Tnycjr 201602

FEBRUARY 2016ISSUE 166
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
dexter
gordon
THE TENOR
OF POWER!
in
memoriam
paul
1932-
KENNY
WASHINGTON
RUSS
LOSSING
ALAN
BRAUFMAN
bley
2016
ART
PEPPER
Managing Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
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FEBRUARY 2016ISSUE 166

New York@Night
Interview : Kenny Washington
Artist Feature : Russ Lossing
On The Cover : Dexter Gordon
Encore : Alan Braufman
Lest We Forget : Art Pepper
LAbel Spotlight : Barefoot
VOXNEWS
In Memoriam
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Staff Writers
David R. Adler, Clifford Allen,
Duck Baker, Fred Bouchard,
Stuart Broomer, Thomas Conrad,
Ken Dryden, Donald Elfman,
Philip Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo,
Suzanne Lorge, Marc Medwin,
Russ Musto, John Pietaro,
Joel Roberts, JohnSharpe,
Elliott Simon, Andrew Vlez,
Ken Waxman
Contributing Writers
Matthew Kassel, Mark Keresman,
Ken Micallef, Eric Wendell
Contributing Photographers
Johan Broberg, Patrick Essex,
Scott Friedlander, Peter Gannushkin,
Alan Nahigian, Antonio Porcar,
Frank Stewart, R.I. Sutherland-Cohen,
Francis Wolff
nycjazzrecord.com
Festival Report
In Memoriam: Paul Bley
CD Reviews
Miscellany
Event Calendar
4
6
7
8
10
10
11
11
12
13
14
16
34
36
by anders griffen
by john pietaro
by alex henderson
by clifford allen
by matthew kassel
by ken waxman
by suzanne lorge
by andrey henkin
There has to be a connection between tenor saxophonist Dexter Gordon (On The Cover) being
born so close to Valentines Day and his legendary way with ballads. Fun fact: February is
also the month he recorded Groovin High and Blue n Boogie as part of Dizzy Gillespies
Sextet of 1945. Pianist George Cables, who worked with Gordon regularly in the late 70s, will
fte his former boss as leader of the Dexter Gordon Legacy Ensemble with four nights at
Dizzys Club. Kenny Washington (Interview) was born on what is now World Digestive
Health Day (May 29th) and his rock-solid drumming certainly makes the many projects of
which he is part go down nice and smooth. He co-leads New Drum Battle with fellow
drummer Joe Farnsworth at Smoke. And Russ Lossing (Artist Feature) celebrates his own
February birthday with a week of curatorship at The Stone, featuring the pianist in projects
ranging from his latest solo release Eclipse to various duos, trios and quartets.
We hope our other features will warm you up in what is the citys coldest month: saxophonists
Alan Braufman (Encore) and Art Pepper (Lest We Forget), Denmarks Barefoot (Label
Spotlight) and festivals from two Winter JazzfestsKln, Germany and right here at home.
And it is our sad honor to present an In Memoriam spread on legendary pianist Paul Bley.
On The Cover: Dexter Gordon (Francis Wolff / Courtesy of Mosaic Records)
Corrections: In last months In Memoriam, Richard Youngstein had his name legally
changed to Noah Young. And Birthday Spotlight Valery Ponomarev was not the first/only
non-American Jazz Messenger; that honor belongs to Czech bassist Jan Arnet.
All rights reserved. Reproduction without permission strictly prohibited.
All material copyrights property of the authors.
2 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD
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Page 1
WED FEB 17
LAURENCE
HOBGOOD TRIO
MATT CLOHESY - JARED SCHONIG
THU FEB 18
ORRIN EVANS TRIO
TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY [2015] -NEW YORK MAGAZINE
TUE FEB 2
enildo rasua
mauricio herrera
ARUN ORTIZ
TRI0
BRAD JONES - ERIC McPHERSON
WITH SPECIAL
GUESTS
WED-SAT FEB 3-6
PAT MARTINO TRIO

PAT BIANCHI - CARMEN INTORRE JR.
SUN FEB 7HCLOSED

TUE FEB 9
JONATHAN
KREISBERG QUARTET
DAVID KIKOSKI - RICK ROSATO - COLIN STRANAHAN
WED FEB 10
FREDDIE
HENDRIX SEPTET
BRUCE WILLIAMS - ABRAHAM BURTON - DAVID GIBSON
BRANDON McCUNE - CORCORAN HOLT - CECIL BROOKS III
THU FEB 11
THE STRYKER SLAGLE BAND EXPANDED

