Misha Tsiganov has changed his focus for this, his
fifth album for Criss Cross Jazz, featuring mostly

years ago this month, was one of the great trumpeters(and flugelhorn players) of this last half-century. He
was also a talented composer who wrote many pieces,many of which he recorded for ECM. Duncan Hopkins,a major bassist based in Canada, has recorded six
previous albums as a leader, including one on which heutilized Wheeler as a sideman (Le Rouge, 1993). Always
impressed by Wheeler’s writing, on this, the bassist’s
latest album Who Are You? (The Music of Kenny Wheeler),he performs seven of the trumpeter’s compositions, plus
his own “Montebello”. For this unique trumpet-less

THE NEW YORK CITY JAZZ RECORD | September 2024 27

Unknown Rivers
Luke Stewart Silt Trio (Pi Recordings)
Do You Remember
Remembrance Quintet (Sonboy)
by Kurt GottschalkB assist, composer, writer, activist and producer, DJ
Luke Stewart, is an intuitive polymath. A foundational
member of more than a dozen groups, Stewart seems
always at ease when he’s at work. It’s less remarkable
how much he does than how at home he seems to bewith whatever he takes on. His terrestrial, musicalhomes are NYC and DC, but his home of origin is
Mississippi, and his strongest working bands seemto reference the mighty river delta of his home stateright out of the gate. The fantastic first album by
his Silt Trio (the silt of the riverbank?), The Bottom(Cuneiform, 2021), conjured up thoughts of a riverbottom and was one of the heaviest releases of 2022.
With Stewart, Brian Settles (tenor) and Chad Taylor(drums, percussion) all contributing compositions, therelease was a solid group effort mining deep grooves.
The trio has followed that up with the new Unknown
Rivers: seven tracks credited to Stewart, and with Trae
Crudup (drums on the first four tracks) and Taylor(drums on the last three tracks).
The selections with Crudup (Stewart’s partnerin the duo Blacks’ Myths) are from a studio session.
He’s a busy drummer and it’s a looser set comparedto Taylor’s style, with more air in the tunes and moreroom to move. It’s a different vibe, but not a lesser one.
Hearing players the caliber of Stewart stretch out ishardly something to complain about. The remaining
tracks with Taylor were recorded live at Detroit’s
Trinosophes, where spirits already run high. After the
drummer’s two-minute solo intro, the rush of how thetrio is capable of being better than quite good floods
back. Silt itself is fertile but it isn’t stable; it’s often hardfor things to take root. Taylor knows the terrain, andwhile the Crudup tracks are quite good, the remainder
brings back what makes Silt Trio rise above the current.
The Remembrance Quintet comes with lesspre-composition but more concept. Their Do You
Remember is a 45-minute suite in eight parts, thebassist with Daniel Carter and Jamal Moore (reeds),
the latter doubling on percussion, Chris Williams(trumpet) and Tcheser Holmes (drums) overdubbing
ruminations on the process of, and the importance of,memory. It’s a collective affair but it’s right in elder
Carter’s wheelhouse: long-form, open-ended free
improvisation. The quintet isn’t turning over newstones, but that assertion sharpens a point: sometimes it
seems that Stewart’s projects are a throwback to earlier
days of fiery jazz, but that’s not really the case. Stewart(as well as his associates) might make one think ofgreat musicians past or present who play with a deep
commitment to their craft. If that sometimes elicits a bitof remembrance, so be it.
For
more
info
visit
PiRecordings.com
andlukestewart.bandcamp.com/album/do-you-remember-2.
Stewart’s Silt Trio album release concert is at RouletteSep. 12. See Calendar.

U

SE

EW

D

N

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

Good Trouble
Matt Wilson (Palmetto)
by Ken Waxman

Didactic without being dull, the good troubles
New York drummer Matt Wilson refers to are thosechampioned by the likes of Congressman John Lewis
and Justice Ruth Bader Ginsburg to bring aboutprogressive social change. They are honored on thealbum’s three-part title suite, although throughout,the drummer, who turns 60 later this month—and
who, in addition to being a leader of multiple bands,
has worked with conceptualizers as dissimilar as Myra
Melford and Dena DeRose—also values swing oversloganeering.
Wilson’s skillful percussion drives a mixture of
hard and free bop tracks on Good Trouble, with help fromTia Fuller (alto), Jeff Lederer (tenor, clarinet), Dawn
Clement (piano) and Ben Allison (bass), committed
improvisers all. With waggish humor the band ends
“RSG”, the boppish swinger honoring Ginsburg,
chanting “honor her/serve the community.” Surging
saxophone harmonies and a faultless drum backbeat
remain in the subsequent “Walk With The Wind” andthe title track, both honoring Lewis’ civil rights work in
the ’60s up until his passing in 2020. Purely instrumental
defiant points are made through Lederer’s snarling
roadhouse-style honks, Fuller’s churchy harmonies andClement’s gospel-style chording. Elsewhere, the quintet
turns Ornette Coleman’s “Feet Music” into a stop-timerouser with saxophone call and response surging up
and down over the drummer’s deft paradiddles.
Besides the fighters for political freedom, the album

28 September 2024 | THE NEW YORK CITY JAZZ RECORD

is additionally dedicated to deceased improvisers who
epitomized musical freedom. The band makes the
drummer’s own “Albert’s Alley” balance on Allison’s
speedy bass pulse as Lederer’s biting multiphonics evoke
Albert Ayler. Crucially, the concluding “CommUnity
Spirit” epitomizes Good Trouble’s message of universal
cooperation through measured rhythms. It does this bywrapping the message in a mixture of New Orleans andreggae beats propelled by clarinet tongue slides andcowbell and claves shakes. If there is a downside, it’s
the inclusion of two syrupy ballads sung with lyricalsincerity by Clement. On their own they’re inoffensive
enough, but ultimately they detract and distract fromthe high quality of and message from the rest of thesession. By skipping over these songs though, a fineinstance of committed, swinging, modern, no-borders
jazz can be heard.
For more info visit palmetto-records.com. The album release
concert is at Dizzy’s Club Sep. 13-14. Wilson’s Honey &Salt is at Dizzy’s Club Sep. 15. See Calendar.

Stamp in Time
Nicole Connelly (s/r)
by Matty BannondLife is a patchwork project, some might say: eachstitch in the tapestry contributing to a scene that adds
up to tell the story. Stamp in Time, the debut releasefrom trombonist Nicole Connelly is much like thisphilosophy, tacking tracks together, each depicting one
formative incident from her life, much of it in her homebase of Brooklyn. It’s a twelve-act tableau of fear, fun
and freedom. Joined by Zachary Swanson (bass) and
Kate Gentile (percussion) with guests Andrew Hadro(baritone on one track) and Connelly’s twin sister
Erin Connelly (trumpet on half the album), the group
generates a vivid sound, even without a traditional
harmony instrument.
A handful of moments are characterized by anominous atmosphere. The multiphonic cries from
Connelly’s trombone heard on “Lullaby of the Doomed”
produce a downright spooky feeling, as Swanson andGentile drop funereal footsteps. It’s a mournful andworried composition. By contrast, party lights pierce
the gloom elsewhere, as on “Bamako”, with its Afrobeat
inflections and slippery bass line. Brighter colors andbouncier figures shape the story here, with a funtime solo from the leader and luminous drumming
throughout. There are also fully-improvised sections,such as the two-minute meditation “Shadow Self”. The
Connelly twins paint a picture of sibling dissonancemarked by squeaky, squiggly lines. Swanson is busier
here, but his bass is smudged lower into the mix. It’sa showcase for extended techniques, with an audible
sadness in its final frames.
Stamp in Time shines a spotlight on the biggest
episodes in this young artist’s life. The music, perhaps
shaped by exultant yet scary and spontaneous
happenings, results in an album of bold fragments,
sewn tightly together to create an enthralling narrative.
Connelly’s versatile playing, immersive compositions
and empathetic collaborators, make this ambitious
storytelling project a musical success.
For more info visit nicoleconnellymusic.com. Connelly is at
Public Records Sep. 15 (part of Festival of New Trumpet
Music). See Calendar.

After You’ve Gone
Mute (Endectomorph Music)
by Mike Shanley

The conception of “Origin Story”, the seventh of nine
tracks from the new album After You’ve Gone by thequartet Mute, reads like a jazz conservatory project.
To pay tribute to Lester Young, saxophonist Kevin
Sun took his subject’s first-ever recorded solo, from a1936 version of Sammy Cahn and Saul Chaplin’s “Shoe
Shine Boy”, and played it in reverse, symbolicallytaking the listener back to Pres’ “point of origin” inrecorded history. This high-minded effort seems likesomething that would look good on paper but nowhere
else. But Sun, on B-flat clarinet, unleashes a melody
that is both convoluted and captivating, with drummer
Dayeon Seok making sure that it swings hard, even as
the downbeat’s location is thrown into question.
This group of Asian-American musicians features
a number of concepts that show their deep knowledgeof musical history and the ability to give it a modern,often sly, twist. The title track, the Turner LaytonHenry Creamer chestnut, begins with pianist ChristianLi playing a slow vamp that clashes with Sun’s sweet
C-melody saxophone. It then breaks free, with Li andbassist Jeong Lim Yang creating a sweet, spare duet.

A reprise, which actually lasts longer than the opener,
closes the album in similar irreverent manner, withan out chorus that concludes with a more traditional
feeling. Mute’s interpretation of Phil Boutelje and Dick
Winfree’s “China Boy” could be seen as a push backagainst old Western stereotypes, considering the band’s
origins. Regardless, they divide it into two tracks, one
faithful to the theme, the other stretching it out withfree drumming and some of the most inventive linesthat have probably come from the, given not oft heardor played, C-melody horn. Two songs containing theword “blues” don’t exactly adhere to that structure.
“Taepyeongoso Blues” features Sun wailing on the
double-reed suona before the group plays a brief free
improvisation. Yang’s “Not My Blues” begins with abass solo in which she exerts her authority, leading to aloose structure that takes harmonic liberties over 12-bar
patterns.
All four members of Mute have strong careers of
their own, yet After You’ve Gone (the group’s debut
follow-up) captures them in a setting where everyone
plays an equal part in the cohesive sound.
For more info visit endectomorph.com. The album release
concert is at The Jazz Gallery Sep. 7 (part of Endectomorph
Music Festival). See Calendar.

Time and Again
Eliane Elias (Candid)
by Marilyn Lester

Multi-Grammy winner, Brazilian-born pianist,composer and vocalist Eliane Elias may be one of themost underappreciated jazz artists today, despite adecades-long career of garnering rave reviews andacclaim. Brazilians seem to have a gene for happiness,reflected in samba and bossa nova genres, which
informs her work as a performer and composer. Herlatest release Time and Again offers eight original tracks
of samba tunes with a modern twist, delivered in both
English and Portuguese. With a warm, smokey vocal
tone, Elias continues a tradition of great Brazilian
vocalists born of the bossa nova movement: Gal Costa,
Astrud Gilberto, Elis Regina, and more recently, Marisa
Monte and Bebel Gilberto. Elias’ articulation andphrasing are always impeccable and no less so in thisrelease. Supporting her are Marc Johnson (bass) andPeter Erskine (drums). A wealth of guests are present
too, including Mark Kibble (vocals on six of the eighttracks), Mike Mainieri (vibes), Bill Frisell, Conrado
Goys, Marcus Teixeira and Daniel Santiago (guitar),
Marivaldo dos Santos and Davi Vieira (percussion),Marcelo Mariano (electric bass), and Edu Ribeiro andCuca Teixeira (drums).
Although Elias’ lyrics are meaningful, addressing
aspects of love, the instrumental wizardry from themix-and-match ensemble sometimes distracts fromthem. “Falo do Amor (I Talk About Love)”, dedicatedto her granddaughter Lucy, has plenty of musical bells
and whistles, demanding a percussive vocal delivery
from the singer. The other tune in Portuguese, “A Volta(The Return)”, has a contemporary groove in time, thelyric describing feelings of anticipation while waiting
for someone to return. “Sempre (Always)” features
vocals by Brazilian pop star, singer-songwriter andguitarist Djavan, for whom Elias wrote the tune. “It’s
Time” has an R&B groove, while two lovely soft ballads
are pleasant respites from the energized tracks on the
30 September 2024 | THE NEW YORK CITY JAZZ RECORD

release: “How Many Times”, without vocal support
and backed by Mainieri and Frisell, has a dreamy feel,
while closer “Too Late” (also with Frisell) heightens
the tune’s wistfulness as the lyric speaks of regret atthe end of a relationship. This number in its relative
simplicity is a true showcase of Elias’ artistry and why
those unfamiliar with her work would benefit fromlistening to this versatile artist and her remarkable Timeand Again.
For more info visit candidrecords.com. Elias is at Birdland
Sep. 10-14. See Calendar.

My Ideal
Catherine Russell/Sean Mason (Dot Time)
by Sophia Valera Heinecke

The well-known and oft-celebrated vocal presence ofCatherine Russell, with the dynamic fingers of Sean
Mason, create a charming and skillful offering in the
tradition of voice and piano duets. My Ideal expertly
intermingles works from popular music, Tin Pan
Alley, the Great American Songbook and other genres,
creating a unique and intriguing blend of tunes. Both
Mason and Russell, never ostentatious, powerfully
showcase emotion through piano and vocal dynamics
with fluidity and dexterity.
Across the eleven-song set, each track growing
more alive with every listen, you can hear hints inboth the selections and their delivery that dreaming
and living for love is what gets us through the workof daily living. Album opener, “A Porter’s Love Song(To A Chambermaid)” is the most direct example ofthis theme, originally composed for the 1930 musicalby James P. Johnson and Andy Razaf: The Kitchen
Mechanics Revue—a plotless but pointed politicalcritique celebrating Harlem’s service workers as afountain of wealth, sanity and creativity, playing to
the idea that our lives are full of toil. Yet the music isjaunty and Russell’s delivery is effortless; even whenthe volume escalates, the legato articulation floats.
This dynamic is true throughout the album, notably“On the Sentimental Side”, where Mason seems very athome offering gliding, stride-style piano, a techniqueapplied to other tracks, but which is particularly
stunning here. Like Russell’s vocal, the piano feels
richer in melancholy than the word “sentimental”
evokes. On “Ain’t That Love”, there is a spiritual lilt
in her voice, a galvanizing reverence riding above therhythm, which remains crisp. Underlying harmonies ofthe piece also evoke the gospel tradition and remind us
that work can be worship if done out of deep love. The
focus of “South To A Warmer Place”, rather than work,
gives insight into the difficulty and emotional fallout
of a relationship when building together is no longer
possible.
The album closer is “Waiting For The Train To
Come In”, a nod to the work of patience and waiting.
Its laid-back feel isn’t only about where the note isplaced but how the note is placed in contrast with the
piano: Russell’s embellishments feel like the whistling
one might do to pass the time in an era absent of doom
scrolling. Playful, easy and touching, My Ideal feels
ideal as an album that’s both tender yet strong, new but
familiar.
For more info visit dottimerecords.com. The album release
concert is at Birdland Sep. 3-7. See Calendar.

While hundreds of books
have been written about thehistory of Jazz and begin in
New Orleans, LA in 1865,
DR. PASCAL BOKAR
THIAM’’s book is the only
one that makes so clearly
the connection between
the cultural standards ofaesthetics of West Africa’s
great medieval empires
Ghana, Mali and Songhai
and what they contributed
to the identity markers ofAmerica’s art form Jazz
through the developmentof the culture and the musicof the Delta Blues awayfrom the canons of Europe.

“The book focuses on the mysteries of Jazz by creating a human and cultural map...the conclusion is striking.”– Sophia Valera Heineke, The New York City Jazz Record

Available on Amazon in all formats
Dr. Pascal Bokar AfroBlueGrazz Band is available for lectures, concerts and special eventsContact: RDTC/Doug Tackett Tel: 303-670-9950
Email: Doug@road-dawg.com
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Brassroots Democracy

Living Spaceof Afro-Atlantic performative cultures inLouisiana through the Haitian Revolution,
U.S. Reconstruction, and the era of jazz. He
critically examines the intersections of Black
working-class musicality and resistance inthe pursuit of a future grounded in equality
and solidarity.”—Michele Reid-Vazquez“In its careful attention to innovative
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rides and wears with brilliant sensitivity.”—Fred Moten

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Maroon Ecologies and the Jazz Commons$40.00 hardcover / ebook available$28.00 paperback / ebook available

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Closing TimeLive Edge Trio with Steve Nelson (OA2)
by Scott Yanow

T he Live Edge Trio consists of Ben Markley (piano),
Seth Lewis (bass) and Andy Wheelock (drums). All
three musicians are on the faculty at the University of
Wyoming, play regularly in Denver and made theirrecording debut as the Live Edge Trio on last year’s
Look for the Silver Lining. Markley has led several
albums of his own, including two at the head of his big
band, plus combo dates with such guests as trumpeter
Greg Gisbert and saxophonists Greg Osby and Joel
Frahm. Lewis, who toured with the Glenn Miller
Orchestra a decade ago, has appeared on dozens ofrecordings, including with trumpeter Brad Goode.
Wheelock has also performed with a notable groupof musicians including saxophonist Ernie Watts andtrumpeters Terell Stafford and Bobby Shew. Each ofthese players have, thus, proven themselves to be topnotch musicians based in forward-looking hard bop.
Add to this mix septuagenarian Steve Nelson, whofits into the generation of vibraphone players who cameof age when Bobby Hutcherson and Gary Burton (andelders Milt Jackson, Terry Gibbs and Lionel Hampton)
were the leaders on their instruments, even though hemay be a bit overshadowed by the generations that
followed him (e.g. Stefon Harris, Warren Wolf andJoel Ross, among others). The Live Edge Trio not only
welcomes Nelson as their guest here, but utilizes him
to state all of the melodies and function as the group’s
dominant soloist.
As a quartet, they perform three harmonicallycomplex but swinging originals by Markley plus
one each by Lewis and Wheelock, along with
two standards. The bassist’s “Don’t Stress” hasa particularly catchy melody, while the pianist’s“Closing Time” also reveals itself to be an attractive
composition while his other original “Fantasy For
Cede” inspires his most inventive solo on the album.
“Cape Verdean Blues” (Horace Silver) inspires themost passionate improvisations by the band, but
the album’s unquestionable high point is Nelson’s
exquisite playing on the ballad “Old Folks” (Willard
Robinson). A slight observation and reservation is thateach of the performances utilize a similar framework:
Nelson usually solos first, Markley follows, there isa brief Lewis bass solo, then Nelson takes the theme
out. There are a few spots for drummer Wheelock(including a tradeoff on album opener “Ben’s Tune”)
and occasionally Markley solos first, but the group
could have put more planning into having more variety
in their framework, as well as perhaps including one
number by just the trio.

Overall, though, Closing Time has some excellent
playing by musicians who undoubtedly add a lot of
quality to the Denver and Wyoming jazz scenes, not tomention Nelson who continues to be the consistently
inventive contributor he has for decades, whether as
collaborator or leader.
For more info visit originarts.com. Nelson is at Dizzy’s
Club with Kevin Hays Sep. 11-12. See Calendar.

Live At Cliff Bell’sMichael Sarian (Shifting Paradigm)by Phil Freeman

C anadian trumpeter Michael Sarian grew up in

Argentina before finding his way to Brooklyn, where
he’s spent most of the last decade. In 2020 he formed
a quartet, with Santiago Leibson (piano), Marty
Kenney or Matt Pavolka (bass) and Dayeon Seok
(drums), which recorded the trumpeter’s debut album
New Aurora (ears&eyes). Two years later the group
followed that up with Living At The End Of The WorldB OX E D S E T

Lifetime Rebel
Joëlle Léandre (RogueArt)
by Kurt Gottschalk“You have, not a style even, just you have, you say,hey, this is Miles, this sound, this is Evan Parker, thisis Vivaldi,” Joëlle Léandre (who turns 73 this month)says in a video interview included in the Lifetime Rebel
boxed set, collecting live recordings with various
ensembles from 2023 and 2024. “Do you think we canrecognize Joëlle Léandre?” replies her interviewer,
Michel Dorbon, founder of the label behind the set,
the Paris-based RogueArt. “Well, I cannot, maybe, but
I cannot answer that,” she responds. “I hope.” The
45-minute DVD serves as kind of a coda for the set.
The collection isn’t a lifetime retrospective, it’s two
moments in time captured and preserved: three setsfrom New York City’s Vision Festival in 2023 and a set
recorded six months later at the Sons d’hiver festival
in the Paris suburbs. The interview covers Léandre’s
thoughts about music—she describes her work as amix of “classical, contemporary (my century) andfree jazz”—about the musicians who inspired her andabout the French musician’s instrument, the bass viol.
She is as intense and passionate a spokeswoman forthe music as she is a player of it. The conversation(conducted in English) is interspersed with four
exclusive and exquisite performances, the only solos
included in the collection.
Even if she doesn’t directly answer Dorbon’squestion, the audio selections included in Lifetime
Rebel leave little room for doubt about the uniquenessof her playing. Léandre’s strong arco, her deep sense
for harmony, the rich resonances she coaxes fromthe contrabass and, in no small part, her wordless
vocal self-accompaniment make her one of themost recognizable players in contemporary free
improvisation. Three of the four CDs in this set were
culled from her Lifetime Achievement recognitionat last year’s Vision Festival, an honor bestowed by
the peers she so admires. It’s a measure of Léandre’s
endless search for new encounters and challenges that
Tiger Trio is one of her longer standing groups. (Itmay also be a statement of some preferred dynamicthat the Tiger Trio and an earlier key group—Les
Diaboliques, with vocalist Maggie Nicols and pianist
Irène Schweizer—are both trios of women.) Tiger Trio,with pianist Myra Melford and flautist Nicole Mitchell,
is an egalitarian assemblage of exemplary soloists
working in tandem. They manage the uncommonfeat of maintaining individual focal points without
forcing one another out of focus. The half dozen tracks
presented here include some solo and duo passages
and are, beginning to end, succinct and joyful. There’s
a lightness to their intensity, one deserving to be heard
more widely and more often. This addition to theirscant discography (individual releases on RogueArt
in 2016 and 2019) alone makes the new set a worthy
investment.
The second standout in this little Léandre treasurebox is an ensemble with Ingrid Laubrock (tenor,
soprano), Steve Swell (trombone), Joe Morris (guitar),Fred Lonberg-Holm (cello), Jason Hwang (violin) andMat Maneri (viola). That group appeared at the Vision
Festival as the Joëlle Léandre Septet but at Sons d’hiver
were billed as the “Atlantic Ave. Septet” (taking theirname from the Brooklyn locale where Vision venue
Roulette is housed). That is, apparently, also the nameof Léandre’s open-form composition, just shy of 45
minutes in length, which was played in their second

32 September 2024 | THE NEW YORK CITY JAZZ RECORD

appearance. It’s a wonderful encounter, full of unison
dynamics, extemporaneous extrapolations and groupchattering, showing hints of the contemporary andfree aspects of her triply split personality; Luciano
Berio and Lawrence D. “Butch” Morris come to mind.
Roaring Tree, a trio with Maneri and pianist
Craig Taborn, had only convened once before Vision
Festival, although their sublime interplay wouldn’t
suggest as much; Léandre and Maneri played together(with drummer Gerald Cleaver) in another Visionbirthed group, Judson Trio. She and Taborn havea long association marked by rare opportunities toplay together. Their set is gorgeously delicate, full ofgentle, shape-shifting abstractions. The final entry inthe box is a fantastically intuitive encounter with poet
Fred Moten. The 21-minute excerpt is from their firstmeeting (at Vision). The bassist here shows drama andtaste in matching and supporting the spoken word.
The abbreviated piece with Moten is given its own CD(the whole collection is also available as a download)and overall, the sets on Lifetime Rebel are short. The
entirety of the audio would easily have fit on two
discs, rather than the four it’s given, without splitting
any of the sets—a less elegant but also less resourceintensive design. That may be a small complaint but,given the price point, a relevant one in an otherwise
fine celebration.
“Joëlle is possessed with gesture, breath andmovement that pulses from her heart,” fellow bassistand 2024 Vision Lifetime of Achievement recipient
William Parker writes in the enclosed booklet, which
includes photos, quotes from other fellow players and,quite appreciably, more of Moten’s poetry. “Behindher being is deep love for the beautiful and poetic inlife.” Beauty and poetry have comprised a quest of
more than 50 years for Léandre. She finds them withremarkable regularity, and still keeps looking for
more.
For more info visit roguart.com

