AUGUST 2022—ISSUE 244

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

INGRIDLAUBROCK
IN A STRONG PLACEAVISHAICOHEN

BRANDONLÓPEZABIODUNOYEWOLEROY
HARGROVE

Managing Editor:
Laurence Donohue-Greene
Editorial Director &Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628

AUGUST 2022—ISSUE 244
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : AVISHAI COHEN

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : BRANDON LÓPEZ

Advertising:advertising@nycjazzrecord.com
Calendar:calendar@nycjazzrecord.com
VOXNews:
voxnews@nycjazzrecord.com

ON THE COVER : INGRID LAUBROCKENCORE : ABIODUN OYEWOLE
LEST WE FORGET : ROY HARGROVELABEL SPOTLIGHT : REEL TO REALUS Subscription rates: 12 issues, $40
Canada Subscription rates: 12 issues, $45
International Subscription rates: 12 issues, $50
For subscription assistance, send check, cash ormoney order to the address aboveor email info@nycjazzrecord.com

Staff Writers
Duck Baker, Dan Bilawsky,
Stuart Broomer, Robert Bush,
Kevin Canfield, Marco Cangiano,
Thomas Conrad, Pierre Crépon,Ken Dryden, Donald Elfman,
Phil Freeman, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen,
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow
Contributing Writers
Mike Cobb, Ori Dagan,
George Kanzler, Steven Loewy,
Wilbur MacKenzie, Franz Matzner,
Eric Wendell
Contributing Photographers
Janette Beckman, Helmut Berns,
Peter Gannushkin, Tom Greenland,
Alan Nahigian, Tim Pickerill,
Robert I. Sutherland-Cohen, Andreas Terlaak,
Adrien H. Tillmann, Jack Vartoogiannycjazzrecord.com

VOXNEWS
OBITUARIESFESTIVAL REPORTALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY

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by jim motavalli
by george grellaby john sharpeby mike cobb
by alex hendersonby pierre giroux
by suzanne lorge
by andrey henkinFrank Sinatra famously sang, “If I can make it there, I’ll make it anywhere / It’s up toyou, New York, New York.” Truth. All of our features this month have the greatest
metropolis in the world in common. Saxophonist Ingrid Laubrock (On The Cover) has
established herself as one of the city’s key players since growing up in Germany andhustling in London; this month, among other gigs, she celebrates a new duo release withpianist Andy Milne at The Jazz Gallery. Bassist Avishai Cohen (Interview), from Israel
and now based there once more, spent his formative musical years in New York, where
he made his name with Chick Corea and later as a bandleader; he returns for a week topresent a new trio recording at the Blue Note. Bassist Brandon López (Artist Feature),scion of a musical family, hails from New Jersey and made the small move up north tobecome an important contributor to the avant garde scene; he curates four days at The
Stone at The New School among other appearances. Poet Abiodun Oyewole (Encore)
was born in Cincinnati but moved to New York as a child, where years later he would
co-found The Last Poets with a concert at Mount Morris Park (now known as Marcus
Garvey Park) and go on to influence generations of poets and rappers; he returns to thepark where it all started as part of Summerstage. And trumpeter Roy Hargrove (Lest
We Forget), son of Texas, became a seminal figure in his adopted home of New York
from the late ‘80s onwards, sadly dying here in 2018; a tribute to Hargrove by one-timesideman Evan Sherman is at Dizzy’s Club.

On The Cover: Ingrid Laubrock (photo by Helmut Berns / courtesy of the artist)
Corrections: In last month’s NY@Night, Tredici Bacci correctly translated to 13 kisses.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORDNYC's Longest Running Jazz Festival

FRIDAYS AT MARCUS GARVEY PARK
Richard Rodgers Amphitheater
7:00 PM - 8:30 PM
FIFTH AVENUE & WEST 124TH STREETSCAN OR CLICK FOR INFORMATIONTHANK YOU TO OUR SUPPORTERS LIST IN DEVELOPMENTGEORGE AND JOYCE
WEIN FOUNDATION

t.k. blue

PRESENTS "PLANET BLUU"

FRI. AUG. 5

GreatPlaylists

Soft Jazz
So Sweet

WYCLIFFE GORDON
FRI. AUGUST 12

SPECIAL THANKS TO: NEW YORK STATE: Governor Kathy Hochul | State Senator Cordell Cleare | State Assembly Member Inez E. Dickens NEW YORK CITY: Mayor Eric Adams
Council Speaker Adrienne Adams Council Member Kristin Richardson Jordan | Manhattan. Council Member Kevin Riley | Bronx. Council Member Nantasha Williams | Queens
THIS PROGRAM IS SUPPORTED IN PART BY A GRANT FROM THE LOUIS ARMSTRONG EDUCATIONAL FOUNDATION, INC.
EVENT

WWW.JAZZMOBILE.ORG

ALL CONCERTS WEATHER PERMITTING & SUBJECT TO CHANGE

ARKADIA NEW RELEASESALAN PASQUA: Dedications
with Dave Holland and Paul Motian
featuring Gary Bartz and Randy Brecker

TETEL DI BABUYA: Meet TETEL"Meet Tetel is an impressive debut for the singer…a fine set.
- Scott Yanow, Downbeat“Just when you thought you’d heard everything Brazil has to offer,along comes Tetel Di Babuya, an artist of stunning originality andvirtuosic talent as a vocalist, violinist, and songwriter. Tetel’s
flirtatious vocal style will win over even the most jaded among us.”
- Mark Holston, JAZZIZ, LATINO

The BEST JAZZ from
Arkadia Records

Listen on

T.K. BLUE: Eyes of the Elders
with Randy Brecker, Stefon Harris, Eric Reed,
Jeff "Tain" Watts, Joanne Brackeen

ArkadiaRecords.com

NEW YORK @ NIGHT
J ust south of the east end of the Williamsburg Bridge, It was a perfect setting for Kat Edmonson, queen of

STEVE CARDENASBEN ALLISONTED NASH

HEALING POWER
THE MUSIC OF CARLA BLEY
SSC 1664

AVAILABLE 7/8//22—The music of Carla Bley straddles the musical sensibilities that this collective trio has focused on for overa decade. In this regard, the trio’s connection to theesthetic of Giuffre’s later trio, which featured Paul Bleyand Steve Swallow, is apparent as this version Giuffre’s groundbreaking trios played many of Carla Bley’s
compositions.

RANDAL DESPOMMIERBEN MONDER
A MIDSUMMER ODISSEY
THE MUSIC OF LARS GULLIN
WITH

SSC 1668
AVAILABLE 7/15//22—In this intimate context, Despommier’s poise andinventiveness on alto recalls the late Lee Konitz, one
of Gullin’s collaborators. His effortless blend with
Monder leads to many magical moments. The central
focus is the highly accessible yet always enigmaticmusic of Swedish baritone saxophonist Lars Gullin.

SSC 4562

AVAILABLE 7/22//22

The Cuban legends and their stalwart collaborators
met in early January 2022 in Miami, to capture thegrand event. The program they recorded included
originals by both leaders along with pieces by composers of two far flung generations and Latin styles,
Hilario Durán and Carlos Gardel.

ALLISON MILLERCARMEN STAAFNEARNESS
SSC 1673

AVAILABLE 7/29/22

The recording is made up of original compositions
and a couple of standards. A number of the pieces emerged organically just from the act of sitting
down, playing, and letting the music come together on its own while honoring melody and a sense oftime, even while playing free.

www.sunnysiderecords.com

TOM GREENLAND

CHUCHO VALDÉSPAQUITO D’RIVERAREUNION SEXTETI MISSED YOU
TOO !

vintage pop and jazz: a transformed Lincoln Center
garage space dubbed The Speakeasy at Jaffe Drive (Jul.
17th). Bassist Sean Conly, drummer Aaron Thurston
and guitarist Matt Munisteri providing melodic andrhythmic support, the singer-songwriter spun out a setof originals and standards arranged in multiple genres.
Chatty, bright and pixie-ish, Edmonson packs plenty ofpunch with her sweet vocal tone (think Blossom Dearieor Stacey Kent). Famously, she is a fierce fan of old
movies, which influences her work and persona deeply.
Writing “How’s About It Baby?”, she relates she
imagined Gene Kelly wooing a potential sweetheart inCentral Park and indeed successfully captured theflavor of a ‘40s film. Likewise, “If”, her homage to afavorite group, The Inkspots, perfectly invoked thequartet’s unique R&B style. Among standards,
Edmonson demonstrated vocal flexibility, excellent
phrasing and range in a driving, rhythmic-based“Summertime” (George and Ira Gershwin), craftily
ending with a few bars of “Feeling Good” (Anthony
Newley-Leslie Bricusse). A historian at heart, sherelates the back-story to “I’ve Told Ev’ry Little Star”(Jerome Kern-Oscar Hammerstein II), among others,with Munisteri offering a lilting, whimsical solo. She
also rightly gives credit to writers, such as the fullcomplement—Duke Ellington, Johnny Hodges, Harry
James and lyricist Don George—of a swinging “I’m
Beginning to See the Light”.
—Marilyn Lester

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

411 Kent Avenue houses a white-brick, shoeboxshaped, sound baffled performance space opening inback onto an open-air, florescent green-lit bamboo
forest, perfect for Shift, its Wednesday experimental
music series launched in April. Curated by David
Watson, the 13th edition (Jul. 13th) opened with arowdy yet civilized set from Lampshade: Viv
Corringham (vocals, synthesizer), Miguel Frasconi(synthesizer) and Chris Cochrane (guitar). Dust settled,
old gear removed, new set up, the space was clear forcellist Fred Lonberg-Holm’s trio with alto saxophonist
Michaël Attias, drummer Tom Rainey and guest violist
Mat Maneri, a foursome quickly engaging 30-or-so
standing/seated/crouching listeners with egalitarian
interplay. As Lonberg-Holm bowed scraping sliding
tones, Attias, knees together, elbows tight, led thecharge from his chair, though he would sporadicallydrop out to let others jump in. Often Maneri served asthe ‘bassist’, stomping a death-metal-toned pedal toserve up dirgy, off-meter riffs slammed home by
Rainey’s equally off-meter backbeats. After 20 minutes
of well-paced development, toggling electronic andacoustic timbres, the quartet ascended to a plateau,
dropped to a valley, then climbed to a new, even more
precipitous peak 15 minutes later, concluding the first‘piece’ with smiles all around the stage. A brief (fiveminute) but rigorous episode, similar in contour andtexture, served for a satiating chaser. —Tom Greenland

Fred Lonberg-Holm @ 411 Kent

Kat Edmonson @ The Speakeasy at Jaffe Drive

F or almost a quarter-century (with a few breaks) Bruce Arthur ’s Tavern in the West Village opened its doors
Gallanter, proprietor of Downtown Music Gallery(DMG), has presented weekly free jazz concerts—
coindicating no charge and freely improvised—in his
Chinatown basement record shop. Jul. 5th’s triple-billstarted strong: tenor saxophonist Hery Paz, trumpeter
Nate Wooley and drummer Tom Rainey trio-ed for the
first time, though you wouldn’t know from theinstantaneous cohesion and camaraderie. With eyes
closed (but ears open) for most of the 35-minute set,
they explored every instrumental configuration—
alone, pairs, trio. Paz favored a low, hoarse, soft but
high pressure tone, unraveling rapid note-chains, attimes ‘yodeling’ with leaps to altissimo range, at others
leaving space between jerky ejaculations for the rest to
respond. Wooley, mouthpiece planted right-center of
his lips, ever a sculptor of timbre, worked and shaped
muted, open and/or pinched tones, erecting amounting plane of smooth but stuttered surfaces
before his most agitated statements towards the end.
Rainey showed masterful ability to orchestrate
improvised fragments—his and others’—into coherent
wholes, whether setting up a mood, temporarily
partnered with a horn, or coagulating three voices into
one. Two dozen attendees crowded among DMG’s
CD/LP racks got what they came for; those staying
heard inspired sets by bassist Henry Fraser/violinist
Cleek Schrey and alto saxophonist Tom Weeks/
guitarist Nathan Corder/drummer Leo Suarez.
(TG)

4 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

in 1937. 25 years later, pianist Bill Dunham founded
The Grove Street Stompers, a Dixieland swing bandthat has been playing a gig there every Monday night
since the club’s recent reopening after renovations
during the pandemic. Personnel—mature players all—has changed over the years, but the vintage musicremains the same, executed mostly in the midtempo
range, with mild improv and plenty of toe-tapping
melody. Bassist Mike Weatherly occasionally offers
vocals, in this set (July 11th) on “On the Sunny Side of
the Street” (Jimmy McHugh-Dorothy Fields) and“Ain’t Misbehavin” (Fats Waller). It happened that
regular trumpeter Jordan Sandke had an accident justbefore the gig, with Charlie Caranicas rushing in tosub. Before his arrival, the heavy lifting fell on
clarinetist Joe Licari, who held the center together,
especially playing extended improv on a fast-swinging“After You’ve Gone” (Turner Layton-Henry Creamer).
When Caranicas settled in, an uptempo “You’re
Driving Me Crazy” (Walter Donaldson) showed just
how much brass lends texture and pizzazz to a tune.
Drummer Giampaolo Biagi demonstrated his chops on
this piece in a substantial solo. John Halsey on pianooffered solid playing throughout, as did Dick Dreiwitz
on trombone, with the added bonus of his dry humor
and wit as he called the tunes. It was also inspirational
to see young folks in the house grooving to the music
and having fun. 				(ML)H onored as a 2022 Jazz Hero by the Jazz Journalists P ublic Records’ Sound Room (Jul. 16th), off the lovely

outdoor patio, is dark. On this night, the crepuscule
moved quickly, exuding sound optics. Lester St. Louisand Chris Williams began, not onstage but from thesound booth at rear. Waves swelled, throbbing massive
speakers as the crowd fell into place, swaying with the
flickering lights and sub-woofer assault. The neck of
St. Louis’ cello was visible enough to recognize that
this particularly talented improviser was playing, yet
the MIDI reality sucked life from his ax. Subterranean,
the instrument was heard at least two octaves below
natural range, allowing for few truly musical moments.
Williams’ contribution was purely electronic, his horn
invisible. Sampled, Miles Davis-inflected trumpet
through spaghetti-wired mixers poured through adigital thicket. An overactive smoke machine
confounded what view was left and remained a fixture.
When Anteloper—Jaimie Branch and Jason Nazary—
took the stage, it was free jazz crossed with anassortment of electronics and Nazary’s bass drum,
triggering the depths, too often obscured his sensitive
cymbal and snare work. Branch garnished a brilliant
tone and artful vision but thrived in shadowy echoes.
Exploding into a call to arms, her trumpet turned
specific to this post-Roe period. At one point, as a little
girl rocked in place, Branch handed her a ringlet ofsleigh bells. The child, so inspired, quaked and Branchcalled off the next revolution in response to whateverchallenge is to come.
—John Pietaro

ALAN NAHIGIAN

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

Association for his continued efforts to preserve andpresent jazz in Harlem, trombonist Craig Harris
brought a nonet to Marcus Garvey Park (Jul. 8th) for a
Jazzmobile program of original music dubbed “Harlem
Night Songs” with trumpeters Eddie Allen and
Camerahn Alforque, reedplayers Jay Rodriguez, James
Stewart and Frank Vacin, keyboard player Yayoi Ikawa,
bass guitarist Barry Stephenson and drummer Ronnie
Burrage. Things got off to a rousing start with “24 Days
An Hour”, a festive New Orleans-styled outing with
exuberant trumpet, baritone and trombone solos
backed by riffing horns. “Makanda” followed,
a raucous excursion with Rodriguez and Alforquewailing on alto and trumpet and Burrage delivering an
explosive climactic solo. The mood mellowed with theballad “Song For A Friend”, a lyrical feature for bass
and mottled-toned trombone, then took off with therhythmic AfroCarribean flavored “Lovejoy”, strident
horns blasting over percolating cadences. Soulful bass
underpinned “Take The Time” with the vocal refrain“Take the time to be kind / Help someone in a bind”,
which had the audience clapping and singing along.
Harris dedicated “Wild Seed”, a piece recalling histime with the Sun Ra Arkestra, to the late sci-fi author
Octavia Butler. He closed with two songs referencing
social activism, “Requiem For Freddie Hampton” and“Keep Your Razor Sharp”, for Amiri Baraka and the
funky theme song “Deep Thoughts”.
—Russ Musto

Craig Harris @ Marcus Garvey Park

National Endowment for the Arts has announced the2023 recipients of the NEA Jazz Masters Fellowship:
violinist Regina Carter, saxophonist Kenny Garrett
and drummer Louis Hayes, with Sue Mingus receiving
the 2023 A.B. Spellman NEA Jazz Masters Fellowship
for Jazz Advocacy. These fellowships include $25,000
and the honorees will be celebrated on Apr. 1st, 2023
at the Kennedy Center for the Performing Arts. For
more information, visit arts.gov/honors/jazz/list.
In a ceremony last month, the intersection of De Kruif
Place & Dreiser Loop in Bronx’ Co-Op City was
renamed Onaje Allan Gumbs Way, honoring the
pianist, who passed away in 2021 and was a resident.
The African American Cultural Heritage Action
Fund, a program of the National Trust for HistoricPreservation, has announced $3 million in grantfunding to protect and preserve sites representing
African American history. Recipients include Louis
Armstrong House Museum (Corona, NY) and Blue
Bird Inn (Detroit, MI). For more information, visit
savingplaces.org/african-american-cultural-heritage.
Oh! Jazz, a subscription-based platform, has beenlaunched. The service will live-stream jazz concertsfrom venues around the world, with 35% of all
subscription revenue directly supporting jazz artists
and clubs. For more information, visit ohjazz.tv.
The Louis Armstrong House Museum hasannounced the recipients of the 2022 Artist-inResidence program: drummer Ulysses Owens. Jr,
dancer Alain Lauture, pianist Matthew Whitaker andfilmmakers Tyrel Hunt and Xhosa Fray Chinn. For
more information, visit louisarmstronghouse.org.

Anteloper @ Public Records

The second night (Jul. 7th) of a four-day residency at The Owl Music Parlor (Jul. 7th) captured an
The Stone had Sylvie Courvoisier leading a trio with
her longtime bassist Drew Gress and first-time
collaborator drummer Nasheet Waits. The traditional
structure the intrepid avant gardist scrupulously
eschewed early in her career because of its rich history
has in recent years proven to be an excellent format forher distinctively original compositions. They arerhythmically engaging and tonally expansive, theresult of a no-holds-barred approach to her instrument
utilizing not only its keyboard, but the innards andframe. The program culled from her three most recent
CDs began with “Imprint Double”, dedicated to herfather. She opened reaching into the piano, damping
its lower-register strings to coax a dark rumbling
bottom, joined by pulsating bass and guided by
textural hand drumming as the melody moved forwardwith glass-like notes ringing out. “South Side Rules”,
for John Abercrombie, began with long bowed bass
tones over which pensive piano lines angularly
traversed. “Requiem d’ un Songe” was a dreamy
excursion for her mother while “Just Twisted” boldly
honored John Zorn. “Lulu Dance”, inspired by her
cat’s antics, lived up to its title as Waits let loose. On“Free Hoops” and “Downward Dog” the trio
improvised organically, sounds and rhythms moving
freely among one another. “Highway 1” aptly recalleda nocturnal journey. The trio closed with “Eclats For
Ornette”, celebrating the iconic alto saxophonist. (RM)W H AT ’ S N E W S

unclassifiable era’s hidden dive in its aging décor,deep reds and dark shadows. Karen Mantler was
raised in such settings as daughter of Carla Bley andMichael Mantler. For new music royalty, she thrived
not in fanfare, but in beautifully threadbarearrangements and resounding tacits. Mantler ’s voice,fragile of tone within ‘whistle range’, lingered justover Doug Wieselman’s guitar and Kato Hideki’s bass.
Selections from the trio’s prescient Business is Bad
spoke of the lonesome (“Life is Cheap”) and acerbic (“ICan’t Afford My Lawyer”) with an underlying bossa ofloosely chorded guitar and sparse bottom, plus theleader ’s intermittent piano. The addition of Mantler ’s
airy harmonica and Wieselman’s bluesy bass clarinet
cast new colors to the atmosphere. Chris Cochrane’s
trio carried a Downtown history all its own. Cochrane,
who founded No Safety and Curlew, performed a very
original body of songs through terse, rough vocals that
also commented on the times. Kicking off with No
Safety’s “Summer Dress”, his guitar, artfullyintertwined with that of Sulynn Hago and Marlon
Cherry’s bass, illuminated the dark material andharmonic complexities. “The Fall of Saigon” illustrated
the destruction in U.S. military interventions, a driving,searching restlessness demanding deep listening.
Vocalist/bassist Felice Rosser, with Cherry on guitar
and Fin Hunt’s percussion, conjured Nina Simone, allurgency commanding the stage. 		
(JP)

Brooklyn Conservatory of Music has announced thelatest recipients of the BKCM Jazz Leaders
Fellowship. Singer Jasmine Wilson and multiinstrumentalist Melvis Santa will each receive$12,500 and teaching and performance
opportunities. They succeed the inaugural fellows
Jordyn Davis and Charenée Wade. For more
information, visit bkcm.org/jlf. Additionally, Brooklyn
Conservatory of Music’s Brooklyn Band AcademyCamp for brass, wind and percussion students ages
9-14 with at least one semester on their instruments,
takes place Aug. 1st-5th. For more information, visit
bkcm.org/summer.
In a collaboration with Bulova, special edition
Apollo Theater timepieces, “reflecting the colors,marquis, and spirit of the iconic institution”, areavailable for purchase at bulova.com/us/en/exploreapollo-theater.html.
Crime writer/historian TJ English will celebrate his
new book, Dangerous Rhythms: Jazz and theUnderworld (HarperCollins), at Birdland Theater
Aug. 2nd at 5:30 pm, including a performance by
Bobby Sanabria (drums/musical director), Santi
Debriano (bass), Edsel Gomez (piano), Kali
Rodriguez-Peña (trumpet), T.K. Blue (sax/flute) andRomán Díaz (congas/percussion).
Bronx’ Woodlawn Cemetery will have a Jazz
Greats trolley tour Aug. 7th at 11 am and 2 pm,
visiting the final resting places of Duke Ellington,
Miles Davis and others. For more information, visit
woodlawn.org/conservancy/tours-events.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 5

ANDREAS TERLAAK / COURTESY OF THE ARTISTINTERVIEW

AVISHAI
COHEN
by jim motavalli

Bassist Avishai Cohen made the big leap to New York,

arriving on a wintry morning in 1992. Things weren’t easy
initially—he worked construction jobs and played in thestreets—but he found his way after a fortuitous meet-up
with Panamanian pianist Danilo Pérez. It helped that hehad studied with the Puerto Rican brothers Jerry and Andy
Gonzalez, whose Fort Apache Band was a real force in thecity’s Latin jazz scene of the ‘80s-90s. Latin music is still
one of Cohen’s strongest influences. Cohen is well known
for playing with Chick Corea for six years in his Origin
band as well as Corea’s New Trio. Since then, Cohen, now
based back in Israel, has made a considerable name forhimself as a leader, especially in Europe, playing andrecording with a wide cast of international musicians. Latin
influences are still front and center, but electronics andvocals are also part of the mix. Cohen’s most recent record is
Shifting Sands, a trio with two dynamic young players.
The New York City Jazz Record: Is it better to call you
an Israeli bassist, or an international one? Because you
lived in the U.S. and play a lot in Europe and have somany different influences in your music. Internationalbassist. Is that good?
Avishai Cohen: Yeah, whatever you want to call me.
I accept it. It doesn’t matter. I am what I am regardless.
TNYCJR: I have to add that it is kind of interesting thatyou are not the only Israeli Avishai Cohen who plays
jazz. The other one plays trumpet and is part of a very
musical family.
AC: That’s a crazy situation. It is what it is.
TNYCJR: You were born in Israel, but also lived in the
U.S. at a young age.
AC: I was born in Israel in 1970. And in 1980 and 1981
I went to a summer camp in Maine. And that gave mesome insights and a taste of the blues, plus some otherthings that the music teacher was doing there. It was
the first taste of American music that I remember. And
then at 14, I moved with my parents to St. Louis,
Missouri for two years. I lived there and went to highschool and everything. And that’s where, after playing
piano since I was a kid, I picked up the electric bass.
TNYCJR: You heard Jaco Pastorius and your life wasturned upside down.
AC: I was 15. I started studying with Jay Hungerford,
the best bass player in St. Louis at the time, still
probably today one of the best guys and a great teacher
who I was so fortunate to have. He gave me two records
to listen to right away. One was Return to Forever with
Chick Corea and Stanley Clarke, which was crazy. And
the other was the first Jaco Pastorius, a very, very
famous record that really changed my life. It was Jaco’s
way of being, the way music came through him.

The sound he created through the fretless electric bass,
so few musicians in the world have ever achieved it.
On the level of Mozart or Van Gogh, game changing. I
was like, whoa. I’m still like that today.
TNYCJR: Of course, Stanley Clarke was also playing
at a very high level.
AC: Right? Oh my god. I’m just talking about Jacobecause he really was the biggest influence, but Stanley
also. With the greatest players, you don’t think of themas a bass player or a piano player or a trombone player.
It’s expression beyond what a regular player cannormally do. I carry that torch. I want to take my ideas
as far as they will go.
TNYCJR: You went back to Israel when you were 16.
But you must have decided that for your development
as a musician, you had to spend time in New York.
Anyone who plays jazz music eventually decides that.
And they go through a period of scuffling.
AC: When I arrived, with all due respect to my talent,
I wasn’t at the point where I could go and say that
I was ready. I was still studying the music and checking
it out. I was practicing and studying, not necessarily
thinking that I’m going to go out there and play gigs.
And it was New York in the ‘90s, so I had theopportunity to go see my heroes, I could go check out
McCoy Tyner in the clubs. And I could hear
AfroCaribbean jazz, including Andy and Jerry
Gonzalez with the Fort Apache Band.
TNYCJR: I’m sure you’ve had the experience of sittingin the Village Vanguard when everyone around you iseither Japanese or German. And the room is full ofsmoke.
AC: Of course, I’ve had the pleasure of sitting there
and checking out my favorite musicians and thenplaying myself in all those clubs, with my music andwith Chick Corea. It’s been an incredible journey, youknow?
TNYCJR: Chick Corea heard a tape of yours. When did
you start playing with Chick? It must have beenamazing to ascend to that level.
AC: Well, it wasn’t just immediately ascending to it, it
was a build that started in New York, in the beginningof the ‘90s. Studying with Andy and Jerry and playing
with some incredible musicians made me a jazz bass
player who could play some serious Latin.
I was recommended to Danilo Pérez by [drummer]
Jorge Rossy, who played with Brad Mehldau. Jorge
knew that I could play that music. Danilo was doinga record called PanaMonk and at the age of 25 becauseof my interests and the work I’d done, I was able toplay his form of Latin music. I was introduced to

6 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

Danilo and did an audition and I got the gig. I wassoon recording with him and drummers Jeff “Tain”
Watts and Terri Lyne Carrington. I’d landed a great gig
and we worked together from 1995-97. I started getting
my name around the community, beyond just Smalls
and the other clubs I’d been playing. That’s where
Chick first noticed me, but I’m not sure.
At that time, I was already playing my original
music with a band in New York at Smalls. Every time
I would be in town and not on the road with Danilo,
I would try and get dates at Smalls to play my original
music. Jorge, who was really kind to me, got me a deal
with Fresh Sound, based in Spain. I had a cassette tape				
(CONTINUED ON PAGE 35)

BAR BAYEUXCOCKTAILS, WINE, CRAFT BEER,
1066 NOSTRAND AVENUE - BARBAYEUX.COM

Tuesdays: 8 pm-12 am
Jam Session with Diego Voglino
Wednesdays: 8 & 9:30 pm
Nicole Glover (Aug. 3rd)
Sasha Berliner (Aug. 10th)
Jonathan Finlayson (Aug. 17th)
Jean-Michel Pilc (Aug. 24th)
Thursdays: 8 & 9:30 pm
Adam Kolker/Jeremy Stratton with guests
Glenn Zaleski & Anthony Pinciotti (Aug. 4th)
Bruce Barth & Anthony Pinciotti (Aug. 11th)
Isaac Wilson & Kayvon Gordon(Aug. 18th)
Chris McCarthy & Owen Howard (Aug. 25th)

HAUGUST 2ND - AUGUST 7THH

ANDREWCYRILLE QUARTETBILL FRISELL – DAVID VIRELLES –BEN STREETHAUGUST 9TH - AUGUST 14THH

BILL FRISELL THREE
GREG TARDY – JOHNATHAN BLAKE

HAUGUST 16TH - AUGUST 21STH

BILL
FRISELL FIVETONY SCHERR – THOMAS MORGANRUDY ROYSTON – KENNY WOLLESENHAUGUST 23RD - AUGUST 28THH

MIGUELZENÓN QUARTETLUIS PERDOMO – HANS GLAWISCHNIG – HENRY COLEHAUGUST 30TH - SEPTEMBER 4THH

TOM
HARRELL QUARTETLUIS PERDOMO – UGONNA OKEGWO – ADAM CRUZ
H3 PM MATINEEH
HSUNDAY AUGUST 28TH ONLYH

JOHN ZORN’SNEW MASADA QUARTETJULIAN LAGE – JORGE ROEDER – KENNY WOLLESEN

COMING IN SEPTEMBER
HPETER BERNSTEINH
HBILL CHARLAPHHKURT ROSENWINKELH

TIM PICKERILL / COURTESY OF THE ARTISTARTIST FEATU RE

BRANDONLÓPEZ

For more information, visit brandonLópez.nyc. López is at 411
Kent Aug. 10th and The Stone Aug. 17th-20th. See Calendar.
Recommended Listening:• Brandon López–Holy, Holy (Tombed Vision, 2015)• Guillermo Gregorio/Brandon López–12 Episodes (Relative Pitch, 2017)• Brandon López- Quoniam Facta Sum Vilis(Astral Spirits/Monofonus Press, 2018)• Brandon López Trio–Live at Roulette (Relative Pitch, 2021)• Brandon López/Ingrid Laubrock/Tom Rainey–
No es la Playa (Intakt, 2021)• Fred Moten/Brandon López/Gerald Cleaver–
Eponymous (Reading Group, 2022)

by george grella
Bassist Brandon López is a plangent, almost granitic

presence on recordings and the live stage. His
articulation and rich, oval sound stake out a broad andresponsive territory in ensemble improvisations. His
playing has a balance between his careful listening andthe certainty of his responses. He means what he says
and he says what he means. At least that is so in his
playing; his words are cagier. In a recent email
exchange meant to explore his musical thinking, tofind out the motivations that has a musician taking on
what is the artistically important but economicallythankless path of jazz-based and free improvisation, heoffers intriguing clues but deflects most exploration.
He has an upcoming residency at The Stone, where
he will be playing a solo set one night. About thechallenges of playing a solo bass concert, he writes,“the physicality of double bass technique presents amonumental challenge in solo playing. The instrument
was developed to reinforce the cello section in an
orchestra. It is meant to be felt, not heard. You have to
be in great physical shape to get around the instrument
and technique takes hours and hours of maintenanceevery week.”
How did he pick up the bass and how did his pathtake him to The Stone? “I come from a musical family
and from a culture that values music,” López explains.
“My great uncles were well respected musicians andbandleaders in Puerto Rican and Nuyorican music.
I was always interested in music.” But he goes on to
say that “public school music class and a natural
distaste for performance kept me away from an
instrument until I was 12 or 13. I haven’t been able tostop playing since.” What happened in his early teenyears that wiped away his previous distaste and how
playing the bass turned into becoming an improvisingmusician, is “too messy for me to really comprehend or
turn into a cohesive narrative. I’d rather keep fromspewing bullshit and most of the information has to bebanal.” As to influences, he responds: “I can give an
exhaustive and incomplete list, but I’d rather refrain.”
Perhaps, but life is the fuel for creativity and what
López imagines to be banal to others includes thethings that make him the player he is. Few of us aregood judges of the quality of the stories within us,
whether those come out in words or in music, and thecritical listener often hears things that are not onlyinteresting but also, because they are so integrated in
the source, are invisible to the musician playing them.
He does listen to himself critically, however.
“I consistently record and listen to myself,” he explains.
“It’s a means to process what is and isn’t working
within my work. I can then, ideally, make compositional
decisions and control certain impulses in the future.
I don’t think this is too dissimilar from boxers, football
players, sport teams watching footage of past games.
When your work deals with the present, recordings
help in dealing with the process.”
A run of recent recordings includes collaborations
with saxophonist Ingrid Laubrock and drummer Tom

Rainey, the Whit Dickey Trio and the sensational
Moten/López/Cleaver, featuring the spoken words ofpoet Fred Moten and drums of Gerald Cleaver. The
latter stands out for what is easily the deepest listening
from López caught on record, each note shaped to give
both space and full support to Moten.
Other than hinting at how he listens to himself,
the bassist is resolute about not revealing his musicalprocess. Curiosity about how improvisation for him isdifferent than playing previously composed andnotated material elicits an argument about theinterviewer “centering the conversation on a particular
European tradition” and the claim that musicalnotation, which dates back to at least around 1500
years BCE, with non-Western origins, “was developed
as a means to record and sell music before there wasaudio recording technology.” Curiosity about his
approach to rhythmic structures in improvisation isreturned with didactic questions as to whether theinterviewer understands the meaning and history of
the “jazz tradition”.
He does allow, however, that he finds rhythmic
synchronization through improvisation is integrated
into his playing. “It happens and it happens often,” henotes. “When working with great improvisers who are
engaged, there’s never a lack of rhythmic or formal
coordination. There’s plenty of recorded material that
I’m part of that showcases this and it happens plenty
in a live setting.”
For those who care about the “jazz” tradition in the
broadest sense, from the blues and 19th Century dancemusic to Cecil Taylor and, well, Brandon López, there
are worthwhile things to explore in how musicians think
improvisationally, vis-a-vis the vast head-solo-headdouble bar, song-form based music from the first half ofthe 20th Century. But López dismisses the topic: “I don’t
understand how improvised music is different from‘formally structured music’. When great improviserswork there’s never a lack of form and structure. If what
you’re referring to as ‘formally structured’ is thepaperwork, I can assure you that music is firstly andmostly an aural tradition and there are many and mostly
aural traditions outside of the European system thathave plenty of form and structure.”
Understood. López adds that, “As of now, mypreferred method of composition is what’s referred toas ‘free improvisation’. Though, I’m finishing up
a written composition for a coming recording session
with Gerald Cleaver and Mat Maneri.” He finds value
in notation, in that “my written compositions aremeant to be embedded within improvisations. As
someone whose practice deals with improvisation,
I prefer the stochastic as opposed to set processes.”
Ultimately, though, something that feels personalcomes out, words that hint at profound values andemotional and intellectual meaning. “The compositional
aspects of improvisation, the split-second decisions, theanalytical mind merging with intution and listening,
it is really a thing I live for. It is truly playing.” v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 7