JOHN CLARK - BILLY DREWES - CLARK GAYTON - BILL O'CONNELL - GERALD CANNON - McCLENTY HUNTER
FRI-SUN FEB 12-14
MINGUS BIG BAND

TUE FEB 16
NIR FELDER
KEVIN HAYS - ORLANDO LE FLEMING - ROSS PEDERSON
LUQUES CURTIS - MARK WHITFIELD JR

FRI FEB 19
ORRIN EVANS CAPTAIN BLACK BIG BAND

SAT-SUN FEB 20-21
kurt
rosenwinkel
ORRIN
EVANS
TRIO
LUQUES CURTIS - MARK WHITFIELD JR
WITH
SPECIAL
GUEST
TUE FEB 23
OTIS BROWN III
JEAN BAYLOR - KEYON HARROLD - JOHN ELLIS - SHEDRICK MITCHELL - BEN WILLIAMS
WED FEB 24
sachal
CAMILA
MEZA QUARTET vasandani
SHAI MAESTRO - MATT PENMAN - JODY REDHAGE - JEREMY DUTTON
WITH
SPECIAL
GUEST
THU-SUN FEB 25-28
HERIC HARLANDS IV PSALMSH

THU FEB 25
THU FEB 25
VERY SPECIAL GUEST - ALAN HAMPTON
CHRIS POTTER - LARRY GRENADIER
ERIC HARLAND TRIO: ERIC HARLAND TRIO:

IIl PSALMS
l PSALMS
FRI FEB 26
FRI FEB 26
ERIC HARLAND:
ERIC HARLAND TRIO:
QUARTET: IV PSALMS
lI PSALMS
VERY SPECIAL GUEST - MICHAEL LEAGUE BEN WENDEL - TAYLOR EIGSTI - LARRY GRENADIER
HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH
MON FEB 1, 8, 22 & 29
MON FEB 15
MINGUS BIG BAND MINGUS ORCHESTRA
JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM [EXCEPT 2/7]-DIRECTED BY DAVID OROURKE
NEW YORK @NIGHT
Peter Gannushkin/DOWNTOWNMUSIC.NET
CAMILA MEZA
TRACES
WITH
SHAI MAESTRO - MATT PENMAN

KENDRICK SCOTT - BASHIRI JOHNSON
JODY REDHAGE - SACHAL VASANDANI
SSC 1439 / IN STORES Februay 26, 2016
iTunes.com/CamilaMeza
sunnysiderecords.com
appearing at
JAZZ STANDARD
February 24, 2016
2 sets ( 7:30 & 9:30 pm)
It was, as tenor saxophonist Joshua Redman noted in

his prefatory remarks (Jan. 12th) to the first of a dozen
sets Still Dreaming would play at Jazz Standard, a bit
meta. His brand new project with cornet player Ron
Miles, bassist Scott Colley and drummer Brian Blade
was formed to celebrate Old and New Dreams, a mid70s-80s quartet of Ornette Coleman alumni (including
Redmans father), itself formed to celebrate Colemans
early music. The band carefully felt their way through
Colemans Broken Shadows and Happy House,
Don Cherrys Mopti, Charlie Hadens Blues for
Pat (Metheny) and two originals, Redmans Blues
for Charlie (Haden) and Colleys Its Not the Same,
gathering collective strength as the set proceeded.
Unlike his father Dewey, who walked with equal
authority through the bebop and free zones, Redman
fils is at heart a mainstream player whose solos rely
more on intelligent structuring than ecstatic delivery
for their emotional impact. Miles, the more reticent of
the two horn players, eschewed technical bravado for
subdued intensity, his often sputtery attacks uncoiling
into elegant melodies. Blade, a charismatic force,
managed to create the impression that he was
underplaying, even in his most assertive musical
moments. Redman audibly roused the crowd with his
Broken Shadows solo, but the quartet came closest to
emulating the radical energy of its inspirations on the
finale Happy House, when an atmosphere of
unpredictability became most acute. Tom Greenland
R.I. Sutherland-Cohen / jazzexpressions.org
One of the more robust variants of the harmonicallyliberated piano-less quartet format pairs the saxophone
with tromboneas heard in tenor saxophonist Archie
Shepps mid 60s groups with trombonists Roswell
Rudd or Grachan Moncur III, the New York Art Quartet
with Rudd and alto saxophonist John Tchicai or the
Dutch take with tenor saxophonist Hans Dulfer and
trombonist Willem van Manen. Chicago reed player
Ken Vandermarks long-celebrated quintet played his
arsenal of woodwinds off of the trombone (and
occasional guitar) of Jeb Bishop. Returning to The Stone
for an early January residency with a range of
instrumental combinations, Vandermark took stock of
punchy, caterwauling and eminently groovy sprawl,
channeling the apposite (but related) energies of the
Vandermark 5 and the DKV trio (with drummer Hamid
Drake and bassist Kent Kessler) into a new, ad hoc
quartet with trombonist Steve Swell, bassist William
Parker and drummer Paal Nilssen-Love (Jan. 9th).
Vandermark mostly stuck to the tenor across one
40-odd-minute improvisation and a shorter 8-minute
salvo, trading off glinting, steely rigor with Swells
jubilant, detailed slush as Nilssen-Love and Parker
linked into a sweaty wallop (the bassist seemed like the
only one not to soak through his shirt). No familiar
tunes arose in their collective improvisations, though
occasionally Vandermark switched to clarinet and
granted the music terse, woody space built of
anticipatory hackles.
Clifford Allen
Ken Vandermark & Steve Swell @ The Stone
Joshua Redman @ Jazz Standard
Another Chicago onslaught arrived with several