(ears&eyes), which featured new drummer Nathan
Ellman-Bell. Live At Cliff Bell’s, the trumpeter’s latest
album release, was recorded at the legendary Detroit
venue in March of last year and features a selection ofboth old and new music: “Yis Ku Ghimetn Chim Gidi”,“The Pilgrim” and “Living at the End of the World”
come from Living At The End Of The World; “Primo” and“Aurora” are from New Aurora; and “Glass Mountains”
and “Portraits of Haile” are new compositions.
The performance heard here was recorded at theend of a tour through New England, Canada and theMidwest, and it absolutely sounds like the work ofa band that’s developed the kind of telepathy only
the road can build. The presence of an enthusiastic,
whooping crowd serves to inspire the players togreater heights. There’s a late ’70s-early ’80s feelto the music throughout, more akin to the “stadium
jazz” of V.S.O.P. or Milestone-era McCoy Tyner thananything from the Young Lions era or afterward. “YisKu Ghimetn Chim Gidi” is by 18th century Armenianpoet Sayat Nova; some of Sarian’s compositions
have a similar keening feel, while others are moreconventional hard bop, or have indie rock-like
melodies that recall the work of peers such as pianist
Aaron Parks and fellow trumpeter and flugelhornist
John Raymond. Sarian shifts seamlessly from trumpet
to flugelhorn, demonstrating a strong melodic sense at
all times. Indeed, his solos frequently seem like mere
flourishes, with the song always centered. Leibson’s
piano playing is likewise fleet but never showy and
Kenney’s bass, showcased as the set enters its final
third, has an almost retro rubber-band sound. EllmanBell is a precise, if sometimes unsubtle, drummer who
cracks the whip on uptempo numbers and herds his
bandmates like a patient but watchful sheepdog onballads.

anxiety-laden melody. Shimmering vibraphone from
Warren Wolf is featured prominently, demonstrating
his boundless imagination on the instrument.
Looking to add some levity to the therapy session,“Ain’t That the Same” has a funky groove that Sands
uses to scamper over the keys with Sewell in fluidcommand of his guitar strings. The track embodies
the concept of dancing with the shadows rather thanbeing consumed by them. Moving the process along“Thought Bubbles I (Can We Talk?)” keeps Sands’
imagination percolating as he generates interestingmusic in an inventive way, segueing to “Serenadeof an Angel”, an attractively arranged ballad in aslightly swinging mode. With Wolf’s meditative
vibraphone playing and Sands’ piano weaving, themelody evokes a tentative beginning of a new day.
From “Thought Bubbles II (Do Not Disturb)” to“Braises de Requiem I (The Embers Requiem, Mov.
I)”, on which both Nakamura and Ryan Sands dropout, the leader continues his musical exploration of thehuman experience in all its fragility and uncertainty.
The album culminates with the title track, Sands at his
most expressive, flowing with a sense of release andacceptance. In his only appearance, Maret’s harmonica
performance sings with measured optimism, and theensemble comes together in a celebration of maturity
to move on from any prior felt trauma.
For more info visit mackavenue.com. The album release
concert is at Smoke Sep. 26-29. See Calendar.

sounds like a couple of old friends reminiscing about
their recently departed friend. The title track, written
by Zaleski after a bedtime conversation with his son,is a smiling bossa nova with whispers of the structuresof “Con Alma” around its edges. The trio handles
Charlie Parker’s “Passport” adroitly, with the pianist
setting the pace in a dynamic opening, which snarls
playfully as it sprints. A touching rendition of “I’m In
The Mood for Love” closes this thoroughly enjoyableand engaging album, which moves Zaleski and his trio
to first-call status, if they’re not there already.
For more info visit sunnysiderecords.com. The album release
concert is at Mezzrow Sep. 13-14. See Calendar.

One Breath Rising presents The Makanda Project
Sunday, October 6, 2024 4:40 pm
All Saints Church, 286 Seventh Ave, Park Slope, Brooklyn
live & livestreamedwww.onebreathrising.org

For more info visit shiftingparadigmrecords.com. Sarianis at Open Source Gallery Sep. 4 (part of Open Sound
Festival). See Calendar.
Star Dreams
Glenn Zaleski (Sunnyside)
by Terrell K. Holmes

Embracing Dawn
Christian Sands (Mack Avenue)
by Pierre Giroux

P ianist Christian Sands’ Embracing Dawn is a tasteful

exploration of the human experience, seamlessly
blending technical prowess with deep emotional
resonance. Joined by the rhythmic duo of Yasushi
Nakamura (bass) and Christian’s younger brother
Ryan Sands (drums), the trio is augmented by thetalents of Marvin Sewell (guitar), Warren Wolf (vibes),Grégoire Maret (harmonica), Andrew Joslyn (violin),
Eli Weinberger (cello) and Ross Gilliland (bass). This
full complement creates a rich tapestry of sound thatreflects the complex journey of grief and of healing.
Eight of the nine tracks in this thoughtfully curated
song cycle were written by the leader, except the
opening track, “Good Morning Heartache” (Irene
Higginbotham, Ervin Drake and Dan Fisher), madefamous by Billie Holiday (1946). This carefully chosen
tune has a backstory authentic to the album’s theme; it’sbased on co-songwriter Drake’s very painful breakup
from the then love of his life. Sands’ oblique approachis unpredictable, and surprises are layered withnuances derived from unrequited intimacy. “Divergent
Journeys” has a mid-tempo swing, and Sands knows
how to connect with the rhythm section through the

P ianist Glenn Zaleski has assembled a stellar trio for
his album Star Dreams, an eclectic blend of originals
and standards. The band, with Dezron Douglas (bass)
and drummer Willie Jones III (drums), makes excellent
playing sound absolutely effortless, and this album
should place them in the top tier of rhythm sections.
Zaleski plays with a warm lyricism on thestandard “I Wish I Knew”, displaying a nimble left
hand, alternating swift arpeggios with strong single
notes. Douglas moves from straight comping to a deftcountermelody while Jones’ smooth cymbal touches
and soft rim shots give the song a perfect balance. A
measured three-note figure begins the light swinging“Two Days”, Zaleski’s first composition, written asa teenager. His playing is spare and articulate, withsophisticated, elegant harmonies. Even when Douglas
straight-up comps he makes the tempo flexible, whichfacilitates a smooth transition for him into anotherstandout solo.
The pianist has played with Cécile McLorin Salvant,so his fine version of her “Monday” is no surprise.
This waltz, with the pedigree of an outré show tune,
is the kind of number that Salvant thrives on. Zaleski
navigates the song’s challenging chord structureskillfully, and his voicing cleverly recalls the vocalist’s.
Jones’ eyebrow-batting brushes, and Douglas’ crisp
bass lines round out this splendid standard-inwaiting. The leader explores slightly off-center chords
and arpeggios on Horace Silver’s vivacious “Opusde Funk”, on which the trio struts wickedly, closingwith a Jelly Roll Morton-like stop-time passage. Theband is wonderful on the heartfelt “Wayne” (a tributeto Wayne Shorter) and the tender interior dialogue
THE NEW YORK CITY JAZZ RECORD | September 2024 33

(LEST WE FORGET CONTINUED FROM PAGE 10)(INTERVIEW CONTINUED FROM PAGE 6)(MONHEIM TRIENNIALE CONTINUED FROM PAGE 12)

After Time” and “It’s Magic” put the duo on the map.
“Time After Time” was originally written for Sinatra,but Sarah Vaughan made its first recording (1946) andthe tune would become a huge favorite of jazz andpopular singers as well as instrumentalists: Sinatra
recorded it again, and it was also taken up by Chet
Baker, Anita O’Day, Stan Getz, John Coltrane, Paul
Desmond, Dinah Washington and many others. The
Styne-Cahn pair also wrote their first Broadway stage
musical High Button Shoes (1947).
The songwriter’s career went into high gear as the’50s dawned. His personal life was colorful. With afondness for gambling (according to Mason), he hada standing poker game with fellow songwriters Fred
Ebb, Hal Hackady and Carolyn Leigh (he set music
to her last song, “Killing Time”). For Broadway,
Styne with Comden and Green wrote additionalmusic for 1954’s Peter Pan (starring Mary Martin),complementing songs written by Moose Charlap andLeigh. “The composers were the draw back then,” says
Moose’s son, pianist Bill Charlap. “The producers got
scared and figured they needed a known writing team,so they brought in the others. Jule was pyrotechnicallyqualified to do absolutely anything. He was prolificand versatile, a great man of the theater, and hewrote transcendent songs.” At age 10 or 11, Charlap
remembers he approached Styne at the Friars Cluband asked him, “What is the secret of writing a great
popular song?” Styne took the question seriously,
and replied, “It should be melodically simple andharmonically attractive.”
Among Styne’s other triumphs were collaborations
with Comden and Green on Bells Are Ringing (1956)
for Judy Holliday, yielding “Just in Time” and “TheParty’s Over”; and with a young Sondheim on Gypsy(1959), yielding “Everything’s Coming up Roses”.
But his most successful musical was unquestionably
Funny Girl (1964) with Bob Merrill. Styne often
tailored his music to the stars who would be singing
the tunes. In November 1962, at age 20, the emerging
Barbra Streisand appeared at the now defunct Bon
Soir nightclub and caused a huge sensation. When she
was cast as Fanny Brice, Styne wrote some of his mostcomplex music, including “Don’t Rain on My Parade”
for her. The result was a phenomenal all-aroundsuccess but hobbled the possibility of revivals—
witness the troubles around the 2022 production, withscathing notices until Julie Benko was discovered andwas catapulted into stardom.
Styne, whose archive is at the University of Texas,
will live forever; his much-covered tunes have been
consistently recorded, of more recent vintage byJeremy Pelt, Jack DeJohnette, Ralph Towner, Alan
Broadbent and vocalist-pianist Diana Krall, among
many, many others.

Tsuruga: Yes. He was playing in Japan and gave aclinic in Osaka, which I attended.

For more info visit julestyne.com. A Jule Styne tribute“Just in Styne: Karen Sings Jule” (featuring Karen Mason)is at Birdland Sep. 16. See Calendar.

Tsuruga: Yes. He did a great job on the mix. I love it!

culled from her grandfather’s collection of Czech folksongs. Fairly standard arrangements of recognizable
forms were offset by ornamentations in Úlehla’s vocal
variations and in tasteful, buried leads from Shahzad
Ismaily’s acoustic guitar and Jones’ saxophone. One of
the more satisfying meetings of disparate voices wasa grouping of Úlehla (voice, electronics) with Ludwig
Wandinger’s light drumming, Oren Ambarchi’sjittering guitar tension and Selendis S.A. Johnson
starting on trombone, but soon switching to vibes
where her voice is more compelling. Another highlight
was a horn trio of Evans, Jones and trombonist Shannon
Barnett, beginning with an uncommon but perfectly
lovely take on Jimmy Dorsey’s “I’m Glad There Is
You”, before moving into their own, more exploratorycompositions. While Evans was the weekend’s number
one soloist, Shahzad Ismaily was the MVP, adding
to sets sometimes seemingly at the last minute. Overthe course of the weekend, he was heard on piano,
keyboard, acoustic and electric guitars, electric bass,
drum and electronics, as well as (in an endearing duetwith Doraiswamy) live commentary to a projectedsoccer match.
But Brìghde Chaimbeul was the revelation forthis cultural tourist. Playing in the small church,
she combined traditional Scottish songs with fairly
extended drones, not something entirely unusual
for the form but rather so for a solo instrument,
Scottish smallpipes, within whose reedy voice lay
vibrations and overtones. Chaimbeul froze time indirges and laments in endless exhalation, for what
in reality might have been less than a minute, before
progressing and freezing again. Eventually the slowly
shifting drones overtook the wordless songs. It wasa perfectly fitting surprise, then, when she played
an arrangement of Philip Glass’ “Two Pages” (1968).
Perambulating repetitions over a tonal ground felt
ancient in the 500-year-old church. She also playeda memorable duet with pianist-composer Heiner
Goebbels, who fashioned an interesting mix ofsounds from inside the piano and lyrical keyboarding
with, it seemed, a debt to Chopin. Goebbels also
played a duet with the Palestinian electronic artist
Muqata’a, a sort of concerto for piano and sampler,as Muqata’a laid down a thick wash of rolling white
noise that could have been an orchestra. Goebbels’classicisms came through again, even if he often
interrupted himself with plucking and preparations.
As they submerged deeper, everything became
plasticine: field recordings, grinding reverberations
and test tones.
The second day brought a succession of 20-minuteor so small group performances. Where the first day’sround-robin limited development, here there wasmore room for discovery. Chaimbeul, Doraiswamy,
Ismaily and kwon worked around the devotionalsong, which is Doraiswamy’s forte, Ismaily playing asingle floor tom with open hands, adding a sense of
mystery. They weren’t faithful to any specific religion
but devoted to a transcendent stillness that almost
all cultures—at least sometimes—pursue. What wasbilled as a “Grand Finale” turned out to be Barnett,
Ismaily, Johnson, kwon and Wandinger with subtext.
Electrical problems onboard the boat forced them toplay acoustically, which served as a nice reminderthat not everything has to be amplified. The setup
also demonstrated that not everyone present needs to
be involved in the finale. And it gave an incidental,
added value to the big, new concert hall being built for
next year’s edition. Forced to keep their levels even,the ad hoc quintet played soft and slow, creating awonderfully counter-intuitive ending of a festival thatsets its own rules. The unplugged big ending would
make a fine Monheim tradition.

Recommended Listening:• Various—The Songs of Jule Styne: There Goes ThatSong Again (His 27 Finest) (Nimbus/Retrospective,
1926-1956)• Frank Sinatra—Sings The Songs of Sammy Cahn andJule Styne (Vintage Jazz Classics, 1944-50)• Shelly Manne & His Friends—Bells Are Ringing(Contemporary, 1958)• June Christy/Bob Cooper—Do-Re-Mi (A Modern
Interpretation of the Hit Broadway Musical)(Capitol, 1961)• Maxine Sullivan—Together: Maxine Sullivan Sings
the Music of Jule Styne (with Keith Ingham Sextet)(Atlantic, 1986)• Scott Hamilton—Plays Jule Styne(Blue Duchess, 2015)

TNYCJR: So, you were getting musically successful inJapan before you came to the U.S.? Were you alreadyplaying a lot of gigs and doing recordings?
Tsuruga: Osaka at that time was doing very well. The
economy was so good. There was a lot of work, so I
was playing every night.
TNYCJR: You recently played the Syracuse Jazz
Festival with your husband, trumpeter Joe Magnarelli.
I’m so glad I got to hear you; we never get to hear eachother anymore and hang out, so that was very nice.
Joe is an amazing trumpeter and such a nice man. I’ve
gotten the opportunity to record and play with him
for almost 30 years, but you are so lucky to get thisopportunity all the time! Tell us about Joe and how
being around him has influenced your music.
Tsuruga: We met in New York and were friends first.
We really got along well so started dating and now weare happily married and often play together.
TNYCJR: And you have a new album, Beyond Nostalgia(SteepleChase), with Joe, Jerry Weldon (tenor), Ed
Cherry (guitar) and Byron Landham (drums). Can you
tell us a little bit about this recent release? I understandthat Reiki healing influences the music.
Tsuruga: I took Reiki classes in NYC around 2010. I
began working on the new music during the pandemic,
when you know, we couldn’t be close to other people
and we couldn’t play music together. I was in New
York and couldn’t go home to Japan to see family andfriends. It was during this time I was dreaming up themusic for the album. I could still play at home and ourneighbors were so supportive, but I wanted to play alive gig again. I was thinking, “One day I will get on
any gig, anywhere I want to play.” I wanted to play
happy music, and so I made the decision that I wasgoing to be happy. Sadly, though, around this time,
my cat Tiger passed away, as did Dr. Lonnie, so losing
them also influenced the music on the album. Finally,
after three years, I had the chance to go back to Japanto see my parents and sister and went to a temple in
Kyoto. It felt like we reached our home base. I wasborn into this and it felt so comfortable and healing.
Some inspiration came to me, and I wrote “Beyond
Nostalgia”, which became the title of the new album.
TNYCJR: It’s a beautiful album. I like the organ in thatstudio a lot. I’ve also made many albums at Trading 8’s
studio with Chris Sulit who is such a brilliant engineer.

For more info visit akikojazz.com. Tsuruga is at Interchurch
Center Sep. 11 (part of Jazzmobile Summerfest), Central
Jersey Jazz Festival Sep. 14, Harbor Jazz Festival Sep. 21,
Middlesex County Jazz Festival Sep. 25 and The Roxy Bar
Sep. 28. See Calendar and 100 Miles Out.
Recommended Listening:• Akiko Tsuruga—Harlem Dreams (M&I Jazz, 2003)• Akiko Tsuruga—NYC Serenade (with Jimmy Cobb)(Mojo, 2008)• Akiko Tsuruga—Sakura(American Showplace Music, 2011)• Akiko Tsuruga—So Cute, So Bad(Somethin’ Cool, 2017)• Akiko Tsuruga, Jeff Hamilton, Graham Dechter—
Equal Time (Capri, 2019)• Akiko Tsuruga—Beyond Nostalgia(SteepleChase, 2024)

34 September 2024 | THE NEW YORK CITY JAZZ RECORD

For more info visit monheim-triennale.de/en(MONTREAL FESTIVAL CONTINUED FROM PAGE 12)
Lucky Chemistry, an ambulant sextet tailed bya pushcart carrying four stacked amps to boost
their instruments, wended their way through thecrowds along Rue Ste-Catherine, creating a peculiar
juxtaposition of distance/proximity: even from avantage point several stories up, half a block away
(your correspondent tried it), you could still hearand see each touch of the musicians’ fingers. Other
outdoor bands included locals such as trumpeter Lex
French’s post-bop quartet on the big stage at one
end of the quad and, at the other, Dusty Brass Bandat Le Cabaret, a gazebo. Following French was U.S.
rapper Freddie Gibbs, his image blown up on megascreens so festivalgoers located anywhere in the vast
sea of spectators could track his actions. André 3000
appeared at Salle Wilfrid-Pelletier, playing musicfrom his 2023 solo debut New Blue Sun, eschewing
the surrealistic rap he’s known for to explore equallysurrealistic soundscapes, his ethereal flute wading
through electronic washes, stage lights faded so low
performers appeared as dim shadows occasionallydappled by pinpoints of laser-light. At Molson’s
outdoor biergarten, tenor saxophonist Melissa
Aldana played songs from her latest album, Echoes of
the Inner Prophet, weaving long, tangled, delicatelyshaded narratives punctuated with pregnant pauses.
Drummer Kush Abadey added apt but unexpected
commentary, and pianist Glenn Zaleski, a delicate
but decisive player, proved a perfect foil for theleader’s storylines. The final set, at Gesù, by Dutch
composer Joep Beving, was a welcome aperitif after a
day-long, full-course meal of energetic music. Sitting
alone before an open-top upright piano, he asked
for (and received) silence throughout his set, thencommenced a series of meditative tonal compositions
reminiscent of George Winston, Keith Jarrett andErik Satie, leaving listeners fully sated, ready for a
deep night’s sleep.
Monday (Jul. 1), still hot, was Canada Day, meaning
crowds were even bigger and livelier. Outside, Dusty
Brass Band was back on their beat at the gazebo, evenas Streetnix, a trad jazz band covering songs such as
Ary Barroso’s “Brazil”, worked the other end of thequad—the two simultaneous performances createdan overlapping effect something akin to Charles Ives’“Three Places in New England”. Close by on a grassyknoll, the Early Jazz Band revisited New Orleansrepertoire (plus a John Zorn cover), clarinetist JeanSébastien Leblanc and banjoist Dominic Desjardins
captivating the small standing crowd encircling
them with superb craft and showmanship. Inside,at Gesù, pianist Jason Moran delivered a masterfulsolo set of Duke Ellington’s music. Although heconfessed that “to confront Ellington is to confront
a mountain,” he nonetheless did a commendable job
channeling the maestro’s artistic ethos on lush ballads“Melancholia”, “The Single Petal of a Rose” and Billy
Strayhorn’s “Lotus Blossom”, and adding electronic
loops to “Black and Tan Fantasy”, bebopping over“Wig Wise” and even attempting James P. Johnson’snotoriously tricky “Carolina Shout” (which Ellington
memorized from watching a player piano roll) for theencore. On the quad mainstage, Chief Xian aTunde
Adjuah (formerly Christian Scott) began his set on
an electronic kora-like instrument, singing over a
shuffling 6/8 groove. At Théâtre Maisonneuve, justafter receiving the festival’s prestigious Miles DavisAward, ex-Miles electric bassist Marcus Miller
immediately changed his program to include threetunes associated with Davis: “Tutu” (Miller’s slap/
pop bass sounding like a conga), Charlie Parker’s“Au Privave” and “So What”, over which trumpeter
Russell Gunn quoted Davis’ original recorded solo
at length. The band paid tribute to David Sanbornon the late saxophonist’s “Maputo”, refocusing on
Davis with Miller’s “Mr. Pastorius” and the encore,

an up-dated, up-tempo “Tutu 2.0”. Last set of thenight was alto saxophonist Lakecia Benjamin at
the biergarten. Decked out in a gold lamé wingshouldered bodysuit recalling David Bowie’s Ziggy
Stardust, the acknowledged fashionista stalked thestage with barely containable energy, even breaking
her eyeglasses in her enthusiasm, none of which
distracted from her canny, emotive improvisations
on Patrice Rushen’s “Jubilation” and a hyped-up
cover of “My Favorite Things”.
Not surprisingly, Montréal seems to be a favorite
for both audiences and artists, since the performers
get as much from fans as fans do from them.
For more info visit montrealjazzfest.com/en(CARAMOOR FESTIVAL CONTINUED FROM PAGE 12)
specifically written for harp. Overton plucked the
instrument with vigor, but pulled back at other times,
emitting lush pads and deft chordal maneuvering.
Each tune had delicious reharmonizations, with“How High The Moon” taking on a vampish
character, reminiscent of Radiohead’s “Everythingin Its Right Place”. Happening simultaneously wasa set led by drummer Herlin Riley, who brought
his familiar joyous spirit and unyielding intensity.
He was, as he always seems to be, having a whaleof a time on stage, at times letting drum sticks fly
across the stage and pulling another seemingly
out of thin air. Inner-mounting vamps broke into
ferocious swing. A rendition of “You Don’t Know
What Love Is” featured a hefty backbeat, brooding
and bluesy, while retaining the yearning identity of
the composition. The group went over their allotted
time, but a loving audience demanded even more,leading to an encore that took listeners on a quick
trip to New Orleans, injecting the spirit of Mardi
Gras into the festival, with everyone up on theirfeet.
Accordionist Vitor Gonçalves’ duo with drummer
Rogerio Boccato was up next (at the Sunken Garden).
Even in this pared-down format, the accordion’s
capacity for dexterous bass lines, intricate melodies
and bellowing midrange harmonies gave the music
the fullness of an ensemble. Highly syncopated, thetwosome skewered satisfying Latin rhythms witha delicate buoyancy. Canadian trumpeter Rachel
Therrien’s Latin Jazz Project (at the Friends Field) was
the last performance before the evening headliner,and she offered fierce playing and relentless AfroCuban beats, building up the layers of rhythm andharmony with transparency and allowing a window
into the music’s construction.
Festival headliner Matthew Whitaker’s concert(at the Venetian Theater) was a sold-out affair. A
pass-the-mic series of spoken introductions were
made, featuring members of Jazz at Lincoln Center,
who helped curate the day’s lineup. Then Whitaker’sband emerged: guitar, bass, drums, congas andWhitaker center stage with piano and organ at his
fingertips. What followed, though, was a Sisypheanstruggle for the bandleader. The first red flag camewhen the drummer enclosed himself inside a plastic
booth and donned headphones. Overall the mix was
egregiously off. The leader’s piano and organ often
could not be heard through the set’s first three songs;
noticeably he repeatedly pled with the engineers
to give him more sound, which he did so less andless politely as he, the band and audience members’
patience grew thin. On top of this problem, the bass
was feeding back, unadjusted for almost the entire
set, getting in the way of Liany Mateo’s tasteful
upright playing. Eventually sound problems werelargely adjusted and, in an arrangement of “Blue
Rondo à la Turk”, the audience finally got to hear
what they had paid for and came to hear. Still, there

was a mismatch between Whitaker’s jazz fluidity anddrummer Johnny Steele’s wooden playing, bereft ofany subtlety or lightness of touch. The builds felt
jerky and the endings sometimes petered out. The set
continued with various instrumental configurations,from an organ trio with guitar and drums, to piano
trio with bass and drums, but most notable was
Whitaker’s solo piano, during which listeners could
comfortably get inside his musical mind. The pianist
played a moving version of “What a Wonderful
World” where his youthful pianistic ideas were
unencumbered, even though the music felt stunted
by an effort to make it (even) more commercial. It
was on his powerful tune, “Stop Fighting”, that
Whitaker produced moments of magic, allowing
himself to stretch out. And attendees got a good doseof the young player’s voice and stage personality,
which was, as expected and as usual, vivacious andplayful.
For festival goers who attended the whole sunsoaked day, any eyebrow-raising about the headline
performance was most probably overshadowed by
the day’s overall talent and music accompanying
midsummer relaxation.
For more info visit caramoor.org(LABEL SPOTLIGHT CONTINUED FROM PAGE 11)each other and, over time, are showing this is someof the cutting-edge music that’s happening today in
Brooklyn by people who were born in the ’90s. Thatgives every release a bit of a head start.”
For the upcoming two-night Endectomorph Music
Festival (Sep. 6-7), the first night presents the groupsof three pianists: Golub, Steve Long and Hyoung
Lyou (the latter two release albums in November).
The second night features drummer Jake Richter andsaxophonist Shulman along with Mute, a cooperative
group of Asian-American jazz musicians that includes
Sun on C-melody saxophone and clarinet. The label
showcase will provide another forum that doesn’tcome easily to up-and-coming players: the chance
to play at an established space like The Jazz Gallery.
Sun, who will be returning from a trip to Spain justhours before Mute’s set, says the festival is something
he’s wanted to do for a couple years. “Obviously,
recording is great. Being able to document your art—
it’s a luxury. It’s a privilege,” he says. “But at the endof the day, we want to play for people, and let people
experience the music.”
For more info visit endectomorph.com. Endectomorph
Music Festival is at The Jazz Gallery Sep. 6-7. Kevin Sun
is also at Lowlands Sep. 17. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2024 35