JANETTE BECKMAN / COURTESY OF THE ARTISTON THE COVER

INGRID LAUBROCK
IN A STRONG PLACE
by john sharpe

Brooklyn-based saxophonist Ingrid Laubrock keeps abusy schedule. Her simultaneously poised andexperimental tones can be heard in an array of settings.
While her focus is on her own projects, encompassing
forward-looking vehicles like Anti-House, Serpentinesand Ubatuba, as well as larger ensembles, she is also a
generous collaborator. A full list of her partners would
read like a who’s who of leading lights in a firmament,
including Anthony Braxton, Muhal Richards Abrams,
Dave Douglas, William Parker, Kris Davis, Cory
Smythe, Myra Melford, Tom Rainey, Tyshawn Sorey,
Nate Wooley and Mary Halvorson.
Born in the small German town of Stadtlohn in
1970, she took piano lessons as a child and became
captivated by jazz and free music in her teens. But it
wasn’t until she moved to London in 1989 that she took
up the saxophone, making her subsequent rise all themore remarkable. Initially she supported herself bybusking on the London Underground, but eventuallybecame part of the city’s thriving jazz community,
taking whatever jobs were going and becoming part ofthe vibrant F-ire Collective. Although essentially selftaught, studies with Jazz Messengers saxophonist Jean
Toussaint and later Dave Liebman helped develop hersound. Her involvement, first musical then romantic
with drummer/now husband Tom Rainey, as part ofthe cooperative trio Sleepthief along with pianist Liam
Noble, led to a move to New York in 2008.
Slowly but surely she established herself as asignificant creative presence, but as she recalls thoseearly days were difficult: “It’s such a huge city and theamount of talent is completely out of whack. I madea few really important connections very early on. One
was Kris Davis and Tyshawn Sorey. We had a trio
together called Paradoxical Frog, which started reallymonths after I moved there. So that was very importantfor me. I met Mary Halvorson early on who became
important and John Hébert. At the time I had the band
Anti-House with Kris, Mary, Tom and John. So there
were a few anchors right away. But of course they werealready completely involved and busy and I was not,because I was starting afresh basically. They were away
a lot, including Tom. So I did have a lot of my own
time. I wrote a lot of music. I practiced a lot. And ina way also took stock and took a break from constantly
performing, constantly rushing up and down highways
and tried to figure out what I did and did not want to
do. So the first six months were pretty lonely, thenI slowly started to grow into the scene.”
And how she has grown, excelling from freely
improvised to predominantly composed settings. Does
she draw any distinction between them? “It’s a different
discipline. It sounds hokey to say it, but I’m aiming toplay music with people. And that part doesn’t feel thatdifferent. There’s a part where you feel you’re tuned in,
you’re communicating and that is what I’m really after.
Sometimes when there is composed music there is anelement where you flip between mindsets. It is adifferent mindset if I’m reading music than if I’m
making everything up, but I don’t think I write ina particularly stylistic way either. I’m trying to makeit seamless and flow from one to the other.”Anti-House is imbued with an unrestricted
immediacy, so that away from the occasional driving
unisons, it can be hard to tell where the notation stops.
Typically her charts avoid the obvious: convoluted
thematic materials arise following an inscrutable inner
logic, often juxtaposed with improvised components,
whether solo or group, as they intimate a tangled web offeelings, sometimes even within the space of a single
number. Pianist Davis, who has played with Laubrockin many contexts, gives an insider’s view: “Ingrid is oneof the most unique, prolific—and I believe underrated—composers of our time. Since we started working
together in 2008, I have watched her develop acompletely unique and personal musical language thatcan be playful, complicated, intense and melancholy allat the same time. She takes risks as a composer andperformer and that draws both highly skilled players
and adventurous listeners to seek out her music.” Davisfurther articulates why she is so enamored: “Her writing
has so much ‘meat on the bones’, meaning that there isso much language with which to develop improvisational
ideas. As a bandleader, she wants the musicians to bring
their own ideas and personality to the music.”
It is also her experience as a bandleader that helps
make her such an appealing colleague. As pianist
Melford, whose quintet on the tremendous For The Loveof Fire and Water (RogueArt, 2021) includes Laubrock,explains: “I think that’s one of the reasons I enjoy
working with her so much. Improvisation andcomposition are really the same thing at a certain point,
but she really approaches the music like a composer,
especially the kind of music that I’m bringing to thisgroup, which is quite open-ended at some times.
There’s a sense that she is really feeling into what themusic needs, not so much how she can solo over it, butwhat she can bring to it as an ensemble member.” With
regard to the saxophonist’s improvisational prowess,
Melford is also eloquent: “She has a huge range of
expressive capability on her horns, both in terms ofstylistic variety—she is a great jazz player, she is agreat reader and new music player—but she also has
this wonderful vocabulary of textures and sounds andextended techniques. And she is just so fluent inmoving between those different kinds of languages.
I love interacting with her as an improviser.”
Indicative of Laubrock’s appetite and imagination,
she has been increasingly active at the orchestral scale,producing a series of acclaimed recordings andgenerating an expanding folio of commissions. The New
York Times praised her album Contemporary Chaos
Practices (Intakt, 2017), recorded with the eos chamberorchestra, as one of the 25 best classical pieces of 2018
while in June she presented works from Dreamt Twice,
Twice Dreamt (Intakt, 2019), again with the eos ensemble,
at the Monheim Triennial in Germany. At the otherextreme, 2022 also sees the release of Fragile, the third
in a projected sequence of five piano duets for the Swiss
Intakt imprint, after cohesive and engaging sessions
with Davis and Aki Takase. Joining her is Andy Milne,
a veteran of Steve Coleman’s bands and leader of genre-

8 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

fluid Dapp Theory, whom she has known since meetingin 2012 at George Lewis’ Jazz Composers Orchestra
Institute workshop. Laubrock reveals the attraction:“He has a beautiful sense of harmony and lyricism.
Obviously he is also a very good, very rhythmic player
having worked with Steve Coleman for so long. He isreally thoughtful and sympathetic. I’ve discovered over
the years that when you have a good conversation withpeople, you are most likely able to improvise with themquite well. I felt that with Andy.”
As is her custom, she wrote all the pieces withMilne in mind. The result is an album that exposes asmuch of Laubrock’s lyrical and emotional side as it
does her abstract and intricate tendencies. The haunting
opener “Equanimity” provides a pertinent example,
with its simple structure and melody accentuated byMilne’s luminous intro and empathetic support. But
whatever the mood, the outcomes remain unpredictable.
Laubrock sets out how she enlists Milne to accomplish
this on “Splinter” and “Fragment”: “I saw Andy playwith [pianist] Benoît Delbecq and two koto players at
Lincoln Center and he did some very beautiful inside
piano preparation. I asked him whether he would be
happy to do that. There are a few pieces on there where
my part is written, but his part is not. It just says
prepare the piano around what you hear me playing.
It’s a part of his language and I wanted to include that
aspect of his playing, that particular color.”
Making up for lost time perhaps, that busy schedule
shows no sign of letting up. First off there is a duet
record with Rainey coming out on Relative Pitch in
September. But that is not all: “I’ve just mixed a projectwith Brandon Seabrook, Michael Formanek, Tom
Rainey, Mazz Swift and Tomeka Reid, coming out next
year on Pyroclastic. I’m also recording another recordof gigantic multi-layered big drone pieces with soloists
Jon Irabagon, Zeena Parkins and Tom and I in thesummer. I’m currently working on a song cycle where
I’m taking 60 poems by the amazing poet Erica Huntand I’m putting them to music for four different duos.
So far I’ve written just over 20 of them. Some of them
are written for classical musicians, some are written forimprovisers, jazz musicians. And I’m writing a big
piece for Wet Ink, the new music ensemble, next year,
so there’s plenty on the horizon.” v
For more information, visit ingridlaubrock.com. Laubrock is
at The Stone Aug. 17th, The Jazz Gallery Aug. 20th with
Andy Milne and Fridman Gallery Aug. 30th. See Calendar.
Recommended Listening:• Kris Davis/Ingrid Laubrock/Tyshawn Sorey–
Paradoxical Frog (Clean Feed, 2009)• Ingrid Laubrock, Tom Rainey, Kris Davis,
Ralph Alessi–Lark (Skirl, 2011)• Ingrid Laubrock Anti-House–Strong Place (Intakt, 2012)• Ingrid Laubrock/Tom Rainey–
And Other Desert Towns (Relative Pitch, 2013)• Ingrid Laubrock, Sylvie Courvoisier, Mark Feldman,
Tom Rainey–TISM (RogueArt, 2017)• Ingrid Laubrock/Andy Milne–Fragile (Intakt, 2021)

Intakt CD 345

INGRID LAUBROCK – KRIS DAVISBLOOD MOON
Ingrid Laubrock: Soprano and Tenor Saxophone
Kris Davis: Piano

INGRID LAUBROCK
DREAMT TWICE, TWICE DREAMTMusic For Chamber Orchestra And Small Ensemble

Intakt CD 319

Intakt CD 376

BRANDON LOPEZ – INGRID LAUBROCK –TOM RAINEY NO ES LA PLAYA
Ingrid Laubrock: Saxophone
Brandon Lopez: Bass
Tom Rainey: Drums

Intakt CD 337

Intakt CD 379

INGRID LAUBROCK – ANDY MILNEFRAGILE
Ingrid Laubrock: Soprano and Tenor Saxophone
Andy Milne: Piano

Intakt CD 355

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

INTAKT RECORDS www.intaktrec.ch

Ingrid Laubrock on Intakt Records

INGRID LAUBROCK – AKI TAKASEKASUMI
Ingrid Laubrock: Soprano and Tenor Saxophone
Aki Takase: Piano

STEPHAN CRUMP – INGRID LAUBROCK –CORY SMYTHE CHANNELS
Stephan Crump: Acoustic Bass
Ingrid Laubrock: Tenor and Soprano Saxophone
Cory Smythe: Piano

ENCOREABIODUNOYEWOLEby mike cobb
Abiodun Oyewole (né Charles Davis) is a poet, author,

teacher and a founding member of The Last Poets, themusic and spoken-word group widely credited as thefounding fathers of hip-hop and rap and influencing
Erykah Badu, Public Enemy, A Tribe Called Quest,
Wu-Tang Clan and many others.
Raised on his family’s jazz and gospel records,
Oyewole was encouraged by his mother to recite the
Lord’s Prayer at such a volume that he could be heard
throughout the house. Also inspiring was the poetry ofLangston Hughes.
As part of a churchgoing family, Oyewole was wellaware of Martin Luther King but did not know muchabout Malcolm X until later in his life, except that
“I remember an aunt of mine saying, ‘they’re going tokill that man because he tells the truth,” he says.
A Jewish friend later gave him a copy of Alex
Haley’s The Autobiography of Malcolm X and Oyewolebegan to understand more deeply his significance.
After the assasination of Dr.King, Oyewole, like manyothers, was outraged and wanted to take radical action
but, thanks to a friend and fellow poet, he was able tofind positive, creative outlets of expression.
The Last Poets started when group members David
Nelson and Oyewole shared poems with each other.
“He thought having a collective of poets would bea good example to show Blacks how much we need tocome together,” Oyewole recalls. “When Dr. King was
killed Apr. 4th, 1968, I felt it was a direct slap in our
faces that this man, standing on a platform of nonviolence, was shot down. I spoke to David and he told
me he wanted me to participate in a poetry reading inMount Morris Park [now Marcus Garvey Park]
honoring the birthday of Malcolm X on May 19th, 1968.
David invited Gylan Kain as well. The three of us went
on stage and read poetry as a group. Our name camelater,” he adds.
As to the intent of the group’s extensive use of theword “nigger”, Oyewole and The Last Poets felt theconcept of the “nigger” had its roots in slavery,
literally equating human slaves with animals who
could be as equally exploited. “They were one and thesame. They were both there to create wealth for the
master, to work for him. They were both his property,”
Oyewole says.
The use of the word, rooted in the historical legacyof racism and disregard for human life, had a deep
impact on the Black community, both as an external
force of oppression and as the source of internal selfhatred. The Last Poets felt that the concept behind theword was preventing Black people from being united,
and they set out to dismantle systematic oppression byaddressing and using the word directly.
“We wanted Black folks to be Black and not be
a nigger. Gylan Kain had a classic poem entitled‘Niggers are Untogether People’,” Oyewole says. “Oneof the most riveting lines was ‘Niggers killed Malcolm.
Fuck the CIA. Niggers held the guns.’ You can’t get any
more clear than that,” he adds.
The group’s poetry also endeavored to raise Black
consciousness by directly confronting listeners withthese concepts, though in retrospect Oyewole feels thatmuch of the group’s intent has often been misinterpreted
and misused in hip hop. “Because we used the word somuch, many of the hip hop kids embraced it later. The
came to see the ‘nigger ’ as an anti-hero, someone whofights against the system. I feel in some ways we areresponsible, but I don’t agree with its usage. I still wantBlacks to be Black which is being responsible, reliable
and wholesome,” he says.
When considering the legacy of the group’s work,
Oyewole says, “Consistency is important to me.
I would like to be remembered as someone you cancount on and someone who is always willing to shareand help you grow. I cherish the relationship I havewith my kids and the many young people who I havemet along the way. I am constantly setting out toparticipate in a recording project that some young
person might be involved in.”
Together with family and friends, Oyewole has
released a new album, Gratitude. He says, “I’m very
proud of it. My family’s involved. I have a grandson
who does tracks by computer. I’m not really a computer
guy, but he does phenomenal stuff on the computerand has some special talent. My other son is a lawyer,
like the counselor of the family. We ended up producing
a phenomenal album.”
For those who want to see Oyewole discuss his

recent projects and learn more about the group’s legacy,
there is an online conversation at the Schomburg
Center moderated by Yusef Salaam, who as a young
man was condemned but later absolved as a rapist in
the Central Park 5 case.
Oyewole says, “I knew they were gonna bedemonized. They served some time but everybody
learned he wasn’t guilty. It was a good conversation
and I got calls from all over the country. I’m blown
away by the magic of social media, but I’m not really
into it. I haven’t bought and refuse to buy
a cell phone. It is less stressful without one. I havea wallet and that’s all I’m concerned aboutkeeping. I try to eliminate as much stress out of my life
as possible.”
Artists who Oyewole admires include his son Ebon
and Pharoah who are, “two of my most admired poets
because they are taking what I’ve done to the nextlevel. I am still a big jazz fan of Miles Davis, Freddie
Hubbard, Nina Simone, Wes Montgomery, John
Coltrane, Pharoah Sanders, Al Jarreau. Also Rakim,
Kendrick Lamar, Chuck D and a host of others.”
Oyewole continues to write poetry almost
everyday and travels around the world performing
poetry, teaching workshops and giving lectures on
poetry, history and politics. Speaking about theSummerstage gig this month at Marcus Garvey Park hesays, “The gig is with [bassist] Jamaaladeen Tacuma,
who produced The Last Poets’ Transcending Toxic Times[for Ropeadope] in 2019. I am looking forward to thegig mainly because we’ll be at the place we started
over 50 years ago.” v

and attended the Berklee College of Music in Boston
before settling in New York. In the late ‘80s, Hargrove’s
work as a sideman for alto saxophonist Bobby Watsonand drummer Carl Allen did a lot to build his reputation
as one of the Young Lions: a movement of straightahead
jazz musicians who, despite their youth, focusedheavily on ‘50s-60s jazz. He built on that reputation
when, in 1990, Novus released his first album as aleader, Diamond in the Rough, followed by a series ofdates for Novus and later, Verve. Between those andappearances on albums by tenor saxophonist Sonny
Rollins, alto saxophonist Jackie McLean and others,
Hargrove was frequently described as a neotraditionalist. Comparisons to other trumpeters in the
Young Lions movement, including Wynton Marsalis
and Terence Blanchard, were frequent.
But along the way, it became increasingly clearthat Hargrove had eclectic tastes and was alsointerested in soul, funk and hip-hop. Hargrove
combined all of those styles with jazz as a member ofthe group The Soulquarians in the late ‘90s-early 2000s
and he continued to do that during the 2000s with his
own group RH Factor. The 2000s found him appearing
as a sideman on albums by singer Shirley Horn,drummer Jimmy Cobb, tenor saxophonist Johnny
Griffin, bassist Ray Brown and other straightahead
players alongside associations with R&B and hip-hop
artists like rapper Common and neo-soul singers
D’Angelo and Erykah Badu. In interviews during the
2000s, Hargrove explained that playing R&B camenaturally to him, as he grew up listening to funk, soul,gospel and the blues back in Texas. Hargrove could
have a long conversation about tenor saxophonist John
Coltrane’s evolution or the various lineups of Art
Blakey’s Jazz Messengers, then move into talking
about James Brown, George Clinton’s Parliament/
Funkadelic or ‘80s-90s rap.
Hargrove’s association with the Jazz at Lincoln
Center program has not been forgotten. In January
2019, only two months after Hargrove’s death, he wasremembered with a Lincoln Center tribute show thatfeatured Marsalis (who worked with him extensively),
singer Norah Jones and bassist Christian McBride.
Marsalis remembered him with a performance of the
traditional gospel standard “Just a Closer Walk With
Thee”. Another tribute happens this month withdrummer Evan Sherman’s big band.
					(CONTINUED ON PAGE 35)

For more information, visit abiodunoyewole.net. Oyewole is
at Marcus Garvey Park Aug. 18th with The Last Poets
and Jamaaladeen Tacuma’s Band of Resistance as part of
Jazzmobile and Summerstage. See Calendar.
Recommended Listening:• The Last Poets–Eponymous (Douglas, 1969)• The Last Poets–Holy Terror(P-Vine–Rykodisc, 1993)• Abiodun Oyewole–25 Years(Black Arc-Rykodisc, 1996)• The Last Poets–Time Has Come
(Mouth Almighty-Mercury, 1997)• Abiodun Oyewole–Gratitude (Fire/Afar, 2014)• The Last Poets–Transcending Toxic Times(Ropeadope, 2019)

JACK VARTOOGIANLEST WE FORGETROY
HARGROVEby alex henderson
W hen Roy Hargrove first emerged in the late ‘80s, thetrumpeter ’s admirers hailed him as a valuable addition
to the Young Lions movement. The Texas native turned
New York City resident, born Oct. 16th, 1969, wasa Gen X-er, yet his hardbop and postbop trumpet
playing was a throwback to Clifford Brown, Lee
Morgan, Freddie Hubbard, Woody Shaw and othergreat trumpeters. But as time went on, it became
obvious that there was much more to Hargrove, whoplayed the flugelhorn as a second instrument, than his
ability to emulate the straightahead jazz of past eras.
Hargrove, originally from Waco, moved to Dallas
when he was nine and spent much of his pre-adult life
there. But after high school, Hargrove moved north

10 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

L ABEL SPOTLIGHT

REEL
TO
REAL
by pierre giroux
Cory Weeds is indefatigable. From an office in

Vancouver with floor-to-ceiling shelves filled with LPs
and CDs, Weeds owns and operates, almost
singlehandedly, two highly successful independent
jazz record companies: Cellar Music and Reel To Real
Recordings. The former has a catalogue of some 300
titles by the likes of Kenny Barron, Jimmy Cobb, Ron
Carter and Mike LeDonne among many other notablenames. The latter, an archival label, issued its firstlimited-edition LP in 2018, Swingin’ In Seattle featuring
Cannonball Adderley, and a further seven titles havebeen released since, the latest Live at Room at the Top
from Pepper Adams with the Tommy Banks Trio.
The beginning of the label resulted from a nascentfriendship with Zev Feldman of Resonance Records,
which Weeds initiated through social media. Following
a visit to Vancouver by Feldman, the overall concept ofthe label was developed and the name Reel to Real was
proposed by Feldman to signify the transformation oftape into listenable music. At this juncture, all thatremained was a source of recorded material and themeans to finance an initial release of 2,000 LP units.
Feldman was the custodian of a treasure trove of live
tapes from the Penthouse in Seattle and the Left BankClub in Baltimore, which became the foundation for
most of the releases by the label. The financing was thedomain of Weeds who, from his very early days on the
Vancouver jazz scene either as a player or a club owner

A Soulful Sunday
Etta Jones

Swingin’ in Seattle
Cannonball Adderleyof The Cellar, had developed a strong following in thearea, which included two wealthy West Coast businessexecutives. Approached about the Reel to Real project,they were prepared to sign on because as Weeds says,“they had been involved in various Cory Weeds
exploits” and were believers in Weeds knowing what
was and was not going to work.
Now that these two crucial matters had been
resolved, co-producers Weeds and Feldman began thetedious task of seeking clearance and working out
appropriate compensation from the music rights
holders of the Adderley and Etta Jones tapes in orderto release the music to the public as the first two
albums to be dropped in conjunction with Black Friday
Record Day in November 2018.
It became quickly apparent to the co-producers
that timing their releases to the two yearly Record StoreDays would be a cornerstone of their business model.
Since their product would be exclusive hand-numbered
LPs available through record stores on a special day(the stores had agreed in advance to take a specificnumber of LPs without returns), the label would beassured of predictable cash flow, thereby recouping alarge portion of their investment and guaranteeing
funds for forthcoming projects. All of the releases todate have followed that model with the exception of the
Neil Swainson Quintet album 49th Parallel.
There are, of course, other distribution channels
the label uses to get product to the record buyer. In
Japan, King International is the agent and in the U.S.
and Canada the entity is Music Video Distribution andthe digital distribution is handled by Orchard DigitalMarketing. The albums can also be ordered online
directly, processed and fulfilled by Weeds personally.

Westward Bound!
Harold Land

What about the future? A harbinger of that may be
the latest Reel to Real release, produced solely by
Weeds, Live at Room at the Top. Weeds purchased thisrecording along with many others, from Mark Vasey,
who was involved in the formation of the Edmonton
Jazz Society in the early ‘70s and was a producer ofmany jazz concerts while with the University of Alberta
radio station CKUA. Some were made at the Room at
the Top, the lounge at the top of the Student Unionbuilding. while others were at a local nightclub the
Captain’s Cabin Club.
According to Weeds, there are several notablemusicians in this archive including Charles Tolliver,
Woody Shaw, Jack DeJohnette and Sam Rivers. No
release dates have been established for any of thenames, but you can be sure that Weeds is working
feverishly to obtain the necessary clearances from therights holders to bring the music to devoted listeners.
However, working with rights holders can be a longand uncertain process and until everybody can agree,
nobody can agree. As Weeds has said on several
occasions “I keep searching for music that I am really,
really passionate about.”
To complete the picture of the man who says about
himself, “ I can handle a lot of things at the same time”,
he has a full-time gig as the booking agent for Frankie’s
Jazz Club in Vancouver, has recently taken over as
President of The Fraser MacPherson Jazz Fund, which
provides financial assistance and educational
opportunities for jazz students in British Columbia,
and recently recorded, produced and wrote the liner
notes for his quartet CD. Indefatigable indeed. v
For more information, visit cellarlive.com

Understanding
Roy Brooks

Live at Room at the Top
Pepper Adams

VOXNEWS

CLOSUREby suzanne lorge
Singer Paul Jost was the last musician to perform at

55Bar, the beloved West Village jazz haunt that closed
in May after more than 100 years of tunes, pints andapplause. Those years saw the launch of many asinger ’s career: Gretchen Parlato, Tessa Souter, Nicole
Zuraitis, Thana Alexa and Kendra Shank all played
there on a regular basis at one time or another. Threemonths on, the closure still hurts. Is there a word formourning the loss of a place? Melissa Stylianou, one
third of the charming trio Duchess credits 55Bar for
grounding her in the jazz community when she moved
to New York from Toronto in 2005. In the ensuing
years, 55Bar served as an incubator for several of her
projects, including this year ’s Dream Dancing (Anzic),
the debut album of her other trio, the one she shareswith guitarist Gene Bertoncini and bassist Ike Sturm.
Stylianou turns out this set of almost-all standards
with inimitable warmth and precision; “It Could
Happen To You”, with just Sturm, for instance, reveals
how creatively she approaches melodic interpretationand her vocal solo with Bertoncini on “Perdido”
bubbles with rhythmic dexterity. The trio introduces
the new album at Mezzrow (Aug. 7th).

Arthur ’s Tavern, another historic West Village jazzbar, lay fallow during the pandemic. When it reopened
in June, it presented a shinier visage, with a sleek,
refurbished interior and a proud awning to announce
the room’s commercial revival. Sheila Jordan, one ofCharlie Parker ’s protégées, will play the newly
renovated room with Roni Ben-Hur and Harvie S (Aug.
20th), an apt homage to the club’s past. As the story
goes, Parker was a regular performer and he played
the last gig of his life there, a week before he passed in
1955. (Parker ’s 102nd birthday would be Aug. 29th.)
Smoke Jazz & Supper Club also has been underwraps since mid-March 2020. Like Arthur ’s, the club’s
owners took advantage of the pandemic shutdown torevamp the space; when the club unlocked its doors in
July, its expanded layout boasted a new lounge,a wider stage and seating for almost twice as many
patrons as before. The spectacular Mary Stallings
helps to inaugurate the roomier venue (Aug. 11th-14th).
When it comes to vocalists, Birdland spreads awide and wonderful net. Consider this: singer/actor
Julie Benko and pianist Jason Yeager release theirsecond album together, Hand In Hand (s/r) on the
Birdland stage (Aug. 29th). The gig is on a Monday
night, when the August Wilson Theater, just a few
blocks away from Birdland, is dark. This is importantbecause Benko will be replacing film star Beanie
Feldstein as the lead in Funny Girl for the entire monthof August, turning the role over to Glee’s Lea Michele in

September. Benko is an utterly charismatic performer
and seemingly fearless. She moves in and out of vocal
genres readily, learns new musical instruments justbecause and has covered multiple roles as a swing/
understudy for Broadway shows (she started in Funny
Girl as Feldstein’s standby). With Yeager, a rising star
jazz pianist-composer and Berklee prof, she digs into
standards, theater and originals on the release and eachtrack reveals something different. And the album
version of “People”, with its subtle Latin underpinning,
is very different again from what you’ll hear at theAugust Wilson this month. It is also very different from
Birdland’s other offerings. Traditional jazz singer/
guitarist John Pizzarelli appears there with his trio
(Aug. 2nd-6th). For more vocalists who play guitar, or
vice versa, check out George Benson at Sony Hall (Aug.
10th) or Allan Harris at Jazzmobile@Grant’s Tomb
(Aug. 24th). Bluesy baritone Giacomo Gates launches
his buoyant new record You (Savant) at Birdland
Theater (Aug. 11th), just before heading upstate toguest for singer Sally Terrell, who opens the Northwest
Jazz Fest (Aug. 26th) with pop- and funk-inflected
tunes from her latest self-released album Feel Alive(headliner Stacey Kent follows that evening). Then,
Miss Maybell & The Jazz Age Artistes recall all thewhimsy and spontaneity of early jazz in the Birdland
Theater (Aug. 12th-13th); they will then be at Arthur’s
Tavern (Aug. 21st). Finally, Jordan appears as a guest
with pianist Emmet Cohen’s ensemble (Aug. 30th). v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 11

IN MEMORIAM

PETER GANNUSHKIN/DOWNTOWNMUSIC.NET

GRACHANMONCURIII
by andrey henkin

REGGIE ANDREWS (Jan. 2nd, 1948 Jun. 23rd, 2022) Later known as a pop
songwriter and arranger, the pianist
had a soul-jazz release as a leader in
1969, credits with Willie Bobo, guest
spots with his former student Patrice
Rushen and production credits with
Donald Byrd, Bobo and Rushen. Andrews died Jun.
23rd at 74.
GABE BALTAZAR (Nov. 1st, 1929 Jun. 12th, 2022) The Hawaii-bornsaxophonist was part of Stan Kenton’s
early ‘60s bands and also worked with
Oliver Nelson, Gil Fuller, Johnny
Hartman, Nat King Cole, Paul Togawa
and others to go along with a couple ofalbums in the ‘70s (one “Presented by” Kenton) andthen several more in the ‘90s for V.S.O.P., Fresh Soundand other labels. Baltazar died Jun. 12th at 92.

G rachan Moncur III, the trombonist who was acompelling, if infrequent, leader and valued
collaborator from the early ‘60s into the ‘10s, died Jun.
3rd at 85 of cardiac arrest. He had not been active inthe last decade.
Moncur was born Jun. 3rd, 1937 in New York andraised in Newark, NJ. His father was a bassist who
worked with the Savoy Sultans, Billie Holiday, Bud
Freeman and others. He picked up the trombone as achild and studied at the Laurinburg Institute in North
Carolina (Dizzy Gillespie’s alma mater). Moncur met
future employer Jackie McLean during summer
vacations back home when the alto saxophonist waswith Art Blakey and the younger Moncur would see
the band play. His first big gig was touring with Ray
Charles. After getting off the road, he started working
with the Art Farmer-Benny Golson Jazztet in 1962. The
next year established Moncur ’s relationship with Blue
Note Records: sessions with Herbie Hancock (My Pointof View) and McLean (One Step Beyond and Destination...
Out!) and his leader debut Evolution (with McLean in
the band), followed the next year by Some Other Stuff.
Later in the decade Moncur would continue to workwith McLean, have credits with Joe Henderson andWayne Shorter and form strong partnerships with
Archie Shepp and Marion Brown.
Moncur was part of the wave of Black jazzmusicians who decamped for Paris in 1969 and maderecords for labels like BYG-Actuel and America.
Moncur ’s next two releases were for the former:
New Africa (with Shepp) and Aco Dei De Madrugada(One Morning I Waked Up Very Early); he also played on
period sessions by Shepp, Clifford Thornton, DaveBurrell, Sunny Murray and Alan Silva.
Back in the States in the ‘70s, he led a couple moredates: 1974’s Echoes of Prayer with The Jazz Composer ’s
Orchestra (JCOA) and 1977’s Shadows (Denon). He wasalso part of Beaver Harris’ 360° Music Experience. The
next two decades saw a decline in his output, just a few
sessions with Cassandra Wilson, Frank Lowe, Paris
Reunion Band and William Parker. In 2000 hereconnected with Shepp and fellow trombonist Roswell
Rudd (they, Harris and bassist Jimmy Garrison had
toured Europe in 1967) for some concerts and madetwo final albums as a leader: Exploration, a 2004 octet
session released by Capri, and Inner Cry Blues, a sextet
date out on Lunar Module.
Alongside his playing, Moncur was anaccomplished composer, tunes like “Frankenstein”,“Sonny’s Back”, “The Coaster” and “Blues for Donald
Duck” recorded by the Jazztet, McLean, Shepp, Burrell,
Wilson, André Jaume, Ken McIntyre, Kevin Mahogany,
Khan Jamal and others. At the time of his death,
Moncur was working on another comeback project.

CLARENCE BECTON (1933 - Jun. 24th,2022) The drummer is the question to
the Jeopardy answer: “He played drums
on the first ECM release.” Along withthat 1969 Mal Waldron album, Free At
Last, Becton, based in Europe for
decades, recorded with Don Menza,
Dusko Goykovich, Hadley Caliman, Michael White,
Burton Greene, Arnold Klos, Gijs Hendriks, Joe
Malinga, Benny Bailey, Armando Cairo and others.
Becton died Jun. 24th at 88.

JÓZEF GAWRYCH (1939 - Jun. 6th,2022) The Polish percussionist andvibraphonist was active since the ‘60s,
working with Polish Radio Dance
Orchestra, Krzysztof Komeda, Janusz
Zabiegliński, Novi Singers, Grupa
Organowa Krzysztofa Sadowskiego,
Marianna Wróblewska, Jan Fryderyk Dobrowolski,
Zbigniew Namysłowski, Jan Ptaszyn Wróblewski andother compatriots. Gawrych died Jun. 6th at 83.
WOLFGANG REISINGER (Jul. 16th,
1955 - Jun. 8th, 2022) The Austrian
drummer was a longtime member of theVienna Art Orchestra, appearing onover a dozen of its recordings from1979-89, later had credits with Franz
Hautzinger, Max Nagl, Franz Koglmann,
Michel Godard, Rabih Abou-Khalil, Joachim Kühn,
Steve Lacy, Reform Art Unit, Georg Gräwe and Agustí
Fernández and released his own albums for Extraplatteand EmArcy. Reisinger died Jun. 8th at 67.
SUSANNE SCHAPOWALOW (Jan.
29th, 1922 - Jun. 6th, 2022) The German
photographer provided images for
hundreds of albums since the mid ‘50s
for labels like Columbia, RCA, Atlantic,
EmArcy, Brunswick, MGM, MPS,
Deutsche Grammophon, Moosicus,
Jazzhaus, Sonorama and others. Schapowalow died
Jun. 6th at 100.

JEAN BÉMER (1933 - Jun. 9th, 2022)
Scion of a music-store owning family,
the proprietor of Bémer-Musique
founded the Cat 4 Club in his hometownof Lorraine, a venue hosting both
French stars like Michel Portal andMartial Solal but also visitors such as
Keith Jarrett, Clark Terry and Phil Woods. Bémer died
Jun. 9th at 89.

MEGHAN STABILE (Jul. 26th, 1982 Jun. 12th, 2022) The up-and-coming
producer founded Revive Da Live in
2005, presenting concerts first in Boston
then New York, and had her efforts
bringing jazz to younger, hipper
audiences documented on the 2015 Blue
Note album Revive Music Presents: Supreme Sonacy Vol. 1.
Stabile died Jun. 12th at 39.

EDDIE DE HAAS (Feb. 21st, 1930 - Jun.
22nd, 2022) The Indonesian bassist got
his start in Europe, working with Mezz
Mezzrow, Henri Renaud, Pia Beck andothers, then moved Chicago, where his
credits included Kai Winding, Bill
Coleman, Chet Baker, Chris Connor,
Roy Haynes, Al Haig, Dexter Gordon, Warne Marsh,
Tom Saunders, Eddie Johnson, Von Freeman, Jodie
Christian, Louis Smith and others. De Haas died Jun.
22nd at 92.

DONNY SUHENDRA (Nov. 9th, 1960 Jun. 19th, 2022) The Indonesian guitarist
was a founding member of the jazzfusion band Krakatau, later co-foundedJava Jazz and released one album under
his own name in 2009. Suhendra died
Jun. 19th at 62.

ROMAN BUNKA (Dec. 2nd, 1951 - Jun.
12th, 2022) The German guitarist andoud player made a handful of records
under his own name, which were in theworld music vein, but got his start aspart of Christian Burchard’s jazz-rockband Embryo (later joining its worldbeat offshoot Dissidenten), which led to collaborations
with Jimmy Jackson and Charlie Mariano. Bunka died
Jun. 12th at 70.
CHARLES EUBANKS (Jul. 26th, 1948 Jun. 2nd, 2022) The pianist was part ofthe extended famed jazz family(guitarist Kevin, trombonist Robin,trumpeter
Duane,
bassistDavid
Eubanks), releasing a pair of CIMP
albums in the new millennium to go
along with sideman work with Wendell Harrison,
Contemporary Jazz Quintet, Rashied Ali, Archie
Shepp, Dewey Redman, Butch Morris, Luther Thomas,
Oliver Lake, Sonny Fortune and more. Eubanks died
Jun. 2nd at 73.