younger musicians at Greenpoints Manhattan Inn
(Jan.
14th)alto
saxophonist/composer
Nick
Mazzarellas trio with drummer Frank Rosaly and
bassist Anton Hatwich and cellist Tomeka Reid and
(now Louisvillian) bassist Jason Ajemian joining
Chi-town expat drummer Chad Taylor and NECschooled trumpeter Jaimie Branch in a quartet.
Mazzarellas compositions emphasize precision within
the whorl created by Rosalys AfroCuban explosiveness
and the bent harmonics and inventive strength of
Hatwichs bass. Mazzarella continually unfurled
jaunty, rich and topsy-turvy lines with bluesy depth
and commitmentone could trace a line from Johnny
Hodges, Mike Osborne and Roscoe Mitchell in his
playing and writing while Rosalys frequent solos
offered up an aggressive contemporary distillation of
Max Roach and Pete La Roca. The group came prepared,
bringing six tunes from their latest LP, Ultraviolet,
released on upstart indie International Anthem. While
the strings were a focus in Branchs quartet they were
a little harder to hear (the perennial sound department
challenge), thus switching focus to the trumpeter and
drummer for a loosely designed single piece and its
relative signposts. Taylor s cracking, tumbling
precision often drove Branch from Spanish-tinged
splay into noisy runs, though her greatest strength
appears to be in a sonic core rather than brittle,
ornamental effects.
(CA)
W here cozier than Barbs, in Brooklyns Park Slope,
to take in local legends Endangered Blood? Led by

tenor saxophonist/chief composer Chris Speed, with
drummer Jim Black, alto saxophonist/bass clarinetist
Oscar Noriega and bassist Trevor Dunn, the quartet
assembled (Jan. 14th) by the half-lamped neon sign,
blood-red walls, curtains and low tin-plate ceiling of
the bar s backroom to revisit tunes from their two Skirl
albums and try out a couple of new ones. The latter,
often preceded by much technical discussion among
the groupwhod be playing where and so forth
gave the audience the feeling of sitting in on a
workshop or recording session. The opening, as-yetuntitled chart by Speed had a catchy melody grouped
in 15- and 5-beat patterns, Speeds cool, Lester Youngish tenor tone contrasting with Noriegas sharperedged alto. Diego Partido sounded like an Irish reel,
Black making backhanded cymbal strokes and sharp
chops on his square-cut slap cymbal. Blues in C Flat
Minor, an ode to Teddy Wilsons recording with Chu
Berry, now reimagined in 7/4 time, was followed by
Noriegas Complimenti, featuring the irrepressible
Black, his mouth in a straight grimace, shoulders
rolling forward with each response; on Manzanita he
sounded like jazz counterpart to Led Zeppelins John
Bonham. Bella V, an ode to Noriegas wife, revealed
Speeds post-Romantic, Johnny Hodges side. A frenetic
medley, Elvin Lisbon/Tacos at Oscars came last,
bringing the set to an emotional peak.
(TG)
The
The inaugural 2016 Rose Theater engagement of the