CALENDAR

ê = Recommended Shows

Sunday, September 1• ELEW Trio with Bar Filipowicz, David Hawkins; Mike Boone Quartet• Creole Cookin’ Jazz Band; New York Gremmies with Noé Socha

Arthur’s Tavern 7, 10 pm• Marc Ribot Quartet with Mary Halvorson, Hilliard Greene, Chad Taylor
Bar LunÀtico 9, 10:30 pm $10• Yardbird Big Band with David DeJesus; Afro Latin Jazz Orchestra
Birdland 5:30, 8:30, 10:30 pm $30-40• David DeJesus Boptet’s Charlie Parker Birthday Celebration with
Brandon Lee, Donald Vega, Ricky Rodriguez, Chris Smith
Birdland Theater 9:30 pm $25-35
êDizzy Gillespie All-Star Big Band with John Lee, Roberta Gambarini,
Cyrus Chestnut, Vince Ector, Mark Gross, Steve Wilson, Don Braden,
Tim Ries, Gary Smulyan, Frank Greene, Greg Gisbert, Freddie Hendrix,
Diego Urcola, Jason Jackson, Steve Davis, Ron Wilkins, Jeff Nelson
Blue Note 8, 10:30 pm $30-45
Bronx Burger House 6 pm
• Tamuz Nissim
Cellar Dog 7, 8:30 pm $5• Saul Rubin Trioê“Kenny Dorham Centennial Celebration” with Bruce Harris,
Joe Magnarelli, Tim Hagans, Brandon Lee, Jeb Patton, David Wong,
Joe Farnsworth
Dizzy’s Club 5, 7:30 pm $25-40
êThe EarRegulars with Jon-Erik Kellso, Matt Munisteri, et al.
The Ear Inn 8 pm
• Welf Dorr, Taulant Mehmeti, Dmitry Ishenko, Dave Miller
The Keep 9 pmêMarianne Solivan Quartet with Brandon McCune, Pablo Menares, Jay
Sawyer; Jamile Polite Jam Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Kirk Bailey’s Next Level Band Minton’s 7, 9 pm $25
North Square Lounge 12:30, 2 pm
• Elaine Amherd Trio
• Jazz Brunch with Boncellia Lewis Patrick’s Place 12 pm
Rebar Chelsea 5 pm
• Richard Cortez
Room 623 at B2 Harlem 8, 10 pm $20• Mimi Jones and Jam• Chris van Voorst van Beest Saint Peter’s Church 5 pm
Shrine 8 pm
• Shrine Big Band• Philip Harper Quintet; Giuseppe Cucchiara Quartet with Ben Solomon,
Chris McCarthy, Adam Arruda Smalls 6, 7:30, 9, 10:30 pm $35
êBrad Mehldau/Felix Moselholm Smoke 7, 9 pm $40-65• George Gee Swing Orchestra Swing 46 9 pm $20
êJoe Lovano/Dave Douglas Soundprints with Lawrence Fields, Yasushi
Nakamura, Rudy Royston Village Vanguard 8, 10 pm $40

with Lars Haake, Kevin Clark, Rob Henderson
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,John Riley
Village Vanguard 8, 10 pm $40

Tuesday, September 3êBruce Barth, Ugonna Okegwo, Diego Voglino and Jam

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Lau Noah
• 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
êCatherine Russell with Matt Munisteri, Tal Ronen, Ben Paterson,
Mark McLean
Birdland 7, 9:30 pm $40-50êChampian Fulton/Jeremy Pelt Birdland Theater 5:30 $25-35
êShabaka with Charles Overton, Austin Williamson, Kalia VendeverBlue Note 8, 10:30 pm $30-45
Bryant Park 12:30 pm• Armen Donelian
Cellar Dog 7, 8:30 pm $5• Brazilian Grooves• Benny Benack III with Jabu Graybeal, Jarien Jamanila, Miki Yamanaka,
Russell Hall, Joe Peri
Dizzy’s Club 7, 9pm $20-50• Carlos Abadie Latin Quartet; Edsel Gomez Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
êTim Berne with Greg Belisle-Chi, Tom Rainey
Lowlands 8, 9:30 pm $10• Zach Brock Quartet with David Kikoski, Pablo Menares, Mark Whitfield
Jr; Ian Macdonald Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êJack Wright with Zach Darrup, Evan Lipson, Ben Bennett
The Record Shop 7:30 pm
Silvana 7 pm
• Brian Kastan• Sam Weinberg Trio with Laura Cocks, Parker Menzimer
Sisters 8 pmêSteve Nelson Quartet with Kiyoshi Kitagawa, Rick Germanson, Charles
Goold; Jason Clotter Quintet Smalls 7:30, 9, 10:30 pm, 12 am $35
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Wednesday, September 4

Monday, September 2
Arthur’s Tavern 7 pm
• Grove Street Stompers• Musics with Ilusha Tsinadze, Gocha Tsinadze, Chris Tordini,

Jason Nazary
Barbès 7 pm $20
Birdland 7 pm $30-40• Nicole Zuraitis• Vince Giordano and the Nighthawks
Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $25-35• Pedrito Martinez
Bryant Park 12:30 pm• Armen Donelian
Cellar Dog 7, 8:30 pm $5• Brandi Disterheft Trio
• “Salsa Meets Jazz”: Carlos Henriquez and Bobby Allende with Michael
Rodriguez, Nathaniel Williford, Anthony Hervey, Nate Jones,
Adan Perez, Marcos Lopez, Facundo Colman, Jeremy Bosch,Joseph Gonzalez
Dizzy’s Club 7, 9pm $20-55• Ricardo Grilli Quartet; Sean Hong Wei Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Spike Wilner Trio; Pasquale Grasso Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êMisha Tsiganov
Russian Vodka Room 7 pmêYuichi Hirakawa Jazz Group; Michael Shekwoaga Ode Quartet

Arthur’s Tavern 3, 10 pmêJohn Hebert Quartet with Chris Potter Bar Bayeux 8, 9:30 pm• Andy Statman Trio with Larry Eagle, Jim Whitney; Mamady Kouyate

Thursday, September 5êJr. Mack/Noé Socha; Terry Waldo’s Gotham City Band

Arthur’s Tavern 7, 10 pm• George Gee Swing Orchestra Astoria Park 6 pm
• Isaac Wilson/Owen Howard with Adam Kolker, Jeremy Stratton
Bar Bayeux 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• KOLUMBO• Eszter Balint with David Nagler, Marlon Cherry Barbès 8 pm $20

êCatherine Russell with Matt Munisteri, Tal Ronen, Ben Paterson,

Mark McLean

Presents Gene Pritsker’s Sound Liberation with Lara St. John, Machiko
Ozawa, David Banks, Franz Hackl, Todd Rewoldt, Amanda Ruzza,
David Cossin, Lesi Mei, Imelda O’Reilly, Erik T. Johnson, Robert C.
Ford, John Pietaro
Birdland Theater 5:30, 8:30 pm $20-40êShabaka with Brandee Younger, Austin Williamson, Kalia VendeverBlue Note 8, 10:30 pm $30-45êDaryl Sherman
Bryant Park 12:30 pm• James Austin Quartet; Steve Ash Quartet Cellar Dog 7, 8:30, 11 pm $5• Gaia Wilmer & Jaques Morelenbaum “The Music of Caetano Veloso”
with Maiara Moraes, Yulia Musayelyan, Oran Etkin, Josué dos Santos,
Vinicius Gomes, Vitor Gonçalves, Eduardo Belo, Eduardo Ribeiro,
Jaques Morelenbaum, Magos Herrera Dizzy’s Club 7, 9pm $20-50êJoe Farnsworth Quartet; Rick Germanson Trio
The Django 7:30, 9, 10:30 pm, 12 am $25
êGeorge Gee Swing Orchestra Flushing Town Hall 6 pm
• Stan Zenkov with Ayumi Ishito, Evan Crane, Michael Gilbert,
Dan Kurfirst
Grimm Ales 8 pm
• C. Anthony Bryant & THEY Jazz In Times Square 5 pm
• Jonathan Thomas, Liany Mateo, TJ Reddick; Stefan Vasnier Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Tomohiro Mori Quartet
Room 623 at B2 Harlem 8, 10 pm $20• Juanga LakunzaêJeff “Tain” Watts Trio with Rikart Andersen, Karlo VinterShapeShifter Lab 7 pm $25
Sheen Center 7 pm $44-64• Lucy Woodward
Silvana 8, 10 pm• Cheryl; Nate Hook
• Sam Dillon Quartet with David Hazeltine, Alexander Claffy, Adam Arruda;
Julieta Eugenio Trio
Smalls 7:30, 9, 10:30 pm, 12 am $35
êDave Holland New Quartet with Jaleel Shaw, Kris Davis, Nasheet Waits
Smoke 7, 9 pm $25-55• Ches Smith/Trey Spruance The Stone at The New School 8:30 pm $20• Stan Rubin with Joe Politi Swing 46 9 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Friday, September 6

and his Mandingo Ambassadors Barbès 8, 10 pm $20

êCatherine Russell with Matt Munisteri, Tal Ronen, Ben Paterson,

Mark McLean

Birdland 7, 9:30 pm $40-50êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s

Guitar Night with Olli Soikkeli Birdland Theater 5:30, 8:30 pm $25-35

êShabaka with Charles Overton, Austin Williamson, Kalia VendeverBlue Note 8, 10:30 pm $30-45

Bryant Park 12:30 pm• Armen Donelian• ”Wednesday Night Jazz” Café Erzulie 7 pm
Cellar Dog 7, 8:30 pm $5• Vanderlei Pereira Trio
• Benny Benack III with Jabu Graybeal, Jarien Jamanila, Miki Yamanaka,
Russell Hall, Joe Peri

Dizzy’s Club 7, 9pm $20-50êChampian Fulton Trio; Wilfie Williams Trio

The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 7:30, 9:30 pm $35• Verena McBee Trio with Mark Capon, Connor Sondergeld Flute 7 pm
• Jay Leonhart Trio; Raphael D’Lugoff Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 8 pm $25• Striver’s Row All-StarsêPatricia Brennan Septet with Jon Irabagon, Mark Shim, Adam O’Farrill,
Marcus Gilmore, Mauricio Herrera, Kim Cass
Nublu 151 7 pm $22.66
êMichael Sarian Quartet
Open Source Gallery 7 pm
• Jim Campilongo 4Tet with Luca Benedetti, Dan Rieser, Andy Hess
Rockwood Music Hall 8 pm
• Harlem Jazz Session with Peter Brainin
Room 623 at B2 Harlem 8, 10 pm $20• Nashaz with Brian Prunka, Kenny Warren, Matt Darriau, John Murchison,
Chris Stromquist, Alber Baseel ShapeShifter Lab 7 pm $25
Shrine 8 pm
• Ariana Sowa
• Dan Wilkins Quartet with Jon Ballantyne, Adrian Moring, Bill Goodwin;
Aaron Seeber Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êDave Holland New Quartet with Jaleel Shaw, Kris Davis, Nasheet Waits
Smoke 7, 9 pm $25-55
The Stone at The New School 8:30 pm $20• Trey Spruance
Swing 46 5:30 pm $15• Kevin Blancq Big BandêBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band Zinc Bar 7, 8:30 pm $35
êMingus Big Band

36 September 2024 | THE NEW YORK CITY JAZZ RECORD

Birdland 7, 9:30 pm $40-50êHigh Society New Orleans Jazz Band; Composers Concordance• Denton Darien

449 La Scat in Harlem 8 pm
Albert’s Bar 3 pm
• Svetlana & The New York Collective; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pmêPeter Watrous; Marc Copland Trio with Sean Conly, Colin Stranahan
Bar Bayeux 5, 8, 9:30 pm• 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
êBirdland Big Band; Catherine Russell with Matt Munisteri, Tal Ronen,
Ben Paterson, Mark McLean Birdland 5:30, 8:30, 10:30 pm $40-50êGeoffrey Keezer Trio with John Patitucci, Clarence Penn
Birdland Theater 7, 9:30 pm $25-35
êShabaka with Brandee Younger, Austin Williamson, Kalia VendeverBlue Note 8, 10:30 pm $30-45
Bryant Park 12:30 pm• Armen Donelian• Cellar Dog All Stars; Ai Murakami Quartet Cellar Dog 7, 8:30, 11 pm $10• Gaia Wilmer & Jaques Morelenbaum “The Music of Caetano Veloso”
with Maiara Moraes, Yulia Musayelyan, Oran Etkin, Josué dos Santos,
Vinicius Gomes, Vitor Gonçalves, Eduardo Belo, Eduardo Ribeiro,
Jaques Morelenbaum, Magos Herrera Dizzy’s Club 7, 9pm $20-50êEric Person Quartet; Joe Strasser Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Charlie Apicella & Iron City Il Porto 7 pmêEndectomorph Music Festival: Kevin Sun, Dana Saul, Walter Stinson,
Matt Honor; Hayoung Lyou, Thomas Morgan, Steven Crammer;
Phillip Golub, Alec Goldfarb, Daniel Hass, Sam Minaie,
Adriano Vincentino
The Jazz Gallery 7:30 pm $25-35• Eden Ladin, Massimo Biolcati, Kush Abadey; Jordan Williams Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Ku d’état with Kakuyon Shakur, Zacchae’us Paul, Gary Jones III,
Nolan Nwachukwu
Minton’s 7, 9 pm $25
êCraig Harris
Mount Morris Ascension Presbyterian Church 7 pm $25• Pat Bartley JR with Nir Felder, Brad Miller Nublu 151 10 pm $22.66• Gregg Belisle-Chi; Katy Pinke The Owl Music Parlor 8 pm $15• Patience Higgins Jazz Jam Patrick’s Place 8 pmêEric Person Organ Trio• Shayna Dulberger/Lucia Stavros, Ana González/Isabel Crespo Pardo,

Eli Wallace/Joe Moffett/Michael Foster Prospect Series 8 pm
Room 623 at B2 Harlem 8, 10 pm $20• Johnny O’NealêAaron Irwin
Silvana 7 pmêDavid Kikoski Quartet with Randy Brecker, Billy Hart, Joe Martin;
Emilio Solla y La Inestable de Brooklyn with Alejandro Aviles,
Tim Armacost, John Bailey, Mike Fahie, Sara Caswell, Rodolfo Zanetti,
Edward Perez, Rogerio Boccato; “Round About Midnight Jam” with
Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm $40
êDave Holland New Quartet with Jaleel Shaw, Kris Davis, Nasheet Waits
Smoke 7, 9, 10:30 pm $25-55• Ches Smith, Matt Hollenberg, Shahzad Ismaily, Trey Spruance
The Stone at The New School 8:30 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Saturday, September 7
449 La Scat in Harlem 8 pm
• Denton Darien• Seydurah & Her Avecmoi Band of Blues; Strange Majik
Arthur’s Tavern 7, 10 pmêAdam Kolker; Marc Copland Trio with Sean Conly, Colin Stranahan

Bar Bayeux 6, 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Jim Campilongo 4Tet
• FALSA with Umer Piracha, Roshni Samlal, Siddharth Ashokkumar,
Tom Deis, Paul Arendt

Barbès 8 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30

êPasquale Grasso Trio; Catherine Russell with Matt Munisteri,Tal Ronen, Ben Paterson, Mark McLean
Birdland 5:30, 8:30, 10:30 pm $20-50êGeoffrey Keezer Trio with John Patitucci, Clarence Penn
Birdland Theater 7, 9:30 pm $25-35
êShabaka with George Burton, Austin Williamson, Kalia VendeverBlue Note 8, 10:30 pm $25-45
êDaryl Sherman
Bryant Park 12:30 pm• Brandon Lee Quintet; Matt Martinez Quartet
Cellar Dog 7, 8:30, 11 pm $10êArts For Art InGardens presents: Dick Griffin 4tet; Tcheser Holmes,
gabby fluke-mogul, Mara Rosenbloom; Alfredo Colon Quartet with
Ryan Easter, Rafael Encisco, Connor Parkes
Children’s Magical Garden de Carmen Rubio 1:30 pm• Gaia Wilmer & Jaques Morelenbaum “The Music of Caetano Veloso”
with Maiara Moraes, Yulia Musayelyan, Oran Etkin, Josué dos Santos,
Vinicius Gomes, Vitor Gonçalves, Eduardo Belo, Eduardo Ribeiro,
Jaques Morelenbaum, Magos Herrera Dizzy’s Club 7, 9pm $20-50êErena Terakubo Sextet; Nick Hempton BandThe Django 7:30, 9, 10:30 pm, 12 am $25• Charlie Apicella & Iron City Il Porto 7 pmêEndectomorph Music Festival: Jake Richter, Neta Raanan,
Brandon Choi, Dabin Ryu, Walter Stinson; Kevin Sun, Christian Li,
Jeonglim Yang, Steven Crammer; Jacob Shulman, Jasper Dutz,
Ben Rosenblum, Phillip Golub, Adam Olszewski, Eliza SalemThe Jazz Gallery 7:30 pm $25-35• Eden Ladin, Massimo Biolcati, Kush Abadey; Jesse Green, Gene Perla,
Willie Bowman
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êMac Gollehon & the Hispanic Mechanics Minton’s 7, 9 pm $25
Queens Museum of Art 3 pm
• Wajdi CherifêRay Anderson solo; Joseph Foglia; Confluencia Cuarteto
Silvana 7, 8, 10 pmêDavid Kikoski Quartet with Randy Brecker, Billy Hart, Joe Martin;
Wayne Tucker Sextet with Miles Tucker, David Linard, Addison Frei,
Tamir Shmerling, Cory Cox; “Round About Midnight Jam” with
Greg Glassman
Smalls 6, 7:30, 9, 10:30 pm $40
êDave Holland New Quartet with Jaleel Shaw, Kris Davis, Nasheet Waits
Smoke 7, 9, 10:30 pm $25-55• Kodak Quartet with Edgar Donati, Martin Noh, Daniel Spink,
Blake Kitayama
The Stone at The New School 8:30 pm $20
êSugar Hill Music Festival: Allan Harris, et al.
Sugar Hill Luminaries Lawn 4 pmêBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40
êApril Varner
Winnie’s 7:30 pmêJeb Patton Trio
Cellar Dog 7, 8:30 pm $5
ê Arts For Art InGardens presents: Sam Newsome Trio with

Brandon Lopez, Nick Neuburg; Ahmed Abdullah/Monique Ngozi Nri;
Knife & Rose with Patricia Nicholson, Ellen Christi, TA Thompson
Children’s Magical Garden de Carmen Rubio 2:30 pm• Gaia Wilmer & Jaques Morelenbaum “The Music of Caetano Veloso”
with Maiara Moraes, Yulia Musayelyan, Oran Etkin, Josué dos Santos,
Vinicius Gomes, Vitor Gonçalves, Eduardo Belo, Eduardo Ribeiro,
Jaques Morelenbaum, Magos Herrera Dizzy’s Club 5, 7:30 pm $20-50• Jed Levy Quartet; Michael Kanan Trio
The Django 6:30, 8, 9:30, 11 pm $25• Eric Vloeimans, Will Holshouser, Kinan Azmeh Drom 7 pm $20
êStanley Jordan
Iridium 8:30 pm $45-55
êDonny McCaslin; As For the Future Joe’s Pub 6, 8:30 pm $35• Welf Dorr, Bobby Spellman, Dmitry Ishenko, Dalius Naujo
The Keep 9 pm
• Shabnam Abedi/Joe Block; Naama Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Benny Benack III Quartet Minton’s 7, 9 pm $25
êRoz Corral Tribute with Roni Ben-Hur, Sheila Jordan, Melissa Stylianou,
Beat Kaestli, Kate Baker, Erli Perez, Ben Cassara,
Marianne Solivan
North Square Lounge 12:30, 2 pm
• Kenny Warren, Carlo Costa The Owl Music Parlor 8 pm $15• Boncellia Lewis Jazz Brunch Patrick’s Place 12 pm• Lou Grassi, Kenny Wessel, Ken Filiano Pisticci 6 pm
Rebar Chelsea 5 pm
• Richard Cortez• KBD; Tom Hamilton; Lyle Rivera/Dennis Sullivan; Ingrid Jacobsen
The Record Shop 7:30 pm
Room 623 at B2 Harlem 8, 10 pm $20• Mimi Jones and JamSaint Peter’s Church 5 pm
• Sabeth Pérez Trio
• U.S. Army Jazz Ambassadors Plus with Dayna Stephens,
Jonathan Epley, Todd Harrison, Joshua Davis
ShapeShifter Lab 7 pm $25
Shrine 9 pm
• Gigi-Jolie
Silvana 10 pm• John Colonna• Grant Stewart Quartet with Tardo Hammer, Paul Sikivie, Phil Stewart;
Jerry Weldon Quartet; “Round About Midnight Jam” with
Aaron Johnson
Smalls 6, 7:30, 9, 10:30 pm $35
êDave Holland New Quartet with Jaleel Shaw, Kris Davis, Nasheet Waits
Smoke 7, 9 pm $25-55• George Gee Swing Orchestra Swing 46 9 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Monday, September 9
Arthur’s Tavern 7 pm
• Grove Street Stompers
Bar LunÀtico 9, 10:30 pm $10• Bob Lanzetti
Birdland 7 pm $30• Bryce Edwards• Vince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $20-40
Bryant Park 12:30 pm
Cellar Dog 7, 8:30 pm $5êCharenée Wade
Dizzy’s Club 7, 9pm $20-50• Benny Benack III Quartet The Django 10:30 pm, 12 am $25
êStanley Jordan
Iridium 8:30 pm $45-55
êAlan Broadbent/Harvie S; Ed Cherry Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êMatt Pavolka Band with Ben Monder, Santiago Leibson, Allan Mednard
Nublu 151 7 pm $22.66
êMisha Tsiganov
Russian Vodka Room 7 pm
Shrine 10 pm• Villagers Brass BandêJoe Farnsworth Quintet with Georgia Heers, Sarah Hanahan, Luques
Curtis; Miki Yamanaka 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,John Riley
Village Vanguard 8, 10 pm $40• Luiz Simas• Will Terrill Trio