12 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

MATTHIAS WINCKELMANN (1941 Jun. 19th, 2022) The German producer
co-founded Enja Records in 1971 with
Horst Weber, the label starting—as
ECM had two years earlier—with a Mal
Waldron trio date and going on torelease over 700 albums to the present
day from the likes of Rez Abbasi, Franco
Ambrosetti, Ray Anderson, Carlos Bica, Bob Degen,Marty Ehrlich, Tommy Flanagan, David Friedman, Hal
Galper, Dusko Goykovich, Eddie Harris, Mark Helias,
Abdullah Ibrahim, Ingrid Jensen, Elvin Jones, Lee
Konitz, Cecil McBee, Albert Mangelsdorff, Charlie
Mariano, David Murray, Angelika Niescier, Bobby
Previte, Akira Sakata, John Scofield, John Stubblefield,
Aki Takase, Alexander von Schlippenbach, Archie
Shepp, Bennie Wallace, Nils Wogram, Attila Zoller andmany others. Winckelmann died Jun. 19th at 81.
LEROY WILLIAMS (Feb. 3rd, 1941 Jun. 1st, 2022) The drummer was active
since the late ‘60s, working with Roni
Ben-Hur, Al Cohn, Junior Cook, Bill
Hardman, Barry Harris, Andrew Hill,
Charles McPherson, Pete Malinverni,John Patton, Jimmy Raney, Sonny Stitt,
Warren Vaché and more. Williams died Jun 1st at 80. v

FESTIVAL REPORTALAN NAHIGIAN

VISIONFEST
by tom greenland

Wadada Leo Smith

An annual high point of the city’s free[dom] jazzscene, Vision Fest’s 26th incarnation comprisedarchival film screenings, an academic conference, sixnights of music (five at Roulette, one at La Plaza at The
Clemente Soto Velez Cultural Center), movement,
poetry, visual arts (installed, improvised or exhibited
separately), celebrating lifetime achievements of
Wadada Leo Smith and Oliver Lake. Much toingest, yet deep immersion in these musical sounds/
sights/spirits can reward curious listeners withtransformative experiences.
Night 1 (Jun. 21st), curated by Smith, showcased
the trumpeter/composer ’s work in seven unique but
overlapping settings, But first, attempting to address
the crowd with a silent mic only to hear a chorus of“we-can’t-hear-you’s!” Smith waited until the PA wasaudible to quip: “It’s ok, just feel me!” And certainly
his energy—his feeling—was palpable on the
traditional opening prayer, a minor meditation onAlbert Ayler performed duo with drummer Pheeroan
akLaff. Next a black-and-white film clip showed ayoung Smith playing a freely structured soliloquy. His
string writing was featured in three sets performed by
RedKoral Quartet (violinists Mona Thian, Shalini
Vijayan, violist Andrew McIntosh, cellist Ashley
Walters): quartet alone on the pensive “Quartet No.
10”; with Smith, akLaff and pianists Sylvie
Courvoisier and Erika Dohi on the catholic “Flight 93
in Pennsylvania’s Sky”; and with poet Thulani Davison her recital of “Billie Holiday, Dark Lady of theSonnet”. After a break, Smith, half-crouched overmuted horn, blew fragmentary yet cohesive blasts,
gently but decisively directing the pianists and akLaff
through “New York City’s Central Park in August”.
Although ‘caged’ behind clear Plexiglas sound baffles,
silent for long stretches, akLaff proved a key
contributor, driving the latter piece and closing prayer(a duo with Smith) into deeper dimensions. If anything,
the event showed that Smith is not just (in Festival
co-founder Patricia Nicholson-Parker ’s words) “oneof-a-kind”, but (in his own words, responding to her
accolade) “multiple kinds”.
Night 2 (Jun. 22nd) commenced with a bang:
pianist Matthew Shipp’s quartet (violinist Jason Kao
Hwang, bassist Michael Bisio and drummer Jay Rosen)morphing between long, incessant minimalistic figuresand lush ballad textures, uncannily in sync witha video of Katy Martin enshrouded in cellophane
daubing orange and blue paint blots against a wall,music gradually building to a resplendent climax at
the precise moment she turned (onscreen) to stare
directly into the audience. Jo Wood-Brown’s projectedcollages provided backdrop for drummer Whit
Dickey’s trio (alto saxophonist Rob Brown and bassist

Brandon López), Brown long-winded, calmly ecstatic,
López kinetically extroverted, proactively rhythmic.
Dancer Davalois Fearon and multi-instrumentalist
Mike McGinnis’ duo fused her athletic sensuality withhis fluid lyricism. The evening ended with a 1-2 punch.
With Lois Esby’s paintings onscreen, William Parker(doson n’goni, gimbri, gralla), Cooper-Moore (homemade instruments) and Hamid Drake (drums) wowed
listeners with a calypso-esque groove that moved to
funk—Cooper-Moore tearing up his diddley-bow withnods to Delta blues and Bernie Worrell—to a mercurial
closer, Cooper-Moore (electric banjo, mouth-bow),
Parker (hunting horn) and Drake restively but
sinuously transitioning between reggae, swing,straight-8ths and other rhythms. The second punch,taking longer to land, was equally powerful: clarinetist
Ned Rothenberg, pianist Sylvie Courvoisier and Drake
explored a series of musical scenarios kindled by
Courvoisier ’s frantic but precise two-handed attack,Rothenberg’s sensitive balladry and Drake’s forceful
yet empathetic style, the latter proof positive a fullfledged imagination isn’t limited by a bare-bones
drumkit.
On the 3rd night (Jun. 23rd), choreographer
Yoshiko Chuma used archival film footage of 1946
Bikini Atoll A-bomb tests accompanied by trio (violinist
Jason Kao Hwang, cellist Aliya Ultan, trombonist Steve
Swell) plus dancers (herself, Miriam Parker, Emily
Mare Pope) to pose (silently) those difficult questions
arising at the spectre of mushroom-shaped clouds.
Two more acts fore-fronted a younger generation.
Jaimie Branch’s trio (bassist Luke Stewart and drummer
Tcheser Holmes) played a traditionally rooted yet
stylistically contrarian set, Branch equally adept on
trumpet and electronics, accompanied by an amazing
live-edited (by Scott Kiernan) video of the band,a paradigm of onstage/onscreen audio-visual synergy.
Vocalist/flutist Leo Chang, trumpeter Chris Williams,
cellist Lester St. Louis and dancer Parker ’s set wasmore subdued, favoring hypnotic washes and drones,
Parker repeatedly falling down then rising from thefloor with unflappable stamina and poise. As William
Massa digitally painted (offstage but onscreen), tenor
saxophonist James Brandon Lewis, cornet player Kirk
Knuffke, bassist Parker and drummer Chad Taylor
used blues and gospel as anchor points, Knuffke andLewis an unlikely but nevertheless well matched pairof soloists, Taylor aggressive, busy, but not to excess.
Flutist/vocalist Nicole Mitchell’s quintet (pianist
Joshua White, bassist Ken Filiano, electronic
percussionist Val Jeanty and drummer Terri Lyne
Carrington) played a set of her originals spanningbossa nova, swing and funk, Jeanty overlaying
turntable scratches, sampled vocals and other effects
onto Carrington’s promethean, John Bonham-esquetimekeeping.
By the 4th night (Jun. 24th), many of the same fansreturning to the same chairs, the festival’stransformative powers were beginning to sink in.
Tenor saxophonist Isaiah Collier, pianist Jordan
Williams, bassist Stewart and drummer Holmes playedhigh energy modal-based compositions, hitting thatineffable ‘it factor ’ about 35 minutes after downbeat.
Sparks (pianist Eri Yamamoto, alto saxophonist Chad
Fowler, bassist Parker, drummer Steve Hirsh)
embodied its name, particularly in the creative friction
generated between Yamamoto and Hirsh, intuitively
simpatico. Trumpeter Ahmed Abdullah and drummer
Francisco Mora Catlett’s dectet (vocalist Monique
Ngozi Nri; saxophonists Sam Newsome, Don
Chapman, Alex Harding; tuba player Bob Stewart;
pianist D.D. Jackson; bassist Radu ben Judah; conguero
Román Díaz) brought broad sounds and loving vibes,
inviting listeners to echo phrases from Sun Ra’s
“Enlightenment”, together conjuring a “Space World”
of “strange mathematics [and] rhythmic equations”;
nimbly reacting to Nri’s recitation of Louis Reyes
Rivera’s “A Place I never been: especially for Malcolm

X” before finishing with a cha-cha and boogaloo, thelast featuring a bombastic but soulful turn by Jackson.
Pianist Angelica Sanchez trio-ed with bassist Michael
Formanek and Drake, her sharp, rapid, crystalline runs
close-tallied to Drake’s sustained in-the-pocket
grooves. Fay Victor ’s SoundNoiseFUNK (saxophonist
Newsome, guitarist Joe Morris and drummer Reggie
Nicholson, with violist/violinist Eddy Kwon guesting)came last, each artist adding spoken word, Victor up
front with a panoply of yodels, clicks, stutters andother extended vocal techniques.
Night 5 (Jun. 25th) started softly, lushly, with thebusy hum of composer Jason Kao Hwang’s 24-piecestring orchestra (10 violins, 5 violas, 4 cellos, 3 electricguitars, bass, drums) in a 10-part suite of contrasting
themes and motions, each artist soloing, Hwang
conducting with wave-like, taffy-pulling, crookedelbow or punching gestures (alongside traditional
conducting patterns), finishing with a loud rocking
two-chord vamp, violins/violas all standing/soloing.
Nicholson-Parker mashed spoken word withmovements, supported by Ellen Christi and Jean Carla
Rodea’s loosely harmonized scat vocals and drummer
Mela’s beats/chants (the latter two singing in Spanish)
while Jo Wood-Brown’s photo/painting collages
scrolled overhead. Swell’s septet (bassoonist Karen
Borca, alto saxophonist Rob Brown, violist Melanie
Dyer, pianist Dave Burrell, tuba player Stewart anddrummer Michael TA Thompson) developed solos andgroup improvs around the leader ’s tunes, achieving acouple stirring plateaus along the way. Music+life
partners Ngozi Nri and Abdullah sang a short folksy
set mostly comprised of Sun Ra melodies and Nri’s
original poetry, Abdullah adding vocals, trumpet anddjembe. The finale, by Joshua Abrams’ sextet, unfolded
as a long, layered, trance-inducing groove driven by
the leader ’s gimbri, Parker ’s doson n’goni, Drake’s
frame drum and Mikel Patrick Avery’s stark muffled
drumkit while Lisa Alvarado’s harmonium gently
droned out of time, bass clarinetist Jason Stein mostly
vamping until his inventive solo turn midway through.
After five nights in Brooklyn, the final event (Jun.
26th), a tribute to Oliver Lake, was held outdoors at La
Plaza at The Clemente in Manhattan’s Lower East Side,hot humid late afternoon air slowly cooling as the sun set.
It began with a band of 21 tween- and teenaged musicians,
directed by William Parker, playing a couple of extended
pieces with recitation and solos, a glimpse at the scene’s
future. Tenor/bass saxophonist JD Parran’s sextet(violinist Gwen Laster, guitarist Kelvyn Bell, bass
trombonist Bill Lowe, bassist Hilliard Greene and Lake’s
drummer son Gene) covered four of the tributee’s
compositions, the last two featuring dramatically
festooned dancers (Nicholson-Parker, Parker, Fearon andJason Jordan) threading through the crowd, alone and inpairs, exuding music in their movement. Lake conductedvocalists Shanon Chua (soprano), Chaela Harris (alto)
and Ravi Seenerine (tenor), cushioned by violinist
Veronica Jurkiewicz, flutist Jameka Gordon, tenor
saxophonist Elliott Levin, bassist Matt Engle, drummer
Kevobatala, on a handful of vocal works, their voices
blended in sweet but tangy close harmony. Next he recitedoriginal poems backed by Trio 3 bandmates bassist Reggie
Workman and drummer Andrew Cyrille, callingawareness to recent racism in America, sounding tributes
to artists like Amiri Baraka, Hamiet Bluiett, Cyrille andSmith. The latest iteration of the World Saxophone
Quartet—Bruce Williams (soprano, alto), Greg Osby
(alto), David Murray (tenor, bass clarinet), James Carter(baritone)—delivered deep grooves and colorful chords,
Murray discharging a pair of radicalized solos, Carterhonking, popping at the bottom end, Williams stretchingout a soulful coda. It wasn’t over: returning to ‘reality’after deep musical immersion, many fans took thefestival’s transformative sounds/sights/spirits homewith them. v
For more information, visit artsforart.org

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 13

ALBUM REVIEWS

Kinfolk 2: See The Birds
Nate Smith (Edition)
by Eric Wendell

Drummer Nate Smith understands what is neededwith a tune. A standard time-keeping pace on jazzsong, deep groove for hip-hop or pedal-to-the-metalbeat for rock, Smith is amenable to all of the above andmore. Smith’s latest release— the second in a conceived
trilogy—is a brilliant example of what he can offer as abandleader and how he serves the music.
“Altitude” begins with Jon Cowherd’s brightFender Rhodes intro before segueing into a breezyunison melody from vibraphonist Joel Ross and singer
Michael Mayo. From the get-go, Smith is adept at
showcasing melody. This is easily felt on the subsequent
track, “Square Wheel”, with the rapping of singer
Kokayi.
“Band Room Freestyle” is Smith and Co. at theirmost exuberant, unbridled and having fun forthemselves. This is where the album excels via
seemingly improvised moments with no expectations.
Although brief, it is also a great example of bassist
Fima Ephron’s nimble playing, equally prominent on
the next track “Street Lamp”.
Smith is at his most confident with “Collision”,
with violinist Regina Carter adding beautiful colors to
the ensemble as the lines weave in and out of one
another. With the instrumentation at hand, a lessaccomplished composer would not know how tobalance every instrument but Smith is a master.
“Meditation: Prelude” is the only solo track, drums
alongside preprogrammed sounds. Cinematic in scope,
it warrants further exploration and experimentation.
Smith digs deep with “Rambo: The Vigilante”,
the most rocking and psychedelic song courtesy ofguitarist Vernon Reid. Headbanging in its intensity,
this piece’s crunchy distortion is a welcome flavor.
Smith ends the album with “Fly (For Mike)”, a sultry
ballad featuring the superb stylings of vocalist Brittany
Howard, who radiantly hangs on to every note.
A confident conclusion to a succinct album.
For more information, visit editionrecords.com. This projectis at Blue Note Aug. 1st-4th. See Calendar.

Bushwich Public House series, Gauci (who turns 56
this month) has an established track record for
performing with high-quality players who fit hisradical vision and style. When he planned to visit
Berlin in late 2021, drummer Joe Hertenstein—who
splits his time between there and New York—arranged
a session with legendary pianist and one of the fathersof European free jazz Alexander von Schlippenbachand his regular bassist Jan Roder. After a seven-hour
flight and five-hour train ride and understandably
exhausted, Gauci nonetheless jumped into the three
free improvisations making up Soundlift Berlin-New
York. The striking results were worth the trip.
The quartet plays as though it is a longtime
working group, performing at a consistently elevatedlevel. The tight rhythm section, especially a powerful
Hertenstein, provides strong, solid support and Gauci
improvises at length, with a thrust reaching back to
hardbop roots, pushing forward at length with
controlled falsetto notes, continuous blowing, rapidly
constructed lines and a contagiously intensedemonstration of ideas.
The three tracks are almost one long improvisation,with the players listening closely to the numerous
shifts and surprises throughout. “Soundlift 1” hasbass, piano and drums constantly moving, shifting,joining in, dropping out, creating an envelope of soundwhere change is the norm. Gauci soars above, launching
his characteristic squeaks and squeals, while stunningbass and piano solos add to the pleasure. The muscular,
emotionally packed “Soundlift 2” presents the group
to favorable effect, with Schlippenbach and Gauci
launching wildly diffused lines and Hertensteinfuriously setting the pace. Roder ’s playing is ahighlight of “Soundlift 3” Gauci characteristically allover the horn, his interaction with Schlippenbach, inparticular, a total joy.
For more information, visit gaucimusic.bandcamp.com.
Gauci is at Ibeam Brooklyn Aug. 4th, Downtown Music
Gallery Aug. 20th and Scholes Street Studio Aug. 26th.
See Calendar.

Big Mooon
William Hooker (ORG Music)
by Franz Matzner

Drum lovers will not be disappointed by percussionist,

Soundlift Berlin-New York(featuring Alexander von Schlippenbach& Jan Roder)
Stephen Gauci/Joe Hertenstein (Gaucimusic)
by Steven Loewy

Brooklyn-based Stephen Gauci’s inspiring story of

persistence and discipline in overcoming the adversityof severe hearing loss from childhood and performingat the highest levels on the tenor saxophone is recalled
once again as he resonates with aplomb on Soundlift
Berlin-New York.
After leading or co-leading groups on dozens ofrecordings and spearheading performances via his

composer and poet William Hooker ’s Big Moon. While
not overly dominated by Hooker ’s playing, the essenceof Big Moon is decidedly percussive. Hooker ’s signature
blend of influences, sharply honed skills and extensive
experience enable rhythm to guide the album.
Hooker ’s career has traced the contours of avant
garde music for five decades. He was part of the Loftscene, played avant-rock and has experimented withthe more layered/noise-oriented branches ofelectronica. All of these make an appearance on thisdouble-record vinyl set, which Hooker describes as
inspired by the many aspects of the moon. It utilizes
a large ensemble of Jimmy Lopez (percussion),
Jai-Rohm Parker Wells (bass), Charles Compo (flute),
Stephen Gauci and Sarah Manning (saxophone), Mara
Rosenbloom and Mark Hennen (piano) and Theo
Woodward (synthesizer).
The first side of Disc 1 begins with the poised“Stations of Power”, which mixes graceful piano
melodies and soft chords with shimmering cymbals
and ambient whispers. Next, “Right of Speech” starts

14 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

with deep, lilting bass followed by an array ofoverlapping rhythms, including multiple Latin beats.
The percussive lines skitter and twist, driven by
concussive drumming. Flute and saxophones enter the
breakneck dance. Hooker sends a burst of frenzied
propellant into the swarm and the others join to end
with a wall of intersecting sounds.
In contrast, the second side launches straight into aflurry of instruments, initially sounding like competing
conversations at a crowded restaurant. Then a pin
drops. Walking bass, luminous piano, gentle flute andsaxophone momentarily hold the space in stillness.
Following that, the band erupts into boisterous
saxophone shouts, synthesizer screams, snapping
snare, thunderous bass drum and racing piano.
The second record covers a similar range,
concluding with the extended “Synthesis ofUnderstanding”. Epitomizing Big Moon, the startlingly
complex composition unfolds like a series of vignettes,
each dedicated to exploring one of Hooker ’s musicalspheres. Bluesy swing and brass choruses worthy ofCharles Mingus, walking bass ballads, free jazz,
ambient noise improv and classical are all revealed asa malleable continuum.
The packaging is also worth noting: simple but
refined, the interior includes photographs and poems
by Hooker and each record is emblazoned with a photoof the moon that inspired the album.
In lesser hands, Big Moon’s scope and freedom
would have resulted in either chaos or standard genreblending. Tempered by Hooker ’s musical wisdom andthoughtful aesthetic the result is a tour of possibility.
For more information, orgmusic.com. Hooker is at Governors
Island Aug. 7th, Ibeam Brooklyn Aug. 27th and Funkadelic
Studios Aug. 28th. See Calendar.

(Setola Di Maiale)
R • Stephen
Gauci/Joe Hertenstein–Soundlift
York (featuring Alexander vone Berlin-New
Schlippenbach & Jan Roder) (Gaucimusic)
Laubrock/Tom Rainey–c • Ingrid
Counterfeit Mars (Relative Pitch)
Manasia Trio–o • Jeremy
Butcher Block Ballet (Blujazz)
Mengis, Javier Hagen,m • ManuelHans-Peter Pfammatter, Marcel Papaux–Live Capitol Brig (Wide Ear)m • Gard
Nilssen Acoustic Unity–
Elastic Wave (ECM)e • Roberta Piket/Harvie S/Billy Mintz–
You Have Been Warned (Sunnyside)n • Perry
Robinson, Mark Whitecage,
Ken Filiano, Lou Grassi–
d Live@VisionFest20 (Not Two)
Stylianou (featuringe • Melissa
Gene Bertoncini & Ike Sturm)–
Dream Dancing (Anzic)d • WeFreeStrings–Love
In The Form Of Sacred• Sergio Fedele–Le Melancolie di Tifeo

Things (ESP-Disk’)Laurence Donohue-Greene, Managing Editorn(April)e •• Alawari–Eponymous
Lucian Ban–Ways of Disappearing(Piano Solo) (Sunnyside)w • ManéFernandes–Enter the Squigg (Clean Feed)• Joachim Kühn Trio–Scream For Peace(Biennale de Paris 1969) (Linoleum Productions)r • Travis
Laplante–Wild Tapestry(Out Of Your Head)e • Kresten
Osgood–Plays The Organ For You (April)l • Dave
Rempis/Fred Lonberg-Holm/
Nilssen-Love–e PaalBallister Chrysopoeia (Not Two)a • Jörg
Schippa’s UnbedingT–Tanzpalast(JazzHausMusik)s • David Virelles–Nuna (Pi)
Wong–Legends and Legacies II
e • Francis(Asian Improv)s Andrey Henkin, Editorial Director

Dream Dancing
Melissa Stylianou (Anzic)
by Jim MotavalliThis is an album you slip on like one of Hugh Hefner ’ssmoking jackets: standards featuring the gifted vocalist
Melissa Stylianou with Gene Bertoncini (now 81) on
guitar and Ike Sturm on bass. If you can picture whatthat is going to sound like, well, add a bunch of scatting
and you’re right.
Bertoncini is a close listener. On “My One andOnly Love”, he is alive to every nuance in a sloweddown version of the Guy Wood-Robert Mellin classic.
You won’t toss out Johnny Hartman’s interpretation,
but will file this one close by. Richard Rodgers-Oscar
Hammerstein’s “It Might as Well be Spring” swings
more, but isn’t quite as distinctive. Sturm has a tasty
short solo. Mercer Ellington’s “Times a-Wastin’” comesin via bass and—shades of Sheila Jordan—never adds
Bertoncini. Jimmy Van Heusen-Johnny Burke’s“It Could Happen to You” uses the same formula,without any injury to the program; Stylianou’s crystalclear articulation shines in such a sparse setting. Jazz
singers love to take side trips to Brazil and a highlightof this album is Stylianou’s treatment, taken in bothPortuguese and English, of Antônio Carlos Jobim’s“Corcovado”. Sturm (who solos at length) andBertoncini have lovely interaction on this one.
Juan Tizol’s “Perdido” is the bounciest thing here,with lots of tasty scatting. Gus Arnheim-Charles N.
Daniels-Harry Tobias’ “Sweet and Lovely” is also kindof punchy. One of the joys of listening to Stylianou isthat she is never brassy, but subtle as a close-mic’d
Chet Baker. And “For Chet” is Bertoncini’s tender
tribute to the late trumpet player. Stylianou’s vocal
approach is wordless and Brazilian-influenced. Leo
Robin’s “My Ideal”, also sung by Baker, softly brushes
the ear. Think of the quietest version you’ve heard,then take it down a notch. Jobim wrote “If You NeverCome to Me” with Ray Gilbert and Aloysio Luis De
Oliveira and though Frank Sinatra and Ella Fitzgerald
recorded it, it is the most obscure standard on thealbum. Just sweet and lovely, like the whole session.
For more information, visit anzicrecords.com. This projectis at Mezzrow Aug. 7th. See Calendar.

Nearness
Allison Miller/Carmen Staaf (Sunnyside)by Dan Bilawsky

Drummer Allison Miller and pianist Carmen Staaf
became fast friends after initially connecting back in2015. They started meeting regularly to flesh out
musical ideas, which eventually led to their debut
collaboration, 2018’s Science Fair, and then continued
to work together through a variety of Miller-fronted
projects: an uncompleted tribute to stick master Shelly
Manne’s 2-3-4 album; Parlour Games, an ensemble
co-led with violinist Jenny Scheinman; and her own

Rivers In Our Veins. Having strengthened their bonds
and deepened their rapport through time, these wellmatched musicians operate with a positively open
approach on the aptly named Nearness.
During their first go-round on record, Miller andStaaf invited other musicians to join them. But here
they prefer to explore the possibilities of an absolutely
pure pairing. Opening on “Dan Dan”, which includes a
declamatory introduction, some sway-and-play time,
aqueous allure and a hypnotic draw, this duo
demonstrates what fluid development is all about.
Then there is “Blue Thrush”, a slow blues surroundedby lightly chiming accents and bird-call adornments;“Top Shelf”, a woozy winner that skitters, stumbles
and morphs into buoyant time; “The Nearness of You”,
the Hoagy Carmichael classic smartly tethered to arhythmic and harmonic setup; and Staaf’s “New York
Landing”, a real swinging sign of city life.
Ornithology offers inspiration as Miller and Staaf
move into the second half of the program with thepolyrhythmic song(s) of “Birds” before shifting gears
for the quirky-cum-whimsical “Beans and Rice”. The
latter, a Miller nod to piano-and-composition lodestars
Thelonious Monk and Duke Ellington, paves the way
for Monk’s “Ask Me Now”, brilliantly rendered in
Staaf’s shades of cool. Then this pair brings anotherhero of the pen and the 88s into the spotlight with
“MLW”, a hip Staaf favorite capturing the spirit andsoulfulness of Mary Lou Williams, and closes out the
program with Staaf’s “Chant”, a meditative effort
centering the spirit while it says goodbye. As a parting
gift that track is pure heaven, an act of friendship thatspeaks to the importance of serenity as a binding force.
It is a significant beauty set together with true care andcreativity. Just chalk it up to the nearness of two.
For more information, visit sunnysiderecords.com. Miller is
at Birdland Aug. 9th-13th as part of Artemis. See Calendar.

You
Giacomo Gates (Savant)by Joel Roberts

V eteran jazz vocalist Giacomo Gates sings like a guy

who has seen a few things in his life. Along with asmoky baritone and exceptional musicality, the71-year-old—who didn’t become a full-time singer
until he was 40—brings a worldly wisdom andunderstated sense of humor to his bebop-rooted vocals,
drawing on masters like Jon Hendricks and Eddie
Jefferson while creating a style all his own.
His latest release is organized around a deceptively
simple concept: all 18 songs have “You” in the title.
Joined by a dynamic trio of pianist Tim Ray, bassist
John Lockwood and drummer James Lattini, Gates
romps quickly through the set of mostly familiar
standards, with most tracks clocking in at just threeminutes or less. But while the tunes are short they arenever hurried; Gates just dispenses with extraneousverses and unnecessary fiddling around and gets tothe meat of the matter.
The opener, “Exactly Like You”, is one of his mostimpressive performances, as he quotes “Take the A
Train” and “Girl from Ipanema” and gets in a brief
section of scatting, all in the span of two-and-a-halfminutes. Gates is a storyteller at heart and on classic
tunes like “I Didn’t Know About You”, “I Thought
About You” and “P.S. I Love You” he focuses on the
lyrics, making sure to convey the full impact of thesetales of love and love gone wrong. His wry humor—
a quality missing from so many jazz artists—is felt
throughout, notably on “It Had to Be You”, where hesimply repeats the song’s title for an entire chorus
before finally getting to the other lyrics.
Gates and company cover a lot of ground,everything from Thelonious Monk’s “I Mean You” tothe Mills Brothers’ “You Never Miss the Water Till the
Well Runs Dry”. But they handle all of it with ease andpanache on an album that is lighthearted, spirited and aheck of a lot more fun than most jazz albums these days.
For more information, visit jazzdepot.com. This project is at
Birdland Theater Aug. 11th. See Calendar.

UNEARTHED GEM

Historic Music Past Tense FuturePeter Brötzmann/Milford Graves/William Parker(Black Editions)by Phil Freeman

Saxophonist Peter Brötzmann, bassist William

Parker and drummer Milford Graves only played
together three times and this is the only one of thoseencounters to be officially documented. It wasrecorded at CB’s 313 Gallery, a short-lived offshoot of
the legendary punk club CBGB, on Mar. 29th, 2002.
Brötzmann and Parker were ferociously busy inthis era (as they still are), but Graves, legendary for his
work in the ‘60s-70s, had all but disappeared after
1992’s Real Deal, a duet with David Murray. He
reemerged in 1998, making two solo albums and areunion album with the New York Art Quartet. Still, he
operated on his own schedule, seemingly reappearing
just when the world needed him, then vanishing backinto his Queens home/laboratory for years at a time.
This 68-minute recording is split into four chunks,
each taking up one side of a double-LP, but is basicallythree long pieces. Brötzmann opens things up with
one of his usual bugling fanfares and Graves thunders
in after him; Parker, as was so often the case inensembles led by towering figures (Cecil Taylor,
David S. Ware, Charles Gayle), glues it all together.
They roar and thunder for about 20 minutes, Side A
fading out and Side B fading in, until saxophonist anddrummer drop out, leaving Parker to take a bowedsolo. Gradually, they rejoin the action, Brötzmann on
shockingly lyrical clarinet or perhaps tarogato, themore obscure instrument he favors, and Graves
rolling across his toms like an earthquake andoccasionally offering the cymbals a quick, almost
diffident splash. By the time the energy level has fully
built back up again, near the 30-minute mark, it has
happened so gradually it is like getting caught in astorm you sort of saw coming, but figured you hadtime to make it back to the car. The second piece,
which Graves and Parker kick off (sans Brötzmann fornearly three minutes), is the most ferocious. The last,which features Parker on doson n’goni and Graves
vocalizing and stomping on the stage, Brötzmann onsome sort of clarinet, is a tender, North African-tinged
ballad. This is an amazing performance, a highlight of
all three men’s catalogues and pretty much mandatory
listening for free jazz fans.
For more information, visit blackeditionsgroup.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 15

G LO B E U N I T YLive in San Javier 2021
Matthieu Saglio Quartet (Pulpito)
Uanmortaim
Violeta Garcia/Chris Pitsiokos (Relative Pitch)
Plucked and Bowed
My Hellgren & Peter Söderberg (FRIM)
by Tom Greenland

Just like the last crop of cellists reviewed here (May2020), all of this month’s featurees are conservatorytrained yet each is compelled to set aside suchtechniques in search of more individualized,
improvisatory musical expression.
Resident of Valencia, Spain for almost two
decades, Frenchman Matthieu Saglio has absorbed
classical, jazz, flamenco and Sephardic/Islamic music,
evolving an eclectic hybrid style both refined andeminently listenable. Live in San Javier 2021 resequences
his show at the Murcia festival, adding two numbers
from the group’s next gig in Torrent. Performing his
originals with pianist Christian Belhomme anddrummer Steve Shehan, Saglio combines plucking,strumming, bowing and a bit of digital looping tocreate basslines, chordal accompaniment, melodies
and solos, sharing melodic chores with violinist Léo
Ullmann. Accordion player Carlos Sanchis and three
vocalists guest: Saglio’s brother Camille, singing inchest or high falsetto with Maghreb flavorings;
Valencian cantaora/bailaora Isabel Julve embodying
flamenco duende; and Senegalese Abdoulaye N’diaye
singing in Wolof. All appear on “L’appel du muezzin”,
collaborating without aesthetic conflict.
At the other end of the ‘listenable’ spectrum lies
Argentinian cellist Violeta García and alto saxophonist
Chris Pitsiokos’ extreme noise music, captured on
their debut duo album Uanmortaim. A veteran ofumpteen studio and live tango day-gigs, it is instructive
to hear García’s instant close affinity to Pitsiokos,
a radical “post-improviser” (his blog suggests eventhis term is insufficient). A short, 28-minute set
comprising 11 tracks, most 2-3 minutes or less, theouting is highly cohesive, each adroitly mirroring theother’s creative gestures, whether Foley-artist soniccollages, percussive trade-offs, full-tilt skronk-fests oranything else. The pair seem to have an innate,
immediate camaraderie, especially impressive on“Escroleame” where they match and merge their
singular yet similar musical/emotional temperaments
via rapid, organically dovetailed phrases.
Swedish cellist My Hellgren and guitarist Peter
Söderberg had never met before they performed
Plucked and Bowed, a 47-minute improvisation, at
Stockholm’s Fylkingen. The outcome is subdued, its
impact deriving from far subtler motions andmodulations of theme. Hellgren first favors a cajontype technique of batting/slapping strings with both
hands, Söderberg plucking harmonics on theorbo(long-necked lute), both outlining D minor tonality.
12 minutes into the piece, the latter switches to steelstring acoustic guitar—unperturbed it is blatantly outof tune, as evidenced by prominent beating of openstring and fretted unisons—prompting Hellgren to use
a bowing technique to induce upper partials. 28
minutes into the piece she grows more aggressive,
prodding Söderberg with raucous ejaculations until heresponds in kind. The last section, Söderberg now onoud, eases to a soft landing.
For
moreinformation,
visitmatsag.com,
relativepitchrecords.com and frim-stockholm.se.

O Life, O Light Vol. 1
Zoh Amba (577 Records)
O, SunZoh Amba (Tzadik)
by Phil Freeman

Every few years, a new free jazz saxophonist pops up,

creating a sensation with an innovative style, albeit
one firmly rooted in the tradition. Around 15 years
ago, Darius Jones’ name began to bubble up, first with
obscure projects like Tanakh and Birds In The Meadow,
then on his own. Less than a decade ago, James
Brandon Lewis arrived, teaming up with jazz elders
before forming alliances with players his own age.
Both have built impressive careers since, delivering
consistently surprising and challenging work andsome absolutely brilliant, landmark albums.
This is Zoh Amba’s season of emergence. A tenor
saxophonist from Kingsport, Tennessee but now basedin New York, we are told she grew up playing her hornin the woods before studying with David Murray, atthe San Francisco Conservatory of Music and at the
New England Conservatory in Boston. She has released
two albums so far, with more to come soon.
O Life, O Light Vol. 1 is a trio session with bassist
William Parker and drummer Francisco Mela. The first
two tunes, “Mother ’s Hymn” and the title track, aretenor workouts; on the third piece, “Mountains in thePredawn Light”, she switches to flute. (The LP version
contains a fourth piece, “Satya”, which is basically justa statement of an idea and a brief flurry of activity,
coming to a halt in just over 90 seconds.) Parker andMela are sympathetic and gentle guides throughout,allowing the music to swell and recede like a gentle
tide as Amba floats along on top. Her voice, at thisearly stage, is a mix of Albert Ayler and Charles Gayle,with the former ’s affinity for folkish, gospel-ized
melodies and the latter ’s lack of concern forconventional pitch or harmony. There is a gentleness to
her music, though, which manifests even more strongly
when she picks up the flute.
On O, Sun, she is fronting a quartet of Micah Thomas(piano), Thomas Morgan (bass) and Joey Baron (drums)
with alto saxophonist John Zorn guesting on one track.
Her feet-in-the-grass melodies are reframed here bya more anchored band; piano is a co-lead voice, giving
the music a grace and refinement that the trio session
eschewed. Even “Holy Din”, the track on which Zorn
guests, has a trance-like spiritual jazz feel at its core,recalling “The Father and the Son and the Holy Ghost”,
the first movement of John Coltrane’s Meditations.
For more information, visit 577records.com and tzadik.com.
Amba is at Nublu 151 Aug. 5th, The Stone Aug. 11th with MicahThomas and Downtown Music Gallery Aug. 16th. See Calendar.

My 90s Summer
Yuval Amihai (Fresh Sound)
by Elliott Simon

The last decade of the last century is now nostalgia
and its offspring are fondly looking back. My 90s

16 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

Summer is guitarist Yuval Amihai’s remembrance ofcoming of age in Israel. However, it is not a maudlintake on the decade’s music and Amihai uses his 20
years of worldly musical experience to reflect upon
people and places in his life in a beautifully-puttogether program of eight varied originals. A mature
guitarist, Amihai is extremely cognizant of his quartet’s
strengths. Chief among them is David Kikoski, theperfect soulmate for this refreshingly contemporary
reminiscence. His keyboard work, especially on
Rhodes, is exceptional as he both buttresses Amihai’sruns and challenges the rhythm section of bassist Eric
Wheeler and drummer Jeremy Dutton to stretch out.
The title cut is a relaxing take on the time period
and includes beautiful voicings from flutist Itai Kriss
and tenor saxophonist Julieta Eugenio for a coolsummer breeze before the aptly titled “MEDB (Middle
Eastern Desert Blues)” turns up the heat with MiddleEastern tinge amid modern jazz environs. Trumpeter
Wayne Tucker joins Kriss in stylishly understatedsupport of davening guitar. Two memorable, but very
different individuals are portrayed next as the hotsoulfully suggestive “Gwen’s Groove” gives way to an
exceedingly gentle interpretation of a “Song for Sacha”.
Although “Smiles”’s cheery demeanor overstays its
welcome, “Yitgaber” is outstanding, an intense but
wonderfully melodic septet exploration of a variety ofengaging themes. “Coming Through” has Kikoski
setting the pace on piano for a jaunty straightahead
blues-infused journey while “Saturday Afternoon” is anelegantly pensive study delicately intertwining Rhodes
and guitar. Amihai is a strong leader and his ‘nostalgia’is original, surprisingly fresh and a joy to hear.
For more information, visit freshsoundrecords.com. Amihai
is at Ornithology Aug. 12th. See Calendar.