Jazz at Lincoln Center Orchestra with Wynton
Marsalis broadened the scope of its repertoire in a
program titled Jazz In The Key Of Life. Under guest
musical director, orchestra trombonist Vincent Gardner,
the band performed original jazz arrangements of a
wide range of popular songs of the 60s and 70s, culled
from the divergent worlds of soul and rock, for the
sold-out Saturday night (Jan. 16th). Noting that the
performance would delve into a canon not often heard
in jazz, Gardner lamented the current state of pop
music, lauding the earlier musics substance and
sophistication. Ted Nashs original orchestration of
The Beatles Eleanor Rigby, featuring Marsalis
soaring trumpet and Carlos Henriquez dramatic arco
bass, bore out the trombonists assessment. The band
swung Basie style on Sherman Irbys arrangement of
Stevie Wonder s Smile Please, which spotlighted his
classic alto sound. Other noteworthy selections
included Henriquez Latin-tinged take on Cream
classic White Room, Gardner s inventive adaptation
of Wonder s Another Star (featuring Victor Goines
bass clarinet) and Marsalis soulful interpretation of
Crosby, Stills and Nashs iconic Wooden Ships.
Throughout the night the orchestra put its stamp on
timeless pop, pulling out all the stops for its closer,
Gardner s stomping New Orleans-styled version of
The Jacksons hit Blame It On The Boogie.

Russ Musto
scott friedlander
Jacob Sacks @ Cornelia Street Caf
To
begin 2016, tenor saxophonist Ted Nash crossed

town to the east side and the plush confines of another
Jazz at..., this time Kitano (Jan. 2nd). He was leading a
quartet of old friends: guitarist Steve Cardenas, bassist
Ben Allison and drummer Matt Wilson; with the former
two Nash recorded a forthcoming, vinyl-only album on
Newvelle Records comprised of music by Jimmy
Giuffre, Jim Hall and film composers like Henry
Mancini. This material formed the bulk of the 65-minute
set, bookended by Monks Four in One and Ellingtons
Amad from The Far East Suite. The Monk tune was
almost a warm-up, pithy solos all around, Wilson
standing out for his melodic playing, almost sounding
like a pianist comping. Things opened up right away
after that courtesy of an expansive take on Giuffres
The Train and the River, Nash switching to clarinet
and Cardenas channeling Extrapolation-era John
McLaughlin in his solo. Halls beloved song Careful
followed, Nashs lead initially just over Allisons
accompaniment before the band dropped into heavy
swing and the saxophonist slightly shredded his tone.
Prior to an 11-minute Lujon (Mancini) and 3-minute
Love Theme from Spartacus (Alex North), Nash told
the audience about his father and uncle, trombonist
Dick and saxophonist Ted, respectively, and their long
careers in Hollywood as session players. The final
Ellington piece saw Nash open on tenor and finish on
clarinet, appropriately reaching mizmar-like sonority
on the exotic romper.
(AH)
W H AT S N E W S
Feb. 7th will mark the 50th anniversary of the Vanguard
Jazz Orchestra, originally called the Thad Jones-Mel
Lewis Orchestra, then just the Mel Lewis Orchestra upon
Jones move to Europe and finally taking on its current
appellation after Lewis death in 1990. The group has been
performing pretty much every Monday at the legendary
West Village club since 1966 and will celebrate that feat
with a week of shows Feb. 1st-8th, the official celebration
coming on Monday, the 8th. For more information, visit
villagevanguard.com. In addition, Resonance Records has
just released All My Yesterdays: The Debut 1966
Recordings at the Village Vanguard, a two-CD set of the
inaugural performance (as well as a set from six weeks
later), reviewed in this issue on pg. 17. For more
information, visit resonancerecords.org.
Much acrimony arose from the sudden halting of WKCRFMs streaming service, especially coming as it did just
before its day-long Paul Bley memorial broadcast. The
Columbia University-based station released the following
statement: We are in the process of reassessing our
ability to stream online and will update you as soon as
possible. We regret that we are unable to provide this
service. WKCR will continue to broadcast on 89.9 FM and
89.9 HD 1 radio as we work towards a long-term solution.
For more information, visit cc-seas.columbia.edu/wkcr.
In other Columbia news, the university will hold two events
for the public. Feb. 9th will be Book Talk by Krin Gabbard,
author of Better Git It in Your Soul: An Interpretive Biography
of Charles Mingus, and a performance by the Boris Kozlov
Trio. Feb. 13th will be an all-day symposium, Albert
MurrayAn American Original: Novelist, Essayist,
Thinker, culminating with a performance by the Michael
Carvin Experience. For more information, visit
jazz.columbia.edu.
In honor of the final year of Los Angeles Laker Kobe
Bryants 20-year career, pianist Robert Glasper was
commissioned by Nike to compose a song, Be
Courageous, in his honor. The video for the song can be
viewed at youtube.com/watch?v=jdUvHwpxb2A.
Frank Stewart for JALC
days of connecting a musician to his art via