Tuesday, September 10

Sunday, September 8• Ambler with Brad Shepik, Bob Lanzetti, Ben Monder, Diego Voglino• Dariada David Jazz Brunch; “Jazz Jam” 449 La Scat in Harlem 1, 4 pm
• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pm
• Wayne Tucker & The Bad Mothers Bar LunÀtico 9, 10:30 pm $10• Akiko Pavolka Band with Olli Hirvonen, Matt Pavolka, Bill Campbell• Edu Ribeiro Trio with Seamus Blake Bar LunÀtico 9, 10:30 pm $10• Slavic Soul Party with John Carlson, Kenny Warren, Peter Hess,

Barbès 6 pm $20• Quintin Harris Quintet; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $25-40

êGeoffrey Keezer Trio with John Patitucci, Clarence Penn

Birdland Theater 7, 9:30 pm $25-35

êShabaka with George Burton, Austin Williamson, Kalia Vendever• Tamuz NissimêDaryl Sherman

Blue Note 8, 10:30 pm $30-45
Bronx Burger House 6 pm
Bryant Park 12:30 pm

and JamBar Bayeux 8, 9:30 pm

Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 9 pm $20
êEliane Elias
Birdland 7, 9:30 pm $35-45• Eric Comstock/Barbara Fasano; Bill Mays Trio with Dean Johnson,
Ron Vincent
Birdland Theater 5:30, 8:30 pm $20-35êBéla Fleck, Edmar Castañeda, Antonio Sanchez Trio
Blue Note 8, 10:30 pm $50-65
êLuiz Simas
Bryant Park 12:30 pm
Cellar Dog 7, 8:30 pm $5• Noriko Ueda Trio
• Tobias Meinhart Group with Ingrid Jensen, Charles Altura, Eden Ladin,
Matt Penman, Obed Calvaire Dizzy’s Club 7, 9pm $20-50

THE NEW YORK CITY JAZZ RECORD | September 2024 37

• Hector Martignon’s Foreign Affair; Jamile

The Django 7:30, 9, 10:30 pm, 12 am $25• Adam O’Farrill ELEPHANT with Yvonne Rogers, Walter Stinson,
Russell Holzman
The Jazz Gallery 7:30, 9:30 pm $25-35
Klavierhaus 7, 8:30 pm $30• Jim Ridl
Le Poisson Rouge 7:30 pm $25-30• Veronica Swift• Henry Hey, Hamish Smith, Jochen Rueckert; Michael Kanan,
Greg Ruggiero, Neal Miner Mezzrow 7:30, 9, 10:30 pm, 12 am $35
The Record Shop 7:30 pm• Oli Show
• Klazz-Ma-Tazz with Ben Sutin, Elijah Shiffer, Sam Harmet,
Ben Rosenblum, Ben Rolston, Ben Zweig; Robber Crabs
ShapeShifter Lab 7 pm $25
Shrine 8 pm
• Jon Menges Quartet• The Jazz Duo; Elle Gonzales Silvana 7, 8 pm
• Robert Edwards Quintet; Benny Benack Quintet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Wednesday, September 11• Tomohiro Mori; Moses Patrou Arthur’s Tavern 7, 10 pmêIngrid Laubrock’s Grammy Season with Brandon Seabrook,

Shawn Lovato, Tom Rainey Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Erik Deutsch Band
• Mamady Kouyate and his Mandingo Ambassadors Barbès 10 pm $20
êEliane Elias
Birdland 7, 9:30 pm $35-45
êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s
Guitar Night with Vinny Raniolo, Olli Soikkeli
Birdland Theater 5:30, 8:30 pm $25-35
êBéla Fleck, Edmar Castañeda, Antonio Sanchez Trio
Blue Note 8, 10:30 pm $50-65
êLuiz Simas
Bryant Park 12:30 pm• “Wednesday Night Jazz” Café Erzulie 7 pm
• Jon De Lucia Trio with Michael Kanan Café Ornithology 7 pm
Cellar Dog 7, 8:30 pm $5• Ehud Asherie QuartetêKevin Hays’ 7th Sense Band with Brian Blade, Seamus Blake,
Steve Nelson, Doug Weiss Dizzy’s Club 7, 9pm $20-50
The Django 7:30, 9, 10:30 pm, 12 am $25• Boyce Griffith QuartetêMingus Big Band
Drom 7:30, 9:30 pm $35• “Louis Armstrong Legacy Monthly Jazz Jam” Flushing Town Hall 7 pm
• Festival of New Trumpet Music: Armo plus Julie Acosta, Grace Fox,
Jordan McLean, Lessie Vonner Fotografiska 7 pm $40• Jazz Foundation All-Stars Hudson River Park 12 pm• Samba de Gringo; John Merrill Quartet Cellar Dog 7, 8:30, 11 pm $10
The Cutting Room 7:30 pm $30• Monika RyanêMatt Wilson’s Good Trouble with Tia Fuller, Dawn Clement,

Jeff Lederer, Ben Allison

Dizzy’s Club 7, 9pm $25-50

Joe Martin, Otis Brown III

The Django 7:30, 9, 10:30 pm, 12 am $25

êJazzmobile presents: Akiko Tsuruga Quartet with Joe Magnarelli,êTommy Campbell Trio; Jerome Sabbagh Quartet with Lawrence Fields,• Nitzan Gavrieli, Edward Perez, Eviatar Slivnik; Ray Gallon Trio

• David Haney’s New York Jazz Stories with Joe Lovano, Judi Silvano

Minton’s 8 pm $25• Striver’s Row All-Stars• Peter Brainin Harlem Jazz Session Room 623 at B2 Harlem 8, 10 pm $20
Shrine 7 pm
• Gil Schwartz
Silvana 7 pm
• Audrey Silver

Greenwich House Music School 7 pm $20• Ben Kono Group• Charlie Apicella & Iron City Il Porto 7 pm

Myron Walden, Byron Landham Interchurch Center 7 pm

Mezzrow 7:30, 9, 10:30 pm, 12 am $35

êAllen Lowe and the Constant Sorrow Orchestra with Aaron Johnson,

Ray Suhy, Lewis Porter, Will Goble, Ethan Kogan; Saul Rubin Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êJazzmeia Horn
Smoke 7, 9 pm $25-55
êCraig Taborn
The Stone at The New School 8:30 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Thursday, September 12êDanny Lipsitz & His Brass Tacks; Terry Waldo’s Gotham City Band

Arthur’s Tavern 7, 10 pmêScott Wendholt/Adam Cruz with Adam Kolker and Jeremy Stratton

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10
Barbès 10 pm $20
êEliane Elias
Birdland 7, 9:30 pm $35-45• Cyrille Aimée/Mathis Picard Birdland Theater 5:30, 8:30 pm $30-40êBéla Fleck, Edmar Castañeda, Antonio Sanchez Trio
Blue Note 8, 10:30 pm $50-65
êLuiz Simas
Bryant Park 12:30 pmêEddie Palmieri
Bryant Park 7 pm
Café Erzulie 7 pm
• “Jazz Night”
êGreg Glassman Quartet; Miki Yamanaka Quartet
Cellar Dog 7, 8:30, 11 pm $5• Julian Smith, Hamir Atwal, Mitch Marcus Dada Bar 8 pm
• Kevin Hays’ 7th Sense Band with Brian Blade, Seamus Blake,
Steve Nelson, Doug Weiss Dizzy’s Club 7, 9pm $20-50• Marcin Wasilewski Trio with Slawomir Kurkiewicz, Michal Miskiewicz
Drom 7 pm $30
Iridium 8:30 pm $35-45• Lao Tizer Band
• Roy Hargrove Big Band The Jazz Gallery 7:30, 9:30 pm $40-50êThe Headhunters with Donald Harrison, Kyle Roussel, Chris Severin,Bill Summers, Mike Clark Jazz In Times Square 5 pmêJack Walrath
Jazz Museum in Harlem 2 pm
Joe’s Pub 9:30 pm $25• Michael MayoêFestival of New Trumpet Music: Bruce Harris “Celebrates Jon Faddis”
Louis Armstrong House Museum 6 pm $25• Allan Mednard, Carmen Quill, Santiago Leibson; Hank Allen-Barfield Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Charles Goold Quartet• Sophie Dunér & Steve Beck “Tierkreis by Karlheinz Stockhausen”
Nublu 151 7:30, 9 pm $22.66
Room 623 at B2 Harlem 8, 10 pm $20• Jonathan MichelêLuke Stewart’s Silt Trio with Brian Settles, Trae Crudup, Tomas Fujiwara,
Jonathan Finlayson; No Land+Daniel Carter Roulette 8 pm $25
Silvana 7 pm
• Lindsey HollowayêRyan Keberle Octet with Alex Norris, Patrick Cornelius, Diego Rivera,
Michael Dease, Art Hirahara, Boris Kozlov, Rudy Royston;David Gibson Quartet with Cameron Campbell, Joseph Lepore,
Jay Sawyer
Smalls 7:30, 9, 10:30 pm, 12 am $35
êJazzmeia Horn
Smoke 7, 9 pm $25-55
êMatt Mitchell, Craig Taborn, Dan Weiss, Tim Angulo
The Stone at The New School 8:30 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40• Yacouba Sissoko & SIYA
• Solange Prat & Tipa Tipo

Friday, September 13• Denton Darien

449 La Scat in Harlem 8 pmêEric Person Organ Trio
Albert’s Bar 3 pmêGregory “Organ Monk” Lewis Trio; Bobby Harden with Off Da Hook

Arthur’s Tavern 7, 10 pm• Peter Watrous; Jonathan Michel Bar Bayeux 5, 8, 9:30 pm• Cosmo with Jesse Harris, Kenny Wollesen, Jeremy Gustin, Will Graefe,
James Buckley

Bar LunÀtico 9, 10:30 pm $10• HABBINA HABBINA with Amit Peled, Ran Livneh, Dani Danor
Barbès 8 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30

êBirdland Big Band; Eliane Elias Birdland 5:30, 8:30, 10:30 pm $30-45• Cyrille Aimée/Mathis Picard Birdland Theater 7, 9:30 pm $30-40êBéla Fleck, Edmar Castañeda, Antonio Sanchez Trio

Blue Note 8, 10:30 pm $50-65
êLuiz Simas
Bryant Park 12:30 pmêArturo O’Farrill and the Afro Latin Jazz Orchestra with Steven Bernstein
Bryant Park 7 pm

38 September 2024 | THE NEW YORK CITY JAZZ RECORD

Drom 7 pm $30

êFestival of New Trumpet Music: Dave Douglas Alloy with

Alexandra Ridout, David Adewumi, Patricia Brennan, Kate Pass,
Rudy Royston
The Jazz Gallery 7:30, 9:30 pm $35-45• Glenn Zaleski, Dezron Douglas, Adam Arruda; Caelan Cardello Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Brandon x Ku Soul Sessions Minton’s 7, 9 pm $25
êMarty Ehrlich
Mount Morris Ascension Presbyterian Church 7 pm $25• Tangie Mitchell, Chase Elodia, Kayla Williams
The Owl Music Parlor 8 pm $15• Patience Higgins Jazz Jam Patrick’s Place 8 pmêKaisa Maensivu
Room 623 at B2 Harlem 8, 10 pm $20
Shrine 8 pm
• Steven Blane Trio
Silvana 9 pm
• AlgonzoêWinard Harper Quartet; Santi Debriano’s Arkestra Bembe;“Round About Midnight Jam” with Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm $40
êJazzmeia Horn
Smoke 7, 9, 10:30 pm $25-55
Soapbox Gallery 8 pm $25• Hikarin YukarinêCraig Taborn, Tomeka Reid, Ches Smith
The Stone at The New School 8:30 pm $20
ê”The Man with the Golden Horn”: Arturo O’Farrill Afro Latin Jazz
Orchestra with Steven Bernstein Town Hall 7 pmêBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Saturday, September 14
449 La Scat in Harlem 8 pm
• Denton Darien• Axel Tosca; Mireya Ramos Arthur’s Tavern 7, 10 pmêAdam Kolker; Ray Anderson with Mark Helias, Tommy Campbell

Bar Bayeux 6, 8, 9:30 pm

Bar LunÀtico 9, 10:30 pm $10• Armo• Toomai String Quintet with Alex Fortes, Emilie-Anne Gendron,George Meyer, Hamilton Berry, Andrew Roitstein Barbès 8 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30

êPasquale Grasso Trio; Eliane Elias Birdland 5:30, 8:30, 10:30 pm $20-45• Cyrille Aimée/Mathis Picard Birdland Theater 7, 9:30 pm $30-40êBéla Fleck, Edmar Castañeda, Antonio Sanchez Trio

Blue Note 8, 10:30 pm $50-65• Chris Beck Quartet; Simona Premazzi Quartet

Cellar Dog 7, 8:30, 11 pm $10• Arts For Art InGardens presents: Critical Response with Jason Kao

Hwang, TA Thompson, Anders Nillson; Yuko Otomo/ NebulaChildren’s Magical Garden de Carmen Rubio 2:30 pmêGreg “Organ Monk” Lewis Dada Bar 8 pmêMatt Wilson’s Good Trouble with Tia Fuller, Dawn Clement,
Jeff Lederer, Ben Allison Dizzy’s Club 7, 9pm $25-50
êEric Alexander Quartet; AC Lincoln Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25• Charlie Apicella & Iron City Il Porto 7 pm
Iridium 8:30 pm $35-45• Joni ProjectêYuhan Su with Alex LoRe, Anna Webber, Matt Mitchell, YingDa Chen,
Marty Kenney, James Paul Nadien, Shinya Lin
The Jazz Gallery 7:30, 9:30 pm $25-35• Glenn Zaleski, Dave Baron, Adam Arruda; Cameron Campbell Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
ê“For the Love of Nina” with Leopoldo F. Fleming, Sista Zock
Minton’s 7, 9 pm $25
Silvana 8 pm
• Joaquin ValdebenitoêFestival of New Trumpet Music: Sharif Kales, Nabaté Isles,
James Zollar, Satish Robertson, Luis Perdomo, Mimi Jones, Will Terrill
Sistas’ Place 8 pm $35
êWinard Harper Quartet; Santi Debriano’s Arkestra Bembe;“Round About Midnight Jam” with Ken Fowser
Smalls 6, 7:30, 9, 10:30 pm $40
êJazzmeia Horn
Smoke 7, 9, 10:30 pm $25-55
êCraig Taborn, Ches Smith The Stone at The New School 8:30 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Sunday, September 15êJason Kao Hwang solo

440Gallery 4:40 pm $10• Dariada David Jazz Brunch; “Jazz Jam”

449 La Scat in Harlem 1, 4 pm

• Creole Cookin’ Jazz Band; Erli Perez and New York Voices
Arthur’s Tavern 7, 10 pm

JAZZ GREATS Classic Photographsfrom the Bank of America Collection

on view
THROUGHNOV 27TM

MARC KEHOE

Free Admisssion.
Open daily.

William Gottlieb (American, 1917–2006), Ella Fitzgerald, Dizzy Gillespie, Ray Brown, Milt (Milton) Jackson, and Timmie Rosenkrantz, Downbeat, New York, N.Y., 1947. Bank of America Collection

The National Arts Club, 15 Gramercy Park S, New York

Visit nationalartsclub.org/exhibitions for gallery hours
This exhibition has been loaned through the Bank of America Art in our Communities® program.

TheNationalArtsClub@nationalartsclub

NYACK JAZZFESTIVALFREE OUTDOOR CONCERTSUN. SEPT. 15 1PM-6PM

2 NORTH BROADWAY, NYACK, NY

GUNHILD CARLINGIDUN CARLING DAVID BUDWAYDANIEL GLASS & NEAL CAINERAVI COLTRANE
JEFF ‘TAIN’ WATTSDAVID BUDWAY & NEAL CAINEBAKLAVA EXPRESSFAMILY FRIENDLY! FOOD! ARTISAN VENDORS!
WINE & BEER GARDEN! FIVE HOURS OF MUSIC!

• Uptown Jazz Tentet; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $20-40• Cyrille Aimée/Mathis Picard Birdland Theater 7, 9:30 pm $30-40
ê“The Colors of My Life: A Cy Coleman Songbook“ with Janis Siegel,
Yaron Gershovsky; Béla Fleck, Edmar Castañeda, Antonio Sanchez Trio
Blue Note 12:30, 2:30, 8, 10:30 pm $30-65
Bronx Burger House 6 pm
• Tamuz NissimêGrant Stewart Trio
Cellar Dog 7, 8:30 pm $5êArts For Art InGardens presents: Andrew Lamb 4Tet with Hilliard
Greene, Luther Gray, Jose Luis Abreu; Chris Williams; Sarah Sandaval/
Patrick Holmes; William Parker’s PocketWatch with Rob Brown,
Aakash Mittal, Alfredo Colon, Devin Brahja Waldman, Hans Young
Binter, Colin Babcock, Masahiko Kono, Diego Hedez, Colson Jimenez,
Ellen Christi, Kyoko Kitamura, Patricia Nicholson, Juan Pablo CarlettiChildren’s Magical Garden de Carmen Rubio 1:30 pmêMatt Wilson’s Honey and Salt with Dawn Clement, Kirk Knuffke,
Jeff Lederer, Martin Wind Dizzy’s Club 5, 7:30 pm $25-50
The Django 9:30, 11 pm $25• William Hill Trio
• Sean Satin Memorial with Jessica Bowers, Charles Coleman,
Gene Pritsker, Greg Baker, Patrick Grant, Oren Fader, William Anderson,
Luis Andrei Cobo, Franz Hackl, Lynn Bechtold, Petro Krysa,
Michiyo Suzuki, Robert C. Ford, Erik T. Johnson, Imelda O’Reilly,
Roger Hitts
Greenwich House Music School 5 pmêWelf Dorr, Shoko Nagai, Dmitry Ishenko, Kevin Shea The Keep 9 pm
• Yaala Ballin Trio; Alyson Murray Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Kirk Bailey’s Next Level Band Minton’s 7, 9 pm $25
North Square Lounge 12:30, 2 pm
• Kate Baker Trio
• Aries Son; Russell Kranes Band; Julieta Eugenio Duo; Momentum
Nublu 151 7 pm $22.66• Boncellia Lewis Jazz Brunch Patrick’s Place 12 pm• Festival of New Trumpet Music: Ben Neill; Erin Connelly with Joe Fiedler,
Zachary Swanson
Public Records 8 pm $20
Rebar Chelsea 5 pm
• Richard Cortez
Room 623 at B2 Harlem 8, 10 pm $20• Mimi Jones and JamêAdam Rudolph Sunrise Quartet with Kaoru Watanabe, Alexis Marcelo,
Stephen Haynes
Roulette 8 pm $25
êScatter the Atoms That Remain with Franklin Kiermyer,
Davis Whitfield, Emilio Modeste, Otto GardnerSaint Peter’s Church 5 pm

• SPRY with Eleanor Elektra, Max Ridley, Jacob Hiser, Zosha Warpeha,

Tim Wolf; Scree with Ryan El-Solh, Carmen Quill, Jason Burger
Sisters 8:30 pm• Johnny O’Neal Quartet; Joe Strasser Quartet; “Round About Midnight
Jam” with Panas Athanatos Smalls 6, 7:30, 9, 10:30 pm $35
êJazzmeia Horn
Smoke 7, 9, 10:30 pm $25-55• Mala Waldron & Soulful Sound Soapbox Gallery 4:40 pm $25
êRay Anderson, Satoshi Takeishi, Ricardo Gallo Soup & Sound 7 pm $20• George Gee Swing Orchestra Swing 46 9 pm $20
êBill Charlap Trio with Peter Washington, Kenny Washington
Village Vanguard 8, 10 pm $40

Monday, September 16
Arthur’s Tavern 7 pm
• Grove Street Stompers• Malaya Sol & The Soleros Bar LunÀtico 9, 10:30 pm $10êKaren Mason “Sings Jule Styne” Birdland 7 pm $30-40êVince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $50-65
Bryant Park 12:30 pm
Cellar Dog 7, 8:30 pm $5êSoft Machine with John Etheridge Travis, Fred Baker, Asaf Sirkis
City Winery 7:30 pm $25-35• Javier Nero Jazz Orchestra Dizzy’s Club 7, 9pm $20-50• Rico Jones Quartet; Raphael Silverman Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25
Joe’s Pub 9:30 pm $25• J. Hoard• Gaby Moreno with Lau Noah Le Poisson Rouge 7:30 pm $25-30• Peni Candra Rini with Shahzad Ismaily, Andy McGraw, Curt Snydor
Roulette 8 pm $25
êMisha Tsiganov
Russian Vodka Room 7 pmêMike LeDonne Quartet with Eric Alexander, Alexander Claffy, Aaron
Seeber; Obasi Akoto Trio Smalls 7:30, 9, 10:30 pm, 12 am $35• Dion Kerr with Tim Watson, Emmanuel Micheal, Miguel Russell
Soapbox Gallery 8 pm $25
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• BADBADNOTGOOD• Marc Devine• Willerm Delisfort TrioêMatana Roberts solo

Zürcher Gallery 8 pm $20

Tuesday, September 17• Slice with Tom Beckham, Brad Shepik, Gary Wang, Diego Voglino
and JamBar Bayeux 8, 9:30 pm• Rogério Boccato, Vinícius Gomes, Eneias Xavier

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

Peter Stan, Tim Vaughn, Adam Dotson, Ken Bentley, Matt Moran,
Chris Stromquist
Barbès 10 pm $20
êArtemis with Renee Rosnes, Ingrid Jensen, Nicole Glover,
Noriko Ueda, Allison Miller Birdland 7, 9:30 pm $35-45• Eric Comstock/Barbara Fasano Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $50-65• BADBADNOTGOOD
Bryant Park 12:30 pm• Marc Devine
Cellar Dog 7, 8:30 pm $5• Our Delight• Funmi Ononaiye Annual Birthday Celebration
Dizzy’s Club 7, 9pm $20-45
The Django 7:30, 9, 10:30 pm, 12 am $25• Helio Alves Quintet• Stan Zenkov with Nicole Connelly, Zach Swanson, Evan Crane,
Yuko Togami
Downtown Music Gallery 6:30 pmêLeslie Pintchik Trio with Scott Hardy, Michael Sarin
Klavierhaus 7, 8:30 pm $25• Kevin Sun Trio with Walter Stinson, Kayvon Gordon
Lowlands 8, 9:30 pm $10• Janice Friedman, David Kingsnorth, Mike Camenni; Tardo Hammer Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Elias Meister, Justin Purtill, D Treut Nublu 151 10 pm $22.66
êLee Schwei, Sabrina Salamone, Kenneth Jimenez; Joe Moffett,Zosha Warpeha, Drew Wesely, Carlo Costa; Brandon Lopez
The Record Shop 7:30 pm• Laura Ortman/Ryan Sawyer Roulette 8 pm $25
Silvana 8 pm
• Charley Gordon SextetêSeamus Blake Quartet; Diallo House Septet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis,
Justin Faulkner
Smoke 7, 9 pm $50-125• Miguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,
Henry Cole
Village Vanguard 8, 10 pm $40

SEPT 25 – 29, 2024

FREE

middlesexcountyjazzfestival.org

Sept 25 | 5:45 – 8:30pm | EDISON Papaianni Park
Akiko Tsuruga Quartet • The Carrie Jackson Quartet • Off the Hook • JP Stevens HS Dance Troupe

Sept 26 | 6:30 – 9pm | CARTERET Performing Arts Center
Nat Adderley, Jr. • Carteret High School Jazz Band

Sept 28 | 1 – 5:30pm | NEW BRUNSWICK In Front of Arts Center (NBPAC)
Buster Williams Quartet • Winard Harper & Jeli Posse • New Brunswick Jazz Project Brass
Sept 28 | 6 – 9:30pm | METUCHEN Town Plaza at New and Pearl Streets
Russell Malone Quartet • Mariel Bildsten Septet • Metuchen HS Jazz Ensemble + Metuchen HS Chamber
Orchestra • Prāna Arts

Sept 29 | 3 – 6:30pm | WOODBRIDGE Parker Press Park
Stephane Wrembel’s Django New Orleans • Brandon Woody’s Upendo • Woodbridge HS Jazz Choir

Grant funding has been provided by the Middlesex County Board of County Commissioners
through a grant award from the Middlesex County Cultural and Arts Trust Fund.