Live at Mezzrow
Sheila Jordan (Cellar Live)by Ori Dagan

Sheila Jordan has stated on numerous occasions that,“if it wasn’t for jazz music, I wouldn’t be alive today”,
so it is unsurprising that she performed fearlessly
throughout the pandemic, including numerous livestream concerts from Smalls, Emmet’s Place andMaureen’s Cellar. This album was taped October 2021,
when it was considered dangerous to be gathering.
The album captures Jordan’s singular style, one
which usually makes an audience laugh and cry within
the same set. Thankfully it was decided to keep the false
start of Ray Noble’s “The Touch of Your Lips”, a tune
which affords Jordan endless possibilities as she trades
phrases jokingly, laughs out loud and swings like heaven.
Consistently shining on the album are pianist
Alan Broadbent and bassist Harvie S, featured on two
instrumental tracks: Cole Porter ’s “What Is This Thing
Called Love?” and Miles Davis’ “Blue and Green”.
Locked in tight simpatico throughout, they supportand inspire the leader to take great chances.
Abbey Lincoln’s “Bird Alone” and the Jerome
Kern-B.G. DeSylva classic “Look for the Silver Lining”
are both studies of depth, space and wild improvisation,
which manage to show great respect for a songwriter.
Vernon Duke’s “Autumn in New York” is a genuine
love letter to a city mingled in pain, to which Jordan
inserts—“I can’t forget 9/11”—before an explosively
surprising coda where she quotes Jon Hendricks:“Think you can lick it? Buy your ticket! Get to thewicket, GO!…Some people might tell you it’s a cold
town, but let me tell you everybody here tonight in
Mezzrow’s it’s a SOUL town…”
Richard Rodgers-Lorenz Hart’s “Falling in Love
with Love” and Hoagy Carmichael-Paul Francis
Webster ’s “Baltimore Oriole” both appear on theartist’s debut album Portrait of Sheila (Blue Note, 1962).
The modern versions are remarkably different, yetequally appealing and still fresh.
Sweetly swung, Leonard Bernstein-Adolph GreenBetty Comden’s “Lucky to Be Me” muses on how lucky
Jordan is to be singing still. In years to come, scholars
will look to this recording as a quintessential captureof a (then) 92-year-old beacon of hope who sounds half
her age and will always be the definitive “Jazz Child”.
For more information, visit cellarlive.com. Jordan is at Dizzy’s
Club Aug. 13th-14th, Arthur’s Tavern Aug. 20th andBirdland Theater Aug. 30th with Emmet Cohen. See Calendar.

Playdate
Geoffrey Keezer & Friends (Markeez)
by Robert BushPianist Geoffrey Keezer burst into the national

consciousness in 1989 when he joined Art Blakey’s Jazz
Messengers at the tender ago of 19, also making his
debut as a leader with Waiting In The Wings onSunnyside. This is his 23rd session under his own
name, an eclectic offering, with bits of mainstream,fusion and orchestral music on the table.
Keezer ’s core band is Shedrick Mitchell (Hammond
B-3, an off-the-wall combination that works quite
nicely), Ron Blake (tenor and soprano saxophones),
Richie Goods (acoustic and electric basses) and
Kendrick Scott (drums). There are guest appearances
by Aayushi Karnik and Nir Felder (guitar) andMunyungo Jackson (percussion) plus a chamberorchestra on two tunes, “Refuge” and “Bebah”.
That orchestra opens the disc with lush pastels
contrasted by roiling drums in support of a tenor solo.
Keezer toggles between flourish and economy with asterling and refreshing maturity. One never gets thesense that he is showing off, which can plague a lot of
releases from pianists who have his kind of chops.
Emblematic is the laidback swing groove of“I.L.Y.B.D.”, which begins as a feature for Mitchellbefore a baton handoff to Blake (doing a mean Wayne
Shorter-ish spot) and finally to Keezer, who goes totown and back in his action-packed solo.
Scott’s soft brushwork sets the stage for the
Mitchell original “Her Look, Her Touch”, featuring
plaintive soprano and a pensive contribution from theleader. Goods sneaks in a fluid electric bass solo on“Tomorrow” (a cover of the Brothers Johnson tune). It
is reminiscent of Mr. Gone era-Weather Report.
The other orchestral tune, “Bebah”, is anotheroriginal from Mitchell (Keezer did the arranging andorchestrating on the whole album.) It is a sweet feature
for a brawny Blake and the rococo ebullience of Keezer,
who hasn’t lost a step, chops-wise, since his debut
effort some 33 years ago.
For more information, visit geoffreykeezer.com. This projectis at Dizzy’s Club Aug. 17th. See Calendar.

identities are best regarded rhizomatically, defined
more by their interactions with their surroundings thanby any perceived fundamental principle.
Lopez and trumpet wizard Joe Moffett firstworked together in 2019, for Lopez’ “performed
installation” Machinic Fantasies at Roulette Intermedia.
This complex, innovative sound recording was
captured with pristine clarity by Kevin Ramsay, whoachieved a multifaceted binaural sonic environment byplacing microphones at different places on Moffett’s
trumpet. The result tricks the listener into thinking
there are more than two instruments. If ever an albumof creative improvised music were to demand listening
through headphones, Caprichos would be the one.
Right from the opening track, Moffett’s clear trumpet
tone is constantly rubbing up against a close-mic,
overdriven mirror of itself, which Lopez bounces
between the left and right channel while otherelectronic drones fade in and out.
Throughout, what is most striking is the dynamic
interplay between Lopez’ electronic filters and thepractical filters of Moffett’s mutes and subtle changes
in embouchure. Tracks like “Hyperaccumulator” and“Falso Glamour” focus on sonorous drones while
tracks like “Criptonita” or “Ambient Atrophy” focus
on microscopic phrasing and gesture. The penultimate“Rumiantes” brings a greater interplay between
sonority and phrasing. The duo always keeps these
aspects in flux, but it seems to become more apparent
as the album continues. The closing title piece is theshortest of all, at just over a minute and a half. It is afitting epilogue to Lopez and Moffett’s exquisite seriesof poetic dialogues.
For more information, visit triptickstapes.bandcamp.com. Lopez
is at 411 Kent Aug. 10th and The Stone Aug. 19th. See Calendar.

The Inflatable Leviathan
Sean Ali, Michael Foster, Cecilia Lopez, Eli Wallace(Tripticks Tapes)
Caprichos
Cecilia Lopez/Joe Moffett (Tripticks Tapes)
by Wilbur MacKenzie

Two recent releases on Tripticks Tapes feature Cecilia

Lopez in different contexts. In these two situations theintricacies of her sound world are perceivable atdistinct but complementary degrees of resolution.
The Inflatable Leviathan provides a sense of an
ecology of intricate sound identities. It captures thequartet of Lopez on synthesizer, bassist Sean Ali, pianist
Eli Wallace and tenor/soprano saxophonist Michael
Foster in two longer works, one medium sized and one
very short piece. The quartet integrates their respective
sonic palettes splendidly. On the two-minute opening
piece “Stratosphere”, electronic sounds, prepared
piano, extended bass techniques and breath and spit
sounds all find space; it is densely populated by verysmall sounds and a treatise on the intersection of
gesturality and white noise. The two longer works,“Mesosphere” and “Exosphere”, both provide plenty ofspace for the gradually changing densities only hinted
at in the two-minute opener. Conventional musicalconcepts like melody, rhythm, accompaniment, or
counterpoint are always present in group improvisation,
though these conventional musical forms are subject tocontinuous
deconstruction
andrealignment.
Throughout the performance, piano rhythms turn into
timbral framework for arco bass to become a melodic
counterpoint for an electronic filter sweep. These sonic

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 17

Air
Martin Wind New York Bass Quartet (Laika)
by Ken Dryden

Martin Wind is among the most in-demand bassists injazz, but many are probably unaware that he also played
and taught classical bass for decades. The roots of thisband came in his classes but since the COVID lockdown
prevented teaching, he sought out fellow bassists who
were also gifted arco players with eclectic backgrounds:
Gregg August, a jazz bandleader himself; Jordan Frazier
from the Orpheus Chamber Orchestra; and rising starsoloist Sam Suggs. Wind leads them through challenging
arrangements of music from Baroque to postbop,
modern jazz and rock.
Four bassists with flawless tone, whether playing
arco or pizzicato, no matter the difficulty of the chart orstyle of music, is a joy to hear. Wind also brought inkeyboard player Gary Versace and drummers Matt
Wilson and Lenny White to overdub some of thefinished tracks. The opening quartet version of J.S.
Bach’s “Air” finds Suggs playing the lead arco solo
while Wind is the lead on the remaining selections. His
imaginative scoring of a medley of songs by The
Beatles—“The Long And Winding Road”, “Here, There
And Everywhere”, “A Day In The Life” and “LadyMadonna”—has the quartet bringing a new dimension

to these classics. Joe Zawinul’s “Birdland” istransformed with Wind’s creative chart, featuring
overdubs by Versace on organ and both drummers.
Wind’s breezy “I’d Rather Eat” brings to mind Aaron
Copland’s western-themed ballets at times, thoughlater segueing into a somber Baroque-like mood. The
glistening setting of Pat Metheny’s “Tell Her You Saw
Me” adds Versace on piano and accordion plus Wilson.
The trio version of “Air” is a Wind solo feature withpiano and organ. Rarely does such a diverse session
succeed on all counts.
For more information, visit laika-records.com. Wind is at Birdland
Theater Aug. 19th-21st with Scott Robinson. See Calendar.

The Lighting of the Lamps
Grant Stewart Quartet (with Bruce Harris) (Cellar Live)by Pierre Giroux

O ne may imagine that T.S. Eliot and jazz would beincompatible. And yet in the final stanza of his poem
Preludes I, there is a certain improvisational musicality:
On broken blinds and chimney pots
And at the corner of the street
A lonely cab-horse steams and stamps
And then the lighting of the lamps.

AUG 22

AUG 1

AUG 12

AUG 2–3

CELEBRATING INDIA AT 75
SACHAL VASANDANI QUARTET
W/GUESTS

WITH SPECIAL GUEST WALTER BLANDING

AUG 13–14

AUG 13 WITH MELISSA ALDANAAUG 14 WITH HOUSTON PERSON

AUG 24

AUG 4–7

AUG 15

AUG 25–28

LINDA SIKHAKHANE QUARTETADONIS ROSE QUINTETTELL ME A STORY: THE MUSIC OF
NEW ORLEANS GRIOTS
BEN WOLFE QUINTET FEATURINGNICHOLAS PAYTON
AUG 8SHEILA JORDAN WITHRONI BEN-HUR & HARVIE S.
REMEMBERING ROY HARGROVE:EVAN SHERMAN BIG BANDJAZZ HOUSE KIDS, HOSTED BYCHRISTIAN MCBRIDE

AUG 16

AUG 9

AUG 17DARCY JAMES ARGUESECRET SOCIETY
AUG 10CHUCK ISRAELS QUINTET:
86TH BIRTHDAY CELEBRATIONRALPH ALESSI & BAIDA QUARTETGEOFFREY KEEZER & FRIENDS:“PLAYDATE” CD RELEASEPASQUALE GRASSO TRIO ALBUMRELEASE CELEBRATIONAUG 23JULIETA EUGENIO TRIO:“JUMP” ALBUM RELEASE PARTY
BEN WILLIAMS BANDGONZALO RUBALCABA •CHRIS POTTER • LARRY GRENADIER •ERIC HARLAND: FIRST MEETING
AUG 29SARAH HANAHAN QUARTET
AUG 30–SEP 4

TRIO DA PAZ & FRIENDSAUG 18–21

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18 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

So tenor saxophonist Grant Stewart, in choosing
the final line as the title for this release, attempts tocapture a sense of what awaits a musician as their day
only begins, when night falls and the lamps are lit.
Stewart enlisted a group of musicians with whom
he has much shared history—pianist Tardo Hammer,
bassist David Wong and drummer brother Phil and, inthe frontline, trumpeter Bruce Harris—for eight tracks,
including one original, a couple of popular standards
and tunes from such jazz notables as Clifford Jordan,
Benny Golson, Thad Jones and Elmo Hope.
Opener “Little Spain” by Jordan is filled with
Stewart’s excellent technique and flows with hardswinging ideas and flawless execution. It is followedby the leader ’s “A Piece Of Art”, tipping its cap to
pianist Art Tatum not only in the title, but also with amusical reference in the melody’s opening two phrases.
Stewart and Harris dive in with a full-throttle approachthat leads into a fierce solo from the latter. The twostandards the group tackles are Victor Young-Ned
Washington-Bing Crosby’s “Ghost of a Chance” andJack Wolf-Joel Herron-Frank Sinatra’s “I’m A Fool To
Want You” and the familiarity the band has with thepieces is evident in the renditions, especially Stewart’s
solo on the latter.
There are no gimmes in this session and all of theremaining tracks deserve the listener’s full attention.
There are two, however, that are slightly more impactful:
Hope’s “Mo Is On” because the writing is harmonicallymore intricate and the band takes this to heart in theirsurging interpretation; and Jordan’s “Bearcat”, which
Stewart first heard him play when he came to New Yorkas a teenager and always wanted to record.
For more information, visit cellarlive.com. Stewart is at
Cellar Dog Aug. 21st. See Calendar.

Be-Bop!
Pasquale Grasso (Sony Masterworks)
What Kinda Bird Is This? (The Music of Charlie Parker)
Eric Ineke Jazzxpress (feat. Tineke Postma) (Challenge)
Sing A Song of Bird
Roseanna Vitro (Skyline)
by George Kanzler

These albums are all COVID-delayed tributes toCharlie “Bird” Parker ’s 2020 Centennial. They show
the myriad ways musicians have reflected and refracted
the bebop vocabulary Parker created that revolutionized
jazz. That two of them are from European musicians
suggests the geographic sweep of Parker ’s influence.
That the third primarily features vocalists demonstrates
the comprehensive nature of Parker ’s impact. The
three approach bebop from differing perspectives,
inspirational to inventive. Italian guitarist Pasquale
Grasso most closely hews to the original contours of
bebop orthodoxy while Dutch drummer Eric Ineke’sband takes inspiration from Parker as a basis for theirown inventive adaptations, bringing bebop forward incontemporary renderings. And Roseanna Vitro and her
vocal compatriots revel in the linguistic freedom of
vocalese that bebop inspired.
Grasso matches his style to the title Be-Bop!,a trio album with bassist Ari Roland and drummer
Keith Balla. Inspired at a young age by Parker andother bebop pioneers like Dizzy Gillespie and
Thelonious Monk, Grasso plays eight bebop classics,
reveling in the lines at barnburner tempos such as thetitle track, “Cheryl”, “Ornithology” and “Groovin’
High”, executing heads and solos with dazzling, fleetfingered facility. On “A Night in Tunisia”, which kicks
off the album, he nails the lightning-strike a cappellabreak after the famous six-peat kicker, then reeling off
highly articulated strands of single-note lines. And hematches his dazzling facility on uptempo tunes withcompelling interpretations of slower material, honing
in on the magnetic appeal of Monk’s “Ruby, My Dear”
and the wistful appeal of Parker ’s “Quasimodo”,
a contrafact of “Embraceable You”.
Ineke augments his regular quintet with guest alto
saxophonist and compatriot Tineke Postma on What
Kind of Bird Is This? Parker is the inspiration, but theband reinterprets bebop in more contemporary terms.
Opener “Relaxin’ at Camarillo” finally gets to Parker’s
theme as a closer after six-plus minutes in two sections,the first with its own theme from arranger Rob van
Bavel. The sextet—trumpet, alto, tenor, rhythm—finds
diverse ways to present lesser-known Parker tunes like
“Steeplechase” (drums interweaving with ensemble
and soloists), “Merry Go Round” (solo-ensemble
exchanges) and Howard McGhee’s “Stupendous”(drums interacting with soloists). Postma is mostinspired and Bird-like in her trio tracks (with Ineke andbassist Marius Beets), the standard ballads with Parker
connections: “Lover Man” and “Just Friends”, plus afree interpolation of “Au Privave”.
Vitro’s Sing A Song of Bird celebrates Parker via
vocalese, the writing of lyrics to improvised, mostly
bebop, solos, a jazz innovation that was largely inspired
by Bird. It consists of two recording sessions: one from2017 Vitro organized with veteran singers Sheila Jordan
and Bob Dorough; a second session, from 2021, features
Vitro and Marion Cowings on vocals, as well as alto
saxophonist Gary Bartz. Dorough, who died in 2018,delivers his vocalese lyrics to Parker’s “Red Cross” and“Bluebird” while Jordan’s own vocalese lyrics reflect
her memories of hearing Bird (“Bird’s Song” set to“Relaxin’ at Camarillo”) and her critique of Clint
Eastwood’s film Bird, wittily set to “Quasimodo”. Vitrosings her husband Paul Wycliffe’s amusing vocalese to“Scrapple from the Apple” about the problems ofnavigating New York: “Grapple with the Apple”, aswell as Parker’s surprisingly romantic lyrics to his“Yardbird Suite”. Cowings brings his clarion tone toKing Pleasure’s vocalese of the blues “Parker’s Mood”
and Jon Hendricks’ words to “Now’s the Time”. And
Vitro shines on Wycliffe’s vocalese of “Steeplechase”:“People Chase”. Bartz emphasizes the dedicatee’s alto
prowess in a scintillating “KoKo/Cherokee” mashup.
For more information, visit sonymasterworks.com,
challengerecords.com and singasongofbird.com. Parker
tributes are at Birdland Aug. 14th, 23rd-27th and Aug. 29th;
Dizzy’s Club Aug. 22nd; The Django Aug. 25th-27th; SmokeAug. 25th-28th; and Marcus Garvey Park Aug. 27th-28th
and Tompkins Square Park Aug. 28th. See Calendar.

Solotude
Abdullah Ibrahim (Gearbox)
Anthem For The New Nation
Tbone Paxton/RJ Spangler Septet (Eastlawn)
by Scott Yanow

South African pianist Abdullah Ibrahim was a jazzpioneer in his home country before the horrors ofApartheid forced a move to Europe in 1962, three years
before he settled in New York. Influenced by Duke
Ellington and Thelonious Monk, he developed his own
sound early on and composed scores of picturesqueoriginals paying tribute to his homeland.
Solotude (subtitled My Journey, My Vision) wasrecorded in 2021, the year when Ibrahim turned 87.
The unaccompanied recital has Ibrahim performing
concise versions of 17 of his compositions (plus three
reprises) with only three performances over 3:20 inlength and a dozen clocking in at less than two minutes
apiece. Nearly all of the renditions are taken at slow
tempos and some are out of tempo. Ibrahim’s playing
is quite gentle, including on “The Wedding”, one of his
most beautiful compositions. One should not look here
for the fire and intensity of his earlier music but instead
enjoy these introspective performances on their own
terms as an elder great thinking aloud at the piano.
Despite the fact that Ibrahim’s songbook is solarge, not that many of his pieces have been performedby others. That fact makes the full-length exploration ofIbrahim’s music, Anthem For The New Nation, a major
event. Co-led by trombonist Tbone Paxton andpercussionist RJ Spangler, the septet captures the spiritof seven of Ibrahim’s songs with deep understanding.
The light grooves set by the rhythm section are
consistently infectious, the solos by Daniel Bennett(tenor saxophone) and Rafael Leafar (alto) melodic
even when they are at their most adventurous and theensembles with the relaxed looseness and joy one
associates with Ibrahim’s own groups. Keyboard player
Phillip J. Hale’s contributions, inspired by Ibrahim
without sounding like a copy, is also a strong asset. The
set begins with “African Marketplace”, one of Ibrahim’s
most memorable and singable melodies. Other
highlights include the catchy groove of “Cape Town
Fringe”, which leads to passionate tenor, keyboard andalto solos; calm but also quietly passionate “Whoza
Mtwana”; and guest flugelhorn player James
O’Donnell’s impressive playing on the funky “Soweto”.
Anthem For The New Nation should inspire others to
explore the rich music of Abdullah Ibrahim.
For more information, visit gearboxrecords.com andeastlawnrecords.com. Ibrahim is at Blue Note Aug.
23rd-26th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 19

MINGUS MONDAYSEVERY MONDAY! 7:30 & 9:30pm Shows!
TUE
8/2

Gili Lopes Brazilian Quartet
Los Hacheros ft. Jeremy Bosch

7:30PM
10:30PM

Animal Crossing
Rudresh Mahanthappa Hero Trio (Whirlwind)by George Grella

WED
8/3

Alexander Claffy Quartet
Richard Cortez Band

7:30PM
10:30PM

This digital release is an EP in every way: the four

THR
8/4

Mike DiRubbo Quartet
Mark Whitield

7:30PM
10:30PM

FRI
8/5

David Hazeltine Trio
Craig Handy & 2nd Line Smith

7:30PM
10:30PMSAT
8/6

Jason Marshall Organ Quartet
Jackie Ribas and “Zambup”

7:30PM
10:30PM

TUE
8/9

Samuel Torres’ Latin Jazz Quintet
7:30PM
Gerardo Contino and Los Habaneros 10:30PM

WED
8/10

Tony Glausi Quintet ft. Nana Mendoza 7:30PM
Domo Branch ft. Birsa Chatterjee
10:30PMTHR
8/11

Hank Allen-Barfield Quintet
Joe Farnsworth

7:30PM
10:30PMFRI Conrad Herwig “The Latin Side of Mingus” 7:30PM
8/12
Mariel Bildsten Septet
10:30PMSAT
8/13

Yayennings Quartet
Joe Saylor and “The Kingdom”

7:30PM
10:30PMTUE
8/16

Liz Rosa
Itai Kriss & Telavana

7:30PM
10:30PMWED
8/17

Luke Carlos O’Reilly
Anwar Marshall & Blue Verse

7:30PM
10:30PMTHR
8/18

Wax Brazilian
High & Mighty Brass Band

7:30PM
10:30PMFRI
8/19

Ed Cherry Quartet
Freddie DeBoe Band

7:30PM
10:30PMSAT
8/20

Dan Aran BandDavid Gibson Nonet

7:30PM
10:30PM

TUE
8/23“Tango at the Django” Pedro Giraudo
Los Hacheros ft. Jeremy Bosch

7:30PM
10:30PMWED
8/24

Luther S. Allison & Poiesis
Hudson Horns

7:30PM
10:30PMTHR
8/25

Sam Dillon/Andrew Gould Quartet
Ian Hendrickson-Smith

7:30PM
10:30PM

FRI
8/26

Bruce Williams Quartet
Sarah Hanahan Quintet

7:30PM
10:30PM

SAT
8/27

Mike Ledonne ft. Vincent Herring
Erena Terakubo

7:30PM
10:30PM

TUE
8/30

Pedro Cortes Flamenco Ensemble
Cuarteto Guataca

7:30PM
10:30PMWED
8/31

Sasha Berliner Quartet
Alonzo Demetrius Quintet

7:30PM
10:30PMDINNER, LIBATIONS & LIVE JAZZTHEDJANGONYC.COM
2 AVE OF THE AMERICAS

tracks are pretty much the equivalent of two 45-rpm
singles and the duration is matched by the ambition.
That is no bad, or small, thing. Too many albums thesedays are too long and short and sweet doesn’t have toskimp on depth or impact.
A player like alto saxophonist Rudresh
Mahanthappa, with his erupting ideas and lava-likesound, comes across vividly in concentrated doses. He
has an unusual mix of intense passion with a sly, selfaware wit, which carries an appreciation for gentle
absurdity. The opening title track says it all: anarrangement of the theme music from the video gamethat became a popular pastime during the pandemic,
for kids and adults. While the transition from funkvamp to the tune itself isn’t totally convincing, theattitude and playing are great. Bassist François Moutin
and drummer Rudy Royston are at the top when it
comes to the kind of hard/funky syncopation andcomplex meters that have become the lingua franca ofcontemporary modern jazz.
This is an all-covers EP and the choices are both
idiosyncratic and terrific: Pat Metheny’s beautiful“Missouri Uncompromised”, which sounds great ona monophonic instrument; “Give It All You Got” by
Chuck Mangione; and George Michael’s infectious“Faith”, imaginatively interpolated with harmonies
from “Giant Steps”. Mangione’s melody has beenteased out from bright funk to a deeply melancholicballad, impressive technically and expressively
very different even than the slow version Mangione
himself recorded. Across the tunes, the trio pushes atthe edge of every chord and bar line with the bite ofunresolved feelings.
For more information, visit whirlwindrecordings.com.
Mahanthappa is at Smoke Aug. 25th-28th. See Calendar.

The Cave of Winds
Tony Malaby’s Sabino (Pyroclastic)
Huapango
Tony Malaby/Angelica Sanchez/Tom Rainey(RogueArt)
by John Sharpe

Saxophonist Tony Malaby has been a hard-hitting

presence on the NYC scene for the last quarter of acentury. Although a MVP with the likes of Charlie
Haden Liberation Music Orchestra, Paul Motian
Electric Bebop Band and Fred Hersch Quintet, his own
albums often swerve left field. But while a dedicatedsonic explorer, he also manifests a more delicate aspect,which can seem querulous and vulnerable, alive tounalloyed emotion. His enviable range is on show
throughout these two studio discs, which encourage
concision over the expansiveness of live performance.
Malaby connects with a crew of longstanding
collaborators on The Cave of Winds by Sabino, an outfit

20 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

resurrected from his 2002 debut, with guitarist Ben
Monder replacing Marc Ducret as the only change.
Joining them are the seasoned rhythm team of bassist
Michael Formanek and drummer Tom Rainey. They
combine on a program having its unlikely gestation
during the pandemic when Malaby happened upon aremote location under the New Jersey Turnpike where
he and friends could play outdoors without fear ofeither infection or causing a nuisance. The level oftrust and knowledge that stems from the foursome’slong associations allows Malaby to follow a favored
strategy whereby the compositional elements,
themselves often derived from improvisations, can be
so internalized they often emerge seemingly organicallyduring freeflowing exchanges. It is a delicious andcompelling effect, stunningly pulled off on the
18-minute title cut in particular, which presents theband at its best. It begins in ballad territory with
Malaby alone pursuing an imploring melodic feel anda loosely referenced recurring motif, makes space fora characteristically poised Rainey interlude, offers an
elegant intertwining of saxophone and contrapuntal
bowed bass, then hits a feverish peak before a relaxed
comedown. Elsewhere a fierce swing holds sway,
pushed by the driving tenor riff on the bristling“Corinthian Leather”, or by fuzzed power chords onthe choppy “Scratch the Horse”. Monder ’s inventive
textures enlarge the group sound, adding independentlines, floating sustains and juddering growls without
ever overpowering. Also notable are the atmospherictightrope walk “Recrudescence”, which begins with
Malaby’s soprano evoking a shakuhachi flute and ends
with Formanek’s kinetic bent resonances and “Life
Coach (for Helias)” a conversational duet for Malaby
and Rainey, in which they tip their hats to the absent
founder of the Open Loose trio, a moniker that also
sums up Malaby’s aesthetic.
Rainey reappears alongside Malaby on Huapango
by a deeply attuned trio, completed by pianist Angelica
Sanchez, whose last release was in 2005. While they
have dealt with charts in the past, the playlist here
comprises ten cooperative endeavors, which, like all
Malaby’s projects, cover a huge dynamic spread. At one
extreme lies the explosive opener “Lava Painting”,
which bursts out of the starting blocks with theprotagonists going full tilt. Gradually the piece comes
into focus and takes on a cohesive impetus fashioned
from Sanchez’ stabbing voicings, Malaby’s insistentkeening and Rainey’s propulsive accents. Typically thelatter provides the anchor, repurposing conventional
vocabulary into unconventional settings, supplemented
by a litany of novel timbres. At the other extreme are
the more impressionistic tracks like “Canopy Creature”,
whose tenor and piano tiptoeing around tappy
percussion readily explains the title. In between appear
fiery outings such as “Lift Off The Sun”, which begins
with clanking from the piano’s innards but culminatesin burly tumult recalling the energy of Cecil Taylor’s
Unit with Jimmy Lyons and Andrew Cyrille. But evenhere Sanchez maintains control and it is her purposefulalternation between the grand and Wurlitzer electric
piano that helps imbue the date with a distinctive vibe.
She is on the keys on “Multi-Dimensional Lullabye”,
opening in a gentle shimmer in consort with Malaby’s
trembling upper register, which blossoms into a simple
folk-inflected refrain, reflecting a sometimes veiled
lyrical sensibility. Sanchez’ rippling patterns like alapping tide on the rise foreshadow a second section,with Malaby echoing her elliptical approach,considerably more restless and caffeinated than would
be expected. Other highlights include the lurching
rhythm of the title track and the unhurried “Martirio”,
the jazziest cut, which affirms the threesome’s links toboth one another and the wider tradition.
For more information, visit pyroclasticrecords.com androguart.com. Malaby is at Scholes Street Studio Aug. 26th.
See Calendar.

Ways of Disappearing (Piano Solo)
Lucian Ban (Sunnyside)by Marc Medwin

Thereis something mysterious, an enigmatic
openness, in Lucian Ban’s solo pianism. It hides asmuch as it reveals, presenting itself in a garb of
shrouded beauty, almost a melancholy, whatever thecontext. Ways of Disappearing is Ban’s solo debut andwhile this ineffable quality has informed his earlier
releases, it is front and center on this gorgeously
recorded offering.
There is a tantalizing blurring of compositional
and interpretive boundaries throughout theseminiatures. Of the two standards amid Ban’scompositions, the exquisite Carla Bley-penned “Ida
Lupino” tells the tale with aching clarity. For thosefamiliar with the pioneering version Paul Bley waxed
in trio configuration for ESP-Disk’ nearly six decadesago, be prepared for all manner of obfuscation. Likea puzzle, the melody is alternately extended,
decentered and fragmented, ringing through byimplication, just as time is continually restrained justshy of breaking point. Yet, the harmonic framework isthere, coiled beneath the reflectively protean surface,a smile through wistfulness, culminating in a final
sonority of heartbreaking simplicity. If thatinterpretation comes relatively close to mirroring the
traditions that spawned it, an original like “The Heartof What Does Exist” strays into entirely different
territory, at least on the surface. The first several chords
set up and promptly destroy a tonal center, dynamics
and voicing changing deliciously with each sound.
Again, melody becomes a disparate entity, leaping
register and intensity with stunning rapidity even in
the face of the piece’s utter calm. That melodic intrigue
will find its clearest manifestation later, in “Owners of
Silence”’s rapid-fire monody. Returning to the album
opener, there is plenty of room for each harmony tobreathe and bloom through the pulse that never quite
emerges. That approach to chord in time is mirroredin the title track’s subtle left hand, another study
in ghostly implication and counterpoint throughout
the registers and in “Remorse”’s subtly crunchy
dissonances, jarring even as they exude a somber
beauty in connection and resolution.
The variety is staggering, but even better is the

STEPHANIE NAKASIAN
MATT BAKER

Seasons & Transitions
Summer to Autumn
And Weathering Life’s Changes
Wednesday, August 17th, 7 pm
178 Second Avenue @ 12th Street$25 cover / $20 minimum
www.pangeanyc.com
proof of vaccination required

fact that each note is recorded with such expert care.
The Bösendorfer, the piano used on this recording, canoften come off sounding thin and glassy but there is
not a bit of that here. The tones are deep and rich,frequencies perfectly balanced and each articulation is
captured complete. It is just as well, because Ban’s
arsenal is limitless. Even on the puckish “Flatbush
Avenue Breakdown”, nuance is the name of the game.
Ban’s compositions are as varied as his playing,speaking to the unified diversity imbuing what will
doubtlessly be one of this year ’s best solo piano discs.
For more information, visit sunnysiderecords.com. Ban is at
Bar Lunàtico Aug. 29th. See Calendar.

Piano Solo
Elias Stemeseder (Intakt)
by Anna Steegmann

The 31-year-old Austrian pianist Elias Stemeseder isknown as a valued sideman, an adaptable improviser
and a fearless experimenter. In Berlin since 2010 and in
New York since 2015, he moves back and forth between
both cities. He has worked with the Jim Black Trio,saxophonists Anna Webber and Philipp Gropper andpercussionists
Christian
Lillinger
andMax
Andrzejewski.
Piano Solo is his first solo album. Encouraged by
Intakt Records’ Florian Keller—he considered himself
still a student, not quite ready—Stemeseder crafts
a fine set showcasing his improvising skills and ability
to produce unique piano sounds. His playing isimaginative, confident, fierce and unsettling in sometunes, intricate, gorgeous and reflective in others.
He composed all 15 tunes except for “foeggslia’l”,
an Austrian traditional. At almost seven minutes, itis the longest track on the album (“Minustöne II” at 33
seconds is the shortest); it starts with quick fiery notes,
then transitions slowly to deeply felt, tender sections
allowing the melody to emerge.
Driving repetition is a recurring theme in most of
his tracks, clearly inspired by fellow pianist Craig
Taborn. Nevertheless, he transcends Taborn’s influence
in how he conceptualizes and executes his material.
“tau”, at just under a minute, surprises with its rapid
attack, fast decay and overtones, which bring a tender,
plain melody into being. “Anthropocene”, the secondlongest track, starts with a slow driving repetition that
continues through the entire piece, then becomes the
background for a deliberate, deeply emotional melody,
noticeably inspired by György Ligeti’s étude
“Désodre”. “cc/choral” is the least experimental
and most accessible tune with its mesmerizing
melancholy mood and beautiful unhurried playing. In“luft”, Stemeseder experiments with how the piano’s
upper register can be elicited solely by left-handed
notes in clusters.
Stemeseder aimed to improvise with theparameters of his given material. He states, “sometimes
that’s a structure as a song form, sometimes it’s a tonalorganization. Sometimes it’s a more abstract idea like
synthesis, dance, or a mood or a physical state, or anenergy.” This is an accomplished debut album for therising player. Fans of adventurous jazz piano will want
to follow his career to see where his imagination andtalent will take him.
For more information, visit intakt.ch. Stemeseder is at The
Stone Aug. 31st-Sep. 3rd. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 21

Oak Tree
Tom Harrell (HighNote)by Jim Motavalli

Tom Harrell has produced more than 30 albums as aleader since 1989. The quality is consistently high,though the settings can change dramatically. Oak Tree
presents an all-Harrell program in a straightforward
bop quartet setting. Harrell’s trumpet and flugelhorn
are the only horns and he is very up front. It is not aformat for weak players, especially on a disc recorded
as well as this one. Fortunately, he is in top form,backed by pianist Luis Perdomo, bassist Ugonna
Okegwo and drummer Adam Cruz.
The title piece is a ballad feature and Harrell is
exquisitely lyrical. It is a lovely tune. Harrell’s writingneeds to be better known. Perdomo on electric piano
sparkles. “Shadows”, also a ballad, overdubs Harrell
on his own solo, creating some very effective
reinforcement. “Zatoichi” is an outlier, launching witha busily up-and-down head before moving into a freesection. Perdomo is featured, entering territory
explored by Don Pullen, among others. Cruz gets in asolo and then Okegwo leads us back into that compellingtheme, Perdomo and Harrell locked together.
Fender Rhodes creeps in to make things a bit
funky. Perdomo plugs in on “Fivin’”, “Tribute” (whichcries out for lyrics) and “Sun Up” to tasty effect. The
latter is almost New York R&B, but with a strong reggae
influence. It could have been on jukeboxes during the
CTI heyday. Okegwo and Perdomo are both featured, but
Harrell enters with authority near the end. This one will
stick in your head. “Improv” is also a memorable line,
but very efficient—in and out in 4:29, with time for apithy bass solo. Strong writing went into the complex,
shifting “Robot Etude” and “Archaeopteryx”, a tribute toa dinosaur also referencing a more recent Bird. “LoveTide” closes the proceedings out on a brisk note.
The playing is consistently strong on Oak Tree, but
it is the quality of the leader ’s pen that lingers.
For more information, visit jazzdepot.com. Harrell is atVillage Vanguard Aug. 30th-Sep. 4th. See Calendar.