appearance are pretty much over, whether it be Lester
Youngs pork pie hat or Peter Brtzmanns aggressive
facial hair. Yet there are some holdouts. Pianist Jacob
Sacks musical aesthetic is mirrored by his fashion
sense: conservative suits and ties matched to a
corybantic head of hair and muttonchop sideburns.
Sacks, appearing in the unusual role of leader at
Cornelia Street Caf (Jan. 2nd), presented an hour-long
(stiflingly crowded) second set of traditional forms and
textures vying with unfettered group improvisations.
The quintet was a powerful one, the equivalent of a
manhandling offensive football line, featuring the
paired tenor saxophones of Ellery Eskelin and Tony
Malaby (also soprano), themselves alchemical distillers
of their forbears. Beneath, behind and sometimes
through them were bassist Michael Formanek and
drummer Dan Weiss, the former rich and gooey, the
latter part typewriter, part Tibetan gongman. Sacks
five original piecesballads, waltzes and vamps
ranged between 9 and 12 minutes, yet seemed longer as
the ear tried to focus on all the complexity, while his
jittery solos sounded like they were being projected
through a prism in real-time or trying to catch their
own tail. There were snatches of Thelonious Monk and
Andrew Hill but it was ultimately all Sacks. A good
barometer for a shows intensity is how high Malabys
left elbow goes up when he is playing. It was above his
ear, my friends, above his ear.
Andrey Henkin
Wynton Marsalis & Jazz at Lincoln Center Orchestra @ Rose Theater
An overflow crowd packed the West End Lounge for a
Sunday afternoon Tribute To Cedar Walton presented

by VTY Jazz on what would have been his 82nd
birthday (Jan. 17th; he died in 2013). Alto saxophonist
Vincent Herring, bassist David Williams and drummer
Willie Jones III, longtime members of Waltons last
quartet, were joined at the piano by David Hazeltine,
an unabashed Walton acolyte, whose affection for the
late great pianist is evident in his own individual style.
Williams, who spent the better part of four decades
playing with Walton, began the set fting his departed
colleague with good humor. Were here to honor the
great Cedar Walton. Since hes not here to protest, we
can compliment him, he proclaimed before
introducing Cedar s Blues, a typically swinging
Walton piece, which had the whole room tapping their
feet as each member of the band took solo turns.
Following with Waltons Simple Pleasure and
Hindsight, the foursome settled into a solid groove,
hardbopping dynamically with Williams and Jones
navigating tempo changes as the mood modulated
from gleeful to melancholy to exhilarating. The trio
spelled Herring for a stirring rendition of Over The
Rainbow, a favorite ballad of Waltons, on which
Hazeltines articulate piano runs incited excited
exclamations from the audience. The quartet closed
out the set with an incendiary reading of Waltons
Firm Roots, featuring an extended workout by Jones
that had the crowd cheering wildly.
(RM)
The Banff Jazz Workshop in Alberta, Canada, led by

Vijay Iyer, is accepting applications for its 2016 session
(Aug. 2nd-20th) through Feb. 10th. For more information,
visit banffcentre.ca.
Dr. Lonnie Smith, who just released his first album for
Blue Note in over 45 years, had another milestone when
he sat in with The Roots on NBCs Tonight Show Jan. 12th.
DASH Radio, a streaming broadcast station, has partnered
with the Miles Davis Estate for the program Evolution Of
The Groove, which began in December 2015. The late
trumpeters son Erin and nephew Vince Wilburn Jr, are
co-hosts of the program, which airs Fridays. For more
information, visit dashradio.com.
The German Moers Festival has announced its 2016
Improviser-in-Residence. Composer/violinist Carolin Pook
will be the ninth recipient of the honor, which allows
musicians to live and work in Moers for the duration of a
year. For more information, visit avant-moers-festival.de.
Rome Neal, known for his on-stage portrayal of Thelonious
Monk, is directing Dare to be Black: The Jack Johnson
Story, which will have a three-week run Feb. 4th-21st at
the Theater for the New City. For more information, visit
theaterforthenewcity.net.
Trumpeter Nate Wooley and percussionist William
Winant have been named among of the 14 recipients of
the Foundation for Contemporary Art Grants to Artists
award for 2016. For more information, visit
foundationforcontemporaryarts.org.
Submit news to info@nycjazzrecord.com
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016
I NTERVIEW
KENNY
johan broberg
WASHINGTON
by anders griffen
K enny
Washington is a representative of the legacy of