40 September 2024 | THE NEW YORK CITY JAZZ RECORD

Wednesday, September 18• Eri Yamamoto Trio

Arthur’s Tavern 7 pmêJerome Sabbagh Trio with Joe Martin, Al Foster Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Big LazyêArtemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Noriko
Ueda, Allison Miller
Birdland 7, 9:30 pm $35-45
êDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s
Guitar Night with Jonathan Stout Birdland Theater 5:30, 8:30 pm $25-35
Blue Note 8, 10:30 pm $50-65• BADBADNOTGOOD
Bryant Park 12:30 pm• Marc DevineêJunior Mance Tribute
Bryant Park 7 pm
• “Wednesday Night Jazz” Café Erzulie 7 pmêChampian Fulton Trio
Cellar Dog 7, 8:30 pm $5• Bobby Spellman’s Voodoo Club with Jeff Miles, Julian Smith,Peter Manheim
Dada Bar 8 pm
Dante Park 12 pm• Ron JacksonêAnderson Brothers Play Benny Goodman with Peter Anderson,
Will Anderson, Molly Ryan, Neal Miner, Rossano Sportiello, Paul Wells
Dizzy’s Club 7, 9pm $20-45
The Django 7:30, 9, 10:30 pm, 12 am $25• Tyler Blanton QuartetêMingus Big Band
Drom 7:30, 9:30 pm $30• Stephen Blum Molecular Jazz Trio Hudson River Park 12 pm
êMicah Thomas with Adam O’Farrill, Caleb Smith, Immanuel Wilkins,
Maria Grand, Kanoa Mendenhall, Kweku Sumbry
The Jazz Gallery 7:30, 9:30 pm $25-35• Álvaro Torres Trio; Andrea Domenici Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 8 pm $25• Striver’s Row All-Stars
Open Source Gallery 7 pm
• Billy Newman
Pangea 7 pm $25• Lauren Kinhan Trio
• Peter Brainin Harlem Jazz Session
Room 623 at B2 Harlem 8, 10 pm $20
êSeamus Blake Quartet; Jon Beshay Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis,
Justin Faulkner
Smoke 7, 9 pm $50-125• Sara Serpa/Matt Mitchell The Stone at The New School 8:30 pm $20
êMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,
Henry Cole
Village Vanguard 8, 10 pm $40

Thursday, September 19êRichard Cortez; Terry Waldo’s Gotham City Band

Arthur’s Tavern 7, 10 pmêSantiago Leibson/Jay Sawyer with Adam Kolker, Jeremy Stratton

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10êArtemis with Renee Rosnes, Ingrid Jensen, Nicole Glover, Noriko Ueda,
Allison Miller
Birdland 7, 9:30 pm $35-45
êHigh Society New Orleans Jazz Band; Shelly Berg/Tierney Sutton
Birdland Theater 5:30, 8:30 pm $30-40
Blue Note 8, 10:30 pm $50-65• BADBADNOTGOOD
Brooklyn Bowl 9:15 pm $25• Etran De L’Aïr
Bryant Park 12:30 pm• Marc Devine
Café Erzulie 7 pm
• “Jazz Night”• Wayne Tucker Quintet; Carol Morgan Quartet
Cellar Dog 7, 8:30, 11 pm $5
Dada Bar 8 pm
• Dan Loomis Trio
• Tatum Greenblatt Quintet with John Ellis, Misha Piatigorsky,
Russell Hall, Rudy Royston Dizzy’s Club 7, 9pm $20-50• Luke Carlos O’Reilly Quartet; Mark Whitfield
The Django 7:30, 9, 10:30 pm, 12 am $25
êLucian Ban/Mat Maneri Transylvanian Dance
Fotografiska 7 pm $40
êKim Cass with Matt Mitchell, Tyshawn Sorey
The Jazz Gallery 7:30, 9:30 pm $25-35
êJosh Evans Big Band with Max Seigel, Andy Gravish, James Sarno,
Kali Rodriguez-Pena, David Gibson, Andrew Danforth, Nate Jones,
Bruce Williams, Todd Bashore, Mike Lee, Ian Munoz, Carl Maraghi,
Mingus Murray, William Dellisfort, Alex Claffy, Anwar Marshall, Dylan
Blanchard, Melvis Santa Jazz In Times Square 5 pm
• “The Divine One: Celebrating Sarah Vaughan” with Pucci Amanda
Jhones, Nikita White and Grace Jones
Jazz Museum in Harlem 2 pmêBrian Marsella Trio; Greg Murphy Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 7, 9 pm $25• Kassandra Charalampi• Robby Ameen with Bob Franceschini, Conrad Herwig, Troy Roberts,
Edsel Gomez, Yunior Terry Nublu 151 7 pm $22.66• Contrapunctus with Carmen Staaf The Owl Music Parlor 8 pm $15êDamon Smith, Guillermo Gregorio, Sandy Ewen, James Paul Nadien
The Record Shop 7:30 pm
Room 623 at B2 Harlem 8, 10 pm $20• Berta MorenoêHot Jazz & Swing: Jazz at Lincoln Center Orchestra with
Wynton Marsalis
Rose Theater 7:30 pm $45-175• Dabin Ryu• David Bixler Auction Project with Arturo O’Farrill, Heather Martin Bixler,
Raul Reyes, Vince Cherico ShapeShifter Lab 7 pm $20
Shrine 8 pm
• Paul Austerlitz Band
• Dan Aran Quartet with Itai Kriss, Gary Versace, Jennifer Vincent;Sarah Hanahan Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis,
Justin Faulkner
Smoke 7, 9 pm $50-125• Sara Serpa, Marta Sanchez, Qasim Naqvi
The Stone at The New School 8:30 pm $20
êMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,
Henry Cole
Village Vanguard 8, 10 pm $40

Friday, September 20• Denton Darien

449 La Scat in Harlem 8 pm
Albert’s Bar 3 pm
• Bobby Harden with Off Da Hook Arthur’s Tavern 10 pm
Bar Bayeux 8, 9:30 pm• Grant Richards• Brooklyn Boogaloo Blowout Bar LunÀtico 9, 10:30 pm $10• Yotoco with Sebastian Lopez, Natalia Perez, Gabo Tomassini, Rubén
Coca, Geovani Caldero
Barbès 10 pm $20• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30
êBirdland Big Band; Artemis with Renee Rosnes, Ingrid Jensen,
Nicole Glover, Noriko Ueda, Allison Miller
Birdland 5:30, 8:30, 10:30 pm $30-45
Birdland Theater 7, 9:30 pm $30-40• Senri Oe Trio
Blue Note 8, 10:30 pm $30-45• Sid Sriram
Bryant Park 12:30 pm• Marc Devine• Bebop Collective Quartet; Jinjoo Yoo Quartet
Cellar Dog 7, 8:30, 11 pm $10• Morgan Price Trio with Nick Jozwiack, Ethan Kogan Dada Bar 8 pmêBria Skonberg Quintet with Herlin Riley Dizzy’s Club 7, 9pm $20-55• Jonny King Trio; Mariel Bildsten Septet
The Django 7:30, 9, 10:30 pm, 12 am $25• Joyce Moreno with Tutty Moreno, Rodolfo Stroeter, Helio Alves
Drom 7 pm $30
Highbridge Park 6 pm
• Ariacne Trujillo Trio
• Ken Kobayashi with Shinya Lin, Michael Gilbert, Stephen Gauci
Ibeam Brooklyn 9 pm $20• Charlie Apicella & Iron City Il Porto 7 pm
• Gabriel Chakarji with Godwin Louis, John Benitez, Ofri Nehemya
The Jazz Gallery 7:30, 9:30 pm $25-35
êShunzo Ohno
Joe’s Pub 7 pmêJohn Coltrane Festival
Marcus Garvey Park 7 pm
• Yotam Silberstein, Geoffrey Keezer, Peter Washington; Jon Davis Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êJ.C. Hopkins Biggish Band Minton’s 7, 9 pm $25
Mount Morris Ascension Presbyterian Church 7 pm $25• Kevin Blancq• Patience Higgins Jazz Jam Patrick’s Place 8 pm
Room 623 at B2 Harlem 8, 10 pm $20• Private Label Trio
• Hot Jazz & Swing: Jazz at Lincoln Center Jazz Orchestra with Wynton
Marsalis
Rose Theater 7:30 pm $45-176
Silvana 7 pm
• Maria Guida• Mark Sherman Quartet with Jon Davis, Alexander Claffy,
Anthony Pinciotti; Greg Abate Quartet with Bill O’Connell, Harvie S,
Jason Tiemann; “Round About Midnight Jam” with Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm $40
êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis,
Justin Faulkner
Smoke 7, 9 pm $50-125
The Stone at The New School 8:30 pm $20• Sara Serpa QuintetêMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,
Henry Cole
Village Vanguard 8, 10 pm $40• Yotam Silberstein, Geoffrey Keezer, Peter Washington;
Johnny O’Neal Trio

Mezzrow 7:30, 9, 10:30 pm, 12 am $40• N’Kenge & Her All Star Quartet Minton’s 7, 9 pm $25

êHot Jazz & Swing: Jazz at Lincoln Center Orchestra with

Wynton Marsalis

Rose Theater 7:30 pm $45-177• Christian Vega; Steven Blane; Nick Mikhail Silvana 7, 8, 9 pm
• Ashley Pezzotti Quartet; Greg Abate Quartet with Bill O’Connell, Harvie
S, Jason Tiemann; “Round About Midnight Jam” with Greg Glassman,
Stacy Dillard
Smalls 6, 7:30, 9, 10:30 pm $40
êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis,
Justin Faulkner
Smoke 7, 9 pm $50-125• Sara Serpa/André Matos The Stone at The New School 8:30 pm $20
êMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,
Henry Cole
Village Vanguard 8, 10 pm $40

Sunday, September 22êEric Person Organ Trio

• Dariada David Jazz Brunch; “Jazz Jam” 449 La Scat in Harlem 1, 4 pm
• Creole Cookin’ Jazz Band Arthur’s Tavern 7 pmêEivind Opsvik Overseas with Tony Malaby, Brandon Seabrook, Jacob

Sacks, Kenny Wollesen

Bar LunÀtico 9, 10:30 pm $10• Sonelius Smith/Adam Kahan Barbès 7 pmêJihye Lee Orchestra; Afro Latin Jazz Orchestra

Birdland 5:30, 8:30, 10:30 pm $25-40• Miss Maybell & The Jazz Age Artistes Birdland Theater 7, 9:30 pm $25-35• “A Celebration of Duke and Strayhorn”; Sid Sriram

Blue Note 12:30, 2:30, 8, 10:30 pm $30-45
Bronx Burger House 6 pmêSheryl Bailey Trio
Cellar Dog 7, 8:30 pm $5êArts For Art InGardens presents: Aakash Mittal Awaz Trio;
Ingrid Laubrock/Tom Rainey; L.I.P. with KJ Holmes, Jeremy Carlstedt;
Amirtha Kidambi with David Leon, Henry Fraser, Lesley Mok
Children’s Magical Garden de Carmen Rubio 1:30 pmêBria Skonberg Quintet with Herlin Riley Dizzy’s Club 5, 7:30 pm $20-55• Sam Dillon Quartet; Neal Miner Trio The Django 6:30, 8, 9:30, 11 pm $25• Fabio Rojas Quintet with Greg Osby, Gustavo D’amico, Kevin Harris,
Dan Loomis
Drom 7:15 pm $15êRonnie Burrage & Holographic Principle with Patience Higgins,
Antoine Roney, Kim Clarke, Jordan Williams
Emmanuel Baptist Church 3 pm $20• Tamuz Nissim

Saturday, September 21• Denton Darien

449 La Scat in Harlem 8 pmêAdam Kolker; Tony Malaby Bar Bayeux 8, 9:30 pm• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30

êPasquale Grasso Trio; Artemis with Renee Rosnes, Ingrid Jensen,

Nicole Glover, Noriko Ueda, Allison Miller
Birdland 5:30, 8:30, 10:30 pm $20-45
Birdland Theater 7, 9:30 pm $30-40• Senri Oe Trio
Blue Note 8, 10:30 pm $30-45• Sid Sriram• Richard Clements Quintet; Kyoko Oyobe Quartet
Cellar Dog 7, 8:30, 11 pm $10êArts For Art InGardens presents: Alexis Marcelo’s Sonic Cosmosiswith Jacquii Leveine, Dave Ross; No Land with Oliver Ray,
Shahzad Ismaily; Ryan Easter with Mwanzi Harriott, Dom GervaisChildren’s Magical Garden de Carmen Rubio 2:30 pmêBria Skonberg Quintet with Herlin Riley Dizzy’s Club 7, 9pm $20-55• Ron Jackson Trio; Craig Handy and 2nd Line Smith
The Django 7:30, 9, 10:30 pm, 12 am $25
êYoon Sun Choi with Kyoko Kitamura, Clara Kennedy, Samantha Kochis
Ibeam Brooklyn 7:30 pm $20• Charlie Apicella & Iron City Il Porto 7 pmêJeff Berlin, Dennis Chambers, Michael Wolff Iridium 8:30 pm $60-70

THE NEW YORK CITY JAZZ RECORD | September 2024 41

êJeff Berlin, Dennis Chambers, Michael Wolff
Iridium 8:30 pm $60-70
êWelf Dorr, Robert Boston, Dmitry Ishenko, Yuko Togami• Mamady Kouyate and his Mandingo Ambassadors Barbès 10 pm $20• “Coltrane Revisted” with Jimmy Greene, Greg Osby, Helen Sung,• Susan Tobocman Quartet; Lucy Wijnands Polite JamêDavid Ostwald’s Louis Armstrong Eternity Band; Frank Vignola’s• Marius Van Den Brink Quartet Minton’s 7, 9 pm $25• Ben Cassara with Nicki Adams, John Lang

• Common and Pete Rock Blue Note 8, 10:30 pm $50-65

The Keep 9 pm

Mezzrow 7:30, 9, 10:30 pm, 12 am $35

JLCO WITH WYNTON MARSALIS
Photo by Gilberto Tadday

SEP 19–21 ROSE THEATER

HOT JAZZ & SWING:
THE JLCO WITH WYNTON MARSALISTHE ERTEGUN JAZZ CONCERTThe JLCO with Wynton Marsalis welcomes audiences backto the House of Swing for opening weekend of the 2024-25
season with revitalized arrangements of classic 1920s and
30s tunes, with music direction by Wynton Marsalis andsaxophonist, composer, and award-winning scholar
Loren Schoenberg.

OCT 18–19 THE APPEL ROOMBRYAN CARTER:
CELEBRATING BAYARD RUSTIN

Join 2024 Grammy and Tony Award winner Bryan Carterin honoring Bayard Rustin with the Jazz at Pride Orchestra,
set against the stunning backdrop of Columbus Circle in
the Appel Room. Featuring powerhouse vocalists
Vuyo Sotashe, J. Hoard, Shenel Johns, and Georgia Heers,
this lively event celebrates Rustin’s pivotal role in the Civil
Rights Movement and his contributions as an activist
and vocalist.

OCT 18–19 ROSE THEATERRUBÉN BLADES WITH BOCA LIVRE& EDITUS ENSEMBLE

Panamanian legend Rubén Blades returns to Rose Theater,
revealing dimensions of his music he hasn’t shared in 20
years. Integrating Brazilian harmony alongside Boca Livre
and a classical approach to salsa alongside Costa Rica’s
Editus Ensemble, the Grammy Award-winning singer andcomposer proffers a fresh take on his signature Afro-Cuban
sound.
This show is co-presented by Jazz at Lincoln Center and Lincoln Centerfor the Performing Arts with generous support from COPA Airlines.

OCT 25–26 THE APPEL ROOM“JUMP IN THE LINE” CELEBRATINGHARRY BELAFONTE WITH RENÉ MARIE

Jazz at Lincoln Center presents a calypso-inspired
evening honoring legendary artist and activist, the late
Harry Belafonte. Grammy-nominated vocalist and songwriter
René Marie brings her artful storytelling to the Appel Room,leading an award-winning ensemble that features trumpeter
Etienne Charles.

North Square Lounge 12:30, 2 pm
• Boncellia Lewis Jazz Brunch Patrick’s Place 12 pm
Rebar Chelsea 5 pm
• Richard Cortez
Room 623 at B2 Harlem 8, 10 pm $20• Mimi Jones and JamêCarmen Staaf Trio
Saint Peter’s Church 5 pm
• Noah Rosner; Zachariah Lambert Quartet Silvana 8, 9 pm
• Bruce Harris Quintet; Joe Magnarelli Quartet; “Round About Midnight
Jam” with Aaron Johnson Smalls 6, 7:30, 9, 10:30 pm $35
êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis,
Justin Faulkner
Smoke 7, 9 pm $50-125• George Gee Swing Orchestra Swing 46 9 pm $20
êMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,
Henry Cole
Village Vanguard 8, 10 pm $40

Monday, September 23• Grove Street Stompers• Amanda McBroom

Arthur’s Tavern 7 pm
Birdland 7 pm $35
êVince Giordano and the Nighthawks
Birdland Theater 5:30, 8:30 pm $20-40• Common and Pete Rock Blue Note 8, 10:30 pm $50-65
êBertha Hope
Bryant Park 12:30 pm
Cellar Dog 7, 8:30 pm $5• Organ Grooves
ê“Ellington at 125” Future of Jazz Orchestra with Summer Camargo,
Joe Block, Domo Branch Dizzy’s Club 7, 9pm $20-50• Simon Mogul Quartet; David Sneider Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
Jazz Museum in Harlem 7 pm
• “Monday Night Jam”
• Spike Wilner Trio; Pasquale Grasso Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Jason Nazary, Mike Gamble, Wendy Einsenberg, Caroline Davis,
Lesley Mok
Nublu 151 7 pm $22.66
êMisha Tsiganov
Russian Vodka Room 7 pm
• Gil Schwartz; Andrew Danforth Band; Villagers Brass Band
Shrine 7, 8, 10 pm
Silvana 10 pm• Blüe Crüe
• Mike DiRubbo Quartet; Jeff McGregor Quintet
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,John Riley
Village Vanguard 8, 10 pm $40

Tuesday, September 24• GTO Trio

Bar LunÀtico 9, 10:30 pm $10êVinnie Sperrazza PLAY; Slavic Soul Party with John Carlson,

Kenny Warren, Peter Hess, Peter Stan, Tim Vaughn, Adam Dotson,
Ken Bentley, Matt Moran, Chris Stromquist Barbès 7, 10 pm $20
ê“Coltrane Revisted” with Jimmy Greene, Greg Osby, Helen Sung,
Lonnie Plaxico, Billy Kilson Birdland 7, 9:30 pm $35-45
êChampian Fulton/Yasushi Nakamura; Phillip Officer
Birdland Theater 5:30, 8:30 pm $25-35• Common and Pete Rock Blue Note 8, 10:30 pm $50-65
êBertha Hope
Bryant Park 12:30 pmêJohnny O’Neal Trio
Cellar Dog 7, 8:30 pm $5êTessa Souter’s Erik Satie Project with Luis Perdomo, Boris Kozlov,
Billy Drummond
Dizzy’s Club 7, 9pm $20-50• Mafalda Minnozzi Quartet; Malaya Sol Quintet
The Django 7:30, 9, 10:30 pm, 12 am $25
Le Poisson Rouge 7:30 pm $25-30• Julius RodriguezêRuss Lossing Triple Dip; John Merrill Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Ariana Hartunian-Sowa Silvana 8 pm
• Richie Vitale Quintet; Tyler Mitchell Quartet
Smalls 7:30, 9, 10:30 pm, 12 am $35• Mark Guiliana with Jason Rigby, Jason Lindner, Chris Morrissey
Village Vanguard 8, 10 pm $40
êDaniel Carter, Cooper Moore, William Parker
Zürcher Gallery 8 pm $20

Wednesday, September 25

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

• Tomohiro Mori; Sol Liebskind Arthur’s Tavern 7, 10 pm• Rodrigo Recabarren, Pablo Menares, Yago Vasquez• Tablao Flamenco

42 September 2024 | THE NEW YORK CITY JAZZ RECORD

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10

Lonnie Plaxico, Billy Kilson Birdland 7, 9:30 pm $35-45

Guitar Night with Karrin Allyson Birdland Theater 5:30, 8:30 pm $25-35

êBertha Hope

Bryant Park 12:30 pm• “Wednesday Night Jazz” Café Erzulie 7 pm
Cellar Dog 7, 8:30 pm $5• Zaid Nasser Trio
• Michael Eaton Quartet with Brad Whiteley, Daniel Ori, Shareef Taher
Dada Bar 8 pm

• Jumaane Smith with Will Gorman, Al Street, Carmen Intorre, Jr., Ian
Hendrickson-Smith

Dizzy’s Club 7, 9pm $20-50êMark Sherman Quartet; Mike DiRubbo Quartet

The Django 7:30, 9, 10:30 pm, 12 am $25
Drom 7:30, 9:30 pm $30
êKim Clarke Trio
Hudson River Park 12 pm• Kengchakaj with Alfredo Colon, Kobi Abcede, Melissa Almaguer,
Nitcha Tothong
The Jazz Gallery 7:30, 9:30 pm $25-35• Tal Ronen Trio; Misha Piatigorsky Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
Minton’s 8 pm $25• Striver’s Row All-Stars• Russ Kassoff Solo Piano Pangea 7 pm $25
Pangea 7 pm $25• Verena McBee Trio
• Peter Brainin Harlem Jazz Session
Room 623 at B2 Harlem 8, 10 pm $20
êBiliana Voutchkova & DARA Strings with Miya Masaoka,
Katinka Kleijn, gabby fluke-mogul, Isidora Edwards
Roulette 8 pm $25• SugarTone Brass Band Shrine 8 pmêAlex LoRe “Saxophone Summit” with Melissa Aldana,
Dayna Stephens, Glenn Zaleski, Or Bareket, Mark Whitfield Jr;
Benny Benack Quintet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êPeter Evans
The Stone at The New School 8:30 pm $20
Town Hall 8 pm $65-100• Lalah Hathaway• Mark Guiliana with Jason Rigby, Jason Lindner, Chris Morrissey
Village Vanguard 8, 10 pm $40
êMingus Big BandThursday, September 26• Ricardo Grilli Trio; Terry Waldo’s Gotham City Band
Arthur’s Tavern 7, 10 pm• Sasha Dobson/Kenny Wollesen with Adam Kolker and Jeremy
Stratton

Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10
ê“Coltrane Revisted” with Jimmy Greene, Greg Osby, Helen Sung,
Lonnie Plaxico, Billy Kilson Birdland 7, 9:30 pm $35-45
êHigh Society New Orleans Jazz Band; Ted Rosenthal Trio with
Martin Wind, Tim Horner Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $50-65• Marc Rebillet• Al-Qasar with Lee Ranaldo Brooklyn Bowl 8 pm $25
êBertha Hope
Bryant Park 12:30 pm
Café Erzulie 7 pm
• “Jazz Night”• Swing Collective Quartet; Mariel Bildsten Quartet
Cellar Dog 7, 8:30, 11 pm $5• Omer Leshem Quintet with Nadav Remez, Moshe Elmakias, ElamFriedlander, Ben Silashi Dada Bar 8 pmêSavion Glover and ELEW Celebrate Bud Powell
Dizzy’s Club 7, 9pm $25-55• Vivian Sessoms; Sheryl Bailey Quartet
The Django 7:30, 9, 10:30 pm, 12 am $25• Luciano Pagliarini Quartet with Lou Grassi, Kenny Wessel, Joe Fonda
Ibeam Brooklyn 8 pm $20
êAnna Webber Simple Trio with Matt Mitchell, John Hollenbeck
The Jazz Gallery 7:30, 9:30 pm $25-35
êRay Anderson solo
Jazz Museum in Harlem 2 pm
Joe’s Pub 7 pm $25• Andy Akiho Trio
• Freddie Bryant, Peter Slavov, Alvester Garnett; Marius Van Den
Brink Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $35
êCharles Turner Quartet
Minton’s 7, 9 pm $25
êMac Gollehon & The Hispanic Mechanics with Anthony Carrillo
Haitian Ironman, Bob Ramos Parkside Lounge 10 pm $10• Mafalda Minnozzi/Paul Ricci’s Brazil Night
Room 623 at B2 Harlem 8, 10 pm $20
êBrian Marsella iMAGiNARiUM with Jessica Lurie, Josh Lawrence,
Itai Kriss, Meg Okura, Jon Irabagon, John Lee, Sae Hashimoto,Jason Fraticelli, Anwar Marshall, Rich Stein, Cyro Baptista
Roulette 8 pm $25• Sean Nowell Quartet; Luke Sellick Quintet
Smalls 7:30, 9, 10:30 pm, 12 am $35
êChristian Sands Quartet with Marvin Sewell, Eric Wheeler,
Ryan Sands
Smoke 7, 9 pm $25-55• Charlotte Munn-Wood with NeMelinda Faylor, Iva Casian-Lakos,
Caitlin Cawley
Soapbox Gallery 8 pm $25
êPeter Evans, Tim Dahl, Mike Pride
The Stone at The New School 8:30 pm $20• Super Yamba Band• Mark Guiliana with Jason Rigby, Jason Lindner, Chris Morrissey
Village Vanguard 8, 10 pm $40

Friday, September 27êChristian Sands Quartet with Marvin Sewell, Eric Wheeler,

Ryan Sands

Village Vanguard 8, 10 pm $40”

Sunday, September 29• Denton Darien

449 La Scat in Harlem 8 pm
Albert’s Bar 3 pm
• Mimi & The Podd Brothers; Bobby Harden with Off Da Hook
Arthur’s Tavern 7, 10 pm
Bar Bayeux 5 pm
• Peter Watrous
Bar LunÀtico 9, 10:30 pm $10• Cali Mambo• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30
êBirdland Big Band; “Coltrane Revisted” with Jimmy Greene,
Greg Osby, Helen Sung, Lonnie Plaxico, Billy Kilson
Birdland 5:30, 8:30, 10:30 pm $30-45
ê“Bud Powell Centennial Celebration” with Manuel Valera, Ben Allison,
Steve Smith
Birdland Theater 7, 9:30 pm $25-35
Blue Note 8, 10:30 pm $50-65• Marc RebilletêBertha Hope
Bryant Park 12:30 pm• Jade Synstelien Quartet; Jamale Davis Quartet
Cellar Dog 7, 8:30, 11 pm $10êSavion Glover and ELEW Celebrate Bud Powell
Dizzy’s Club 7, 9pm $25-55• Dwayne “Cook” Broadnax Quartet; Richard Cortez BandThe Django 7:30, 9, 10:30 pm, 12 am $25• Charlie Apicella & Iron City Il Porto 7 pmêSpanish Harlem Orchestra Iridium 8:30 pm $30-40• Dafnis Prieto with Peter Apfelbaum, Martin Bejerano, Boris Kozlov
The Jazz Gallery 7:30, 9:30 pm $35-45• Michael Weiss, Joseph Ranieri, Pete Van Nostrand; Anthony Wonsey
Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êJ.C. Hopkins Biggish BandMinton’s 7, 9 pm $25
êMichael Wimberly with Alexis Marcelo, Shayna Dulberger, Jay Rodriguez
Mount Morris Ascension Presbyterian Church 7 pm $25
Nublu 151 7 pm $22.66• Philip Weberndoerfer• Patience Higgins Jazz Jam Patrick’s Place 8 pm
Room 623 at B2 Harlem 8, 10 pm $20• Kevin Oliver Jr.
• Lucy Wijnands Quartet with Emmet Cohen, Russell Hall,
Jochen Rueckert; Steve Davis Quartet; “Round About Midnight Jam”
with Eric Wyatt
Smalls 6, 7:30, 9, 10:30 pm $40
êChristian Sands Quartet with Marvin Sewell, Eric Wheeler,
Ryan Sands
Smoke 7, 9, 10:30 pm $25-55• Adam Smale’s Tyramid with Michael O’Brien, Evan Hyde
Soapbox Gallery 8 pm $25
êPeter Evans/Cyro Baptista The Stone at The New School 8:30 pm $20• Mark Guiliana with Jason Rigby, Jason Lindner, Chris Morrissey
Village Vanguard 8, 10 pm $40
êTodd Capp, Shoko Nagai, Melanie Dyer Zürcher Gallery 8 pm $20
êEric Person Organ Trio

Saturday, September 28
449 La Scat in Harlem 8 pm
• Denton Darien• Axel Tosca; KJ Denhert & The NY Unit Arthur’s Tavern 7, 10 pm• Adam Kolker; Peter Watrous Bar Bayeux 8, 9:30 pm
Bar LunÀtico 9, 10:30 pm $10• Telavana• Bill Saxton Harlem All-Stars Bill’s Place 7, 9 pm $30

êPasquale Grasso Trio; “Coltrane Revisted” with Jimmy Greene,

Greg Osby, Helen Sung, Lonnie Plaxico, Billy Kilson
Birdland 5:30, 8:30, 10:30 pm $20-45
ê“Bud Powell Centennial Celebration” with Manuel Valera,
Ben Allison, Steve Smith Birdland Theater 7, 9:30 pm $25-35
Blue Note 8, 10:30 pm $50-65• Marc Rebillet• Darrell Green Quartet; Miss Maybell Quartet
Cellar Dog 7, 8:30, 11 pm $10
Dada Bar 8 pm
• Emilio Teubal TrioêSavion Glover and ELEW Celebrate Bud Powell
Dizzy’s Club 7, 9pm $25-55• David Gibson Quartet; JC Hopkins Biggish BandThe Django 7:30, 9, 10:30 pm, 12 am $25
êArts For Art InGardens presents: Devin Brahja Waldman Trio with
Georgia Wartel Collins, Malik Washington; Siren Xypher with Melanie
Dyer, Kyoko Kitamura, Mara Rosenbloom; Michael Wimberly Trio with
Jay Rodriques, Ken Filiano, John King First Street Green 1:30 pm• Charlie Apicella & Iron City Il Porto 7 pm
• Oz Noy, Jimmy Haslip, Anton Fig Iridium 8:30 pm $40-45• Omer Leshem with Nadav Remez, Moshe Elmakias, Elam Friedlander,
Ben Silashi
Jaffa Cocktail Bar 8 pmêCarlos Henriquez
Louis Armstrong House Museum 3 pm $25• Michael Weiss, Joseph Ranieri, Pete Van Nostrand; John Chin Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40• Belongó: Worldwinds with Arturo O’Farrill Afro Latin Jazz Ensemble
Roulette 8 pm $25
êAkiko Tsuruga Quartet
Roxy Bar at Roxy Hotel 8 pmêEddie Allen Quintet with Mark Gross, Oscar Perez, Kenny Davis,
E.J. Strickland; Steve Davis Quartet; “Round About Midnight Jam”
with Greg Glassman, Stacy Dillard Smalls 6, 7:30, 9, 10:30 pm $40

Smoke 7, 9, 10:30 pm $25-55• Mark Guiliana with Jason Rigby, Jason Lindner, Chris Morrissey• Dariada David Jazz Brunch 449 La Scat in Harlem 1,4 pm• Creole Cookin’ Jazz Band; Stew Cutler Arthur’s Tavern 7, 10 pm
Bar LunÀtico 9, 10:30 pm $10• Ari Hoenig Trio
• Akiko Pavolka Band with Olli Hirvonen, Matt Pavolka, Bill Campbell;
Max Johnson Quartet

Barbès 8 pm $20

Orchestra

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

Allison, Steve Smith

Birdland Theater 7, 9:30 pm $25-35• Adi Yeshaya Jazz Orchestra with Jennifer Grimm; Afro Latin Jazzê“Bud Powell Centennial Celebration” with Manuel Valera, BenBlue Note 8, 10:30 pm $50-65• Marc Rebillet
Bronx Burger House 6 pm
• Tamuz Nissim• Siren Xypher with Melanie Dyer, Mara Rosenbloom, Kyoko Kitamura
Brooklyn Museum of Art 2 pm

• Yael Acher “KAT” Modiano, Carlos del Pino

Cabrini Shrine 5:30 pm $20

Cellar Dog 7, 8:30 pm $5• Ehud Asherie Trio
• Carlos Henriquez Septet & Highbridge Voices of the South Bronx

with Bruce Harris, Dion Tucker, Sherman Irby, Abdias Armenteros,
Dan Nimmer, Charles Goold Dizzy’s Club 5, 7:30 pm $20-45• Jeb Patton Quartet; Matt Chertkoff Trio
The Django 6:30, 8, 9:30, 11 pm $25• Arts For Art InGardens presents: The Daves with Dave Sewelson,
Dave Hofstra, Dave Hernandez; Lesley Mok Band with Selendis
Sebastian Alexander Johnson, Nathan Nakadegawa-Lee;Warrior of Light with Djassi Dacosta Johnson, Shayna Dulberger;
Ayumi Ishito, Rema Hasumi, Yuko Togami First Street Green 1:30 pmêMac Gollehon & The Hispanic Mechanics with Anthony Carrillo
Haitian Ironman, Bob Ramos Hawkins Park 3, 5 pmêOded Tzur
Joe’s Pub 6 pmêWelf Dorr, Dmitry Ishenko, Yuko Togami The Keep 9 pm
• Emily Braden Trio; Vanisha Gould Polite Jam
Mezzrow 7:30, 9, 10:30 pm, 12 am $35• Marcelino Feliciano Trio North Square Lounge 12:30, 2 pm
• Omer Leshem with Nadav Remez, Moshe Elmakias, Elam Friedlander,
Ben Silashi
Ornithology Jazz Club 6:30 pm $10• Boncellia Lewis Jazz Brunch Patrick’s Place 12 pm
Rebar Chelsea 5 pm
• Richard Cortez
Room 623 at B2 Harlem 8, 10 pm $20• Mimi Jones and JamSaint Peter’s Church 5 pm
• Rico Jones QuartetêRay Anderson Treeomitree with Hill Greene, Jeremy Carlstedt
Scholes Street Studio 8 pm
• Peter Louis Octet; John Colonna Quartet Shrine 8, 10 pm• Andy Farber Quintet with David Sneider, Jonathan Thomas,
Neal Caine, Alvester Garnett; Nick Hempton Quartet withCharlie Sigler, Kyle Koehler, Fukushi Tainaka; “Round About Midnight
Jam” with Aaron Johnson Smalls 6, 7:30, 9, 10:30 pm $35
êChristian Sands Quartet with Marvin Sewell, Eric Wheeler,
Ryan Sands
Smoke 7, 9 pm $25-55• George Gee Swing Orchestra Swing 46 9 pm $20• Mark Guiliana with Jason Rigby, Jason Lindner, Chris Morrissey
Village Vanguard 8, 10 pm $40

LUCIANA SOUZATWENTY-FOUR SHORT MUSICAL EPISODESAVAILABLE NOW IN ALL DIGITAL PLATFORMS

HAPPY APPLENEW YORK CD
SSC 1751 AVAILABLE NOW

Monday, September 30• Grove Street Stompers Arthur’s Tavern 7 pm
• Bill Russell with Lillias White, Alice Ripley, Erin Davie,
Charity Angél Dawson

Birdland 7 pm $35

êVince Giordano and the Nighthawks

Birdland Theater 5:30, 8:30 pm $20-40
Blue Note 8, 10:30 pm $25-35
Bryant Park 12:30 pmêNed Goold Trio
Cellar Dog 7, 8:30 pm $5• Obed Calvaire with Godwin Louis, Emmanuel Michael, Harold St.
Louis, Willerm Delisfort, Addi Lafosse Dizzy’s Club 7, 9pm $20-50
The Django 7:30, 9, 10:30 pm, 12 am $25• Jacob Chung Quartet
Iridium 8:30 pm $30• Ed Palermo Big Band
• Jeremy Manasia Trio; Pasquale Grasso Trio
Mezzrow 7:30, 9, 10:30 pm, 12 am $40
êMisha Tsiganov
Russian Vodka Room 7 pm
• Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio; Benito Gonzalez Trio
Smalls 7:30, 9, 10:30 pm, 12 am $35• Ian Douglas-Moore/Chris Libutti Striped Light 8 pm $15êVanguard 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• Ruthie Foster• Brennen Ernst

GREG REITAN
THE BOUNDING LINE
SSC 1740 AVAILABLE 9-6-24

www.sunnysiderecords.com

THE NEW YORK CITY JAZZ RECORD | September 2024 43

Wednesday, February 1

C O N N E C T I C U TêMonteCroft Trio
333
Lounge(Greenwich,
7:30, 9:30 pmCT)BackCountry
Jazz Greenwich Jazz
Festival

Douglas-Moore, Eric Wong, Dominic Coles; Seth Cluet			• Ianclassy.org/event/greenwich-jazz-festival-2024-september-16/e613215

		9/8 (4 pm) Tyreek McDole
411 K
9/16 (5:30 pm) Bennie Wallace, Anthony Wilson, Peter Washington, Herlin Riley
Bill’s Seafood (Westbrook, CT) billsseafood.com
9/6, 9/13, 9/20, 9/27 (7 pm) Bill’s All Star Jazz Band
Black-Eyed Sally’s Southern Kitchen & Bar (Hartford, CT) blackeyedsallys.com
9/4, 9/11, 9/18, 9/25 (7 pm) Black Eyed Sally’s Jazz Jam
Buttonwood Tree Performing Arts Center (Middletown, CT) buttonwood.org
9/20 (8 pm) Waberi Jordan & Friends
9/27 (8 pm) TJ Thompson & Friends
Byram Shubert Library (Greenwich, CT) greenwichlibrary.org/byram-shubert
9/19 (7 pm) Peter Hand Quintet with Eddie Allen, Ray Blue, Harvie S, Steve Johns
Café Nine (New Haven, CT) cafenine.com
9/3, 9/10, 9/17, 9/24 (4 pm) Saturday Jazz Jam with Mike Chervansky, Tappan & Ice
Elicit Brewery (Manchester, CT) elicitbrewing.com
9/9, 9/16, 9/23, 9/30 (7:30 pm) Hartford Jazz Orchestra
Fairfield Museum and History Center (Fairfield, CT) fairfieldhistory.org
9/1 (6:30 pm) Jazz Rabbi Greg Wall with David Morgan, Rich Zurkowski, Steve Johns
Firehouse 12 (New Haven, CT) firehouse12.com
9/20 (8:30 pm) Ches Smith/Craig Taborn
9/27 (8:30 pm) Alexander Hawkins/Taylor Ho Bynum
The Hungry Tiger (Manchester, CT) thehungrytiger.com
9/3, 9/17, 9/24 (8 pm) Michael Palin’s Other Orchestra
The Kate (Katherine Hepburn Cultural Arts Center) (Old Saybrook, CT)
katharinehepburntheater.org
9/12 (7:30 pm) Stephane Wrembel with Jean-Michel Pilc, Josh Kaye, Ari Folman-Cohen,
Nick Anderson, Nick Driscoll
Kinsmen Brewing Company (Milldale, CT) kinsmenbrewing.com/shop
9/11, 9/18, 9/25 (7:30 pm) Stanley Street Big BandLa Zingara (Bethel, CT) lazingara.com
9/11 (7 pm) Steps Behind with Sarah Cion, Bill Reeve, Mike Rubino, Dan Asher
9/18 (7 pm) Berkshire Jazz Orchestra
9/25 (7 pm) Hendrik Meurkens Harmonica Vibes Quartet with Joe Carter
Lighthouse Inn (New London, CT) lighthouseinn.us
9/28 (6 pm) Bob Ahern Quartet
Music Mountain’s Gordon Hall (Falls Village, CT) musicmountain.org
9/14 (7 pm) Bobby Sanabria & Quarteto Aché
Owl Shop (New Haven, CT) owlshopcigars.com
9/4, 9/11, 9/18, 9/25 (9 pm) Saint James Jazz Band
Palace Theater Poli Club (Waterbury, CT) palacetheaterct.org/shows/jazz
9/13 (7 pm) Yoko Miwa Trio
9/22 (11 am) Eddie Allen Quintet with Oscar Perez, Elias Bailey, E.J. Strickland
9/27 (7 pm) Jim Royle’s Caribbean Jazz Connection
The Port of Call (Mystic, CT) theportofcallct.com
9/3, 9/10, 9/17, 9/24 (7 pm) Adam Anderson Quartet
Quatro’s Italian Restaurant & Wine Bar (Guilford, CT) quattrositalian.com
9/1, 9/8, 9/15, 9/22, 9/29 (12 pm) Dr. G’s Jazz Brunch with Gary Grippo
Russell Library (Middletown, CT) russelllibrary.org
9/14 (3 pm) Noah Baerman with Henry LugoSide Door (Old Lyme, CT) thesidedoorjazz.com
9/6, 9/7 (8:30 pm) Mike LeDonne Grover Quartet with Peter Bernstein
9/20, 9/21 (8:30 pm) Harold López-Nussa Timba a la Americana with Grégoire Maret,
Luques Curtis, Ruy Adrián López-Nussa
St. John’s Episcopal Church (West Hartford, CT) reddoormusic.org
9/27 (7:30 pm) Nat Reeves with Benito Gonzalez, Jeff “Tain” Watts
Yale University (New Haven, CT) music.yale.edu/events
9/14 (4 pm) Allen Lowe
9/20 (8 pm) Amina Figarova Sextet & World Orphan Choir with Wayne Escoffery
N E W
J E R S E Y
The Brightside Tavern (Jersey City, NJ) brightsidetavernmenu.com
9/2, 9/9, 9/16, 9/23, 9/30 (7 pm) Noel Sagerman
Brothers Smokehouse (Ramsey, NJ) brotherssmokehousenj.com
9/6 (7 pm) Napoleon Revels-Bey
9/13 (7 pm) Pucci Amanda Jhones
9/20 (7 pm) T.K.Blue Organ Eyes
9/27 (7 pm) Alvester Garnett
Central Jersey Jazz Festival @Division Street Stage (Somerville, NJ)
centraljerseyjazzfestival.com
9/13 (6 pm) James Popik and Supernova
9/14 (6:30 pm) Maucha Adnet; Akiko Tsuruga
Central Jersey Jazz Festival @Somerset County Courthouse (Somerville, NJ)
centraljerseyjazzfestival.com
9/15 (1 pm) Joe Locke Trio; Cynthia Scott; Alvester Garnett’s ArtWorks Ensemble
Count Basie Center’s The Vogel (Red Bank, NJ) thebasie.org
9/13 (7:30 pm) Veronica Swift
9/29 (7 pm) Marc Ribot solo guitar: Charlie Chaplin’s “The Kid”
Englewood Public Library (Englewood, NJ) englewoodlibrary.org
9/5 (7:30 pm) Darryl Yokley “Tribute to Wayne Shorter”
9/15 (7 pm) Viva Vallenato Cumbia Band
Fort Lee Public Library (Fort Lee, NJ) fortleelibrary.org
9/29 (12 pm) Lenore Raphael Trio with Ron Jackson, Belden Bullock
Greate Bay Country Club (Somers Point, NJ) greatebay.com
9/25 (6 pm) South Jersey Jazz Society presents Andy Lalasis
Gregory’s Restaurant & Bar (Somers Point, NJ) gregorysrestaurantandbar.letseat.at
9/16 (7 pm) Tom Angello’s All-Star Jazz Series with Paula Johns, Dean Schneider,Andy Lalasis
Jersey City Latin Jazz Festival @Exchange Place (Jersey City, NJ) riverviewjazz.org
9/14 (1 pm) UCMP Latin Jazz Ensemble; Chino Pons and Grupo Irek; Doug Beavers,
Robby Ameen, Gabriel Chakarji, Alex Apolo Ayala; Jimmy Bosch Salsa Masters
Middlesex County Jazz Festival @Papaianni Park (Edison, NJ)
middlesexcountyjazzfestival.org
9/25 (5:45 pm) Off the Hook Quartet; Carrie Jackson Quartet; Akiko Tsuruga Quartet
Middlesex County Jazz Festival @Carteret Performing Arts and Events Center (Carteret, NJ)
middlesexcountyjazzfestival.org
9/26 (6:30 pm) Carteret High School Jazz Band; Nat Adderley Jr.