The Summit Rock Session at Seneca Village
Abraham Burton/Eric McPherson Trio(featuring Dezron Douglas) (Giant Step Arts)
by Ken Dryden

Tenor saxophonist Abraham Burton and drummer

Eric McPherson have been friends since growing up
together in Greenwich Village and have played
together as co-leaders or sidemen on numerous CDs.
Bassist Dezron Douglas, part of the Burton-McPherson

Quartet and another frequent collaborator, rounds out
this spirited trio.
This concert took place in what was once Seneca
Village, a 19th Century settlement of mostly AfricanAmerican landowners lost via eminent domain toconstruct Central Park. Questionable land grabs still
happen today to outrage the community, especiallywhen Harlem homeowners, landlords and businesses
had their property condemned the same way a few
years ago in order to expand the privately held
Columbia University campus.
There is nothing delicate about the in-your-face
opener “Flower”. McPherson sets the table with an
explosive introduction to “Curious” then returns to theforefront immediately after the trio’s theme statement
while Burton projects a definite John Coltrane influencein his interaction with the inspired rhythm section.
Tadd Dameron’s “If You Could See Me Now” has long
been a jazz standard and Burton’s soulful lyricism
brings to mind Sonny Rollins’ power and Coltrane’s
explosiveness. René McLean’s “Dance Little Mandisa”
is a forgotten gem from the late ‘80s, a hypnotic chantbrought to life by the trio’s engaging performance.
Burton’s “Seneca Blues” is uptempo with a fiery
rhythmic foundation propelling the saxophonist’s
shouts and cries of protest.
The audio is so stunning it is hard to believe that
this is an outdoor concert, the crowd listening intently
and responding enthusiastically. The only frustration
with this CD is lack of songwriter credits, even thoughspace was available beneath the CD tray. But Giant
Step Arts has done jazz fans a service by producing
these remarkable concerts and limited-edition CDs.
For more information, visit giantsteparts.org. Burton and
McPherson are at Bar Lunàtico Aug. 29th. See Calendar.

CD - download - streaming

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US distribution:

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

22 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

Celebrating Mingus 100
Jazz at Berlin Philharmonic XIII/Magnus Lindgren/
Georg Breinschmid (ACT Music)
Meditations on Mingus
Ethan Phillion (Sunnyside)by George Kanzler

This is Charles Mingus’ centennial year (Apr. 22nd,

1922-Jan. 5th, 1979) and both these albums commemorate
it with sets of his music. One is from a European(including two Americans living in Europe) octet plus
vocalist. The other is a Chicago-based tentet led by abassist. It is ironic that he and the co-leaders of
the European band, Magnus Lindgren and Georg
Breinschmid, are credited with the arrangements of therepertoire, since Mingus preferred verbally—humming,singing—teaching his tunes to his band rather thanwriting arrangements. Another irony is that Mingus’
music, including his magnum opus, Epitaph, have beenpresented, posthumously, due to diligent transcribing
and arranging from Mingus devotees. Actually, Mingus’
legacy has been much better preserved and performed,
thanks largely to the efforts of his widow Sue Mingus
and her shepherding of Mingus tribute bands, than thatof comparable jazz titans like Duke Ellington and Jelly
Roll Morton.
Beginning in the mid ‘50s, Mingus called his bands“Jazz Workshops”, explaining to audiences that themusic was being “workshopped” so they shouldn’t
expect finished products. He treated them more likeavant garde theater companies than jazz bands, acting
as much like a stage director as a bandleader. So
Mingus’ music was theatrical, infused with drama.
More than any jazz composer before him, he embraced
gestures like confrontation, tension and release andbombast in his music. He also embraced incongruity,
juxtaposing disparate themes, riffs and refrains against
each other in surprisingly apposite ways. Both of thesealbums honor that spirit of Mingus’ music, preserving
the unique character and quirkiness of his compositions.
Celebrating Mingus 100 presents more familiar
repertoire, a greatest hits including “Fables of Faubus”,“Boogie Stop Shuffle” and “Better Git It In Your Soul”,
three tunes that have found their way into many bandbooks. There is also a nod to Joni Mitchell’s Mingus
project, as vocalist Camille Bertault contributes her
French language version to two pieces to which
Mitchell added lyrics, “Goodbye Porkpie Hat” and“Self Portrait in Three Colors”. Also, in “Goodbye
Porkpie Hat” (a eulogy for tenor saxophonist Lester
Young) and “Jelly Roll”, the Berlin band’s co-leadersrecognize Mingus’ strong sense of jazz tradition. “Jelly
Roll” is one of his resuscitations of the trad jazz 2/4
beat, bringing it into the vital jazz present.
“Fables of Faubus” lacks Mingus’ lyrics, but the
opening has trumpeter Matthias Schrieff and trombonist
Shannon Barnett jeering with growls and wah-wahs as
the saxophones intone the “name me someone who’s
ridiculous” theme. “Boogie Stop Shuffle” abounds in
Mingus tropes, including the counterpoint of blues
boogie against bebop lines and Lindgren’s baritone
saxophone solo prodded by ensemble shouts thendropping to just baritone and drums.
Meditations on Mingus finds Ethan Philion exploring
and reflecting on a selection of Mingus’ more sociallyconscious works dealing with racism, police brutality,
mental health and economic disparities. He captures
Mingus’ highly dramatic use of contrasting tempos andshifting voicings that frame the haunting melody of“Meditation for a Pair of Wirecutters”, a piece embraced
in recent years by pop-rock musicians like Chrissie

Hynde. Philion also revives two indelible mid ‘50s
Mingustunes,“Haitian
Fight
Song”
and
“Pithecanthropus Erectus”, in all their unique brilliance.
Building from an intricate pizzicato bass solo that drops
into a rhythmic pattern, the former juxtaposes
contrasting fast and slow themes against each other,carried by trombone and saxophones respectively, as
they rise from sotto voce to crescendo, dynamic changes
a favorite Mingus ploy . “Pithecanthropus Erectus” alsobuilds dynamically by pitting two themes, from tenor
and flute and a heraldic brass strain, enhanced bymixed meters before solos in 4/4 from tenor, bass andalto, the last punched by sharp horn blasts.
Both albums end with rousing versions of “Better
Git It In Your Soul” featuring soloists over rhythm
sections dropping out in favor of hand claps, à la
Mingus’ original, satisfying endings to spirited tributes.
For more information, visit actmusic.com andsunnysiderecords.com. The Mingus Dynasty is at Chelsea
Table & Stage Aug. 11th and 25th. The Mingus Big Band is
at The Django Mondays. See Calendar.

Like Minds
Alan Broadbent Trio (Savant)by Pierre Giroux

Alan Broadbent has long had a busy career including

working as an arranger, composer and conductor, but
it is as a pianist that he is most significant in jazz.
Broadbent has headed his own record dates since 1979,
including leading several longtime trios. He previously
teamed up with bassist Harvie S and drummer Billy
Mintz for his previous Savant releases New York Notes
and Trio In Motion.
Like Minds is a consistent delight. While Broadbent
has in the past displayed the influence and inspirationof Bill Evans and (to a lesser extent) Lennie Tristano,
he begins this set swinging Hank Mobley’s “This I Dig
Of You” in a classic bop treatment reminiscent of Bud
Powell. Broadbent builds up the passion and intensityof his solo gradually, culminating in some rapid chords
and resulting in an exhilarating performance. He shifts
gears a bit with his lone original of the set, the modern
ballad “Prelude To Peace”, which has hints of “Naima”
and concludes with eerie bowed bass. Following is aswinging version of Clara Edwards-Jack Lawrence’s“With The Wind And The Rain In Your Hair” and thetender Jule Styne-Betty Comden-Adolph Green jazz
waltz “Dance Only With Me”. For Sonny Rollins’“Airegin”, Broadbent begins the performance with hissolo; the song’s melody does not appear until near its
conclusion. Matty Malneck-Frank Signorelli-Mitchell
Parish’s “Stairway To The Stars” is played with warmthand includes some effortless double-time runs by the
pianist and a thoughtful bass solo. Bud Powell’s obscure
but worthy “Blue Pearl” precedes the set’s closing
numbers: Kurt Weill-Ira Gershwin’s “This Is New”
(which has bass playing worthy of Scott LaFaro with
Evans) and Charlie Parker’s “Yardbird Suite”, whichfinishes the outing as it began, with some creative bop.
There are brief bass solos on most of the selections
and there are drum breaks but two players’ roles areprimarily supportive as they inspire and push the
pianist, heard throughout in prime form, sounding
quite happy to be performing with this trio once more.
For more information, visit jazzdepot.com. This project is at
Birdland Theater Aug. 25th. See Calendar.

ON SCREEN

The Lost Generation: Outside of the Mainstream(William Hooker) (s/r)
by Kevin Canfield

As drummer Marc Edwards notes in this informative,

infectiously enthusiastic documentary, even casualfans can name some of the musicians who, beginningin the late ‘50s, shaped the novel sounds of free jazz:“Everyone more or less knows about John Coltrane,
Sun Ra, Pharoah (Sanders), Ornette Coleman, Archie
Shepp.” But what of the players who followed a few
years later, announcing their presence in the ‘70s andburnishing their credentials in the decades that
followed? As heard on labels like Italy’s Black Saintand seen at venues such as the Knitting Factory, thisnext wave of restlessly creative free jazz horn players,
percussionists, bassists, guitarists and vocalists took
the music to thrilling new places but garnered justa small fraction of the praise showered on theirpredecessors. William Hooker, protean drummer andcomposer, wants to remedy this imbalance.
A companion piece to his podcast of the same
name, The Lost Generation: Outside the Mainstream“is an acknowledgement effort to correct the historyof jazz,” he explains at the outset—a project devoted
to celebrating the artistry of free jazz’ second
generation, of which he is a prominent member.
Featuring archival and recent performances by a hostof players—the roster includes Edwards’ Slipstream
Time Travel; trombonist Craig Harris; singer Lisa
Sokolov teaming with late bassist Henry Grimes;
trumpeter Ted Daniel; late saxophonist David S.
Ware; and Hooker himself—the film is augmented bysolo and group interviews with avant garde artists
who contextualize the music.
For listeners conditioned to appreciate pop radio
hits, Edwards tells Hooker, experimental jazz can be
too much to process—“a major system overload.” But
the improvisatory nature and variable tempos of free
jazz, a music of intricate sonic ideas and themes
typically taking time to resolve themselves, can yield
wholly original sounds. This holds true across freejazz generations, from, for instance, Coleman’s agile,
ascendant “Free” from 1960’s Change of the Century to
Hooker’s “Drum Form” a track from his 1982 album…Is Eternal Life. It is by turns subtle and raucous.
Hooker’s interviewees share engaging anecdotes.
When Sokolov worked in psychiatric units in Queens,a few of the patients proved to be talented but
apparently unrecorded singers; their impromptu
performances, full of “longing” helped her grasp
music’s “emotional, spiritual” resonance. Multiinstrumentalist Lee Mixashawn Rozie recalls whenCharles Mingus suggested that Rozie might join hisband. When Rozie replied that he was still attending
school, Mingus “says, ‘Well, fuck you then’.” In
Hooker, free jazz has a robust advocate. When amusician says something he likes, he may reply“Talk to me, man” or “Beautiful”. His film is a likableinsider’s portrait of his peers, a group of musiciansthat he admiringly calls “the avant garde cats”.
For more information, visit williamhooker.com. Hooker is
at Governors Island Aug. 7th, Ibeam Brooklyn Aug. 27thand Funkadelic Studios Aug. 28th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 23

Orchestrally Speaking
Stix Hooper (Stix Hooper Enterprise)by Alex Henderson

Drummer Stix Hooper, who turns 84 this month and isbest known as a founding member of The Jazz
Crusaders (later dropping the jazz from their nameand, to an extent, their style), has been recording as
a leader since the late ‘70s, often combining jazz with
R&B. That influence is prominent on his latest release.
But Orchestrally Speaking has an edge. The presenceof the Unified Strings Ensemble doesn’t prevent
Hooper ’s soloists from stretching out. There is plentyof room for Hooper ’s sidemen: Hubert Laws (flute),
Jamelle Adisa (trumpet and cornet), Scott Mayo (reeds),
Eugene Maslov (acoustic piano and electric keyboards,
also arranging), Andreas Öberg and the late Oscar
Castro-Neves (guitar) and Del Atkins (acoustic andelectric bass).
This 2022 release was a long time in the making,as Castro-Neves died in 2013. But even though thesoloists vary from one selection to the next, Hooper
maintains a dreamy, richly melodic atmosphere. This isan album of ethereal mood music yet far from elevatorschlock, Hooper still displaying soulful grit.
Latin music is also a prominent influence: “Samba
del Cielo” and “Sweet Gentle Love” find Hooper
drawing on Brazilian music; “I Touched a Dream” ismore AfroCuban-influenced; and “El Sombrero
Flamenco” is mindful of Spanish flamenco guitar.
In his liner notes, Hooper emphasizes the fact that
Orchestrally Speaking has an international cast, themusicians from the U.S., Brazil, Sweden and Russia.
Also of note it that Hooper and Laws, the latter now
82, go way back, coming out of Houston’s rich musicscene and playing together in an early Crusaderslineup during the ‘50s.
Orchestrally Speaking doesn’t pretend to be thework of a jazz purist but it definitely hits the spot.
For more information, visit stixhooper.com

Puzzle People
Nate Radley (SteepleChase)by Ken Dryden

N ate Radley (who turns 47 this month) is a guitarist

who doesn’t fall into the trap of playing overly common
repertoire or uninspired originals, happy instead toventure outside the lines to explore music he enjoys
playing, no matter the genre or style. For his second
CD for SteepleChase (the eminent Danish imprintcelebrating its 50th anniversary this month), he isjoined by two veterans of many sessions for the label,bassist Jay Anderson and drummer Adam Nussbaum,
who can mesh with any leader in a heartbeat.
The opener is a huge surprise, a loping, bluesy
treatment of country-pop star Roger Miller ’s“Invitation To The Blues”, where the leader has abrittle sound reminiscent of John Scofield at times andsharing the spotlight by giving Nussbaum a series ofbreaks. Radley’s laid back arrangement of Ted SnyderBert Kalmar-Harry Ruby’s ‘30s ballad “Who’s Sorry
Now”, recorded frequently during the Swing era, isa masterpiece, which he quickly turns over toAnderson’s capable hands for a chorus before
delivering a spacious solo suggestive of Nashvillegreat Chet Atkins as much as any jazz guitarist.
The mood is maintained at first with theunderstated setting of another early jazz favorite,
Isham Jones’ “I’ll See You In My Dreams”, with
Nussbaum switching from brushes to sticks as Radley
picks up the intensity in his solo. Victor Young’s“Golden Earrings” has long been explored by jazzmusicians and Radley’s scoring of it blends intricate
bop with an exotic flair.
Radley’s originals are just as entertaining. “SingSing Overkill” is a hip, country-flavored blues, which
manages to be down and dirty and swinging. The
mysteriously titled “Kamikaze Frisbee” finds themusicians turning on the afterburners in their
exploration of this bluesy anthem, with occasional
brief tags of the famous James Bond movie theme. The
trio’s interplay is at its best in “Bubble Trouble”, which
is based on the chord changes to the standard “GoneWith The Wind”, though it is well enough disguised
and altered that it is easy to miss.
Radley’s outstanding work as a sideman,
songwriter, arranger and leader justify more frequent
opportunities to record as a leader.
For more information, visit jazzdor.com

VoyageursSamuel Blaser/Marc Ducret (Jazzdor Series)
by Steven Loewy

Swiss trombonist Samuel Blaser, who spent time in

New York and now resides in Berlin is well known for
a considerable discography of recordings featuring his
unique style and advanced techniques. Performing
mostly in a free vein, the trombonist has been quoted
as eschewing the phrase “free jazz” as too political todescribe his music, instead saying he prefers being“spontaneous” without intellectualizing the music.
Anchored by a strong background in jazz and classicalmusic and due to his imposing abilities, Blaser has
been particularly adept at working with small groupsof carefully chosen collaborators and as a soloist.
For Voyageurs, recorded in Plougras, France in
2019, the trombonist performs with one of his favorite
partners, guitarist Marc Ducret (turning 65 this month),whose distinctive and diverse approach coordinates
beautifully with the trombonist, producing a series ofdeeply felt conversations, conveying a thoughtful,deliberate approach.
Blaser is one of the most technically proficienttrombonists performing today, wedding clear tone andexquisite intonation with a superior technique. He
avoids histrionics, focusing instead on close listening,
soft tones, pure sound and close interaction, so that
guitar and trombone almost play as an extension ofeach other. It is never easy listening, as both provide analmost unending bucket of tasteful tonal manipulation,
Blaser offering pedal tones, rumbles, long-drawn-out
drones coupled with circular breathing, muted notes,
extended range, growls, multiphonics and more,
Ducret, a willing and compatible partner, anticipating
his moves with uncanny zestful prescience. Mostly, the24 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

two cover the middle and lower ranges, sometimes atvery slow tempo.
With so much at work, it is not surprising thathighlights abound. “Morse” features soft muted
trombone against lovely atmospheric guitar sounds,
all at a turtle’s pace, while “La vie sans toi” places thefull lower depths of trombone against gentle chords,
confounding expectations. The fleeter and jazzier—though still thoroughly abstract—“Des états lumineux”
focuses again a bit more on the lower register of thetrombone, with guitar featured and sometimes taking
on the characteristics of a second horn.
For more information, visit jazzdor.com

DROP THE NEEDLE

Live in Paris (1974): Lost Ortf Recordings
Archie Shepp (Transversales Disques)by Andrey Henkin

Paris is famed as a city of beauty but has also been

a center of protest, from the 18th Century French
Revolution and La Résistance against the Nazi
occupation during WWII to the May 1968 student riots
and new millennium walkouts by the city’s distinctlygreen-clad sanitation workers. So it makes sense that
tenor/soprano saxophonist Archie Shepp has madethe city his home for decades as his playing contains
equal measures of loveliness and stridency.
This newly unearthed recording, released as partof Transversales Disques’ “Live in Paris” LP series,
is excerpts from a concert at the Maison de la Radio,made about five years after Shepp was part of the
wave of Black American jazz musicians settling in
Paris and making albums for BYG-Actuel and America.
It fills in a gap in his discography as the only session
from 1974 and reveals connections in his chronology:
fellow expatriate Bob Reid (bass, founder ofEmergency) was on Shepp’s 1969 America albums
Coral Rock and Pitchin’ Can (plus the Inner City album
Doodlin’ from the same year but released only in 1976);
Jamaican drummer Noël McGhie (known for his workwith Steve Lacy and Mal Waldron) would play with
Shepp again in 1977; and German-French keyboard
player Siegfried Kessler was part of Shepp’s groups in
1977-79 and 1984-85. Pablo Kino, the percussionist
here, has been lost to history, this his only credit.
The pieces also represent Shepp’s once-and-future
history: “Things Have Got To Change” was the title
track of his 1971 Impulse big band album while hewould play Benny Golson’s “Along Came Betty” andGrachan Moncur III’s “Blues for Donald Duck” at his
appearance at the 1975 Montreux Jazz Festival in nearby
Switzerland. Side A’s “Things Have Got To Change” iswonderfully buoyant, propelled by electric piano andcongas, Shepp moving between soprano to testifying
vocals and chants during its nearly 25 minutes.
Switching to tenor for the B Side (and Kessler on
acoustic piano), Shepp plays “Along Came Betty” fairly
straightahead and more compact at 11 minutes while
12-minute bass- and conga-heavy “Blues for Donald
Duck” could be from one of his first Parisian LPs.
For more information, visit transversales-disques.com.
Shepp is at Tompkins Square Park Aug. 28th as part of theCharlie Parker Jazz Fest. See Calendar.

some of the delicate melodies of Granelli’s old boss,
Vince Guaraldi, most famous for his music for the
Peanuts TV specials. Rather unexpectedly, it is in theGranelli and Otte that the most common groundbetween Saft and Scholz is to be found.

Plays Cage and Granelli
Jamie Saft (Veal)
Plays Otte and Cage
Kristine Scholz (Thanatosis)
by Kurt Gottschalk

For more information, visit jamiesaft.bandcamp.com andthanatosis.org

John Cage (who died 20 years ago this month at 79)

and jazz did not get along. The composer reviled thenotion of spontaneity in musical performance, seeing it
as an injection of the ego. His often mischaracterized
concept of chance in music involved procedures fordetermining the course of a piece that were to beundertaken prior to performance and were meant toremove decisions made in the moment not only fromthe concert but from the composition process. Cage was
not into the vamp. But his belief that any sounds can beheard as music and, in fact, his sheer delight in the
acoustic world, have long held appeal for jazz players.
Sound??, a short 1966 documentary directed by Dick
Fontaine juxtaposes scenes of Cage and saxophonist
Rahsaan Roland Kirk; the two don’t appear onscreen
together, but their shared enthusiasm sews the scenes
together. And while the 1968 encounter documented on
the album John Cage Meets Sun Ra isn’t the strongest
entry in either man’s oeuvre, it suggests on openness
on Cage’s part to those working outside his strictures.
Two recent albums take very different approaches
to solo piano pieces by Cage, each pairing them withthose of another composer, illustrating by example
their differences in approaching the music. Jamie Saft’s
Plays Cage and Granelli pairs four Cage compositions
with eight previously unrecorded pieces by drummer
Jerry Granelli. Saft finds an unlikely but convincing
commonality between the two. The bridge, as elucidatedby Saft in the prose poem liner notes written by his
frequent collaborator Mr. Dorgon (Gordon Knauer)
goes like this: In my mind it’s the same approach - /painting with sound. / Notes and rhythms all haveequal importance. / Tone color too. / Neither judges
sounds - / every aspect is given equal consideration.
Saft’s playing is warm, elegant even and the recording
is intimate enough to hear the mechanics of the piano.
There is simple pleasure in the playing, more embeddedin the Granelli pieces but discovered in the second halfof the program (before a coda of Saft’s own “Memories
of Granelli Clouds”).
Saft manages to find the Satie in Cage, although
not as the cheap imitation to which Cage once aspired.
His uncommon approach to Cage’s music is readily
apparent when compared to “Music for Piano 4-19”(1953) on Kristine Scholz’ Plays Otte and Cage. She, too,is an improviser, although in the mold of 20th Century
experiments in the classical tradition. It is more austere,perhaps more ‘formal’, with light use of Cage’s piano
preparations (not heard in the Saft recordings). Scholz’
timing is exquisite, playing each note as an event
without looking for a phrase. As fine as it is, it is amore conventional approach to Cage’s music and so,
perhaps, less noteworthy. The first half of the album,
however, is comprised of selections from a suite by thelesser-known Hans Otte, composed between 1979-83.
Otte was a friend of Cage’s and brought the composer
to Europe for festivals a number of times. He sharedwith Cage a notion of sound simply occurring, whether
in music or in the environment, and a desire to separate
music from the inclinations of composer and performer.
That said, the four sections of his Das Buch der Klänge
are certainly more thematically structured, withrepeating motifs and melodies falling under repeatedarpeggios, which could, in fact, serve as another bridge
between Granelli and Cage. At times, in fact, it suggests

We Insist! Freedom Now Suite
Max Roach (Candid)
by Stuart Broomer

Some key moments in the history of jazz havedepended on a few independent record producers
willing to follow the music where it had to go without
regard for prevailing tastes or social constraints. The
most notable is likely Milt Gabler who in 1939 recorded
and released singer Billie Holiday’s “Strange Fruit” on
his Commodore label when the label she was contracted
to, Columbia, refused to record it. That singular eventis mirrored in the history of the Candid label, operated
by writer Nat Hentoff from 1960-61. Its releases
included music in which social protest and a radical
expressionism went hand in hand.
To gauge period resistance to explicit protest in
jazz, one can compare bassist Charles Mingus’ benign
1959 “Fables of Faubus” on Columbia’s Mingus Ah Um
to his explosive, verbi-vocally explicit “Original
Faubus Fables” on Candid’s 1960 recording, Charles
Mingus presents Charles Mingus. Consider, too, thestrange case of tenor saxophonist Sonny Rollins’ 1958
Freedom Suite on which Max Roach played drums. First
released on Riverside in 1958 with the titular suite on
Side A and four standards on Side B, it was reissued on
the Jazzland subsidiary as Shadow Waltz in 1962 withthe standards on Side A, the suite on Side B. Consider
as well tenor saxophonist Benny Golson’s “Blues
March”: literally modern jazz with a military drumbeat,it was recorded multiple times from 1958 on by Blue
Mitchell, Art Blakey and The Jazz Messengers andGolson with and without the Jazztet and theMessengers. Its popularity is evinced by the Blakey
version’s release in multiple European countries as a
45 rpm single, but its first appearance as an LP title
appears to be a Japanese Jazztet release in 1966.
In the history of jazz as protest music, Roach’s
1960 We Insist! Freedom Now Suite must stand second
only to “Strange Fruit” in its singular intensity andaptness. Composed by Roach (who died 15 years ago
this month) and singer-songwriter Oscar Brown, Jr.,it went far beyond the latter ’s vision in the intensity ofthe settings that the former created, pressing bothsinger Abbey Lincoln and the veteran saxophonist
Coleman Hawkins to performances of an unmatchedand corrosive power.
The songs of We Insist! assault the legacy of slavery
with “Driva’ Man” and “Triptych: Prayer/Protest/
Peace” while celebrating the legacy of African culturein “All Africa” and mourning the persistence ofApartheid in South Africa with “Tears for
Johannesburg”. In setting the songs, Roach sometimes
called for literal screaming and orchestrations basedon close-voiced dissonances to create a haunted,
almost poisonous atmosphere. To achieve thisemotional and expressive range, Roach reshaped theband from track to track, from solo voices to drumvoice dialogues to a quartet of drummers to his
relatively conventional if pianoless quintet.

In just the opening “Driva’ Man” we witness thetransformation of Lincoln and, to a lesser extent,
Hawkins, whose sounds both cut and bleed. Viewed
historically, We Insist! could be considered as muchabout the liberation of women as the emancipation of
African-Americans. Just three years before, Lincoln
had appeared in the wondrously absurd rock ‘n’ rollanthology film, The Girl Can’t Help It. The “girl” of thetitle was played by Jayne Mansfield, but Lincoln sangclad in a red dress previously worn by Marilyn Monroe(evidently a weirdly durable trope). Lincoln
subsequently toured singing in the dress and made theJuly 1957 cover of Ebony with the heading “Abbey
Lincoln - The Girl in the Marilyn Monroe Dress”.
As good as her Riverside records had been in theinterim—and they are definitely worth seeking out forher singing as well as the optimum choice of jazz songs
and backing bands—We Insist! attacks Lincoln’s genderstereotyping as well as the racial bondage, replacing
any trace of a purr with a razor-like precision as she
first introduces “Driva’ Man” with the overseer as
rapist: “Driva’ man he made a life / But the Mamie
ain’t his wife”. For his part, Hawkins, who had founda relative refuge from racism in Western Europe before
the Nazi invasions, finds a comparable timbre in his
tenor saxophone on his sole appearance here, matchedwith the arranged horns in a dissonant testimony ofpain and rage with more body and soul than his most
famous recorded solo.
The band comes sharply to the fore on the uptempo“Freedom Day”, from the opening ensemble throughtenor
saxophonist
WalterBenton’surgentaccompaniment to Lincoln’s first chorus, to a series ofsolos by trumpeter Booker Little, Benton andtrombonist Julian Priester, all propelled by kinetic
drumming, which eventually occupies the foregroundbefore Lincoln’s final vocal chorus. “Triptych: Prayer/
Protest/Peace” is a duet between Lincoln and Roach,the drums in turn commenting, pressing and framing
the three movements as they go from a wordless vocal
at once meditative and yearning to a passage of literalscreaming to a moment of profound sweetness.
The current release is available as both CD and LP
and for those making choices, the LP format emphasizes
the power of the original newspaper-style artwork—
likely by Paul Bacon, a master cover artist credited forphotography only here—directly referencing thecontemporaneous sit-in movement that had begun in a
Woolworth’s store in Greensboro, North Carolina andthen spread rapidly throughout the South. The secondside of the LP consists of two linked pieces. “All Africa”
begins in an extended dialogue between Lincoln and
Nigerian drummer Michael Olatunji, with Lincoln
chanting the names of African peoples and Olatunji
answering with phrases about freedom from eachgroup named. There follows an extended cross-cultural
drum quartet sequence, combining Roach, Olatunji and
two AfroCuban drummers, Ray Mantilla and Tomas Du
Vall, which further develops the sense of energized
meditation, something that continues to expand withthe entry of bassist James Schenk signalling “Tears for
Johannesburg” and another wordless vocal from
Lincoln, which eventually leads to the full band andLittle, Benton and Priester soloing over the combinedforces of Schenk and the four drummers. The nonet
concludes a brilliant sequence of pieces that began 40
minutes before with Lincoln’s single voice punctuatedby Roach’s tambourine, fading out on an improvised
ensemble, highlighted by Little’s brilliant playing, atonce embodying a profound yearning and an intensely
precise articulation.
How durable is this? 62 years on, We Insist! retains
its power and its brilliance, made only more powerful
and urgent by current circumstances. For music witha message, that is a very long run, testimony to greatart, like Holiday’s “Strange Fruit” just 20 years older.
For more information, visit candidrecords.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 25

Morning Glory(The 1973 Concert at theTeatro Gran Rex, Buenos Aires)
Inner Spirit(The 1979 Concert at theTeatro General San Martin, Buenos Aires)Bill Evans (Resonance)by Franz Matznercomposition, “Waltz for Debby”, fits this model. Herethe trio quickly launches into a swinging, hearty pieceagain underscoring both Johnson and LaBarbera’s
expressive talents.
Drawn from the two releases, these examples
reinforce the evolution Evans’ trios underwent overtime. The roots remain the same as do the early
breakthroughs but have now become increasingly
refined in form and delivery. Evans’ emotional
exploration is delivered like cinema verité of the heart,
supported by a cast of superior mates able to deliver
their own visions within Evans’ model of expressive
freedom and fluidity.

For more information, visit ecmrecords.com
For more information, visit resonancerecords.org

IN PRINT

P ianist Bill Evans died at only 51 just under a year

after the concert presented on Inner Spirit, the 1979
concert at the Teatro General, San Martin, Buenos
Aires. Combined with the companion release Morning
Glory, a 1973 concert also recorded in Buenos Aires, thereleases capture quite literally the last phase of Evans’remarkable journey through jazz history.
In keeping with its flow of archival material,
Resonance provides a reminder of the foundationalinnovations Evans (who was born 93 years ago thismonth) introduced and continued to evolve over his
25-year career, including its relevance not only to thedivergent streams of jazz that had already developed
their own distinct styles and structures, but also tocreative music’s modern diversity.
In that sense, the releases are justified on historicalgrounds alone despite the many volumes of live Evansmaterial already available. The arc of Evans’ musicdeserves full exploration and Resonance reinforces thiswith ample essays, interviews and photographs
providing meaningful context, including the volatile
political landscape unfolding as a backdrop.
Particularly engaging are the statements by his
bandmates, who shed light on the music as well as
Evans’ personality and manner of interacting withother musicians, often highlighting his genuinenessand warmth, aspects perhaps underemphasized in the
public imagination.
And the music itself is as compelling as ever. Bothrecordings are well-produced and free of the muddinessor imbalance that often occurs in such material. Insteadof focusing on Evans, a common temptation, therecordings present each of the trio members equally.
This is critical to capturing the full scope of the concerts
because the very nature of Evans’ signature gift to jazz
was equalizing the role of the piano, bass and drums.
Thus, the recording quality facilitates fuller
appreciation of the individual players’ moments ofbrilliance as well as the spontaneous shifts andinteraction of the trios as a whole. For example,
bassist Eddie Gomez’ stirring bowing during Evans’melancholic “Two Lonely People” is easily discernible.
In a similar vein, the Evans original “T.T.T (Twelve
Tone Tune)” elucidates how Gomez and drummer
Marty Morell use subtle shifts in pulse to imply swing
and blues rhythms without being overt.
An observable difference can be heard in the 1979
concert and not only attributable to Evans’ new lineup
of bassist Marc Johnson and drummer Joe LaBarbera.
The music seems further distilled: the colors softer
even in their emotional intensity; the mixture of loss,
longing and languish always present in Evans’ musicthat much more infused. For example, the Evans staple“Letter to Evan” feels like an aged Bonsai pared backto its sculpted essence.
This is not to say that either collection lacks fervor
or fun. Evans’ sly humor comes forth on a cleverly
paced take of Johnny Mandel-Mike Altman’s “Theme
From M.A.S.H (Suicide is Painless)”, with the trio’s
tumbling tumult diving in and out of the central
melody to accentuate the original’s inherently pointed
contradictions. Another frequently revisited Evans

Rava’s own description, and the infectious “Fearless”,
which synthesizes Rava’s encyclopedic knowledge anddeep appreciation of the jazz tradition while reminding
listeners of his collaborations with trombonist Roswell
Rudd. “Quizás” closes on a sarcastic and humorous
note, also among Rava’s trademarks. One final word
deserves to be spent on Rava’s vital mentoring function
over the last few decades, for which he seems to have anatural gift: as much as his much younger associates
benefit from his drive and experience so too does Rava
rely on their energy and enthusiasm, a combination
hard to beat.