bebop and hardbop. Appearing on over 250 albums, he is one
of the greatest straightahead drummers of the last 40 years.
Washington has accompanied many of the masters,
including Lee Konitz, Johnny Griffin, Dizzy Gillespie,
Clark Terry, Benny Carter and too many other greats to
name. He is especially well known for supporting trios led
by pianists such as Hank Jones, Tommy Flanagan, Mike
LeDonne, George Cables, Ahmad Jamal, Bill Charlap and
many more. A native New Yorker, Washington studied with
Rudy Collins and attended the LaGuardia High School for
Music and Art. He is also an avid listener and historian,
bringing his knowledge to a new generation as a private
instructor and educator at Juilliard and SUNY-Purchase
College.
The New York City Jazz Record: Are you still a regular
at The Institute of Jazz Studies (IJS) at Rutgers-Newark?
Kenny Washington: Yes. I havent been there in a

minute, but funny you should mention that because
I was thinking about taking a trip up there. There were
a few old records that I found out about and I wanted
to see if the Institute had them.
TNYCJR: Are you a record collector?
KW: You could say that, but I dont care if the record
has the original Blue Note label, the original Prestige
label and all that kind of stuff. And thats why these
things are going for so much. [Collectors] dont want
the reissue; they want the original. And in some cases,
the reissue might sound better. Im in it for the music.
I dont collect records like stamps.
TNYCJR: I met you in the stacks at IJS and you had
been checking out a lot of different stuff and some
things I never heard of.
KW: The Institute is fascinating to me anyway, because
I can be trying to find one thing and find something
else that I knew nothing about by accident. It almost
always happens. Or, youre up there and one of those
guys up there that know a whole lotVincent Pelote,
Dan Morgenstern or Ed Bergeryou ask them one
thing or they might pop into my listening room and
say, Hey, Wash, what are you listening to? and I tell
them and then they start, Well, you know, man, do
you know about such and such record? Da da da da da
played with such and such and you can get better
sound from this issue.

These guys know so much. From there, I go and
find what theyre talking about and I run into
something else I didnt know about. So, I go in there
looking to get one or two records and I come out with
ten. The people they have working there are really,
really knowledgeable. I get there in the morning and
Im there for the day, man. Thats the greatest archive
in the world.
TNYCJR: You continue to be a student, right?

KW: Absolutely. I am a student of this music, theres
no doubt, and theres always something more to learn.
And the older you get and the more you mature, the
more you start to understand and hear things you
didnt hear on records you might have been listening
to for 30 or 40 years. This music is amazing.
TNYCJR: You mention being surprised when making
this or that discovery, but what do you intend to
accomplish with your study otherwise?
KW: Just to be a better musician. I just want to know.
Theres always more music and I just want to know as
much about it as possible. The more you know about
the music, the better you will play it. Thats one of the
things I try to tell my students up at Juilliard and at
Purchase: the more you listen, the better you will be as
a musician. Its important and its one of the things the
younger musicians lack. They dont listen as much as
they should.
TNYCJR: How long have you been at Purchase?
KW: Maybe five or six years. I love Purchase. Thats
like jazz boot camp. All the peopleTodd Coolman,
Jon Faddis, Ralph Lalamathey take this music very
seriously. Its a very good school. Sadly, its a well-kept
secret. There are more kids that should be going to that
school. You can get as much bang for your buck, or
more, than some of these other schools. Nobody in that
school is messing around. The problem is, the kids
want to be in the city. Juilliard is a good school, but its
a small jazz department and, lets face it, not everybody
is going to get in. There are some other alternatives,
which I wont mention. I say, Dont go there, because
youre not going to learn what youre supposed to
learn. I try to recruit people to come to Purchase all the
time. And the first thing I hear out of a students mouth
is, Thats out in the boonies, because they want to
hang out at Dizzys and play at Smalls and other clubs.
They think being seen is how youre going to get hired,
and that is true, but you have to know how to play
first. But they want everything now. Instead of going
for the right kind of training, they just want to go out
here and they still dont have their shit together. So, I
tell them about Purchase, where they can really get
their shit together.
TNYCJR: One of the big changes that has come since
you were coming up is that the number of college-level
jazz programs has grown exponentially, but some of
the elders lament that there are just not enough
qualified teachers.
KW: Sure. Because some of these schools these kids are
flocking to, and Im not going to mention them, theyre
not getting what theyre supposed to. Lets face it.
These kids are funny, because they say they want to be

jazz musicians, but a lot of them are not serious. Theyll
get these degrees and everything but they still cant
play. Its amazing what they dont know. And Im not
even just talking about jazz history. Im just talking
about playing their instrument. And a lot of that has to
do with what they had in elementary school, junior
high and high school and its not necessarily the
teacher s fault, its budget cuts. When I was coming up
in New York City in the 60s, we had all these programs,
because mayors like John Lindsay and people like that,
their whole thing was: keep kids off the streets. So,
when school ended at 3 oclock, you had an option to