100 MILES OUT
Middlesex County Jazz Festival @Metuchen Plaza (Metuchen, NJ)
middlesexcountyjazzfestival.org
9/28 (6 pm) Metuchen High School Jazz Ensemble; Mariel Bildsten Septet
Middlesex County Jazz Festival @New Brunswick Performing Arts Center(New Brunswick, NJ) middlesexcountyjazzfestival.org
9/28 (1 pm) New Brunswick Jazz Project Brassl; Winard Harper & Jeli Posse;
Buster Williams Quartet
Middlesex County Jazz Festival @Parker Press Park (Woodbridge, NJ)
middlesexcountyjazzfestival.org
9/29 (3 pm) Woodbridge HS Jazz Choir; Brandon Woody’s Upendo;
Stephane Wrembel’s Django New Orleans
Millburn Public Library (Millburn, NJ) millburnlibrary.org
9/22 (3 pm) Lenore Raphael Trio with Chris Berger,
Dwayne “Cook” Broadnax + Wayne Wilkinson
Montclair Jazz Festival (Montclair, NJ) montclairjazzfestival.org
9/14 (12 pm) Lisa Fischer and Grand Baton; Christian McBride and Inside Straight; Jerome
Jennings & ill Philosophy; Edmar Castañeda Quartet; Steve Turre Sextet;
Brianna Thomas; Montclair State University Jazz Ensemble; “Celebrating Sarah
Vaughan” with Melissa Walker; Jazz House Legacy Band
Morris Museum Bickford Theatre (Morristown, NJ)
morrismuseum.org/outdoor-concerts-on-the-back-deck
9/14 (7:30 pm) Mike Davis and the New Wonders
New Jersey Performing Arts Center @Prudential Hall (Newark, NJ) njpac.org
9/29 (7 pm) Herbie Hancock with Terence Blanchard, James Genus, Lionel Loueke,
Jaylen Petinaud
Shanghai Jazz (Madison, NJ) shanghaijazz.com
9/10 (5:30/6:30/8 pm) Rich Court; Bob Himmelberger with Hal Slapin, John Vourtsis
9/12 (7/8:30 pm) Laurie Vega with Amani
9/17 (5:30/6:30/8 pm) Rich Court; John Korba with Hal Slapin, John Vourtsis
9/18 (7/8:30 pm) Ed Laub Quartet with Jerry Vezza, Hal Slapin, John Vourtsis
9/24 (5:30/6:30/8 pm) Rich Court; George Naha with Hal Slapin, John Vourtsis
Tavern on George (New Brunswick, NJ) tavernongeorge.com
9/3 (7/8:30 pm) Ariana Sowa Quartet and Jam
9/5 (7/8:45 pm) Peter Lin Quartet
9/10 (7/8:30 pm) Jeremy Leon Quartet and Jam
9/12 (7/8:45 pm) Gabrielle Stravelli Quartet
9/17 (7/8:30 pm) Zach Dessel Quartet and Jam
9/19 (7/8:45 pm) Ted Chubb Quartet
9/24 (7/8:30 pm) Jacob Hurlock Quartet and Jam
9/26 (7/8:45 pm) Richard Cortez Trio
N
E
W
Y
O
R
K
Alvin & Friends (New Rochelle, NY) alvinandfriendsrestaurant.com
9/14, 9/28 (7:30 pm) Leslie Pintchik Trio with Scott Hardy, Michael Sarin
Bean Runner Café (Peekskill, NY) beanrunnercafe.com
9/6 (7 pm) Carlos Jimenez Mambo Quintet
9/7 (6 pm) Conigliaro Consort
9/14 (6 pm) Alex Smith Quartet with Ingred Jensen, Nate Radley, Jon Wikan
9/20 (7 pm) Un Cuarteto Bacano
9/21 (6 pm) MG Organ Quartet with Miles Griffith
9/27 (7 pm) Anthem Band
9/28 (6 pm) Chip Shelton
9/29 (3 pm) Lisa Gutkin
Blue Door Art Center (Yonkers, NY) bluedoorartcenter.org
9/22 (2 pm) Po’Jazz with Golda Solomon, Christopher Dean Sullivan, JD Parran,Ayana Lowe, David Lowe
Quantum Leap Jazz Festival @Borghese Vinyard (Chutogue, NY)
castellodiborghese.com
9/13 (4 pm) Cyril Neville & Headhunters with Bill Summers, Chris Severin,
Donald Harrison Jr.; Icons with Choppa, BlaqNmilD, Tonya Boyd-Cannon,
Donald Harrison Jr.; Noveau Swing Trio
9/14 (4 pm) Donald Harrison Omniverse with Fred Wesley; Preservation Hall Legacy Band
with Wendall Bruinus; Joe Dyson Trio; Kyle Roussell
9/15 (4 pm) C.J. Chenier & the Red Hot Louisiana Band; Sonny Landreth;Michael Doucet dit BeauSoleil Trio; Davell Crawford Trio
Elk’s Lodge (Ossining, NY) jazzatthelodge.com
9/5, 9/19 (7/8:30 pm) Thursday Organ Groove with Chris Vitarello, Paul Connors, Jon Doty
9/7 (7/8:45 pm) Steve Frieder Quartet with Tim Regusis, Christopher James Talio, Jeff Siegel
9/12 (7/8:30 pm) Wonder Trio “The Music of Stevie Wonder” with Al Orlo, Ed Alstrom,
Bobby Deitch
9/26 (7/8:30 pm) Jon Doty/Tom Kohle Quartet with Mike Dopazo, Bob Gingery
Elysium Furnace Works @VBI Theatre (Beacon, NY) cunneen-hackett.org
9/21 (8 pm) Peter Evans
The Falcon (Marlboro, NY) liveatthefalcon.com
9/1 (7:30 pm) Jerry Vivino Jazz All-Stars with Frank Elmo, Rave Tesar, Steven Bernstein,
Mike Merritt, James Wormworth
9/5 (7:30 pm) Jim Campilongo 4-Tet with Luca Benedetti, Dan Rieser, Andy Hess
9/6 (7:30 pm) Jeremy Baum’s Dirty Funk Contingency with Jay Collins, Chris Vitarello,
Carlos Valdez, Lee Falco
9/8 (7:30 pm) Bobby Sanabria’s Latin Jazz Express with Larry Moses, Peter Brainen,
Harvey Tibbs, David Janeway, Lew Scott, Pito Castillo
9/12 (7:30 pm) Juma Sultan’s Aboriginal Music Society
9/15 (7:30 pm) Michael Mayo with Andrew Freedman, Kyle Miles, Robin Baytas
9/29 (7:30 pm) Neil Alexander 50th Anniversary Show feat. Peter Furlan, Bob Meyer,
Jonyoong Lee, Nadav Snir-Zelniker, Brian Mooney, Peter Brendler,
Gregg Bendian, Fung Chern Hwei, Brad Hubbard
Farm to Table Bistro (Fishkill, NY) ftbistro.com
9/13 (7 pm) Richard Baratta Quartet
First Presbyterian Church Parish Hall (Mt. Vernon, NY) pjsjazz.org
9/8 (6 pm) PJS Jazz Society presents Houston Person
Hamptons Jazz Fest @Parrish Art Museum (Water Mill, NY) hamptonsjazzfest.org
9/6 (6 pm) Sarah Hanahan Quartet
Hamptons Jazz Fest @Southampton Arts Center (Southampton, NY) hamptonsjazzfest.org
9/7 (7 pm) Santi Debriano Arkestre Bembe
Hamptons Jazz Fest @Guild Hall (East Hampton, NY) hamptonsjazzfest.org
9/14 (7 pm) Arturo O’Farrill Latin Jazz Ensemble
Hudson Hall (Hudson, NY) hudsonhall.org
9/28 (2 pm) Melanie Charles, Yunie Mojica, Zacchae’us Paul, Jerome Jennings,
Malik Kiyoshi McLaurine, DJ OOOChild

44 September 2024 | THE NEW YORK CITY JAZZ RECORD

Isaan Thai Star Restaurant (Hudson, NY) isaanthaistar.com
9/1, 9/8, 9/15, 9/22, 9/29 (6 pm) Armen Donelian
9/14 (6 pm) Armen Donelian/Chris Washburne
JazzFest White Plains @Arts Westchester (White Plains, NY) artswestchester.org
9/11 (8 pm) Jazz & Poetry Collective with EJ Antonio, Jason Kao Hwang, Warren Smith,Golda Solomon, Christopher Dean Sullivan, Michael TA Thompson,
Phylisha Villanueva, Andrea Wolper
JazzFest White Plains @Chazz Palminteri (White Plains, NY) artswestchester.org
9/11 (6:15 pm) Aaron Seeber Trio
JazzFest White Plains @Colombian House (White Plains, NY) artswestchester.org
9/11 (7:30 pm) Chembo Corniel Trio
JazzFest White Plains @Downtown Music at Grace (White Plains, NY)
artswestchester.org
9/11 (12 pm) John Patitucci/Adam Rogers Duo; Jazmyn
JazzFest White Plains @Shiraz Kitchen (White Plains, NY) artswestchester.org
9/11 (5 pm) Kristina Koller
JazzFest White Plains @White Plains Plaza (White Plains, NY) artswestchester.org
9/12 (6:30 pm) Selwyn Birchwood
JazzFest White Plains @White Plains Public Library Plaza (White Plains, NY)
artswestchester.org
9/13 (12, 7, 9pm) Vanessa Racci; Nicole Zuraitis Quartet
JazzFest White Plains @Music Conservatory of Westchester (White Plains, NY)
artswestchester.org
9/14 (2 pm) MCW Jazz Faculty Ensemble; Jazz Jam with MCW Faculty
JazzFest White Plains @Arts Westchester (White Plains, NY) artswestchester.org
9/14 (7/9 pm) Vijay Iyer Trio with Tyshawn Sorey, Linda May Han Oh
JazzFest White Plains @Mamaroneck Avenue (White Plains, NY) artswestchester.org
9/15 (12:30 pm) Westchester Center for Jazz & Contemporary Music; Anaïs Reno Quartet;
Brandon Sanders Quintet; Julius Rodriquez; Ekep Nkwelle
Jazz Forum Arts (Tarrytown, NY) jazzforumarts.org
9/1 (4/6/8 pm) Abelita Mateus Trio; David Janeway Trio Jam
9/6, 9/7 (7/9:30 pm) Monty Alexander Trio with Luke Sellick, Jason Brown
9/8 (4/6 pm) Gili Lopes Samba Jazz Quartet
9/13, 9/14 (7/9:30 pm) George Cables Trio with Essiet Essiet, Jerome Jennings
9/15 (4/6 pm) Billy Newman Quartet with Livio Almeida, Keita Ogawa, Pete Swanson
9/20, 9/21 (7/9:30 pm) Steve Turre Quintet
9/22 (4/6 pm) Ehud Asherie Trio
9/27, 9/28 (7/9:30 pm) Spike Wilner Contrafactus Trio + George Garzone
9/29 (4/6 pm) Freddie Bryant Brazilian Quartet
The Jazz Loft (Stony Brook, NY) thejazzloft.org
9/5 (7 pm) Jazz Loft Big Band
9/6 (7 pm) David Berkman Quartet
9/7 (7 pm) Larry Fuller Trio
9/12 (7 pm) Russell Hall Quintet
9/19 (7 pm) Harbor Jazz Festival: Bad Little Big Band
9/20 (7 pm) Harbor Jazz Festival: “The Sinatra Project!”
9/21 (12 pm) Harbor Jazz Festival: Equity Brass Band; Ray Anderson Group; Bill Crow Trio;
Akiko Tsuruga Organ Quartet; Mala Waldron Quartet;
Carlos Jimenez Mambo Dulcet
9/26 (7 pm) Interplay Jazz Orchestra
Jazz on Main (Mt. Kisco, NY) jazzonmain.com
9/5 (7:30 pm) Confluencia Cuarteto
9/6 (7 pm) Hiroshi Yamazaki Trio
9/7 (7/9 pm) Juliet Ewing & Ron Drotos Trio
9/8 (12 pm) Jon Cobert Jazz Brunch
9/12 (7 pm) Jordan McAllister Quartet
9/13 (7/9 pm) Kristen Mather De Andrade Quartet
9/14 (7/9 pm) Misha Piatigorsky Trio
9/15 (12 pm) Ron Drotos Jazz Brunch
9/20 (7 pm) Mike Fahie’s Counterfactual Quartet
9/21 (7/9 pm) Kylah Aleda Quartet
9/22 (12 pm) Suzahn Fiering & Friends
9/28 (7 pm) Aimée Allen Quartet
The Lace Mill (Kingston, NY) facebook.com/TheLaceMill
9/15 (4 pm) Ingrid Sertso 4tet
Lake George “Jazz at The Lake” (Lake George, NY) lakegeorgearts.org
9/12 (6 pm) Lake George Jazz Festival: Carlos Jimenez Jazz Quartet
9/13 (6 pm) Lake George Jazz Festival: Jahari Stampley Family Trio; Jazz Around Town
9/14 (10 am/1 pm) Lake George Jazz Festival: Michael Mayo; Ben Wendel;
Ulysses Owens Jr & Generation Y; Nicole Zuraitis
9/15 (10 am/1 pm) Lake George Jazz Festival: Jazz Cruise with James Rissacher; Daniel Kelly
Group; Linda May Han Oh; Danilo Pérez/John Patitucci/Adam Cruz Trio
Lydia’s Café (Stone Ridge, NY) lydias-cafe.com
9/7 (7 pm) Pete Levin Trio with Mike DeMicco, Peter O’Brien
9/14 (7 pm) Joel Harrison/Mark Dziuba with Rich Syracuse, Jeff Siegel
9/21 (7 pm) Chris Pasin, Jeff Ciampa, Clayton Thompson, Bob Meyer, Todd Anderson
9/28 (7 pm) Harvey Wainapel Quartet with Larry Ham, Rich Syracuse, Jeff Siegel
Maureen’s Jazz Cellar (Nyack, NY) maureensjazzcellar.com
9/13 (8 pm) Souren Baronian’s Taksim
9/14 (8 pm) Gunhild Carling All Star Band with Idun Carlin, David Budway, Neal Caine,
Daniel Glass
9/15 (1-6 pm) Nyack Jazz Festival: Gunhild Carling with Idun Carling, David Budway,
Daniel Glass, Neal Caine; Ravi Coltrane with Jeff “Tain” Watts, David Budway,
Neal Caine; Josh Kaye & Baklava Express
9/20 (7/9 pm) Steve Slagle Quartet with Lawrence Fields, Ugonna Okegwo, Brian Landham
9/21 (7/9 pm) Joe Lovano Quartet with Lawrence Fields, Peter Slavov, Lamy Istrefi
The Maverick (Woodstock, NY) maverickconcerts.org
9/2 (4:30-10 pm) Unexpected Music Festival: Laraaji, Sarah Hennies, Evan Shornstein/Will
Epstein, Ben Vida/Tyondai Braxton/Jefre Cantu-Ledesma
9/7 (8 pm) Miguel Zenón Quartet
Otto’s Full Service (Piermont, NY) ottosfullservice.com
9/5, 9/19 (6 pm) Kevin Lovejoy with Cameron Brown, Tony Jefferson
9/12 (6 pm) Kevin Lovejoy/Antoine Drye
9/19 (6 pm) Kevin Lovejoy with Cameron Brown, Tony Jefferson
Tubby’s (Kingston, NY) tubbyskingston.com
9/29 (8 pm) Chris Bowman’s Manix; Joe Fiedler Trio with Pete McCann, Michael Sarin
Turning Point Café (Piermont, NY) piermont.club
9/9 (8 pm) John Raymond with Dan Petrow, Bill Moring, Ron Vincent
9/16 (8 pm) Duane Eubanks with John Richmond, Allen Farnham, Bill Moring,Nadav Snir Zelniker
9/19 (8 pm) Scott Reeves Jazz Orchestra
9/24 (8 pm) Soft Machine
9/30 (8 pm) John Richmond with Roberta Piket, Earl Sauls, Andy Watson

Uncle Cheef (Brewster, NY) unclecheef.com
9/12 (7:30 pm) Doug Deming & The Jeweltones
9/14 (7:30 pm) Pete Malinverni
9/15, 9/22 (12 pm) Jazz Brunch with Alex Kautz
9/19 (7:30 pm) Joshua 2
9/20 (7:30 pm) Champian Fulton
9/21 (7:30 pm) Ian Hendrickson-Smith
9/25 (7:30 pm) Jumaane Dizzys
9/26 (7:30 pm) HiT Alex Cano Trio
9/27, 9/28 (7:30 pm) Jumaane Smith
Warner Library (Tarrytown, NJ) warnerlibrary.org
9/7 (2:30 pm) Kristen Mather de Andrade with Vítor Gonçalves, Eduardo Belo
Westchester Collaborative Theater (Ossining, NY) wctheater.org/music-in-the-box
9/14 (7:30 pm) Willie Martinez Latin Jazz Quartet
9/28 (7:30 pm) Mala Waldron Quartet
Woodstock Playhouse (Woodstock, NY) woodstockplayhouse.org
9/28 (7:30 pm) Bardavon presents Jack Dejohnette (solo piano)
P E N N S Y L V A N I A
2223 Fish (Philadelphia, PA) firemuseumpresents.com
9/19 (8 pm) Tatsuya Nakatani & Totally Automatic with Anne Ishii, Eugene Lew, Matthew Smith Lee
Community Arts Center (Wallingford, PA) tristatejazz.org
9/15 (2 pm) Ben Mauger’s Hot 6
Chris’ Jazz Café (Philadephia, PA) chrisjazzcafe.com
9/4 (7:30/9 pm) Luminous Unity Sextet with Silas Stewart, Eliot Bild, Josh Walker,
Ben Karp, Doug Drewes, Steve Perry
9/5 (7:30/9 pm) Salsa Nova with Kyle Courter, Christos Kokolis, Jacob Hurlock,
Kai Gibson, Matthew Nelson, Donald Solomon
9/6, 9/7 (7:30/9:30 pm) Benny Benack III/Kate Kortum with Tim Brey, Joe McDonough,Dave Brodie, Wayne Smith Jr.
9/6, 9/20 (11 pm) Oliver Mayman Jam Session
9/7, 9/14, 9/21, 9/28 (11 pm) James Santangelo Late Night Jam
9/10 (7:30/9 pm) Inslide Job with Sean McCusker, Jasyn Brazoban, Bill Saurman,
Sam Gellerstein, Matt Kahn, Max Fabiszweski, Dan Monaghan
9/11 (7:30/9 pm) Gabriel Meyer & His Band with John Swana, Jake Miller, Josh Klamka,
Eli Pace, Greg Masters
9/12 (7:30/9 pm) Mike Raymond Octet with Nick Dugo, Christian Ertl, Alex Podagrosi,
Tim Zettlemoyer, Peter Rushing, Damani Okuri, Tate Berkey
9/13 (7:30/9:30 pm) Kevin Hays’ 7th Sense with Seamus Blake, Steve Nelson,
Doug Weiss, Bill Stewart
9/13, 9/27 (11 pm) Featherbird
9/14 (7:30/9:30/11 pm) Jonathan Michel & His All Star Quartet with Orrin Evans,
Mekhi Boone, Sarah Hanahan; James Santangelo Jam
9/17 (7:30/9:30 pm) Nate Hook 4tet Plays Music of Larry Young’s Unity feat. Eliot Bild,
Lucas Brown, Paolo Cantarella
9/18 (7:30/9:30 pm) Peter Frank Orchestra with Lucas Beltran
9/19 (7:30/9:30 pm) Mervin Toussaint Band
9/20, 9/21 (7:30/9:30 pm) Joe Block tribute to Kind of Blue with Noah Halpern,
Jarien Jamanila, Dylan Band, Mikey Migliore, Anwar Marshal
9/24 (7:30/9 pm) Keith Chasin Quartet
9/25 (7:30/9 pm) Kate Bresnahan Band
9/26 (7:30/9 pm) Kiera Sankey Band
9/27, 9/28 (7:30/9:30 pm) Anais Reno All Star Quintet with Dylan Band, Adam Birnbaum,
David Wong, Matt Wilson
Deer Head Inn (Delaware Water Gap, PA) deerheadinn.com
9/5, 9/12, 9/19, 9/26 (7 pm) Bill Washer & Friends
9/6 (7 pm) Pam Purvis Quartet with Brandon McCune, Paul Rostock, Bill Goodwin
9/7 (12:30 pm) COTA Jazz Festival: Bill Warfield Quartet; Bill Goodwin Trio with
Dave Pietro; Andy Bianco Organ Quartet; Water Gap Jazz Orchestra;
Ballantyne, Froman, Marino Trio; Dan Pugach Nonet with Nicole Zuraitis;
Davey Lantz with Jonathan Ragonese; Jon-Erik Kellso Quartet;
Gabrielle Stravelli Trio
9/8 (12:30 pm) COTA Jazz Festival: Dan Wilkins Quartet; Marianne Solivan & Re-Entry; Cota Cats;
Brock, Lanzetti, Ogawa; Clarence Spady Band; Esteban Castro Trio;
Tessa Souter Quartet; Nancy Reed/Spencer Reed with Bill Goodwin
9/13 (7 pm) Dan Wilkins Quartet with Jim Ridl, Mike Boone, Byron Landham
9/14 (7 pm) Gene Perla
9/15 (5 pm) GT3-Jazz All-Stars with Joanie Samra, Marti Lantz, Sara Ferguson,
Tahliah Fuller, Vonya, Jesse Green, David Lantz III, George Torrella
9/20 (7 pm) Bill Warfield’s Hell’s Kitchen Funk Orchestra
9/21 (7 pm) Jerry Vivino
9/22 (5 pm) Shepard & Main with Jeff Plotnick, David Leonhardt, Marty Wilson,
Julian Rogai, Ian Froman, Stan Slotter
9/27 (7 pm) Davey Lantz Quartet with Chase Baird, Gene Perla, Adam Nussbaum
9/28 (7 pm) Roseanna Vitro Quartet with Jim Ridl, Dean Johnson, Tim Horner
9/30 (7:30 pm) Water Gap Jazz Orchestra
Evangelical Lutheran Church of the Atonement (Philadelphia, PA)
firemuseumpresents.com
9/7 (8 pm) Susan Alcorn/Simone Baron
La Rose Jazz Club (Philadelphia, PA) jazzclublarose.com
9/2, 9/9, 9/16, 9/23, 9/30 (5:30-9:30 pm) Tony Williams Jazz Quartet
The Perch (Philadelphia, PA) firemuseumpresents.com
9/20 (8 pm) Lucian Ban & Mat Maneri; Jair-Rohm Parker Wells
The Rotunda (Philadelphia, PA) firemuseumpresents.com
9/24 (8 pm) Skye Consort/Emma Björling; Shaina Kapeluck
9/25 (8 pm) Rancho AparteSettlement School Germantown Branch (Philadelphia, PA) jazzbridge.org/calendar
9/17 (6 pm) Kimpedro Rodriguez
Solar Myth (Philadelphia, PA) solarmythbar.com
9/10 (8 pm) Maria Chávez
9/11 (8 pm) Ches Smith, Shahzad Ismaily, Matt Hollenberg, Adam Minkoff, Trey Spruance
9/14 (8 pm) Tashi Wada with Julia Holter, Devra Hoff, Corey Fogel, Holland Andrews
9/19, 9/20 (8 pm) Holland Andrews
9/21 (8 pm) Anna Webber’s Shimmer Wince with Adam O’Farrill, Mariel Roberts,
Elias Stemeseder, Lesley Mok
9/22 (8 pm) Sarah DavachiSouth Jazz Club (Philadelphia, PA) southjazzkitchen.com
9/1 (6 pm/8:30 pm) Donald Robinson
9/5 (7/9 pm) Kim Scott
9/6, 9/7 (7/9:30 pm) Terell Stafford Quintet
9/12, 9/13 (7/9:30 pm) Jeff Kashiwa
World Café (Philadelphia, PA) worldcafelive.com
9/11 (7 pm) Orrin Evans & The Captain Black Big Band

Presented by

Celebrating Paul Pines
3pm: Linda May Han Oh
5pm: Danilo Pérez, John Patitucci
8pm: Nicole Zuraitis

Friday, September 13
6pm: Jahari Stampley Family Trio
7:30pm: Jazz Around Town

09/13 - 09/15
2024

Saturday, September 14
10am: Coffee and Jazz
1pm: Michael Mayo
3pm: Ben Wendel Group
5pm:Ulysses Owens Jr & Generation Y
8pm: Nicole Zuraitis
Sunday, September 15
10am: Jazz Cruise
1pm: Daniel Kelly Group Celebrating Paul Pines
3pm: Linda May Han Oh
5pm: Danilo Pérez, John Patitucci & Adam Cruz Trio
THE NEW YORK CITY JAZZ RECORD | September 2024 45