Edizione Speciale
Enrico Rava (ECM)
by Marco Cangiano

Though he turns 83 this month, trumpeter Enrico

Rava is still traveling, playing, composing andmentoring as if no time had passed. While focusing
nowadays almost exclusively on flugelhorn, his soundhas never been so warm and round while his phrasing
retains a certain edge and capacity to encompass theentire jazz tradition.
Rava cut his teeth on the international scene in themid ‘60s, coming out of the more traditional Italian
jazz scene of the late ‘50s-early ‘60s. His early model
was clearly Miles Davis but many more followed,
including Chet Baker, helping him develop into an
original voice, which has gained confidence as timegoes on. He has contributed to and participated inwhat have now become historical recordings such as
Steve Lacy’s The Forest and The Zoo and Carla Bley’s
Escalator over the Hill besides his own vast list ofrecordings; he has been one of the earliest and longeststanding ECM artists, starting with 1975’s The Pilgrim
And The Stars.
Recorded in the summer of 2019 at Antwerp’s Jazz
Middelheim Festival as part of his 80th birthday andECM’s 50th anniversary celebrations, this CD features
what was at the time Rava’s new quartet of guitarist
Francesco Diodati, bassist Gabriele Evangelista anddrummer Enrico Morello, augmented with guest
saxophonist Francesco Bearzatti and his former pianist
Giovanni Guidi. Such a “Special Edition” revisits partof Rava’s repertoire with gusto. The result is an exciting
performance in which each of the players have plentyof room to stretch out.
From the opening “Infant”, Rava’s eclecticism andoriginality become evident. The piece moves froma brief a cappella intro toward an Ornette Colemaninspired unison between Rava and Bearzatti broken bya sudden explosion of distorted guitar leading in turnto a dynamic piano intervention, which also moves
from a free to an almost romantic atmosphere. This isfollowed by a dialogue between piano and guitar until
Rava takes the helm in an early ‘70s Davis mode anddrives the proceedings toward the closing unison but
not before having Bearzatti add his raucous voice
following Evangelista’s brilliant solo. Of note in sucha complex yet fluid piece as well as throughout the CD
are Evangelista and Morello’s tight and supple support.
But many are the highlights in such a richrecording in which Guidi and Diodati stand out. These
include new readings of “Wild Dance”, first recorded
in 2015, featuring Diodati’s “clouds of sounds” to use

26 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

Bill Frisell, Beautiful Dreamer: The Guitarist Who
Changed The Sound of American Music
Philip Watson (Faber)by Robert Bush

In a just world, every innovator would attract theirown Philip Watson, the tireless writer responsible forthis wonderfully executed biography on Bill Frisell,arguably the most singular guitarist since the ‘80s.
Despite the declamatory title, there is very little
hagiography throughout this exhaustively researched,massive (547 pages) tome. Watson takes apart all of
the guitarist’s efforts as a leader and can be quite
brutal in assessing what he perceives as shortcomings
in many of them. This approach works in part because
he is obviously a fan and has a point of view that
defies the ever-positive “one-sheet” synopses thatflood the market. Watson piles praise where he thinks
it is warranted but is not afraid of finding flaws inmuch of the guitarist’s work. The author (former
deputy editor at GQ and editor-at-large at Esquire)
had been pondering this book since discovering
Frisell’s music 35 years ago, but didn’t broach thesubject officially until 2014 (he got turned down
initially). Thankfully, the subject eventually agreed.
This biography is exquisitely sourced, close to 100
interviews skillfully woven throughout the narrative,
with collaborators, family, friends, teachers andstudents, leaning hard on those who know him best,
including wife Carole d’Inverno, daughter Monica andtouring sound engineer Claudia Engelhart.
The story is appealing. From Frisell’s earliest
instrument (he was a mean clarinet player) anddiscovery of the guitar through surf music to his
studies with Dale Bruning, Johnny Smith and Jim Halland big break first European tour with Mike Gibbs
featuring bassist Eberhard Weber, anyone familiar
with the mercurial guitarist will be hooked. Especiallypoignant were the myriad struggles he endured after
his initial success (his first album In Line was released
by ECM in 1983). One would imagine it was all
smooth sailing from there, but Watson’s narrative
outlines a far rockier ascent. The book achieves anadmirable goal: readers are inspired to revisit their
Frisell collection with new ears and perhaps to add
new items based upon Watson’s descriptive narrative.
For more information, visit faber.co.uk. Frisell is at Village
Vanguard Aug 2nd-7th with Andrew Cyrille and Aug.
9th-14th and 16th-21st as a leader. See Calendar.

B OXED SE T

The Emerald Duets
Wadada Leo Smith (TUM)
by George Grella

Wadada Leo Smith’s latest large-scale release is aseries of duets with different drummers, spread acrossfive CDs. It is a lot of music, of course, and it goes deep
but also sprawls. The origin was fairly modest, a duet
recording with Dutchman Han Bennink (Disc Three
here), which went so well that Smith decided to
expand the concept and added sessions with Pheeroan
akLaff, Andrew Cyrille and Jack DeJohnette.
The CD with Bennink does stand out as the bestof these, perhaps a result of the ‘first thought-bestthought’ pattern. The drummer’s chaotic-goodmusical personality is generally irresistible and here
he seems to bring out the trickster in Smith. That has
always been there in the musician, but is usuallysecondary (as on this whole album) to his upfront
seriousness. The Bennink duets are also, generally, themost concise music-making in the collection.
The Bennink CD stands out in one other way, as it
does not have a piece of music the other three duets
share, a track titled “The Patriot Act, Unconstitutional
and a Force that Destroys Democracy”. It is afascinating exercise to hear how this piece changes in
the context of other drummers, a way to explore thebalance between organization and improvisation. It
does put into unfortunate relief the one weak link in
the entire album, which is the Disc with akLaff.
That is a mystifying session. Smith sounds
relaxed, akLaff is gentle and careful and in the end
nothing much comes out of the process. The playing
sounds preliminary, like an extended rehearsal, bothmusicians exploring scattered ideas without everputting them into some greater form. Smith also
spends time at the piano, where he is a rudimentary
player—one can almost hear him thinking ofsomething then configuring his hands to play it.
There are keyboards on the DeJohnette session
too, both from Smith and the drummer, who is a solid
pianist. In the several keyboard duets, which at times
have DeJohnette on electric piano, he takes the leadand Smith supports; again, this may boil down tosimple proficiency. The moods in these tracks vary
widely, from solemn to playful and this set has thebroadest range in terms of stylistic ideas and timbres.
That is in no small part due to duration, as this session
covers two CDs. It is mostly excellent but there are
stretches where nothing much happens, especially as
the two musicians navigate their keyboard playing.
Duration is the only drawback with the Cyrillesession as well, which is also excellent, just not as tightand concentrated as the Bennink session. Cyrille’s
playing is especially imaginative and sensitive as hegoes from embellishing Smith’s bold bright trumpet tolaying down a regular, abstract march pulse on “Jeanne
Lee: In a Jupiter Mood”. But like the DeJohnette
sessions, there are stretches where there is literalsilence, in and of itself not an issue, but they accumulate
a little too much emptiness and tension and stimulation
dissipates. The difference overall, though, is between
superlative and merely excellent.
For more information, visit tumrecords.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 27

CALENDAR
Monday, August 1• Grove Street Stompers• Miles Tucker’s Many Blessings

Arthur’s Tavern 7 pm
Bar Lunàtico 8:30, 10 pm $10êNate Smith + Kinfolk
Blue Note 8, 10:30 pm $35• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Russ Kassoff
Bryant Park 12:30 pm• Linda Sikhakhane Quartet with George Burton, Zwelakhe-Duma Bell le Pere,
Kweku Sumbry
Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7, 9:30 pm• NYO2 led by Mei-Ann Chen with guest Aaron Diehl
		
Isaac Stern Auditorium at Carnegie Hall 8 pm $10-40• Sharif Zabin; Miki Yamanaka
Smalls 7:30, 9, 10:30 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, August 2• Jazzmobile: Claudia Hayden
32nd Police Precinct 7 pm
• Akiko Tsuruga Trio
Arthur’s Tavern 7 pm
• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Paul Bollenback Quartet with Julian Shore, Arthur Kell, Allan Mednard

		Bar Lunàtico 8:30, 10 pm $10• John Pizzarelli Trio
Birdland 7, 9:30 pm $40
êNate Smith + Kinfolk
Blue Note 8, 10:30 pm $35
êEric Wyatt Quartet
Brooklyn Borough Hall 12 pm• Russ Kassoff
Bryant Park 12:30 pm• Adonis Rose Quintet with Walter Blanding, John Michael Bradford, Ryan Hanseler,
Lex Warshawsky
Dizzy’s Club 7:30, 9:30 pm $35• Gili Lopes Brazilian Quartet; Los Hacheros		
The Django 7:30, 10:30 pm• Time Trout: Viv Corringham, Marcus Cummins, Dave Mandl, Stephen Moses;
Ismael Ali, Will Greene, Raf Vertessen					
Downtown Music Gallery 6:30 pm• Mike Dirubbo
Smalls 7:30, 9 pm $20
êAndrew Cyrille Quartet with Bill Frisell, Dave Virelles, Ben Street		
Village Vanguard 8, 10 pm $40
êLuis Perdomo Trio with Ugonna Okegwo, Adam Cruz		Zinc Bar 7, 8:30 pm $30

Wednesday, August 3• Ehud Asherie Trio
Arthur’s Tavern 7 pm
• Nicole Glover Trio with Tyrone Allen, Kayvon Gordon

		
Bar Bayeux 8, 9:30 pmêYasser Tejeda’s Palotré
Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30• John Pizzarelli Trio
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with Jimmy Bruno, John DiMartino, Gary Mazzaroppi,
Vince Cherico and guest Warren Vaché		
Birdland Theater 8:30 pm $30
êNate Smith + Kinfolk
Blue Note 8, 10:30 pm $35• Russ Kassoff
Bryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10• Adonis Rose Quintet with Walter Blanding, John Michael Bradford, Ryan Hanseler,
Lex Warshawsky
Dizzy’s Club 7:30, 9:30 pm $35• Alexander Claffy Quartet; Richard Cortez Band		The Django 7:30, 10:30 pmêJazzmobile: Dezron Douglas Quartet with George Burton, Joe Dyson, Emilio Modeste
and guest SILKA
Grant’s Tomb 7 pmêScatter The Atoms That Remain: Franklin Kiermyer, Davis Whitfield, Abraham Burton,
Yasushi Nakamura
The Jazz Gallery 7:30, 9:30 pm $15-25• Padam Swing
Little Island 4:30 pm• Ray Blue Organ Quartet
New Amsterdam Musical Association 8 pm
• Ronny Whyte solo
Pangea 7 pm $25• Annette A. Aguilar and Stringbeans Pier 84 7 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Troy Roberts Quartet with Silvano Monasterios, Boris Kozlov, Jimmy Macbride;
Benny Benack
Smalls 7:30, 9 pm $20
êUri Caine solo
The Stone at The New School 8:30 pm $20
êAndrew Cyrille Quartet with Bill Frisell, Dave Virelles, Ben Street		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band		Zinc Bar 8 pm $25

Thursday, August 4• John Minnock and guest
54 Below 9:30 pm $30-65• Terry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Adam Kolker/Jeremy Stratton with guests Glenn Zaleski, Anthony Pinciotti

		
Bar Bayeux 8, 9:30 pm• Stringwise: Jorge Glem/César Orozco		Bar Lunàtico 8:30, 10 pm $10êMichaël Attias, Matt Mitchell, Chris Lightcap, Kate Gentile; Sean Conly Trio with
Santiago Leibson, Tom Rainey; Renku: Michaël Attias, John Hébert, Satøshi Takeishi
		Barbès 7 pm $20• John Pizzarelli Trio
Birdland 7, 9:30 pm $40• JD Walter
Birdland Theater 8:30 pm $30
êNate Smith + Kinfolk
Blue Note 8, 10:30 pm $35• Eli Yamin Trio with Elias Bailey, David F. Gibson and guests
		
Bond 45 8:30 pm $25• Russ Kassoff
Bryant Park 12:30 pm• Gerry Eastman Sextet
Bushwick Inlet Park 6:30 pmêJason Marshall Quartet; Nicole Glover Quartet
		
Cellar Dog 7, 11:30 pm $10• Nat Janoff Group
Culture Lab LIC 7 pmêBen Wolfe Quintet with Nicholas Payton, Immanuel Wilkins, Joel Ross, Aaron Kimmel
		
Dizzy’s Club 7:30, 9:30 pm $40• Mike DiRubbo Quartet; Mark Whitfield		
The Django 7:30, 10:30 pm• Underground Horns
Groove Bar & Grill 7 pm
• Bonnie Kane Trio with Adam Lane, Kevin Shea; Stephen Gauci Trio with Adam Lane,
Kevin Shea
Ibeam Brooklyn 8 pm $15êAdam O’Farrill Group with David Leon, Kevin Sun, Kalun Leung, Mary Halvorson,
Patricia Brennan, Tyrone Allen, Tomas Fujiwara
		
The Jazz Gallery 7:30, 9:30 pm $25-35• Lucy Yeghiazaryan, Eric Zolan, Michael Sarian, Liya Grigoryan, Noah Garabedian				
Joe’s Pub 7 pm $40• Alexia Bomtempo
Joe’s Pub 9:30 pm $20• Joel Forrester Quartet with Vito Dieterle, Dave Hofstra, Matt Garrity		Little Branch 8:30 pm• Hot Rhythm Lindy
Little Island 4:30 pm• Tom Guarna; Nadav Nazarathy Mezzrow 7:30, 9, 10:30 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 7, 9:30 pm $25• Tim Hegarty
Smalls 7:30, 9 pm $20
êLouis Hayes and The Cannonball Legacy Band with Jeremy Pelt, Vincent Herring,
Rick Germanson, Dezron Douglas Smoke 7, 9 pm $40-60• Rebirth Brass BandSony Hall 8 pm $35
êSteve Wilson/Uri Caine
The Stone at The New School 8:30 pm $20
êAndrew Cyrille Quartet with Bill Frisell, Dave Virelles, Ben Street		
Village Vanguard 8, 10 pm $40

Friday, August 5êJohnny O’Neal Trio

Arthur’s Tavern 7 pm

• Men of Leisure: Clark Gayton/Craig Dreyer		
Bar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5 pm $30• John Pizzarelli Trio
Birdland 8:30, 10:30 pm $40
êPalladium: Nicole Glover, Sasha Berliner, Joe Block, Russell Hall, Victor Lewis				
Birdland Theater 7, 9:30 pm $30• Russ Kassoff
Bryant Park 12:30 pm• Richie Vitale/Frank Basile Quintet; Akiko Tsuruga Quartet
		
Cellar Dog 7, 11:30 pm $10êBen Wolfe Quintet with Nicholas Payton, Immanuel Wilkins, Joel Ross, Aaron Kimmel
		
Dizzy’s Club 7:30, 9:30 pm $40
êDavid Hazeltine Trio; Craig Handy and 2nd Line Smith		The Django 7:30, 10:30 pm• Unscheduled: Jeff Pearring, Daniel Carter, Ayumi Ishito, Eric Plaks, Yutaka Takahashi,
Aron Namenwirth, Takuma Kanaiwa, Patrick Golden
		Ibeam Brooklyn 8:30 pm $15êAdam O’Farrill Group with David Leon, Kevin Sun, Kalun Leung, Mary Halvorson,
Patricia Brennan, Tyrone Allen, Tomas Fujiwara
		
The Jazz Gallery 7:30, 9:30 pm $25-35• Jazzmobile: TK Blue Planet Bluu Marcus Garvey Park 7 pm
• Victor Gould
Mezzrow 7:30, 9 pm $20• Tamara Jade
Minton’s 7, 9:30 pm $25• Tony Lewis
Mount Morris Ascension Presbyterian Church 7 pm $20• Chase Elodia Quartet
Neighborhood Church of Greenwich Village 8, 9:30 pmêZoh Amba, Sally Gates, Brian Chase		
Nublu 151 7 pm $20• Dan Berkey; Shirazette Tinnin Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êLew Tabackin; Corey Wallace
Smalls 7:30, 9, 10:30 pm $20
êLouis Hayes and The Cannonball Legacy Band with Jeremy Pelt, Vincent Herring,
Rick Germanson, Dezron Douglas Smoke 7, 9, 10:30 pm $40-60
êUri Caine Trio with Mark Helias, Ben Perowsky
		The Stone at The New School 8:30 pm $20
êAndrew Cyrille Quartet with Bill Frisell, Dave Virelles, Ben Street		
Village Vanguard 8, 10 pm $40

Saturday, August 6• John Pizzarelli Trio

Birdland 8:30, 10:30 pm $40

êPalladium: Ron Blake, Chien Chien Lu, Joe Block, Russell Hall, Victor Lewis				
Birdland Theater 7, 9:30 pm $30
êYasser Tejada
Brooklyn Museum of Art 5 pm
• Zaid Nasser Quartet; Ben Paterson Quartet
		
Cellar Dog 7, 11:30 pm $10êBen Wolfe Quintet with Immanuel Wilkins, Nicole Glover, Joel Ross, Aaron Kimmel
		
Dizzy’s Club 7:30, 9:30 pm $45• Jason Marshall Quartet; Jackie Ribas’ Zambup
		
The Django 7:30, 10:30 pm• Time Trout: Viv Corringham, Marcus Cummins, Dave Mandl, Stephen Moses
		
Ibeam Brooklyn 8 pm $15• Jamile Duo
Little Island 12:30 pm• Victor Gould; Johnny O’Neal
Mezzrow 7:30, 9, 10:30 pm $20• Tamara Jade
Minton’s 7, 9:30 pm $25
êLew Tabackin
Smalls 7:30, 9 pm $20
êLouis Hayes and The Cannonball Legacy Band with Jeremy Pelt, Vincent Herring,
Rick Germanson, Dezron Douglas Smoke 7, 9, 10:30 pm $40-60• The Passion of Octavius Catto: Barbara Walker, Uri Caine, Mike Boone, Ben Perowsky
and guests
The Stone at The New School 8:30 pm $20
êAndrew Cyrille Quartet with Bill Frisell, Dave Virelles, Ben Street		
Village Vanguard 8, 10 pm $40

Sunday, August 7• Creole Cookin Jazz Band
• Jason Lindner/Nate Wood

Arthur’s Tavern 7 pm
Bar Lunàtico 8:30, 10 pm $10êAlexa Tarantino Quartet
Birdland 5:30 pm $30
êPalladium: Ron Blake, Sasha Berliner, Joe Block, Russell Hall, Victor Lewis				
Birdland Theater 7, 9:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Brass Queens
Blue Note 1 pm $20
êChampian Fulton Quartet
Cellar Dog 7 pm $10• Ahmed McLemore
Chelsea Table & Stage 7 pm $19• Remy Leboeuf Quintet; Molly Tigre
		
Culture Lab LIC 5 pmêBen Wolfe Quintet with Nicholas Payton, Nicole Glover, Joel Ross, Aaron Kimmel				
Dizzy’s Club 5, 7:30 pm $35• Ben Goldberg/Will Bernard; Robert Dick/Leszek “Hefi” Wisniowski		Downtown Music Gallery 6:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pmêWilliam Hooker’s The Silver Fleece with Charles Compo, On Davis, Hans Tammen,
Kevin Ramsey, David Soldier, Jair Wells
		
Governors Island 3 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pmêMelissa Stylianou, Gene Bertoncini, Ike Sturm		
Mezzrow 7:30, 9 pm $20
êNabaté Isles Quintet with Paul Bollenback, Mike King, Kenny Davis, Lionel Cordew				
Minton’s 7, 9:30 pm $25• Lainie Cooke Trio with Saul Rubin, Chris Berger
		North Square Lounge 12:30, 2 pm
• Marcus Goldhaber and Friends Room 623 at B2 Harlem 6 pm $15• Mimi Jones and Friends
Room 623 at B2 Harlem 8, 9:30 pm $15• Joe Cavesano
Smalls 7:30, 9 pm $20
êLouis Hayes and The Cannonball Legacy Band with Jeremy Pelt, Vincent Herring,
Rick Germanson, Dezron Douglas Smoke 7, 9 pm $40-60• Pasquale Grasso
The Speakeasy at Jaffe Drive 6 pm

28 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD• Joel Forrester Quartet

Thai Rock 6:30 pm

		Village Vanguard 8, 10 pm $40

êAndrew Cyrille Quartet with Bill Frisell, Dave Virelles, Ben Street

Monday, August 8• Grove Street Stompers
Arthur’s Tavern 7 pm
• Seth Trachy Trio with Harish Raghavan, Rudy Royston

		
Bar Lunàtico 8:30, 10 pm $10• Mike Gamble; Max Kutner; Gregg Belisle-Chi
		Barbès 7 pm $20• Kendrick ScottBlue Note 8, 10:30 pm $25• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Dan Manjovi
Bryant Park 12:30 pm• Jazz House Kids hosted by Christian McBride		Dizzy’s Club 7:30, 9:30 pm $45
êMingus Big BandThe Django 7, 9:30 pm• Matt Dwonszyk/Sarah Hanahan Saint Peter’s Church 5 pm
• Jonathan Michel
Smalls 8 pm $20• Jared Schonig Quintet with Scott Wendholt, Irwin Hall, Luis Perdomo, Cole Davis		
		
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Flavio Silva Quartet with Bruce Williams, Pat Bianchi, EJ Strickland
		Zinc Bar 7, 8:30 pm $25

Tuesday, August 9• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Duduka Da Fonseca Quarteto Universal

		Bar Lunàtico 8:30, 10 pm $10• The In-Betweens: Mike Gamble, Noah Jarrett, Conor Elmes		
Barbès 7 pm $20
êArtemis: Renee Rosnes, Noriko Ueda, Nicole Glover, Ingrid Jensen, Anat Cohen,
Allison Miller
Birdland 7, 9:30 pm $45• Ashley Pezzotti
Birdland Theater 5:30 pm $20• David Sanborn
Blue Note 8, 10:30 pm $55• Dan Manjovi
Bryant Park 12:30 pm• Steve Cromity
Columbus Park 12 pm
êDarcy James Argue Secret Society Dizzy’s Club 7:30, 9:30 pm $35• Samuel Torres Quintet; Gerardo Contino and Los Habaneros		The Django 7:30, 10:30 pm• Sonya Belaya; Danny Kamins, James McKane, Marc Edwards
		
Downtown Music Gallery 6:30 pm• Gerardo Contino
Gantry Plaza State Park 7 pm
• Briggan Krauss, Tony Scherr, Lukas Koenig
		Ibeam Brooklyn 8 pm $20
êCurtis Brothers
Smalls 7:30, 9 pm $20• Paul Jost/Jim Ridl
Soapbox Gallery 8 pm $25
êNed Rothenberg Crossings Quartet with Mary Halvorson, Sylvie Courvoisier,Tomas Fujiwara
Soapbox Gallery 8 pm $25
êBill Frisell Trio with Gregory Tardy, Johnathan Blake		
Village Vanguard 8, 10 pm $40

Wednesday, August 10• Forbes Graham, Cecila Lopez, Brandon López, Gabby Fluke-Mogul, Charlie Burnham,
Tcheser Holmes

411 Kent Avenue 8 pm $10-15• Nick Hempton Trio with Kyle Koehler, Jason Tiemann		
Arthur’s Tavern 7 pm
• Sasha Berliner
Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êArtemis: Renee Rosnes, Noriko Ueda, Nicole Glover, Ingrid Jensen, Anat Cohen,
Allison Miller
Birdland 7, 9:30 pm $45
êFrank Vignola’s Guitar Night with Jimmy Bruno, John DiMartino, Gary Mazzaroppi,
Vince Cherico and guest Mike Stern		
Birdland Theater 8:30 pm $30• David Sanborn
Blue Note 8, 10:30 pm $55• Dan Manjovi
Bryant Park 12:30 pm• Samba Jazz Trio
Cellar Dog 7 pm $10êChuck Israels 86th Birthday Celebration with Charlie Porter, Paul Nedzela, Aaron Diehl,
Aaron Kimmel
Dizzy’s Club 7:30, 9:30 pm $35• Tony Glausi Quintet with Nana Mendoza; Domo Branch Quartet with Birsa Chatterjee		
The Django 7:30, 10:30 pm• Praesens: Melissa Almaguers, Roshni Samlal, Liany Monteo
		
The Jazz Gallery 7:30, 9:30 pm $15-25
êSamara Joy
Little Island 6:30 pm• Steve Feifke
Mezzrow 7:30, 9 pm $20
êLew TabackinMichiko Studios 7 pm $20• Jennie Colabatistto Trio
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Nick Cacioppo; Robert Edwards Smalls 7:30, 9, 10:30 pm $20• George Benson
Sony Hall 7, 9:30 pm $95• Micah Thomas Quintet with Giveton Gelin, Immanuel Wilkins, Dean Torrey,
Kayvon Gordon
The Stone at The New School 8:30 pm $20
êBill Frisell Trio with Gregory Tardy, Johnathan Blake		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band		Zinc Bar 8 pm $25

Thursday, August 11• Terry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Adam Kolker/Jeremy Stratton with guests Bruce Barth, Anthony Pinciotti
		
Bar Bayeux 8, 9:30 pm• Oz Noy and Noè Socha
Bar Lunàtico 8:30, 10 pm $10• Miss Maybell & The Jazz Artistes Barbès 8 pm $20
êArtemis: Renee Rosnes, Noriko Ueda, Nicole Glover, Ingrid Jensen, Anat Cohen,
Allison Miller
Birdland 7, 9:30 pm $45
êGiacomo Gates
Birdland Theater 8:30 pm $30• David Sanborn
Blue Note 8, 10:30 pm $55• Eli Yamin Trio with Elias Bailey, David F. Gibson and guests
		
Bond 45 8:30 pm $25• Dan Manjovi
Bryant Park 12:30 pm• Brandon Lee Quintet; Simona Premazzi Quartet
		
Cellar Dog 7, 11:30 pm $10êMingus Dynasty
Chelsea Table & Stage 7, 9:30 pm $20• Hank Allen-Barfield Quintet; Joe Farnsworth Quintet
		
The Django 7:30, 10:30 pm• Pedrito Martinez
Drom 9 pm $30-35• David Leon
The Jazz Gallery 7:30, 9:30 pm $15-25• Monday Michiru
Joe’s Pub 7 pm $20• Bob Devos
Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 7, 9:30 pm $25• Ben Tyree’s Activator Trio with Chris Eddleton, Leon Gruenbaum		Nublu 151 7 pm $20• Nite Bjuti: Candice Hoyes, Val Jeanty, Mimi Jones		The Schomburg Center 6:30 pmêTodd Marcus Quintet with Virginia MacDonald; Davie Gibson
		
Smalls 7:30, 9, 10:30 pm $20
êMary Stallings with Emmet Cohen, Russell Hall, Joe Farnsworth		Smoke 7, 9 pm $40-60
êMicah Thomas Quartet with Immanuel Wilkins, Zoh Amba, Billy Drummond		
The Stone at The New School 8:30 pm $20• Schapiro 17
Third Street Music School Settlement 7 pmêBill Frisell Trio with Gregory Tardy, Johnathan Blake		
Village Vanguard 8, 10 pm $40

Friday, August 12êJohnny O’Neal Trio

Arthur’s Tavern 7 pm

• Alex Asher Quartet with Julia Chen, Kyle Miles, Joel Matteo

		Barbès 8 pm $15• Birdland Big Band
Birdland 5 pm $30
êArtemis: Renee Rosnes, Noriko Ueda, Nicole Glover, Ingrid Jensen, Anat Cohen,
Allison Miller
Birdland 8:30, 10:30 pm $45• Miss Maybell & The Jazz Artistes Birdland Theater 7, 9:30 pm $30• David Sanborn
Blue Note 8, 10:30 pm $55• Dan Manjovi
Bryant Park 12:30 pm• Jade Synstelien Quartet; Samuel Martinelli Quartet
		
Cellar Dog 7, 11:30 pm $10êConrad Herwig’s The Latin Side Of Mingus; Mariel Bildsten Septet		
The Django 7:30, 10:30 pm• Raffi Garabedian Octet with Danielle Wertz, Jonathan Beshay, Ben Goldberg,
Josh Roseman, Dierk Peters, Noah Garabedian, Sean Mullins
		Ibeam Brooklyn 8 pm $20
êJazzmobile: Wycliffe Gordon
Marcus Garvey Park 7 pm
• Michael Weiss
Mezzrow 7:30, 9 pm $20• Helio Alves Quartet with Chico Pinheiro, Sam Minaie, Alex Kautz
		
Minton’s 7, 9:30 pm $25• Gino Stinson
Mount Morris Ascension Presbyterian Church 7 pm $20• Yuval Amihai
Ornithology Jazz Club 8 pm
• Elisabeth Lohninger; Mamiko Watanabe		Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Joel Frahm; Philip Harper
Smalls 7:30, 9, 10:30 pm $20
êMary Stallings with Emmet Cohen, Russell Hall, Joe Farnsworth		Smoke 7, 9, 10:30 pm $40-60• Eugenie Jones Quartet with Anthony Wonsey, Lonnie Plaxico, Bobby Sanabria		
		
Soapbox Gallery 8 pm $25
êMicah Thomas Trio with Thomas Morgan, Billy Drummond		
The Stone at The New School 8:30 pm $20
êBill Frisell Trio with Gregory Tardy, Johnathan Blake		
Village Vanguard 8, 10 pm $40

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 29

Saturday, August 13• Tony Middleton
Arthur’s Tavern 7 pm
• Helio Alves/Guilherme Monteiro Bar Lunàtico 8:30, 10 pm $10êArtemis: Renee Rosnes, Noriko Ueda, Nicole Glover, Ingrid Jensen, Anat Cohen,

Allison Miller

Birdland 8:30, 10:30 pm $45• Miss Maybell & The Jazz Artistes Birdland Theater 7, 9:30 pm $30• David Sanborn
Blue Note 8, 10:30 pm $55
êAbraham Burton Quartet; Miki Yamanaka Quartet

		
Cellar Dog 7, 11:30 pm $10êJazzmobile—Great Jazz on The Great Hill: Jimmy Heath Legacy Band;
Antonio Hart Quartet; Tammy Mccann
		Central Park Great Hill 4 pm
• Erez Aviram Ensemble
Chelsea Table & Stage 7 pm $20• Ben Freidkin/Omri Bar Giora Festejation with Julia Chen, Noam Tanzer
		
Culture Lab LIC 5 pmêSheila Jordan with Roni Ben-Hur, Harvie S and guest Melissa Aldana				Dizzy’s Club 7:30, 9:30 pm $50• Yayennings Quartet; Joe Saylor and The Kingdom
		
The Django 7:30, 10:30 pmêJazz By The Water: Eddie Allen and Friends; Eugenie Jones Quartet with
Anthony Wonsey, Lonnie Plaxico, Bobby Sanabria; Rob Fulton Quintet;
James Zollar Quintet; Tamm E. Hunt Band		
Governors Island 1 pm
• Michael Weiss; Jon Davis
Mezzrow 7:30, 9, 10:30 pm $20
êTC III with Ben Solomon, Marcus Persiani, Lonnie Plaxico, Taru Alexander				
Minton’s 7, 9:30 pm $25• Joel Frahm
Smalls 7:30, 9 pm $20
êMary Stallings with Emmet Cohen, Russell Hall, Joe Farnsworth		Smoke 7, 9, 10:30 pm $40-60
êLafayette Harris, Jr. Trio with Houston Person
		
Soapbox Gallery 8 pm $25
êMicah Thomas solo
The Stone at The New School 8:30 pm $20• Peter and Will Anderson with guest Vince Giordano		Symphony Space Leonard Nimoy Thalia 3, 5:30 pm $39êBill Frisell Trio with Gregory Tardy, Johnathan Blake		
Village Vanguard 8, 10 pm $40

Sunday, August 14• Creole Cookin Jazz Band
Arthur’s Tavern 7 pm
• Greg Skaff Trio with Ugonna Okegwo, Colin Stranahan		Bar Lunàtico 8:30, 10 pm $10êStephane Wrembel
Barbès 8 pm $20• John Yao Bird Big Band
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Nicole Zuraitis
Blue Note 1 pm $20• David Sanborn
Blue Note 8, 10:30 pm $55
êEd Cherry Trio
Cellar Dog 7 pm $10• Hyuna Park; Culture Lab Crew

Culture Lab LIC 5 pmêSheila Jordan with Roni Ben-Hur, Harvie S and guest Houston Person

		Dizzy’s Club 5, 7:30 pm $45• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Elias Meister, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pm
• Libby York Trio with Spike Wilner, Lorin Cohen		
Mezzrow 7:30, 9 pm $20• Phil Young and Harlem Hip
Minton’s 7, 9:30 pm $25• Roz Corral Trio
North Square Lounge 12:30, 2 pm
• Marcus Goldhaber and Friends Room 623 at B2 Harlem 6 pm $15• Mimi Jones and Friends
Room 623 at B2 Harlem 8, 9:30 pm $15êMary Stallings with Emmet Cohen, Russell Hall, Joe Farnsworth		Smoke 7, 9 pm $40-60
êBill Frisell Trio with Gregory Tardy, Johnathan Blake		
Village Vanguard 8, 10 pm $40

Monday, August 15• Grove Street Stompers
Arthur’s Tavern 7 pm
• Ricardo Gallo’s Horse’s Mouth with Sam Kulik, Rodrigo Recabarren, Ben Goldberg

		Barbès 7 pm $15• Summer Camargo Quintet
Birdland Theater 8:30 pm $30• Kendrick ScottBlue Note 8, 10:30 pm $25• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Victor Lin
Bryant Park 12:30 pm• Time Spans 2022—Splinter Reeds: Kyle Bruckmann, Bill Kalinkos, David Wegehaupt,
Jeff Anderle, Dana Jessen with guest Sam Pluta		The DiMenna Center 7:30 pm $20
êRemembering Roy Hargrove: Evan Sherman Big Band		
Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big BandThe Django 7, 9:30 pm• Matt Dwonszyk/Vanisha Gould Saint Peter’s Church 5 pmêMiki Yamanaka
Smalls 10:30 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, August 16• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Danny Walsh Quartet with Juan Chiavassa, Arthur Kell, Eric Halvorson		Bar Lunàtico 8:30, 10 pm $10êMiles Ahead and Birth of the Cool: Gil Evans Project Directed by Ryan Truesdell
with guest Scott Wendholt
Birdland 7, 9:30 pm $40• Ashley Pezzotti
Birdland Theater 5:30 pm $20
êAvishai Cohen Trio with Elchin Shirinov, Roni Kaspi
		Blue Note 8, 10:30 pm $35• Victor Lin
Bryant Park 12:30 pm• Willie Martinez New York City Salsa All-Stars		Columbus Park 12 pm• Ralph Alessi Baida Quartet with Kris Davis, Drew Gress, Nasheet Waits				
Dizzy’s Club 7:30, 9:30 pm $35
êLiz Roza; Itai Kriss and Televana The Django 7:30, 10:30 pmêZoh Amba, Gabby Fluke-Mogul, Lesley Mok; Dave Scott, Sarah Bernstein, Hill Greene,
Billy Mintz
Downtown Music Gallery 6:30 pm• Sofía Rei
Gantry Plaza State Park 7 pm
• Ben Paterson
Mezzrow 7:30, 9 pm $20• Rodney Jones
Smalls 7:30, 9 pm $20
êBill Frisell Five with Tony Scherr, Thomas Morgan, Rudy Royston, Kenny Wollesen		
Village Vanguard 8, 10 pm $40
êUri Caine Trio with Mark Helias, Ben Perowsky
		Zinc Bar 7, 8:30 pm $30

Wednesday, August 17êJonathan Finlayson Trio with Tim Angulo, Anthony Tidd

		
Bar Bayeux 8, 9:30 pm• Denise Reis/Martché
Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êPorgy & Bess: Gil Evans Project Directed by Ryan Truesdell with guest Steve Wilson
		Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with Jimmy Bruno, John DiMartino, Gary Mazzaroppi,
Vince Cherico and guest Will Anderson
		Birdland Theater 8:30 pm $30
êAvishai Cohen Trio with Elchin Shirinov, Roni Kaspi
		Blue Note 8, 10:30 pm $35• Victor Lin
Bryant Park 12:30 pm• Saul Rubin Trio
Cellar Dog 7 pm $10• Time Spans 2022—Sō Percussion: Eric Cha-Beach, Josh Quillen, Adam Sliwinski,
Jason Treuting
The DiMenna Center 7:30 pm $20• Geoffrey Keezer’s Playdate with Shedrick Mitchell, Ron Blake, Aayushi Karnik,
Richie Goods, Kendrick Scott
Dizzy’s Club 7:30, 9:30 pm $35• Luke Carlos O’Reilly Quartet; Anwar Marshall’s Blue Verse		The Django 7:30, 10:30 pm• Sarah Elizabeth Charles/Jarrett Cherner
		
The Jazz Gallery 7:30, 9:30 pm $15-25• Tony Davis Bonanza
Little Island 4:30 pm• Ed Cherry; Nick Masters
Mezzrow 7:30, 9, 10:30 pm $20• Ray Blue Organ Quartet
New Amsterdam Musical Association 8 pm
• Stephanie Nakasian/Matt Baker Pangea 7 pm $25
êValery Ponomarev Quintet
Pier 84 7 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Jason Yager; Evan Sheran
Smalls 7:30, 9, 10:30 pm $20
êIngrid Laubrock, Brandon López, Tom Rainey		The Stone at The New School 8:30 pm $20
êBill Frisell Five with Tony Scherr, Thomas Morgan, Rudy Royston, Kenny Wollesen		
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band		Zinc Bar 8 pm $25.
Connection, Inc
Cross-Cultural
stival
Fe
zz
Ja
al
nu
4th AnSunday, Aug21
12-7PM

Riverfront Green Park
Peekskill, NY

Eric Person Quartet • CCC Pro-Am Ensemble
Ray Blue Sextet • Sheila Jordan Trio
Bobby Sanabria Experience • Sheila Anderson, WBGOFREE ADMISSION
Bring your chair and foodPeekskill Parks
and Recreation

Rain site: Paramount Hudson Valley Theater
1008 Brown Street, Peekskill

www.cccjazz.org
Cross-Cultural Connection, Inc. is a non-profit 501 (c)(3) organization.
Donations and gifts are tax-deductible.