(CONTINUED ON PAGE 42)
Antonio Porcar
ARTIST FE ATURE
russ
lossing
by john pietaro
W hen
asked about his rather singular musical

approach, Russ Lossing doesnt speak in terms of
origins or influences but rather about finding himself
within the sea of inspiration. I have a very broad
background: classical piano, 20th century music, free
improvisation and the full jazz canon. Plus I spent
some years playing rock and funk gigs on the road, so
I carry it all with me when I sit down to play. Among
contemporary jazz pianists, during a time in which
so-called legit pedigrees are increasingly common,
Lossings darting fingers, sparkling technique, widespaced chords and angular harmonic conception
maintain a unique voice, one born of a special blend.
Its all in the risk-taking.
Upon first listen, the influence of French
Impressionist composers and pointed inward foray of
Bartk are present, particularly in Lossings solo piano
works. But, like a game of Telephone, once you reach
the end of a Lossing piece, something completely
different may be dwelling in your stereo. And in an
ensemble, the drive of other musicians propels him to
quite magical places. While leading his trios through
long, complex rhythmic passages, the pianist is wont
to embark on a profound silence. Without warning.

Born in Ohio in 1960, Lossing spent years taking
musical risks. Classical piano studies began at age five,
with forays into improvisation and composition while
still in grade school and jazz studies at 13. By the time
hed earned a B.Mus. in Piano from Ohio State, Lossing
had already been a touring professional, moving
fluidly through genres and forcing invention wherever
possible. His forward-thinking approach to both
playing and composing led one of his professors to
introduce him to John Cage. The legendary composer
had a profound impact on the still developing young
pianist. We only had two occasions to get together
and talk, but any time spent with him was utterly
valuable. He read through my scores and we played
piano together. His thing was creating, not emulating:
dont copy; trust YOURSELF. I was already going in
this direction but this experience, listening to Cages
concepts and philosophy in this setting, made so much
sense. The man was so prolific. His string quartets, his
music for numbers, his constructions in metal... And
Lossing trails off in a reflective sigh.
Relocating to New York City in the mid 80s,
Lossing studied at the Manhattan School of Music,
earning an M.Mus. and began an earnest endeavor into
the Downtown new music scene, then in its most fertile
period. During these years, uptown 20th century
composers and performance conceptualists had
ventured into SoHo and the East Village, forging an
improbable but amazing circle incorporating free jazz,
punk rock and any number of possible combinations.

Lossing is a microcosm of combinations. I love
the music of Bartk and Schoenberg. And I studied
Bud Powell, Thelonious Monk, Earl Hines, Lennie
Tristano, all of them. But I kept a notebook of my own
ideas. Eventually I had to purge myself of the great
For more information, visit russlossing.com. Lossing

curates and appears at The Stone Feb. 23rd-28th. See
Calendar.
Recommended Listening:
Russ Lossing/Adam Kolker/John Hbert
Change of Time (OmniTone, 1998)
Russ Lossing/John HbertLine Up
(hatOLOGY, 2006)
Russ Lossing TrioOracle (hatOLOGY, 2007)

Russ LossingDrum Music (Music of Paul Motian)
(Sunnyside, 2011)
Russ LossingEclipse (Aqua Piazza, 2012)

Samuel BlaserSpring Rain (Whirlwind, 2014)
LE POT HERA
MENGIS PFAMMATTER TROLLER FRIEDLI
jazz pianists, though; I didnt want to sound like

them. So he emulsified aspects of them all, alternately
drawing on the influences or simply producing new
genres that grew from the emulsion. Much 20th
century composition is about interval play, especially
Schoenbergs. The 12-tone thing helped him to get his
ideas onto paper, but it was always about the intervals.
Im a jazz pianist but my harmonic approach is based
on this conceptfinding new sounds and new
expressions among the intervals.