C LU B D I RE C TO RY• 440Gallery 440 Sixth Ave., Brooklyn(718-499-3844) Subway: F, G to Seventh Ave.
440gallery.com• 449 La Scat in Harlem 449 Lenox Ave.
Subway: 2, 3 to 135th Str.
• Albert’s Bar 140 East 41st St.
Subway: 4, 5, 6 to Grand Central
albertsbar.com• Arthur’s Tavern 57 Grove Str.
(212-675-6879) Subway: 1 to Christopher Str.
arthurstavernnyc.com• Astoria Park 19th St. And Ditmars Blvd., Queens
Subway: N, W to Astoria Blvd.
nycgovparks.org/parks/astoria-park• 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• 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• Bronx Burger House 5816 Moshulu Ave., Bronx
Subway: 1 to Van Cortlandt Park
• Brooklyn Bowl 61 Wythe Ave., Brooklyn(718-963-3369) Subway: L to Bedford Ave.
brooklynbowl.com• Brooklyn Museum of Art 200 Eastern Parkway,
Brooklyn(718-638-5000) Subway: 2, 3 to Eastern Parkway
brooklynmuseum.org• Bryant Park 5th and 6th Ave. btwn. 40th and42nd Str.
(212-768-4242) Subway: 4, 5, 6 to 42nd Str.
bryantpark.org• Cabrini Shrine 701 Fort Washington Ave.
Subway: A to 190th St.
jazzwahi.com• Café Erzulie 894 Broadway, Brooklyn
Subway: J, M, Z to Myrtle Ave.
cafeerzulie.com• Café Ornithology 1037 Broadway, Brooklyn
Subway: J to Kosciuszko St.; M to Central Ave.
ornithologyjazzclub.com• Cellar Dog 75 Christopher Str. at 7th Ave.
(212-675-6056) Subway: 1 to Christopher Str. /Sheridan Sq.
cellardog.net• Chelsea Table + Stage Hilton Fashion District
Hotel, 152 W 26th St.
(212-434-0499) Subway: C, E to 23rd St.; R, W to28th St.
chelseatableandstage.com• Children’s Magical Garden de Carmen Rubio
129 Stanton St.
Subway: F to Second Ave.
www.artsforart.org• City Winery 25 11th Ave. (at 15th St.)(646-751-6033) Subway: A, C, E, L to 14th St.
citywinery.com• The Cutting Room 44 E. 32nd St.
(212-691-1900) Subway: 6 to 33rd St.
thecuttingroomnyc.com• Dada Bar 60-47 Myrtle Ave., Queens
Subway: M to Forest Ave.; M to Fresh Pond Rd.
dadabar.nyc• Dante Park Columbus Ave. and West 63rd St.
Subway: 1, 2 to Lincoln Ctr.; A, B, C, D to
Columbus Circle
nycgovparks.org/parks/dante-park• Dizzy’s Club 33 W. 60th Str., 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F toColumbus Circle
jazz.org• The Django 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal Str. ; 1 toFranklin Str.
thedjangonyc.com• Downtown Music Gallery 13 Monroe Str.
(212-473-0043) Subway: F to East Broadway
downtownmusicgallery.com• Drom 85 Ave. A(212-777-1157) Subway: F to Second Ave.
dromnyc.com• The Ear Inn 326 Spring St. at Greenwich St.
(212-246-5074) Subway: C, E to Spring St.
earinn.com• Emmanuel Baptist Church 279 Lafayette Ave.
(718-622-1107) Subway: G to Classon Ave.
ebcconnects.com• First Street Green 33 E. First St. near Second Ave.
Subway: F, V to Second Ave.
• Flushing Town Hall 137-35 Northern Blvd.,
Flushing(718-463-7700) Subway: 7 to Main Str.
flushingtownhall.org• Flute 205 W.54th St.bt. 7th and Broadway(212-265-5169) Subway: B, D, E to 7th Ave.
• Fotografiska 281 Park Ave. South(212-433-3686) Subway: 6 to 23rd St.
fotografiska.com/nyc• Greenwich House Music School 46 Barrow St.
(212-242-4770) Subway: 1 to Christopher St.
greenwichhouse.org• Grimm Ales 990 Metropolitan Ave., Brooklyn(718-564-9767) Subway: L to Graham Ave.
grimmales.com• Hawkins Park City Island Avenue, The Bronx
Subway:• Highbridge Park Edgecombe Ave. and 155th St.
(212-972-2012) Subway: A, C to 115th St.
nycgovparks.org• Hudson River Park 555 12th Ave. at 44th St.
(212-627-2020) Subway: A, C, E, F, V to 42nd St.
-Port Authority
hudsonriverpark.org• Ibeam Brooklyn 168 7th Str. btwn. Second andThird Ave.
Subway: F to 4th Ave.
ibeambrooklyn.com• Il Porto 37 Washington Ave, Brooklyn
Subway: G to Flushing Ave.
ilportobrooklyn.com• Il Sole 233 Dyckman St.
Subway: A to Dyckman St.
ilsolenyc.com• Interchurch Center 475 Riverside Drive at120th St.
Subway: 1 to 116th St.
• Iridium 1650 Broadway at 51st Str.
(212-582-2121) Subway: 1,2 to 50th Str.
theiridium.com• Jaffa Cocktail Bar 97 Wythe Ave., Brooklyn
Subway: L to Bedford Ave.
jaffabrooklyn.com• 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• Jazz In Times Square 46th St. and Broadway
Subway: A, C, E to 42nd St.; 7 to Times Square; S
to Times Square; N, Q, R, W to Times Squarejazz.org/swinginthestreets• Joe’s Pub 425 Lafayette Str.
(212-539-8770) Subway: N, R to 8th Str. -NYU; 6 toAstor Pl.
joespub.com• The Keep 205 Cypress Ave., Queens(718-381-0400) Subway: L to Jefferson Str.
thekeepny.com• Klavierhaus 549 W. 52nd Str., 7th Floor(212-245-4535) Subway: C, E to 50th Str.
klavierhaus.com

46 September 2024 | THE NEW YORK CITY JAZZ RECORD• Knickerbocker Bar & Grill 33 University Pl.
at 9th Str.
(212-228-8490) Subway: N, R to 8th Str. -NYU
knickerbockerbarandgrill.com• Le Poisson Rouge 158 Bleecker Str.
(212-228-4854) Subway: A, B, C, D, E, F, V to W.
4th Str.
lepoissonrouge.com• Louis Armstrong House Museum 34-56 107th St.,
Queens(718-478-8274) Subway: 7 to 11th St.
louisarmstronghouse.org• Lowlands 543 Third Ave., Brooklyn(347-463-9458) Subway: R to Prospect Ave.
lowlandsbar.com• Mezzrow 163 W. 10th Str.
(646-476-4346) Subway: 1 to Christopher Str.
smallslive.com• Minton’s 206 W. 118th Str. btwn. Str. Nicholas Ave.
and Adam Clayton Powell Jr. Blvd
(212-243-2222) Subway: B, C to 116th Str.
mintonsnyc.com• Mount Morris Ascension Presbyterian Church
15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 St.
• North Square Lounge 103 Waverly Pl. at
McDougal Str.
(212-254-1200) Subway: A, B, C, E, F, V to
West 4th Str.
northsquareny.com/about-jazz.php• Nublu 151 151 Ave C
Subway: L to 1st Ave.
nublu.net• Open Source Gallery 306 17th St., Brooklyn(646-279-3969) Subway: F, G to 15th St. Prospect Park
open-source-gallery.org• 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• Pangea 178 Second Ave.
(212-995-0900) Subway: L to First Ave.
pangeanyc.com• Parkside Lounge 317 Houston St. bt. Ave. B and C(212-673-6270) Subway: F, V to Second Ave.
• Patrick’s Place 2835 Frederick Boulevard(212-491-7800) Subway: B, D to 155th Str.
patricksplaceharlem.com• Pisticci 125 La Salle St.
(212-932-3500) Subway: 1 to 125th St.
pisticcinyc.com• Prospect Series 1923 8th Ave., Brooklyn
Subway: D, N, R, W to Prospect Ave.
instagram.com/prospectseriesbrooklyn• Public Records 233 Butler St.
(347-529-4869) Subway: 2, 3, 4, 5, B, D, N, Q, R to
Atlantic Ave.
publicrecords.nyc• Queens Museum of Art Flushing Meadows Park(718-592-9700) Subway: 7 to Willets Point/Shea
Stadium
queensmuseum.org• Rebar Chelsea 225 West 19th St.
Subway: 1, 2 to 18th St.
• 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• Rockwood Music Hall Stage 1 196 Allen St.
(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 St., 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F toColumbus Circle
jazz.org• Roulette 509 Atlantic Ave., Brooklyn(917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Ave.
roulette.org• Roxy Lounge at Roxy Hotel, The 2 Sixth Ave.
(212-519-6600) Subway: A, C, E to Canal St.; 1 toFranklin St.
roxyhotelnyc.commorgan@njfpr.com• Russian Vodka Room 265 W. 52nd St.
(212-307-5835) Subway: C, E to 50th St.
russianvodkaroom.com• Saint Peter’s Church 619 Lexington Ave. at54th Str.
(212-935-2200) Subway: 6 to 51st Str.
saintpeters.org• ShapeShifter Lab 837 Union Str., Brooklyn(646-820-9452) Subway: D, N, R, W to Union Str.;
B, Q to 7th Ave.;
shapeshifterplus.org• Sheen Center 18 Bleecker St.
(212-219-3132) Subway: Subway: 6 to Bleecker St.
sheencenter.org• 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.ssistersbklyn.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• The Stone at The New School 55 West 13th Str.
(212-229-5600) Subway: F, V to 14th Str.
thestonenyc.com• Sugar Hill Luminaries Lawn W. 155th St. bt. St.
Nicholas Ave. and St. Nicholas Place
Subway: C to 155th St.
• Swing 46 349 W. 46th St.
(646-322-4051) Subway: A, C, E to 42nd St.
swing46.com• Threes Brewing 333 Douglass St.
(718-522-2110) Subway: R to Union St.
threesbrewing.com• Town Hall 123 W. 43rd St.
(212-997-1003) Subway: 7, B, D, F, M to 42nd St.
-Bryant Park
thetownhall.org• Umbra Café 785 Hart St., Brooklyn
Subway: M to Central Ave., Knickerbocker Ave.; L to
DeKalb Ave.
umbrabrooklyn.com• Village Vanguard 178 Seventh Ave. South at
11th Str.
(212-255-4037) Subway: 1, 2, 3 to 14th Str.
villagevanguard.com• Winnie’s 63 West 38th St.
(646-846-9063) Subway: B, D, F, M to 42nd St.
NQRW to Times Square; BDFM to 34th St.
winniesnyc.com• Zinc Bar 82 W. 3rd Str.
(212-477-8337) Subway: A, C, E, F, V, Grand Str.
Shuttle to W. 4th Str.
zincbar.com• Zürcher Gallery 33 Bleecker St.
(212-777-0790) Subway: 6 to Bleeker St. ; B, D, F to
Broadway-Lafayettegaleriezurcher.com

I N ME MORIAM
TONINHO BARBOSA (unknown – Aug. 2, 2024) Born
in Teresina, State of Piaui, in Northeast Brazil, the soundengineer—commonly referred to as “the Brazilian Rudy
Van Gelder”—died in Rio de Janeiro. Barbosa moved to
Rio in the mid ’60s, where he quickly became in-demandin the busy ’70s and ’80s Brazilian music scene. From
Sonoviso studios, where he recorded albums by acts
including Azymuth, Danilo Caymmi, Francisco Mário
and Yana Purim, he opened his own TBS Studios inthe early 2000s. Barbosa’s many other credits include
albums by Ivan Lins, Baden Powell, João Donato, ElisRegina, Antonio Adolfo, Boca Livre, Dom Um Romao
and Carlos Lyra.
DAVE BINDER (Feb. 5, 1956 – Aug. 10, 2024) Known
professionally as John Kelman, the well-known writerdied of a heart attack after having faced significant
health challenges in recent years. For two decades hewrote about 2,700 articles for allaboutjazz.com, withdaily reviews, revealing his encyclopedic knowledge,
depth and passion for the music. As a senior editor headditionally mentored many of the site’s contributors.
He also wrote liner notes for releases on Criss Cross,
Cuneiform, ECM, hatOLOGY, HighNote, Moonjune,
Rune Grammofon, Whaling City and other labels.
DOLPH CASTELLANO (Jul. 7, 1935 – Aug. 3, 2024) The
twin brother of fellow pianist Tony Castellano (d. 1999),
the Brooklyn-born pianist died in South Florida at age 89.
Dolph began his career in mid ’50s New York, recordingwith Vinnie Riccitelli & The Westchester Workshop. He
played with and wrote for multi-instrumentalist Ira
Sullivan (Dolph’s “Portrait of Sal La Rosa” appears on
Sullivan’s eponymously titled A&M album, recorded
in 1975-76, which features Jaco Pastorius, Joe Diorio,
Don Alias and Steve Bagby, as well as Dolph’s brother
Tony elsewhere on the album), in addition to Chubby
Jackson, Turk Mauro and his brother Ronnie Turso, andothers. His credits are many, including Dizzy Gillespie
for the trumpeter’s 60th birthday, Woody Herman, Sam
Donahue, Jimmy Dorsey, Art Mooney, Charlie Spivak,
Lou Donaldson, Donald Byrd and Si Zentner. In 2012,he was inducted into the South Florida Jazz Hall of
Fame.
TOUMANI DIABATÉ (Aug. 10, 1965 – Jul. 19, 2024) The
Malian master of the kora (21-stringed harp) died at age
58 after a short illness (he had also contracted polio asa child). Internationally known, he came from a caste of
traditional musicians and historians. His kora playing
mixed bass lines with improvisation and he crossed into
various genres of music, including jazz. Collaborations
included Taj Mahal, Roswell Rudd, Béla Fleck, Dee Dee
Bridgewater and Herbie Hancock.
TOM EVERED (1955 – Aug. 3, 2024) The highly
respected jazz industry professional died at age 69, at
his home in Nashville, TN. From 2002-2010 Evered was
general manager and senior vice president of marketingat EMI Records (for jazz and classical music the first
four years; classical the latter four). However, he will be
best remembered for his earlier position with Blue Note
Records, where he was general manager/senior vicepresident, working with new artists, reissuing albums
and writing liner notes, during what many consider
one of the label’s most successful post-’60s periods.
He worked side by side with legendary label executive
Bruce Lundvall and reissue kingpin (and Mosaic
Records founder) Michael Cuscuna, during whichtime Evered signed artists ranging from Bob Dorough,
Dianne Reeves, Joe Lovano, Cassandra Wilson, US3 andJason Moran to Norah Jones, who quickly became thelabel’s blockbuster artist. Since 2010, he was a music
marketing consultant, worked at Naxos, and continued
to work occasionally with Cuscuna, co-curating “Search
for a New Sound: The Blue Note Photographs of Francis
Wolff”, an exhibit showcased at the German Historical
Institute-Goethe Institut.

BY MARILYN LESTERLAURA LITTARDI (Jan. 2, 1960 – Aug. 12, 2024) The
Italian-born singer, composer, lyricist, arranger, vocal
coach and educator died at age 64 in France, where shesettled in 1987. Her collaborations included Giovanni
Mirabassi, Olivier Ker-Ourio, Joe Fonda, Louis Moutin,
Sylvain Beuf and Dedé Ceccarelli, among others.
SHAUN MARTIN (Aug. 23, 1978 – Aug. 3, 2024) The
keyboardist died at age 45 from consequences sufferedfrom a massive stroke last year. Martin played piano,organ, clarinet, mellotron, minimoog and a variety ofother synthesizers and electronic keyboards, as well as
vocoder and talk box. The multiple Grammy winner isbest-known for his associations with the jazz fusion group
Snarky Puppy (which he joined in 2010) and as a memberof Chaka Khan’s backing band. His solo debut album
Seven Summers (2015) was followed by Focus (2018) andThree-O (2020), all on Ropeadope. Throughout Martin’svarious projects and collaborations, his gospel roots, jazz,
funk, R&B and rock chops informed his work, including
with Spike Lee, Ledisi, Guru, Mark Lettieri and others.
LLEWELLYN (LLEW) MATTHEWS (1946 – Aug. 4,2024) The pianist and arranger died in Twin Falls, ID,
at age 78. Matthews was born in Harlem and attended
the High School of Music and Art, where his classmates
included bassist Eddie Gomez and drummer Billy
Cobham. After study at the New York College of Music
he joined the NYC jazz scene where his first major late
‘60s gigs included alto saxophone great Jackie McLean,
trumpeter Woody Shaw and drummer Roy Haynes. He
would later become music director for Nancy Wilson for
two decades, winning two Grammy awards as arranger
and musician for “Best Jazz Vocal Album”. Health issues
ended his career, before he moved to Michigan then backto Idaho. Matthews rarely recorded under his own name,an exception being A Certain Smile (M&I, 1999), whichfeatured his trio with flautist Hubert Laws. His workwith a roster of singers and instrumentalists ranged from
Barbara Paris and Barbara Reed to Carl Burnett, Kenny
Burrell, Buddy Collette, Ramsey Lewis, Rickey Woodard
and the Count Basie Orchestra.
EUGENE T. (JACK) MOUSE (May 29, 1946 – Aug. 8,2024) The drummer died in the Kansas University Medical
Center in Kansas City, KS, at age 78. The Emporia native
graduated in 1964 from Emporia High School, KS,then attended Berklee College of Music in Boston andgraduated from the College of Emporia, which began
a career as a drummer, leader, sideman, composer,
percussion instrument designer and educator. As astudent he’d composed a series of multiple percussion
solos (published by Studio PR Publications), whichbecame standard repertoire for elementary and highschool students. As a composer he recorded two albumsof originals: Range of Motion (2012) and Intimate Adversary(2019). As an educator, he was on the faculty at North
Central College in Naperville, IL (he served for 24 years
as Assistant Professor of Music and Coordinator of Jazz
Studies); American Conservatory of Music in Chicago,
IL; Benedictine University in Lisle, IL; and Saskatchewan
School of the Arts in Regina, Saskatchewan, Canada. For
26 years he led the rhythm section at singer and wife
Janice Borla’s vocal jazz camp. The drummer additionallyco-founded Flashpoint Creative Arts with Borla (in 2017).
Earlier this year he released a drum method book andonline instructional video, Rhythmic Counterpoint: Complex
Independence for the Contemporary Drummer. Collaborations
over his career include Randy Brecker, Herb Ellis, Bunky
Green, Dan Haerle, Stan Kenton, John LaPorta, James
Moody, Scott Robinson, Clark Terry and Joe Williams.
RICHARD OKON (Jun. 26, 1945 - Jun. 19, 2024) A
prominent fixture and well-liked presence on the NYC
jazz landscape, whether behind the scenes or at thefront door of a number of jazz rooms in the city greeting
listeners, the respected jazz manager and jazz club maître
d’ passed away at age 79 after suffering a stroke on a jazz

cruise. Rich (or “Richie” as he was affectionately known)
Okon was a former drummer who in the ‘60s attended
The Stan Kenton Clinics where he met and played with
Randy Brecker, Don Grolnick and David Sanborn. As
a non-musician, he worked at such venues as Seventh
Ave. South, Sweet Basil (and its later incarnation Sweet
Rhythm) and Iridium and was floor manager at theBlue Note. He also managed Japanese pianist Yosuke
Yamashita and guitarist Larry Coryell.
BRUCE TALBOT (Jul. 25, 1939 – May 4, 2024) The highlyregarded record producer died at age 84 in Reston, VA,
as the result of a fall. Born in Wellington, New Zealand,
he took up tenor saxophone at age 13 and led a band that
played at the Studio Jazz Club seven nights a week. In
1955, he joined the New Zealand Broadcasting Company,
where he became a producer, going on to the marketing
department of RCA Records, New Zealand. Talbot
emigrated to England in 1963 and found work with the
BBC as a music librarian. In the ’70s, he played with theLondon Vintage Jazz Orchestra and in 1981 became a
producer at BBC Records, where his prolific output of
hundreds of albums helped build BBC Records into amajor record company, transcending its reputation as alabel that released such esoteric material as bird sounds.
Talbot also became a studio producer of live music,
supervising the recording of big bands (including the
80-piece BBC Concert Orchestra), solo performers andgroups. In the early ’90s, he was appointed Executive
Producer and Director of the Smithsonian Collection ofRecordings, which yielded productions including 12
boxed sets and 17 individual albums in the “American
Songbook Series” on songwriters such as Hoagy
Carmichael, Duke Ellington, Johnny Mercer, Jule Styne,
Jimmy Van Heusen, Kurt Weill and Alec Wilder, as wellas anthologies including the Grammy-winning Portrait of
the Artist as a Young Man: Louis Armstrong, 1923-34; BigBand Renaissance: The Evolution of the Jazz Orchestra; The
Jazz Singers, 1919-1994; and The Smithsonian Collection ofClassic Blues. Talbot was also the biographer of composer,
arranger and bandleader Tom Talbert (Tom Talbert: His
Life and Time, Scarecrow Press).
PATTY WATERS (Mar. 11, 1946 – Jun. 29, 2024) The
Iowa-born avant garde jazz vocalist died at age 78.
Waters was already singing semi-professionally in highschool for the Jerry Gray Hotel Jazz Band. After a family
move to Denver, friends encouraged her to move to New
York. Influenced from her early days by Billie Holiday’s
life and vocal style, Waters found work in NYC as anightclub singer. She was heard by saxophonist Albert
Ayler who introduced her to Bernard Stollman (ownerof the nascent experimental label ESP-Disk). She would
release a number of free jazz records in the ’60s for thelabel, including Sings (1965), with a piano trio of Burton
Greene, Steve Tintweiss and Tom Price, containing anearly fourteen-minute wailing version of the traditional“Black Is the Color (Of My True Love’s Hair)”. The
label also released College Tour in 1966 (which included
pianist Dave Burrell and, on one track, Greene). Waters
also spent time in Europe in the ’60s, before leaving themusic business for California (then Hawaii) to raise herson, who was born in 1969. She returned to performing
and recording nearly three decades later, releasing thealbum Love Songs (Jazz Focus, 1996), and soon reunited
with Greene in 2003 at two music festivals: NYC’s Vision
Festival and U.K.’s Le Weekend in Stirling. You Thrill Me:
A Musical Odyssey (1960-1979), a collection of rare andunissued recordings, was released in 2004 (Water Music),
followed in 2006 by an ESP-Disk’ reissue of her first two
albums (The Complete ESP-Disk Recordings). Thirteen
years later, a live recording from an appearance at theFirst Unitarian Congregational Church in Brooklyn was
released in 2019 as Live (Blank Forms), followed in 2020
by another live recording entitled An Evening In Houston(Clean Feed). Just over four years ago, Waters released
an unissued 1970 session titled Plays on her own label,
Waters Sings.

THE NEW YORK CITY JAZZ RECORD | September 2024 47

PRESERVATIONEDUCATIONPERFORMANCE

9TH ANNUAL

THE JAZZ LOFTPRESENTS

HARBOR

JAZZFESTIVALSEPTEMBER 18 -21, 2024

9/18 JAM SESSION with the KEENAN ZACH ORGAN TRIO
9/19 RICH IACONA & THE BAD LITTLE BIG BAND
featuring JOE MAGNARELLI, trumpet and MADELINE KOLE, vocal
9/20 THE SINATRA PROJECT: PETE CALDERA, TOM MANUEL & SEXTET
9/21 VILLAGE GREEN STAGE NOON: TRAD JAZZ PARADE with EQUITY BRASS BAND,
1PM: RAY ANDERSON GROUP, 4PM: AKIKO TSURUGA ORGAN QUARTET,
7PM: CARLOS JIMENEZ MAMBO DULCETJAZZ LOFT LAWN STAGE 3PM: BILL CROW TRIO, 6PM: MALA WALDRON QUARTET