30 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

Thursday, August 18• Terry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Adam Kolker/Jeremy Stratton with guests Isaac Wilson, Kayvon Gordon
		
Bar Bayeux 8, 9:30 pmêPorgy & Bess: Gil Evans Project Directed by Ryan Truesdell with guest Riley Mulherkar
		Birdland 7, 9:30 pm $40
êAvishai Cohen Trio with Elchin Shirinov, Roni Kaspi
		Blue Note 8, 10:30 pm $35• Eli Yamin Trio with Elias Bailey, David F. Gibson and guests
		
Bond 45 8:30 pm $25• Victor Lin
Bryant Park 12:30 pm• Sylvia Cuenca Quintet; Will Terrill Quintet
		
Cellar Dog 7, 11:30 pm $10êWillie Jones III Sextet with Justin Robinson, Steve Davis, Giveton Gelin,
Isaiah J. Thompson, Endea Owens Dizzy’s Club 7:30, 9:30 pm $40• Wax Brazilian; High and Mighty Brass Band		The Django 7:30, 10:30 pm• Fabian Almazan Trio with Linda May Han Oh, Henry Cole		The Jazz Gallery 7:30, 9:30 pm $25-35
êYasser Tejada
Little Island 9:30 pmêSummerStage—The Last Poets with Jamaaladeen Tacuma’s Band of Resistance:
Abiodun Oyewole, Umar Bin Hassan, Baba Don, Jamaaladeen Tacuma,
Ronnie Burrage, Kelvyn Bell
Marcus Garvey Park 6 pm
• Roberta Piket, Harvie S, Billy Mintz Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 7, 9:30 pm $25• Marta Sanchez
Smalls 7:30, 9 pm $20
êThe Heavy Hitters: Jeremy Pelt, Eric Alexander, Mike LeDonne, Peter Washington,
Kenny Washington
Smoke 7, 9, 10:30 pm $40-60• Steve Millhouse Trio with Rich Perry, Eric Halvorson		Soapbox Gallery 8 pm $25
êBrandon López solo
The Stone at The New School 8:30 pm $20
êBill Frisell Five with Tony Scherr, Thomas Morgan, Rudy Royston, Kenny Wollesen		
Village Vanguard 8, 10 pm $40

Friday, August 19êJohnny O’Neal Trio

Arthur’s Tavern 7 pm
Birdland 5 pm $30
êSketches of Spain and Quiet Nights: Gil Evans Project Directed by Ryan Truesdell
with guest Sara Caswell
Birdland 8:30, 10:30 pm $40
êScott Robinson Quartet with Martin Wind		
Birdland Theater 8:30 pm $30
êAvishai Cohen Trio with Elchin Shirinov, Roni Kaspi
		Blue Note 8, 10:30 pm $35• Victor Lin
Bryant Park 12:30 pm• Rafiq Bhatia
Bryant Park 7 pm
• James Burton Quintet; Ai Murakami Quartet
		
Cellar Dog 7, 11:30 pm $10• Time Spans 2022—Ensemble Signal: Brad Lubman, Paul Coleman, Tim Munro,
Adrían Sandí, Seneca Black, David Friend, Doug Perkins, Taylor Levine,
Courtney Orlando, Lauren Radnofsky, Greg Chudzik, Georgia Mills with guest
Nicole Mitchell
The DiMenna Center 7:30 pm $20
êWillie Jones III Sextet with Justin Robinson, Steve Davis, Giveton Gelin,
Isaiah J. Thompson, Endea Owens Dizzy’s Club 7:30, 9:30 pm $40• Ed Cherry Quartet; Freddie Deboe Band		The Django 7:30, 10:30 pmêEthan Iverson Trio with Larry Grenadier, Kush Abadey
		The Jazz Gallery 7:30, 9:30 pm $25-35
êArturo O’Farrill Afro Latin Jazz Orchestra
		
Little Island 8 pm
• Ken Peplowski; Jon Davis
Mezzrow 7:30, 9, 10:30 pm $20• Flavio Silva Trio with Alex Apolo Ayala, Curtis Nowosad
		
Minton’s 7, 9:30 pm $25
êDick Griffin
Mount Morris Ascension Presbyterian Church 7 pm $20• Joseph Miller; Ray Blue
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êWinard Harper; Corey Wallace
Smalls 7:30, 9, 10:30 pm $20
êThe Heavy Hitters: Jeremy Pelt, Eric Alexander, Mike LeDonne, Peter Washington,
Kenny Washington
Smoke 7, 9, 10:30 pm $40-60
êZeena Parkins, Cecilia Lopez, Nate Wooley, Brandon López
		
The Stone at The New School 8:30 pm $20
êBill Frisell Five with Tony Scherr, Thomas Morgan, Rudy Royston, Kenny Wollesen		
Village Vanguard 8, 10 pm $40

êThe Heavy Hitters: Jeremy Pelt, Eric Alexander, Mike LeDonne, Peter Washington,

Kenny Washington

Smoke 7, 9, 10:30 pm $40-60

êIkue Mori, Tim Berne, Jon Lipscomb, Ryan Sawyer,, Brandon López and guest

		
The Stone at The New School 8:30 pm $20
êBill Frisell Five with Tony Scherr, Thomas Morgan, Rudy Royston, Kenny Wollesen		
Village Vanguard 8, 10 pm $40

Sunday, August 21• Creole Cookin Jazz Band
Arthur’s Tavern 7 pm
• Wayne Tucker and The Bad Mothas

		Bar Lunàtico 8:30, 10 pm $10• Olli Soikkeli
Barbès 10 pm $15• Augie Haas + 8
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êScott Robinson Quartet with Martin Wind		
Birdland Theater 8:30 pm $30• Nanny AssisBlue Note 12:30, 2:30 pm $20
êAvishai Cohen Trio with Elchin Shirinov, Roni Kaspi
		Blue Note 8, 10:30 pm $35• Grant Stewart Trio
Cellar Dog 7 pm $10êWillie Jones III Sextet with Justin Robinson, Steve Davis, Giveton Gelin,
Isaiah J. Thompson, Endea Owens Dizzy’s Club 5, 7:30 pm $25• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pmêDan Blake, Dmitry Ishenko, Jeff Williams
		
The Keep 9 pmêArturo O’Farrill Afro Latin Jazz Orchestra
		
Little Island 8 pm
• Ashley Pezzotti
Mezzrow 7:30, 9 pm $20• Bruce Harris Quartet
Minton’s 7, 9:30 pm $25• Roz Corral Trio
North Square Lounge 12:30, 2 pm
• Marcus Goldhaber and Friends Room 623 at B2 Harlem 6 pm $15• Mimi Jones and Friends
Room 623 at B2 Harlem 8, 9:30 pm $15êThe Heavy Hitters: Jeremy Pelt, Eric Alexander, Mike LeDonne, Peter Washington,
Kenny Washington
Smoke 7, 9, 10:30 pm $40-60
êBill Frisell Five with Tony Scherr, Thomas Morgan, Rudy Royston, Kenny Wollesen		
Village Vanguard 8, 10 pm $40• Birdland Big Band

Saturday, August 20êSheila Jordan with Roni Ben-Hur, Harvie S		Arthur’s Tavern 7 pmêSketches of Spain and Quiet Nights: Gil Evans Project Directed by Ryan Truesdell
with guest Nadje Noordhuis
Birdland 8:30, 10:30 pm $40
êScott Robinson Quartet with Martin Wind		
Birdland Theater 8:30 pm $30
êAvishai Cohen Trio with Elchin Shirinov, Roni Kaspi
		Blue Note 8, 10:30 pm $35• Richard Clements Quartet ; Matt Martinez Quartet
		
Cellar Dog 7, 11:30 pm $10• Time Spans 2022—International Contemporary Ensemble: Gabriela Diaz, Josh Modney,
Chris Gross, Michael Nicolas, Nicole Mitchell, Isabel Lepanto Gleicher, Joshua Rubin,
Rebekah Heller, Ross Karre, Levy Lorenzo, Lesley Mok, Dan Lippel, Jacob Greenberg,
Fay Victor, Eddy Kwon
The DiMenna Center 7:30 pm $20
êWillie Jones III Sextet with Justin Robinson, Steve Davis, Giveton Gelin,
Isaiah J. Thompson, Endea Owens Dizzy’s Club 7:30, 9:30 pm $45• Dan Aran Band; David Gibson Nonet		
The Django 7:30, 10:30 pm• David Leon, Wendy Eisenberg, Henry Mermer; Stephen Gauci, Adam Lane,
Colin Hinton; Asher Herzog, Neel Ghosh, Nick Saia
		
Downtown Music Gallery 6 pm
• The Westerlies: Riley Mulherkar, Chloe Rowlands, Andy Clausen, Willem de Koch				Governors Island 1, 3 pmêIngrid Laubrock/Andy Milne
The Jazz Gallery 7:30, 9:30 pm $25-35
êArturo O’Farrill Afro Latin Jazz Orchestra
		
Little Island 8 pmêSummerStage—Maroons & Suffragetts-A Greg Tate Tribute: Burnt Sugar/Danz;
Burnt Sugar The Arkestra Chamber; Harriet Tubman; Resistance Revival Chorus;
Bardo Steppers; DJ Reborn
Marcus Garvey Park 6 pm
• Ken Peplowski; Johnny O’Neal Mezzrow 7:30, 9, 10:30 pm $20• Jean-Michel-Pilc, François Moutin, Ari Hoenig
		Ornithology Jazz Club 8 pm
• Oto Mugen: Rema Hasumi, Adam Lane, Randy Peterson
		
Scholes Street Studio 8 pm $15• Reggie Woods
Sistas’ Place 9, 10:30 pm $20
êWinard Harper
Smalls 7:30, 9 pm $20

Monday, August 22• Grove Street Stompers
Arthur’s Tavern 7 pm
• Caroline Davis/Lucia Stavros
Bar Lunàtico 8:30, 10 pm $10• The Baylor ProjectBlue Note 8, 10:30 pm $35• George Gee Make-Believe Ballroom Orchestra

		
Bond 45 8 pm $25
êJon Weber
Bryant Park 12:30 pm• Pasquale Grasso Trio with Ari Roland, Keith Balla		
Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7, 9:30 pm• Jean-Michel-Pilc, François Moutin, Ari Hoenig
		Fifth Hammer 6 pm
• David Berkman
Mezzrow 7:30, 9 pm $20• Matt Dwonszyk/Julieto Eugenio Saint Peter’s Church 5 pm
• Joe Farnsworth; Jonathan Michel Smalls 7:30, 9, 10:30 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Ron Jackson Trio with Essiet Essiet, Sylvia Cuenca
		Zinc Bar 7, 8:30 pm $30

Tuesday, August 23• Diego Voglino Jam Session• Gabi Hartman

Bar Bayeux 8 pm
Bar Lunàtico 8:30, 10 pm $10êBird with Strings: Ken Peplowski Birdland 7, 9:30 pm $40• Ashley Pezzotti
Birdland Theater 5:30 pm $20
êAbdullah Ibrahim
Blue Note 8, 10:30 pm $45• Patsy Grant and Friends
Brooklyn Borough Hall 12 pm
êJon Weber
Bryant Park 12:30 pm• Julieta Eugenio Trio with Matt Dwonszyk, Jonathan Barber		Dizzy’s Club 7:30, 9:30 pm $35• Pedro Giruado Tango Quartet with Nicolás Danielson, Rodolfo Zanetti, Ahmed Alom;Los Hacheros with Jeremy Bosch The Django 7:30, 10:30 pm• Ayumi Ishito, Rema Hasumi, Yuko Togami; Kevin Murray solo		
Downtown Music Gallery 6:30 pm• Neal Kirkwood; John Merrill
Mezzrow 7:30, 9, 10:30 pm $20• Steve Nelson
Smalls 7:30, 9 pm $20
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Village Vanguard 8, 10 pm $40

ARTSWESTCHESTER,
THE CITY OF WHITE PLAINS& THE WHITE PLAINS BID

JAZZ
FEST
WHITE PLAINSSEPT. 14-18, 2022
F E AT U R I N G :Joey Alexander
Buster Williams Quartet“Something More”

Ragan Whiteside & Friends
Grace Kelly

Tickets on sale!

artsw.org/jazzfest

Wednesday, August 24• Jean-Michel Pilc Trio with François Moutin, Ari Hoenig

		Bar Bayeux 8, 9:30 pm• Nojo Hotel: Kenny Wollesen, Michael Coleman, Dalius Naujo
		
Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êBird with Strings: Ken Peplowski Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with Jimmy Bruno, John DiMartino, Gary Mazzaroppi,
Vince Cherico and guest Peter Bernstein		
Birdland Theater 8:30 pm $30
êAbdullah Ibrahim
Blue Note 8, 10:30 pm $45
êJon Weber
Bryant Park 12:30 pm• Greg Glassman Trio
Cellar Dog 7 pm $10• Ahmed McLemore
Chelsea Table & Stage 7 pm $19• Time Spans 2022—Yarn/Wire: Laura Barger, Russell Greenberg, Sae Hashimoto,
Julia Den Boer, Sam Torres
The DiMenna Center 7:30 pm $20• Ben Williams Band with Chelsea Baratz, Julius Rodriguez, David Rosenthal,
Jharis Yokley
Dizzy’s Club 7:30, 9:30 pm $35• Joaquin Pozo y la Clave Suena El Sol Brillante Community Garden 5:30 pm• Luther S. Allison Sextet with Sasha Berliner; Hudson Horns
		
The Django 7:30, 10:30 pm• Jazzmobile: Allan Harris Quartet Grant’s Tomb 7 pm
• Will and Pete Anderson; Greg Murphy		Mezzrow 7:30, 9, 10:30 pm $20• Pérez and Friends
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Mike Ekroth; Benny Benack
Smalls 7:30, 9, 10:30 pm $20• Leyya Mona Tawil/John KingThe Stone at The New School 8:30 pm $20
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band		Zinc Bar 8 pm $25

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 31

Thursday, August 25• Terry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Anwar Marshall Trio
Bar Lunàtico 8:30, 10 pm $10• Adam Kolker/Jeremy Stratton with guests Chris McCarthy, Owen Howard		
Bar Bayeux 8, 9:30 pmêBird with Strings: Ken Peplowski Birdland 7, 9:30 pm $40
êAlan Broadbent Trio with Harvie S, Billy Mintz
		
Birdland Theater 8:30 pm $30
êAbdullah Ibrahim
Blue Note 8, 10:30 pm $45• Eli Yamin Trio with Elias Bailey, David F. Gibson and guests
		
Bond 45 8:30 pm $25
êJon Weber
Bryant Park 12:30 pm• Chris Byars Quartet; Courtney Wright Quartet
		
Cellar Dog 7, 11:30 pm $10êMingus Dynasty
Chelsea Table & Stage 7, 9:30 pm $20
êThe Mahavishnu Project: Jesse Gress, Neil Alexander, Zoe Zeeman, Gregg Bendian		
The Cutting Room 7 pm $25-30
êGonzalo Rubalcaba, Chris Potter, Larry Grenadier, Eric Harland		Dizzy’s Club 7:30, 9:30 pm $55
êCelebrating Charlie Parker: Sam Dillon/Andrew Gould Quartet; Ian Hendrickson-Smith		The Django 10:30 pmêWinard Harper and Jeli Posse
Hansborough Recreation Center 6 pm
• Tito Puente, Jr.
Iridium 8:30 pm $39.50-49.50
êGeorge Braith
Jazz Museum in Harlem 2 pmêDezron Douglas Trio with Keith Brown, Curtis Torian		Mezzrow 7:30, 9 pm $20• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack, Nicole Glover, Mathis Picard,
Russell Hall, Bryan Carter
Minton’s 7, 9:30 pm $25• David Schumacher; David Gibson Smalls 7:30, 9, 10:30 pm $20
êCharlie Parker Celebration: Rudresh Mahanthappa Trio with Harish Raghavan,
Rudy Royston
Smoke 7, 9, 10:30 pm $40-60• String Noise plays John King: Pauline Kim Harris/Conrad Harris		The Stone at The New School 8:30 pm $20
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Village Vanguard 8, 10 pm $40

Friday, August 26
êJohnny O’Neal TrioêGeorge Garzone and The FringeêItai Kriss and Telavana

Arthur’s Tavern 7 pm
Bar Bayeux 8, 9:30 pm
Bar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5 pm $30
êBird with Strings: Ken Peplowski Birdland 8:30, 10:30 pm $40• David DeJesus
Birdland Theater 7, 9:30 pm $30
êAbdullah Ibrahim
Blue Note 8, 10:30 pm $45
êJon Weber
Bryant Park 12:30 pm• Darrell Green Quintet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10• Bright Dog Red
Culture Lab LIC 7 pmêGonzalo Rubalcaba, Chris Potter, Larry Grenadier, Eric Harland		Dizzy’s Club 7:30, 9:30 pm $55
êCelebrating Charlie Parker: Bruce Williams Quartet; Sarah Hanahan Quintet
		
The Django 7:30, 10:30 pm• Marjorie Eliot/Rudel Drears
Harlem Rose Garden 5:30 pm• Tito Puente, Jr.
Iridium 8:30 pm $39.50-49.50
êSummerStage—Charlie Parker Jazz Fest: Jazzmeia Horn and Her Noble Force;
Calvin Booker On Tap and Friends; Courtney Wright Trio		
Marcus Garvey Park 7 pm
• Jeremey Pelt; John Chin
Mezzrow 7:30, 9, 10:30 pm $20• Karen Stachel/Norbert Stachel LehCats		
Minton’s 7, 9:30 pm $25• Jordyn Davis
Mount Morris Ascension Presbyterian Church 7 pm $20• Jenny Xu; Helio Alves
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Rick Parker, Michaël Attias, Simon Jermyn, Kate Gentile; Stephen Gauci, Shinya Lin,
Adam Lane, Kevin Shea; Tony Malaby, Caleb Duval, James Paul Nadien				
Scholes Street Studio 8 pm $20• Gerry Gibbs; Philip Harper
Smalls 7:30, 9, 10:30 pm $20
êCharlie Parker Celebration: Rudresh Mahanthappa Trio with Harish Raghavan,
Rudy Royston
Smoke 7, 9, 10:30 pm $40-60• Michael Wimberly, John King, Luke Stewart
		The Stone at The New School 8:30 pm $20
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Village Vanguard 8, 10 pm $40

Saturday, August 27• Yacouba Sissoko

Bar Lunàtico 8:30, 10 pm $10
Birdland 8:30, 10:30 pm $40• David DeJesus
Birdland Theater 7, 9:30 pm $30
êAbdullah Ibrahim
Blue Note 8, 10:30 pm $45• Nick Biello Quartet; Philip Harper Quartet
		
Cellar Dog 7, 11:30 pm $10• Lee Mixashawn Rozie solo; Jason Kao Hwang’s Human Rites Trio with Ken Filiano
Andrew Drury
Clifton Place Memorial Park & Garden 5 pmêGonzalo Rubalcaba, Chris Potter, Larry Grenadier, Eric Harland		Dizzy’s Club 7:30, 9:30 pm $55
êCelebrating Charlie Parker: Mike Ledonne Band with Vincent Herring;
Erena Terakubo Quartet with Akiko Tsuruga, Paul Bollenback, Hank Allen-Barfield		
The Django 7:30, 10:30 pmêWilliam Hooker Trio with Mara Rosenbloom, Melanie Dyer and guest
		Ibeam Brooklyn 7 pm $15êSummerStage—Charlie Parker Jazz Fest: Terence Blanchard with The E-Collective andTurtle Island Quartet; Buster Williams’ Something More;
Niakra Presents Black Wall Street; Vuyo Sotashe; Courtney Wright Trio				Marcus Garvey Park 3 pm
• Jeremy Pelt; Eden Ladin
Mezzrow 7:30, 9, 10:30 pm $20
êOrrrin Evans Captain Black Big Band		
Minton’s 7, 9:30 pm $25• Kalia Vandever Quartet
Public Records 7 pm $20
êBird with Strings: Ken Peplowski• Gerry Gibbs

Smalls 7:30, 9 pm $20

Rudy Royston

Smoke 7, 9, 10:30 pm $40-60

êCharlie Parker Celebration: Rudresh Mahanthappa Trio with Harish Raghavan,• Bass Extremes: Victor Wooten, Steve Bailey, Derico Watson

		Sony Hall 7, 9:30 pm $55• Gelsey Bell/Paul Pinto
The Stone at The New School 8:30 pm $20
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Village Vanguard 8, 10 pm $40• Trio Xolo: Zachary Swanson, Derrick Michaels, Dalius Naujo
		
Young Ethel’s 8 pm

Sunday, August 28• Creole Cookin Jazz Band
• Matt Tolentino

Arthur’s Tavern 7 pm
Barbès 6 pm $15êStephane Wrembel
Barbès 8 pm $20• Yardbird Big Band
Birdland 5:30 pm $30
êArturo O’Farrill Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Nelly McKay
Blue Note 12:30, 2:30 pm $20
êAbdullah Ibrahim
Blue Note 8, 10:30 pm $45
êNeil Clarke Trio Plus
Brooklyn Museum of Art 2 pm
• Ned Goold Trio
Cellar Dog 7 pm $10êGonzalo Rubalcaba, Chris Potter, Larry Grenadier, Eric Harland		Dizzy’s Club 5, 7:30 pm $50• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 6 pm
• Let Music Be Your Brunch: William Hooker, Dave Sewelson, On Ka’a Davis,
Federico Balducci, Francois Minauux, Suzanne Farrin
		
Funkadelic Studios 11 am• Dmitry Ishenko/Rob Mitzner Trio The Keep 9 pm
• Paul Jost
Mezzrow 7:30, 9 pm $20
êOrrin Evans
Minton’s 7, 9:30 pm $25• Vanisha Gould Trio with Chris McCarthy, Dan Pappalardo		North Square Lounge 12:30, 2 pm
• Marcus Goldhaber and Friends Room 623 at B2 Harlem 6 pm $15• Mimi Jones and Friends
Room 623 at B2 Harlem 8, 9:30 pm $15• Asaf Yuria
Smalls 7:30, 9 pm $20
êCharlie Parker Celebration: Rudresh Mahanthappa Trio with Harish Raghavan,
Rudy Royston
Smoke 7, 9, 10:30 pm $40-60
êSummerStage—Charlie Parker Jazz Fest: Archie Shepp/Jason Moran with guest
Cécile McLorin Salvant; Melissa Aldana; Bria Skonberg Quintet with Mathis Picard,
Adi Meyerson, Gabe Schnider, Darrian Douglas; Pasquale Grasso		Tompkins Square Park 3 pmêJohn Zorn’s New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen		
Village Vanguard 3 pm $40
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole		
Village Vanguard 8, 10 pm $40

elias stemeseder
pianistTHE STONE PRESENTSELIAS STEMESEDER 2022 RESIDENCY
WEDNESDAY AUGUST 31—QUINTET I
Peter Evans (trumpet)
Mark Shim (tenor saxophone)
Chris Tordini (bass)
Timothy Angulo (drums)
Elias Stemeseder (piano, synth)
THURSDAY SEPTEMBER 1—WRENS
Ryan Easter (trumpet)
Jason Nazary (drums, modular synth)
Elias Stemeseder (piano, modular synth, electronics)
FRIDAY SEPTEMBER 2—QUINTET II
Aliya Ultan (cello)
Henry Fraser (bass)
Nava Dunkelman (percussion)
Simon Kanzler (live electronics)
Elias Stemeseder (piano, electronics)
SATURDAY SEPTEMBER 3—PENUMBRA PLUS GUESTS‘Kris-Chen Little-Injure’ (drums, electronics)
Elias Stemeseder (amplified harpsichord, synth, electronics)
plus guests TBA

AUGUST 31 - SEPTEMBER 3, 8:30PM
THE NEW SCHOOL 55 W. 13TH ST, NY
THESTONENYC.COM

32 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD

100 MILES OUT
CONNECTICUT
8/1 (6 pm) Gianni Gardner; Black Art Jazz Collective
8/8 (6 pm) Wanda Houston; Linda May Han Oh
8/15 (6 pm) Nick Di Maria; GO Organic Orchestra/Brooklyn Raga
8/18 (5:30 pm) Hank N. Nelson Quintet
8/25 (5:30 pm) New Mosaic
Bushnell Park (Hartford, CT) www.bushnellpark.org
8/11 (6 pm) Steve Davis/Abena Koomson-Davis
Butler-McCook House (Hartford, CT) ctlandmarks.org/properties/butler-mccook-house-garden
8/20 (8 pm) Secondary Messengers: Dave Bilodeau, Mark Dunlap, Dick Poccia,
Mike Stamm, Bill Matthews
8/27 (8 pm) Jeff Fuller Trio
Buttonwood Tree Performing Arts Center (Middletown, CT) www.buttonwood.org
8/2 (7 pm) Andrew Beals + Indigo Seven
8/3 (8 pm) Joe Morris Mess Hall with Jerome Deupree, Steve Lantner;
Bob Gorry Roundhouse Trio with Conor Perreault, Michael Larocca
8/16 (7 pm) Andrew Beals NHVJU Sessions; Ed Cherry
8/30 (7 pm) Andrew Beals + Steve Davis
Café Nine (New Haven, CT) www.cafenine.com
8/1, 8/8, 8/15, 8/22, 8/29 (7:30 pm) Hartford Jazz Orchestra
Elicit Brewery (Manchester, CT) www.elicitbrewing.com
8/20 (8 pm) Grace Kelly
Infinity Hall (Hartford, CT) www.infinityhall.com
8/21 (7 pm) Madeleine Peyroux
8/23 (7:30 pm) Grace Kelly
The Kate (Old Saybrook, CT) www.katharinehepburntheater.org
8/3 (7 pm) Fernanda Franco with Joe Carter, Jeff Fuller
8/17 (7 pm) Joe Strasser’s Jazz Allstar Quintet with Rich Zurkowski, Roger Post, Joe McWilliams
8/24 (7 pm) Akiko Tsuruga with Charlie Sigler, Joe Strasser
8/31 (7 pm) Ali Ryerson with Pete Levin, Rich Syracuse, Jeff “Siege” Siegel
La Zingara (Bethel, CT) www.lazingara.com
8/6 (7 pm) Galvanized Jazz Band
8/13 (7 pm) Helen Sung Quartet
8/20 (7 pm) Riverboat Stompers Jazz Band
8/27 (7 pm) Jive By Five
Music Mountain’s Gordon Hall (Falls Village, CT) www.musicmountain.org
8/3, 8/10, 8/17, 8/24, 8/31 (9 pm) Hawkins Jazz Collective
Owl Shop (New Haven, CT) www.owlshopcigars.com
8/12 (7/9 pm) Eddie Allen Quartet
Palace Theater Poli Club (Waterbury, CT) www.palacetheaterct.org
8/20 (12 pm) Hartford Hot Several; Fly By Brass Band; Expandable Brass Band;
Hartford Proud; Papo Vázquez Mighty Pirates Troubadours
Real Art Ways (Hartford, CT) www.realartways.org
8/9 (7:30 pm) Lyle Lovett and His Large Band
8/13 (5:30 pm) Bernie Williams & His Band Of Friends
Ridgefield Playhouse (Ridgefield, CT) www.ridgefieldplayhouse.org
8/5-8/6 (8:30 pm) Sullivan Fortner/Rodney Whitaker/Joe Farnsworth Trio
8/12 (8:30 pm) Yvonnick Prene Quartet
8/19 (8:30 pm) Joel Levine Quartet with Axel Tosca Laugart, Daniel Levine Winshall, David Frazier, Jr.
8/20 (8:30 pm) Jen Allen Trio
Side Door (Old Lyme, CT) www.oldlymeinn.com/TheSideDoorJazzClub.html
8/6 (6:30 pm) Adam Nussbaum Trio with Jerry Bergonzi, Dave Santoro
8/26 (6:30 pm) Kris Jensen’s Jazz Allstars with Linda Ransom
Torrington Historical Society (Torrington, CT) www.torringtonhistoricalsociety.org
8/6 (7 pm) Robbie Fulks with Jenny Scheinman; David Bromberg Quintet
The Warehouse (Fairfield, CT) www.fairfieldtheatre.org/venue/warehouse
NEW JERSEY
8/4 (8 pm) Danny Jonokuchi
8/20 (8 pm) Evan Sherman Big Band
Bickford Theatre at Morris Museum (Morristown, NJ) www.morrismuseum.org
8/4 (5 pm) S.O.L.E. with T.K. Blue
Canco Park (Jersey City, NJ) www.cancoparkconservancy.org
8/6 (3:30 pm) Randy Sutin
8/13 (3:30 pm) Chris Beck
8/20 (3:30 pm) Josh Lee
8/27 (3:30 pm) Dr. Robinson
Candlelight Lounge (Trenton, NJ) www.candlelighteventsjazz.com
8/7 (7 pm) David Sanborn
8/12 (8 pm) Marcus Miller
Count Basie Center’s The Vogel (Reed Bank, NJ) www.thebasie.org
8/4 (7:30 pm) Vince Ector
8/11 (7:30 pm) Mark Gross
8/18 (7:30 pm) Chris Beck
8/25 (7:30 pm) Sharp Radway
Englewood Public Library (Englewood, NJ) www.englewoodlibrary.org
8/17 (5 pm) S.O.L.E. with T.K. Blue
Ercel Webb Park (Jersey City, NJ) www.jerseycitynj.gov
8/14 (3 pm) Robby Ameen Afro-Cuban Band with Edsel Gomez, Rubén Rodriguez
8/21 (1 pm) “One O’Clock Jump!” Count Basie B-Day Celebration:
Jazz Arts Academy Allstars; Chuck Lambert Band; Radam Schwartz Big Band
Johnny Jazz Park (Red Bank, NJ) www.jazzartsproject.org/summer-of-jazz
8/18 (6 pm) PJ Keither Sextet
Kaycee Ray’s (Vineland, NJ) www.kayceerays.com
8/14 (6 pm) S.O.L.E. with T.K. Blue
Liberty State Park (Jersey City, NJ) www.visitnj.org/article/liberty-state-park
8/13 (12-10 pm) Nicole Glover; Winard Harper & Jeli Posse; Christian McBrideMontclair Jazz Festival (Montclair, NJ) www.montclairjazzfestival.org
8/3 (7 pm) Daniel Bernard Roumain, Paquito D’Rivera
Newark Museum of Art (Newark, NJ) www.newarkmuseumart.org/arts-garden
8/14 (7 pm) Stephane WrembelRiverside Gardens Jazz In The Park (Red Bank, NJ) www.jazzartsproject.org/summer-of-jazz
8/3 (7 pm) Mark Wade Trio with Tim Harrison, Scott Neumann
8/5 (7 pm) Ty Stephens with Greg Buford, Alva Nelson, Miho Nobuzane, Bill Dotts
8/6 (6:45 pm) Big Funk! with Don Braden, Karl Latham
8/9 (6:30 pm) Russell Malone with Vince Dupont
Shanghai Jazz (Madison, NJ) www.shanghaijazz.com
8/4 (7 pm) Nick Hempton Quartet
8/11 (7 pm) Ed Cherry Trio
8/18 (7 pm) John Lee Quartet
8/25 (7 pm) Nat Adderley, Jr. Quartet
Tavern on George (New Brunswick, NJ) www.tavernongeorge.com
NEW YORK
8/21 (2 pm) Bill Ware
Albert Wisner Library (Warwick, NY) hudsonvalleyjazzfest.org
8/5 (7 pm) Victor LaGamma Trio
8/12, 8/26 (7 pm) Dinah Vero
8/13 8/27 (7:30 pm) Leslie Pintchik Trio with Scott Hardy, Michael Sarin
8/20 (7:30 pm) Jared Pauley with Duane Eubanks, Adam Hutcheson, Cengiz Baysal
Alvin & Friends (New Rochelle, NY) www.alvinandfriendsrestaurant.com
8/6 (6 pm) Gerry Malkin Quintet
8/13 (6 pm) Ray Blue Organ Quartet
8/27 (6 pm) Abel Mireles Quartet
Bean Runner Café (Peekskill, NY) www.beanrunnercafe.com

8/6 (7pm) Creative Music Studio Festival: CMS Improvisers Orchestra: Karl Berger, Ingrid Sertso,
Marilyn Crispell, Grant Calvin Weston, Zoh Amba; Kalia Vandever Trio;
Wendy Eisenberg, Joanna Mattrey, Sana Nagano; David Fiuczynski’s Mid East Microjamz;
Cyro Baptista, Michael Bisio, Ken Filiano, Tani Tabbal, Ned Rothenberg;
Leonor Falcón/Juanma Trujillo; Medeski, Martin & Nels Cline
8/7 (11 am) Emily Kate Einhorn/Peter Einhorn Quartet with Lou Pappas, Matt Garrity
8/14 (11 am) Vinnie Martucci Trio
8/20 (6 pm) Claudia Forest, John Ahmadjian, Chris Macchia; Stanley Jordan
8/21 (11 am) Patrice Blue Maltas and The NY Jazz Trio with Rich Syracuse,Vinnie Martucci, Jeff “Siege” Siegel
8/26 (8 pm) Alternative Guitar Summit: John Scofield, Bill Frisell, Kurt Rosenwinkel, Mike Stern
8/28 (noon) Marty Elkins with The Saints of Swing
Bearsville Theater (Woodstock, NY) www.bearsvilletheater.com
8/5-8/6 (8:30 pm) Planet Drum: Mickey Hart, Zakir Hussain, Sikiru Adepoju, Giovanni Hidalgo
8/10, 8/12, 8/13 (8 pm) Steely Dan; Dave Stryker Trio
The Capitol Theatre (Port Chester, NY) www.thecapitoltheatre.com
8/19 (7 pm) Matthew Whitaker Quintet with Marcos Robinson,
Karim “Kace” Hutton, Johnny Steele, Ivan Llanes
Caramoor Jazz (Katonah, NY) www.caramoor.org
8/11 8/18 8/25 (7 pm) Paul Connors Organ Groove feat. John Basile
Elk’s Lodge (Ossining, NY) www.jazzatthelodge.com
8/5 (7 pm) NYChillarmonic
8/6 (7 pm) Ed Palermo Big Band
8/7 (7 pm) Joe Farnsworth’s #timetoswing Trio with Sullivan Fortner, Rodney Whitaker8/14 (7 pm) Dave Stryker Trio with Jared Gold, McClenty Hunter
8/21 (7 pm) Tribute to Bucky Pizzarelli: Martin Pizzarelli Trio with Hyuna Park, Linus Wyrsch
8/25 (7 pm) Wayne Shorter Celebration: Palladium
8/28 (7 pm) Kevin Hays with Matt Brewer, Al Foster
The Falcon (Marlboro, NY) www.liveatthefalcon.com
8/4 (9 pm) Judy Catarino with Steve Lamatina, John Lang
8/11 (9 pm) Kathleen Hart with Sarah Jane Cion, John Lang
8/18 (9 pm) Erli Perez with Dan Cray, John Lang
8/25 (9 pm) James Navin with Herbert Pickles, Finn McCool
First Name Basis at Divino Cucina (Hastings-on-Hudson, NY)
www.facebook.com/FNBhastingsny
8/18 (7 pm) Hudson Valley Jazz Fest: Gus Mancini & The Sonic Soul Orkestra withWill Reinke, Michael Colletti, Peter Head, Mark Dzuiba
8/19 (8 pm) Hudson Valley Jazz Fest: Teri Roiger Trio with John Menegon, Matt Garrity
8/20 (11:30 am) Hudson Valley Jazz Fest: Steve Raleigh Jazz Band with
Vinnie Martucci, Lew Scott, Matt Garrity
Front Street Tavern (Kingston, NY) www.frontstreetkingston.com
8/10 (6 pm) Sergie Gurbelo Wayne Shorter Tribute8/24 (6 pm) Ron Jackson
Hamptons JazzFest @Hampton Library (Bridgehamtpon, NY)
www.hamptonsjazzfest.com
8/6 (6 pm) Iris Ornig Quartet
8/8 (6 pm) Bill O’Connell Trio with Santi Debriano, Billy Hart
8/21 (6 pm) Jean-Michel Pilc/François Moutin/Ari Hoenig Trio
8/28 (6 pm) Jim Snidero Quintet with Kurt Rosenwinkel
Hamptons JazzFest @LTV Media Center (Wainscott, NY)
www.hamptonsjazzfest.com
8/5 (6 pm) Santi Debriano Flash of the Spirit Quintet
Hamptons JazzFest @Parrish Art Museum (Water Mill, NY)
www.hamptonsjazzfest.com
8/4 (6:30 pm) Emilio Solla Quintet
8/18 (6:30 pm) Bill McHenry with Gil Goldstein
Hamptons JazzFest @Sag Harbor American Music Festival (Sag Harbor, NY)
www.hamptonsjazzfest.com
8/13 (7 pm) Conrad Herwig Latin Side of Charles Mingus
8/27 (7 pm) Duduka Da Fonseca & Brazilian Jazz Allstars
Hamptons JazzFest @Southampton Arts Center (Southampton, NY)
www.hamptonsjazzfest.com
8/14 (4 pm) Hudson Jazzworkshop: Armen Donelian, Marc Mommaas, Mike Abene
Hudson Hall (Hudson, NY) www.hudsonhall.org
8/5-8/6 (7/9:30 pm) Emmet Cohen Trio
8/7 (4/6 pm) Kenia Ashby, (8 pm) David Janeway Trio hosts Open Jam Session
8/12-8/13 (7/9:30 pm) Jason Marsalis Quartet “Tribute to Lionel Hampton”
8/14 (4/6 pm) Ashley Pezzotti Quartet
8/19-8/20 (7/9:30 pm) Ann Hampton Callaway “Fever! The Peggy Lee Century”
8/21 (4/6 pm) John Lang Nonet Jazz
8/26-8/27 (7/9:30 pm) Rufus Reid with Michael Rodriguez, Roxy Coss, Roberta Piket, Kenneth Salters
8/28 (4/6 pm) Nanny Assis & Friends
Jazz Forum Arts (Tarrytown, NY) www.jazzforumarts.org
8/3 (6:30 pm) Christine & Elliot Spero Quartet
8/10 (6:30 pm) Ed Neumeister8/17 (6:30 pm) JSWISS with Michael Leonhart
8/24 (6:30 pm) Clare Maloney & The Great Adventure
Jazz Forum Arts presents Dobbs Ferry Summer Music Series (Dobbs Ferry, NY)
www.jazzforumarts.org/summer-concerts/dobbs-ferry
8/8 (6:30 pm) Mala Waldron Quartet
8/22 (6:30 pm) Peter Brainin & Talking Drum
Jazz Forum Arts presents Jazz at Henry Gourdine Park (Ossining, NY)
www.jazzforumarts.org/summer-concerts/gourdine-park
8/2, 8/9, 8/16, 8/23 (6:30 pm) Mark Morganelli & The Jazz Forum All-Stars
Jazz Forum Arts presents Jazz at Horan’s Landing (Sleepy Hollow, NY)
www.jazzforumarts.org/summer-concerts/horans-landing
8/5 (6:30 pm) Joel Forrester Quartet
8/12 (6:30 pm) David Brandom Quintet
8/19 (6:30 pm) Michael Sarian Quartet
8/26 (6:30 pm) Rodrigo Bonelli & Brasil Trio +1
Jazz Forum Arts presents Jazz at Pierson Park (Tarrytown, NY)
www.jazzforumarts.org/summer-concerts/pierson-park/
8/18 (6:30 pm) Nat Reeves Quartet
8/25 (6:30 pm) Houston Person Quartet
Jazz Forum Arts presents Sunset Jazz at Lyndhurst (Tarrytown, NY)
www.jazzforumarts.org/summer-concerts/lyndhurst/
8/21 (noon-8 pm) Ray Blue Sextet; Eric Person Quartet; Sheila Jordan Trio; Bobby Sanabria Experience
Jazz in the Park Festival @Riverfront Green Park (Peekskill, NY)
www.beanrunnercafe.com
8/21 (noon-6 pm) Centennial Celebration of Charles Mingus: Buster Williams, Craig Harris,
Regina Carter, Camille Thurman, Carla Cook, Michael King, Joaquin Pozo
Jazz in the Valley @Waryas Park (Poughkeepsie, NY) www.jazzinthevalleyny.org
8/3 (1 pm) Tom Manuel and Young at Heart Trio
8/4 (7 pm) Jazz Loft Big Band with Tom Manuel
8/10, 8/17, 8/24 (7 pm) Jazz Loft Trio
8/11 (6 pm) Russell Malone Quartet Jazz
8/12 (7 pm) Andy Wilson Organ Trio with Joe Bagg, Mark Ferber
8/13 (3 pm) Ratko Zjaca, (5 pm) Tal Yahalom Quartet, (7pm) John Pizzarelli
8/18 (7 pm) Bad Little Big Band with Rich Iacona, Madeline Kole
8/25 (7 pm) Interplay Jazz Orchestra
The Jazz Loft (Stony Brook, NY) www.thejazzloft.org
8/4, 8/18, 8/25 (7 pm) Jam with Pete Malinverni
8/5 (7/9 pm) La Pompe Attack “A Django Celebration”
8/12 (7/9 pm) Peter Calo Band
8/13 (7/9 pm) Naama Gheber Quartet
8/19 (7/9 pm) Gabrielle Stravelli Trio
8/20 (7 pm) Carlos Abadie Quintet
8/26 (7/9 pm) Yoav Eshed Quartet
Jazz on Main (Mt. Kisco, NY) www.jazzonmain.com

8/18 (8 pm) La Voz De Tres with Natalia Bernal, Mike Eckroth, Jason Ennis
Jazzstock @ Senate Garage (Kingston, NY) www.jazzstock.com
8/14 (4 pm) Kirk Knuffke Trio with Matthew Shipp, Michael Bisio
The Lace Mill (Kingston, NY) www.facebook.com/TheLaceMill
8/6 (7 pm) Sonny & Perley with Lou Pappas
8/13 (7 pm) Nail with Neil Alexander, Brian Mooney, Nadav Snir-Zelniker
8/20 (7 pm) Joel Harrison
8/27 (7 pm) Teri Roiger Quartet with Steve Einerson, John Menegon, Matt Garrity
Lydia’s Café (Stone Ridge, NY) www.lydias-cafe.com
8/18 (7 pm) Hudson Valley Jazz Fest: Kaya Nicole Jazz Trio
Mary Ann’s (Port Chester, NY) www.hudsonvalleyjazzfest.org
8/12 (7 pm) Tal Yahalom with Caroline Davis
Masonic Temple (Sag Harbor, NY) www.safe-harbors.org
8/5 (8 pm) Sue Maskaleris with James “Doc” Halliday, Leo Traversa, Samuel Martinelli
8/6 (8 pm) Kendra Shank Quartet with David Budway, Dean Johnson, Tom Rainey
8/19 (8 pm) Shirley Crabbe
Maureen’s Jazz Cellar (Nyack, NY) www.maureensjazzcellar.com
8/6 (8 pm) Christian Sands Trio
The Maverick, The (Woodstock, NY) www.maverickconcerts.org
8/18 (6:30 pm) Hudson Valley Jazz Fest presents: Hudson Valley Jazz Sextet with
Joe Tranchina, Gabriele Tranchina, Ed Littman, Steve Rubin, Bob Magnusson
On The Lawn (Sugar Loaf, NY) www.hudsonvalleyjazzfest.org
8/1 (8:30 pm) Patrick Stokes Group with Mike Dopazo
8/15 (8:30 pm) KJ Denhert Jazz Project
8/22 (8:30 pm) Manix: Chris Bowman, John Bruschini, John Mulkerin, Steve Peskoff
8/29 (8:30 pm) 3 Bass Hit: Keith Pray, Justin Henricks, Dave Berger
8/30 (8 pm) Matt Mottel
Quinn’s (Beacon, NY) www.facebook.com/QuinnsBeacon
8/6, 8/13, 8/20, 8/27 (3 pm) Hal Galper Trio
Rafter’s Tavern (Callicoon, NY) www.rafterstavern.com
8/4 (6 pm) Madeleine Moneypenny and The Mellowphones
8/11 (6 pm) Teri Roiger/John Menegon
8/18 (6 pm) Pamela Pentony with Peter Tomlinson, Jim Curtin
8/25 (6 pm) Pamela Pentony with Paul Duffy, Jim Curtin, Matt Garrity with guests
Shout Out Saugerties Jazz at The Beach (Saugerties, NY) www.shoutoutsaugerties.org
8/20 (7 pm) Hudson Valley Jazz Fest presents Slide Attack
Thomas Morahan Park (Greenwood Lake, NY) www.hudsonvalleyjazzfest.org
8/6 (7 pm) Ray Blue Organ Quartet
Tompkins Corner (Putnam Valley, NY) www.tompkinscorners.org
8/28 (7 pm) Samara Lubelski; Sarah Hennies; Gray/Smith
Tubby’s (Kingston, NY) www.tubbyskingston.com
8/1, 8/8, 8/15, 8/22, 8/29 (8 pm) Monday Jazz Sessions with John RichmondTurning Point Café (Piermont, NY) www.piermont.club
8/18 (7 pm) Hudson Valley Jazz Fest presents Rave Tesar Trio with Jeff Ciampa, Frank Pagano
8/19 (7 pm) Hudson Valley Jazz Fest presents Neil Alexander & NAIL
Unison Arts Center (New Paltz, NY) www.unisonarts.org/events
8/20 (7:30 pm) Hudson Valley Jazz Fest presents Oz Noy with Anton Fig
Village Green (Warwick, NY) www.hudsonvalleyjazzfest.org
8/21 (6 pm) Hudson Valley Jazz Fest presents Joe Vincent Tranchina 4-UM
Warwick Historical Society, Buckbee Center (Warwick, NY)
www.hudsonvalleyjazzfest.org
8/21 (2 pm) Hudson Valley Jazz Fest presents Bill Ware & The Upstate All Stars
with Matt King, John Menegon, Jeff “Siege” Siegel, Teri Roiger
Warwick Library (Warwick, NY) www.hudsonvalleyjazzfest.org
8/12 (7 pm) Bria Skonberg & Elizabeth Goodfellow
White Feather Farm (Saugerties, NY) www.theoriafoundation.org
8/20 (7 pm) Hudson Valley Jazz Fest presents Rick Savage 4tet withDavid Janeway, Steve Laspina, Eliot Zigmund
UpFront Gallery (Port Jervis, NJ) hudsonvalleyjazzfest.org
PENNYSYVANIA
8/2 (8/9:30 pm) Micah Graves Band
8/5 (8/10 pm) Ryan Devlin/Steve Kortkya
8/6 (8/10 pm) Steve Weiss Mallet Festival: Warren Wolf, David Friedman, Tony Miceli,
Behn Gillece, Andrea Venet, Tom Lawton, Lee Smith, Byron Landham
8/11 (8/9:30 pm) Peter Frank Orchestra with Hiruy Tirfe
8/12 (8/10 pm) Luke Carlos O’Reilly Quartet
8/13 (8/10 pm) Grover Washington, Jr. Tribute Legacy Band: Don Braden, Marc Johnson,
Adam Faulk, Richard Tucker, Cliff Kellem, Ricardo Tucker, Webb Thomas
8/16 (8/9:30 pm) Ross Gerberich, Mogi Taylor, Tyler Henderson, Matthew Green, Byron Landham
8/19 (8/10 pm) Ari Hoenig with Jean-Michel Pilc, François Moutin
8/20 (8/10 pm) Anais Reno with Larry McKenna and Joe Block Trio
8/26 (8/10 pm) Ben Williams Quintet
8/27 (8/10 pm) Benny Benack III with Larry McKenna, Mar Vilaseca
8/30 (8/9:30 pm) Micah Graves Farewell Show
Chris’ Jazz Café (Philadephia, PA) www.chrisjazzcafe.com
8/2-8/5 (8 pm) Lyle Lovett and His Large Band
8/18 (8 pm) Marcus Anderson
City Winery (Philadelphia, PA) www.citywinery.com/philadelphia
8/20 (7:30 pm) Anthony Tidd
Clef Club (Philadephia, PA) clefclubofjazz.org
8/4, 8/11, 8/18, 8/25 (7 pm) Bill Washer & Friends
8/5 (7 pm) Tribute to Bucky Pizzarelli: Martin Pizzarelli Quartet with Walt Bibinger
8/6 (7 pm) Billy Test Trio with Evan Gregor, Ian Froman
8/7 (5 pm) Najwa Parkins
8/8 (7 pm) The Coates Connection: Nancy Reed, Billy Test, Jay Rattman
8/12 (7 pm) Joanna Pascale with John Swana, Tony Miceli, Tony Marino, Byron Landham
8/13 (7 pm) JD Walter with Jim Ridl, Tony Marino, Donald Edwards
8/14 (5 pm) Royce Campbell Trio with Bill Moring, Bill Goodwin
8/19 (7 pm) Paul Jost Quintet with Jim Ridl, Pete McCann, Dean Johnson, Tim Horner
8/20 (7 pm) Nancy & Spencer Reed
8/21 (5 pm) Ryan Devlin Quartet with Mike Bond, Gene Perla, Adam Nussbaum
8/22 (7 pm) Russ Lossing, Kirk Knuffke, Stomu Takeishi, Bill Goodwin
8/26 (7 pm) Alan Broadbent Trio with Harvie S, Billy Mintz
8/27 (7 pm) Janis Mann & Laurence Hobgood Deer Head Inn
8/28 (5 pm) Tullamore Duo +2 with Denny Carrig, Skip Wilkins, Bill Washer, Tony Marino
8/29 (7:30 pm) Water Gap Orchestra with Matt VashlishanDeer Head Inn (Delaware Water Gap, PA) www.deerheadinn.com
8/5 (8 pm) Fire Museum presents Oliver Lake’s JUSTICE with Sonic Liberation Front
Evangelical Lutheran Church of the Atonement (Philadelphia, PA)
www.firemuseumpresents.com
8/11 (6 pm) Jazz Bridge presents Najwa Parkins
Gorgas Park (Philadelphia, PA) www.jazzbridge.org
8/25 (6 pm) Jazz Bridge presents Michael Greco
Granahan Playground (Philadelphia, PA) www.jazzbridge.org
8/4 (6 pm) Jazz Bridge presents Nicholas Krolak Group
McMichael Park (Philadelphia, PA) www.jazzbridge.org
8/7 (5:30 pm) Acute Inflections
8/8 (5:30 pm) Acute Inflections, Ginger and The Schnappes, Dan Dechellis Trio
8/11 (8 pm) Steve Sandberg/Premik Duo, Low Down Brass Band
8/13 (1 pm) Jenu Ein Quintet; Horizons Quartet: Dan Wilkins, James Collins, Gene Perla, Byron Landham
8/14 (3 pm) Benji Kaplan
Musikfest (Bethlehem, PA) www.musikfest.org
8/5 (7 pm) Loston Harris Trio
8/20-8/21 (7 pm) The Philly 6: Tony Miceli, V Shayne Frederick, John Swana,
Chris Farr, Madison Rast, Byron Landham
8/26-8/28 (7 pm) Brianna Thomas Band
South Jazz Club (Philadelphia, PA) www.southjazzkitchen.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 33

Monday, August 29êElevation: Lucian Ban, Abraham Burton, John Hébert, Eric McPherson

		
Bar Lunàtico 8:30, 10 pm $10• Julie Benko/Jason Yeager
Birdland 7 pm $40
êCelebrating Charlie Watts: Bernard Fowler, Darry Jones, Tim Ries, David Gilmore,
Gary Versace, Jeff “Tain” Watts Blue Note 8, 10:30 pm $45• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Frank Owens
Bryant Park 12:30 pmêSarah Hanahan Quartet with Marc Cary, Nat Reeves, Jeff “Tain” Watts				
Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big BandThe Django 7, 9:30 pm• Jeremy Manasia
Mezzrow 7:30, 9 pm $20
êDan Weiss Starebaby with Craig Taborn, Matt Mitchell, Ben Monder, Trevor Dunn				
Nublu 151 8 pm $20• Matt Dwonszyk/Shenel Johns Saint Peter’s Church 5 pm
• Ari Hoenig; Miki Yamanaka
Smalls 7:30, 9, 10:30 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Gene Bertoncini/Roni Ben-Hur Zinc Bar 7, 8:30 pm $30

Tuesday, August 30• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Endangered Blood: Chris Speed, Oscar Noriega, Trevor Dunn, Jim Black		Bar Lunàtico 8:30, 10 pm $10êEmmet Cohen Trio with guest Sheila Jordan
		
Birdland 7, 9:30 pm $40• Ashley Pezzotti
Birdland Theater 5:30 pm $20

êCelebrating Charlie Watts: Bernard Fowler, Darry Jones, Tim Ries, David Gilmore,

Gary Versace, Jeff “Tain” Watts Blue Note 8, 10:30 pm $45• Frank Owens
Bryant Park 12:30 pm• Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca,
Maucha Adnet
Dizzy’s Club 7:30, 9:30 pm $40• Pedro Cortes Ensemble; Cuarteto Guataca
		
The Django 7:30, 10:30 pm• Aron Namenwirth/Eric Plaks; Simon Hanes, Aliya Ultan, Kevin Murray		
Downtown Music Gallery 6:30 pm• POE; Mambembe; Kikiriki Biquey Drom 8 pm $15êCecilia Lopez/Ingrid Laubrock
Fridman Gallery 7 pm
• Adam Kolker
Mezzrow 7:30, 9 pm $20• Nat Adderley, Jr. Quartet
Minton’s 7, 9:30 pm $25
êPraxis: Buckethead, Bill Laswell, Brain
		Sony Hall 8 pm $50-90• T.K. Blue and Women In Jazz
Thompson Central Park Hotel 6 pmêTom Harrell Quartet with Luis Perdomo, Ugonna Okegwo, Adam Cruz		
Village Vanguard 8, 10 pm $40

Wednesday, August 31• David First/Mark Edwards

411 Kent Avenue 8 pm $10-15

êSullivan Fortner Trio
Bar Bayeux 8, 9:30 pmêSavannah Harris Trio
Bar Lunàtico 8:30, 10 pm $10êMichaël Attias, Michael Formanek, Mark Ferber		Barbès 7 pm $20
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30• Emmet Cohen Trio with guest Miguel Zenón		
Birdland 7, 9:30 pm $40

êFrank Vignola’s Guitar Night with Jimmy Bruno, John DiMartino, Gary Mazzaroppi,

Vince Cherico and guest Houston Person
		Birdland Theater 8:30 pm $30
êCelebrating Charlie Watts: Bernard Fowler, Darry Jones, Tim Ries, David Gilmore,
Gary Versace, Jeff “Tain” Watts Blue Note 8, 10:30 pm $45• Frank Owens
Bryant Park 12:30 pm• Tamar Korn Quartet
Cellar Dog 7 pm $10êSummerStage: Jazz at Lincoln Center Orchestra with Wynton Marsalis 				Central Park Summerstage, Rumsey Playfield 8 pm
• Trio Da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka da Fonseca,
Maucha Adnet
Dizzy’s Club 7:30, 9:30 pm $40• Sasha Berliner Quartet; Alonzo Demetrius Quintet
		
The Django 7:30, 10:30 pmêJazzmobile: Bobby Sanabria Multi-Verse Big Band		
Grant’s Tomb 7 pm
• Kyoko Oyobe
Mezzrow 7:30, 9 pm $20• Ray Blue Organ Quartet
New Amsterdam Musical Association 8 pm
• Oliver Doering Jazz Quartet
Pangea 7 pm $25
êMonette Sudler
Pier 84 7 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Nick Green; Benny Benack
Smalls 7:30, 9, 10:30 pm $20
êPraxis: Buckethead, Bill Laswell, Brain
		Sony Hall 8 pm $50-90êPeter Evans, Mark Shim, Chris Tordini, Timothy Angulo, Elias Stemeseder		The Stone at The New School 8:30 pm $20
êTom Harrell Quartet with Luis Perdomo, Ugonna Okegwo, Adam Cruz				Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Ragtime Band		Zinc Bar 8 pm $25

CLU B DI RE CTORY• 32nd Police Precinct 250 W. 135th Street(212-690-6311) Subway: 2, 3 to 135th Street• 54 Below 254 W. 54th Street(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com• 411 Kent Avenue 411 Kent Avenue Subway: J, M, Z to Marcy Avenue• Arthur’s Tavern 57 Grove Street(212-675-6879) Subway: 1 to Christopher Street
www.arthurstavernnyc.com• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street
www.bluenotejazz.com• Bond 45 221 W. 46th Street(212-869-4545) Subway: B, F, M to 47-50 Streets www.bond45ny.com• Brooklyn Borough Hall 209 Joralemon Street(718-802-3700) Subway: A, C, F to Jay Street - Metrotech; R to Court Street
www.brooklyn-usa.org• Brooklyn Museum of Art 200 Eastern Parkway(718-638-5000) Subway: 2, 3 to Eastern Parkway
www.brooklynmuseum.org• Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• Bushwick Inlet Park Kent Avenue between N. 7th and 12th Streets, Brooklyn
Subway: L to Bedford Avenue• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street www.cellardog.net• Central Park Great Hill 105th Street Subway: B, C to 103rd Street• Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue(212-360-2777) Subway: B, D to 72nd Street www.summerstage.org• Chelsea Table & Stage Hilton Fashion District Hotel, 152 W. 26th Street
Subway: C, E to 23rd Street; R, W to 28th Street
www.chelseatableandstage.com• Clifton Place Memorial Park & Garden 1031-1039 Bedford Avenue
Subway: G to Classon Avenue• Columbus Park Johnson Street, Brooklyn Subway: 4, 5 to Borough Hall
• Culture Lab LIC 5-25 46th Avenue, Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Avenue
www.facebook.com/culturelablic• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com• The DiMenna Center 450 W. 37th Street(212-594-6100) Subway: A, C, E to 34h Street-Penn Stationwww.dimennacenter.org• Dizzy’s Club 33 W. 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• The Django 2 Sixth Avenue(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com• Downtown Music Gallery 13 Monroe Street(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com• Drom 85 Avenue A(212-777-1157) Subway: F to Second Avenue www.dromnyc.com• El Sol Brillante Community Garden 522 E. 12th Street
Subway: L to First Avenue www.elsolbrillante.org• Entwine Wine Bar 765 Washington Street(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Street
www.entwinenyc.com• Fifth Hammer 10-28 46th Avenue, Long Island City
Subway: 7 to Vernon Boulevard/Jackson Avenue
www.fifthhammerbrewing.com• Flushing Town Hall 137-35 Northern Boulevard, Flushing(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org• Fridman Gallery 287 Spring Street(646-345-9831) Subway: C, E to Spring Street www.fridmangallery.com• Funkadelic Studios 209 W. 40th Street(212-696-2513) Subway: 1, 2, 3, 7, A, C, E, N, Q, R to 42nd Street-Times Squarewww.funkadelicstudios.com• Gantry Plaza State Park 49th Avenue and Center Boulevard
Subway: 7 to Vernon-Jackson Boulevard• Governors Island Ferry from Battery Maritime Building• Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street• Groove Bar & Grill 125 MacDougal Street(212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street
www.clubgroovenyc.com• Hansborough Recreation Center 35. W. 134th Street(212-234-9603) Subway: 2, 3 to 135th Street www.nycgovparks.org• Harlem Rose Garden 6 E. 129th Street Subway: 2, 3 to 125th Street• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com• Iridium 1650 Broadway at 51st Street(212-582-2121) Subway: 1,2 to 50th Street www.theiridium.com• Isaac Stern Auditorium at Carnegie Hall 881 Seventh Avenue(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox(212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org• Joe’s Pub at the Public Theater 425 Lafayette Street(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street www.thekeepny.com• Little Branch 22 Seventh Avenue South(212-929-4360) Subway: 1 to Houston Street www.littlebranch.net• Little Island Pier 55 at Hudson River Park Greenway
Subway: A, C, E, L to 14th Street www.littleisland.org• Marcus Garvey Park, Richard Rogers Amphitheater
120th Street between Mt. Morris Park and Madison Avenue (212-201-PARK)
Subway: 2, 3, 4, 5, 6 to 125th Street• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com• Michiko Studios 149 W. 46th Street, 3rd Floor(212-302-4011) Subway: B, D, F, M to 47-50 Streets
www.michikostudios.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Street• Neighborhood Church of Greenwich Village 269 Bleecker Street(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net

34 AUGUST 2022 | THE NEW YORK CITY JAZZ RECORD• New Amsterdam Musical Association 107 W. 130th Street(212-234-2973) Subway: 2, 3 to 125th Street• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street• Nublu 151 151 Avenue C
Subway: L to First Avenue www.nublu.net• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue www.pangeanyc.com• Pier 84 W. 44th Street and Hudson River
Subway: A, C, E, F, V to 42nd Street-Port Authority• Public Records 233 Butler Street
Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue www.publicrecords.nyc• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com• Room 623 at B2 Harlem 271 W. 119th Street(212-280-2248) Subway: B, C to 116th Street www.b2harlem.com• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street
www.scholesstreetstudio.com• The Schomburg Center 515 Macolm X Boulevard(212-491-2200) Subway: 2, 3 to 135th Street
www.nypl.org/locations/schomburg• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com• Smoke 2751 Broadway between 105th and 106th Streets(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street www.soapboxgallery.org• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com• The Speakeasy at Jaffe Drive Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Str. -Lincoln Center
www.lincolncenter.org• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3 to 96th Street
www.symphonyspace.org• Thai Rock 375 Beach 92nd Street, Far Rockaway
Bus: Q52 to Rockaway Beach Boulevard/Beach 92 Street www.thairock.us• Third Street Music School Settlement 235 E. 11th Street(212-777-3240) Subway: 6 to Astor Place
www.thirdstreetmusicschool.org• Thompson Central Park Hotel 119 W. 56th Street(212-245-5000) Subway: F to 57th Street• Tompkins Square Park 7th to 10th Streets between. Avenue A and Avenue B(212-387-7685) Subway: L to 1st Avenue; F, V to Second Avenue;
6 to Astor Place• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Young Ethel’s 506 5th Avenue, Brooklyn
Subway: F, G to Fourth Avenue-Ninth Street www.youngethels.com• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, B, C, D, E, F to W. 4th Street
www.zincjazz.com

(INTERVIEW CONTINUED FROM PAGE 6)
with my new music that I’d just recorded when I went
to Chicago with Danilo and Jeff to play a convention in
1997. While there a young man came up to me andoffered to get my music to Chick Corea. I told him,“That would be amazing” and gave him my cassettetape. Two weeks later, Chick called. Chick heard mymusic and loved it. He wanted to re-record in a betterstudio in New York and be the producer of thatrecording for his label Stretch Records. Which for me
was a big win, better than any big label you
know? I was being recognized by Chick, with analbum produced by him on his label with him playing
on a track.
TNYCJR: Were you also singing by that point?
AC: No, I wasn’t singing yet. I was dabbling in it, but
I wasn’t ready. I just couldn’t believe that Chick wastalking about my tunes, which he’d been listening tofor two weeks in his car. I was so flattered, beyond
flattered. I was on cloud nine. I couldn’t believe it,
but at the same time I did, because I always believed inmyself to the fullest. I always believed that, in the big
picture, I had something sincere to say and I would get
better at saying it. I’d worked very hard.
TNYCJR: Eventually you founded your own label.
AC: Exactly. Chick was always fond of the adventurous
things I did, but not so much the label. They let me goafter four records. Razdaz Recordz was founded in
2002. It’s still active and we’ve put out a bunch ofalbums on it.
TNYCJR: Your albums use electronics, featuremusicians from all over the world and have that strong
Latin influence. That continued after you moved backto Israel from New York. When was that?
AC: In 2004. My time working with Chick had ended
and I wanted less of a city life. I thought I could maybe
build a life in Israel, where my parents, brother andsister were living. I’m close to my family. It’s worked
out amazingly well. I started working in Europe a lot
and have made a strong career there. It’s not that
I don’t still play in the States. I play at the Blue Note in
New York, in Japan and all over the world. But
Europe has become such a great place for a musician
like myself to be. We get treated so well. Brad
Mehldau and Kurt Rosenwinkel live in Europe. I livein Israel, but Europe—where the festivals and gigs
happen—is very close. But it’s great to be playing
anywhere and everywhere.
TNYCJR: Is there a significant jazz scene in Israel now?
AC: There has been for a while. It goes up and down.
There are great musicians in Israel, but that doesn’tmean they can all work and prosper all the time. It’sa tough business, you know?
TNYCJR: Talk about your current trio.
AC: That’s been my trio for two years now. Elchin
Shirinov, the pianist, is from Azerbaijan, out of all theplaces in the world. He’s an amazing pianist with suchdelicate listening abilities and wonderful participationin this music. He’s been with me for years. Roni Kaspi,
the young drummer, she’s only 22. I saw one of thethings she posted on Instagram when she was 20.
“Who’s this girl?” I said.
TNYCJR: She’s Israeli by way of Berklee, right?
AC: Exactly. I contacted her through Instagram andsaid, “Hey, what’s up? Do you want to come and play?”

And when we met I was amazed at her wisdom at thatage. She’s going to be a big star. Mark my words.
TNYCJR: I love her playing on Shifting Sands. She’sa very strong drummer with a lot of energy.
AC: She’s getting a lot of acclaim, making a buzz.
Serious observers of this music are giving her muchacclaim because she’s very smart. Smart drummers
are, at the end of the day, the best ones.
TNYCJR: I have to give a shout-out to your amazing
solo on the title piece. It’s so fluid, it reminded me ofthose heroes of yours, Jaco and Stanley Clarke.
AC: Well, they’re my inspiration. Those guys took it sofar. But it’s wonderful to work with these two
wonderful young players, Roni and Elchin. Shifting
Sands feels very fresh to me, not repeating myself too
much. We’re going to new places, you know. v

The Jazz Loft presents

2ND ANNUAL

MONTELEONEGUITAR FESTIVAL

For more information, visit avishaicohen.com. Cohen is atBlue Note Aug. 16th-21st. See Calendar.
Recommended Listening:• Danilo Pérez–PanaMonk (Impulse, 1996)• Chick Corea New Trio–Past, Present & Futures(Stretch, 2001)• Avishai Cohen–Continuo (Razdaz-Sunnyside, 2005)• Avishai Cohen–As Is… Live At The Blue Note
(Razdaz-Half Note, 2006)• Avishai Cohen (with Nitai Hershkovits)–
Duende (Blue Note, 2012)• Avishai Cohen Trio–Shifting Sands (Naïve, 2021)(LEST WE FORGET CONTINUED FROM PAGE 10)
Sherman toured internationally with Hargrove,
who was a mentor to him, and will perform some ofHargrove’s charts and arrangements passed down tohim from the Roy Hargrove Big Band.
The trumpeter didn’t become any less eclectic
during the 2010s, a decade that found him continuing
to play straightahead on one hand and R&B, funk andhip-hop on the other. The trumpeter also exploredworld music, appearing on African singer Angelique
Kidjo’s Õÿö album and paying tribute to Nigerian icon
Fela Kuti on the compilation Red Hot + Riot: The Musicand Spirit of Fela Kuti. Hargrove was a perfect choice, as
Kuti’s style of African pop was greatly influenced bysoul and funk as well as modal jazz.
Hargrove had a reputation for being a major
workaholic. After Hargrove’s death, McBride describedhim as someone who “could literally play all night.”
He suffered from severe kidney disease and was on
dialysis during the last 14 years of his life. Hargrove
pushed himself too hard, given his health problems
and was only 49 when he died in New York on Nov.
2nd, 2018. v
For more information, visit royhargroveofficial.com.
A Hargrove tribute led by Evan Sherman is at Dizzy’s Club
Aug. 15th. See Calendar.
Recommended Listening:• Bobby Watson Horizon–No Question About It(Introducing Roy Hargrove & Frank Lacy)(Blue Note, 1988)• Roy Hargrove/Christian McBride/Stephen Scott–Parker’s Mood (Verve, 1995)• Oscar Peterson–Meets Roy Hargrove and Ralph Moore(Telarc, 1996)• Herbie Hancock/Michael Brecker/Roy Hargrove–
Directions in Music (Live at Massey Hall) (Verve, 2001)• Roy Hargrove/Mulgrew Miller–In Harmony(Resonance, 2006)

AUGUST

11-13

at the Jazz Loft, Stony Brook, NY(Just 5 min. from the Stony Brook train station)

PERFORMANCES
Anthony Wilson Trio
Russell Malone Quartet
John Pizzarelli Trio
Tal Yahalom Quartet
Ratko Zjaca/James Cammack
Steve Salerno
and others

HONORING the life and careerof Bucky Pizzarelli

SCREENING The Chisels Are Calling,a new film documentary aboutJohn Monteleone

EXHIBIT 15 world class guitars coveringover 100 years of guitar making

Q&A with John Monteleone

For a full calendar of events and tickets
visit thejazzloft.org

THE NEW YORK CITY JAZZ RECORD | AUGUST 2022 35

maria schneider
orchestraSat, Nov 19 @ 3 & 7:30PM
NEA Jazz Master, acclaimed composer/
bandleader and GRAMMY® winnerMaria Schneider returns to NJPAC.

sign up today
to be part ofthe competition!

dorthaan’s place:vanessa rubin trio

sarah vaughaninternational jazz
vocal competition

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

celebrity judges • cash prizes
enter by sep 6 • visit njpac.org/vaughan to apply

an evening
with fred hersch& esperanza spalding
Sun, Jan 29 @ 3 & 7PM
Pianist Fred Hersch and vocalist
esperanza spalding celebrate therelease of their album Alive at theVillage Vanguard.

yellowjackets
Sun, Nov 13 @ 7PM
Get in the jazz-fusion groove
with Yellowjackets’ sophisticatedarrangements, tight rhythms& expansive improvisations.

carolyn dorfman
dance
Jazz Legends and the Power of NOW!
Nov 16 @ 7:30PM
Carolyn Dorfman Dance premieres
Jazz Legends and the Power of NOW!,
with a live jazz performance byRegina Carter.

The American Song series at NJPAC is presented, in part, through the generous supportof the Blanche and Irving Laurie Foundation, the David S. Steiner and Sylvia Steiner Charitable Trust,the Joan and Allen Bildner Family Fund, and the Smart Family Foundation/David S. Stone, Esq., Stone & Magnanini.

gregory
porterSat, Feb 18 @ 8PM
Gregory Porter returns to NJPAC:“One of the most amazing singing
voices you’ll hear on planet earth”(The Guardian).

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

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