Lossings musical risk-taking has brought him to
the attention of some of the celebrated jazz artists of
our time, most notably Paul Motian. Lossing often
served as the legendary drummer s pianist during the
final 12 years of his life. Their relationship extended
further as Motian also took on the role of sideman for
some of Lossings trios. As It Grows (hatHUT, 2002) is a
prime example of how democratic, probing and
powerful a trio can be, even as the inventions are
cultivated from silence. Lossings alliance to Motian
was demonstrated with 2011s Drum Music, a series of
alternately meditative and passionately explosive
reflections on Motians music and presence.
Lossing has also collaborated with Billy Hart,
Mark Helias, Michael Formanek, Gerry Hemingway,
Tom Rainey, Cameron Brown, Mark Dresser, Tony
Malaby, Dave Liebman, John Abercrombie, Mat
Maneri, Marty Ehrlich, Tim Berne, Bobby Previte,
Jamey Haddad, Tyshawn Sorey, Rudresh Mahanthappa,
Mike Clark, Bob Moses, Jerome Harris and a wealth of
others. He has composed over 400 works, recorded 12
CDs as a leader and another 30 for others. But the
projects keep coming. I play with many people from a
lot of different backgrounds. Thats why I love to be an
improviser. You just cannot get that in a purely classical
setting, the pianist added.
A current venture is the quartet King Vulture.
I like to give bands names rather than putting my
name out front, he explained, yet the Russ Lossing
Trio (with Masa Kamaguchi and Billy Mintz) has been
a favorite vehicle for some 17 years and is still thriving.
And theres Three-Part Invention with [bassist] Mark
Helias and [trumpeter] Ralph Alessi and my ongoing
duos with [drummer] Gerry Hemingway and with
[saxophonist] Tim Berne. Lossing is also deep into a
composition project with vocalist Kyoko Kitamura
called Song-Cycles, with a repertoire based on historic
Buddhist poetry. And then theres his duo with
guitarist Ben Monder exploring the music of Cage,
Ligeti and Schoenberg. We adapted the scores for our
instrumentation and perform them as written, then
they become vehicles for our improvisations.
Needless to say, Lossing is not hurting for
something interesting to do. But lest we think hes
slowing down, last year the pianist founded his own
record label, Aqua Piazza, and released Eclipse, an
album of solo improvisations. In a long line of fearless,
nakedly expressive performances, Lossing calls this
one his most personal statement yet. v
www.everestrecords.ch
ON THE COVER
francis wolff / courtesy of mosaic records
DEXTER
GORDON
THE TENOR OF POWER!
by alex henderson
Dexter Gordon went down in jazz history as one of its

most influential tenor saxophonists. Some giants came
before him but most tenor saxophonists who emerged
after the mid 40s were influenced by him in some way,
from Sonny Rollins and John Coltrane to Jimmy Heath,
Gene Ammons, Eddie Lockjaw Davis and Johnny
Griffin. Although 26 years have passed since Gordons
death at 67 on Apr. 25th, 1990, his influence hasnt
waned: one hears echoes in everyone from Joe Lovano
to Eric Alexander to Joshua Redman. And in 2016,
Gordons contributions are being remembered with a
variety of activities from the Dexter Gordon Society
(DGS) and New York City-based Dexter Gordon Legacy
Ensemble (DGLE).

Born in Los Angeles on Feb. 27th, 1923, Gordon
would have turned 90 in 2013. That year, Woody Shaw
III (stepson of Gordons widow, jazz scholar and DGS
president/co-founder Maxine Gordon) came up with
the idea for the DGS (for which Shaw serves as
director). The DGLEs first tribute event came in 2013
at Dizzys Club, followed by birthday tributes at that
same venue in 2014, 2015 and continuing this year.

The Dexter Gordon Legacy Ensemble started at
the same time that we launched the nonprofit, the
Dexter Gordon Society, to preserve his legacy and to
further his name and his music, Maxine Gordon
explains. Part of that was putting together a group
that would play his music. So the natural person to be
the musical director, of course, was [pianist] George
Cables, who recorded with Dexter. We talked to George
about putting together a group and we had to have
two tenor players so they could play The Chase.

The DGLE has had different lineups along the way.
The incarnation appearing at Dizzys this month is a
sextet consisting of two Gordon alumni (Cables and
drummer Victor Lewis) as well as vibraphonist Joe
Locke, bassist Dezron Douglas and saxophonists Craig
Handy and Abraham Burton. And the DGLEs activities
certainly arent limited to NYC: during its four-year
history, the group has performed in places ranging
from Cleveland to Denmark.

Locke occupies what Maxine Gordon describes as
the DGLEs Bobby Hutcherson Chair. Hutcherson
played with Gordon in the 60s-70s and, in 1986,
appeared in Bertrand Tavernier s film Round Midnight
(starring Gordon as the fictional Dale Turner, an
American expatriate saxophonist living in Paris in the
50s, a role for which he received an Oscar nomination).
The DGS will celebrate the films 30th anniversary this
year with a free screening at Jazz at Lincoln Center.
And Gordons legacy will also be remembered with
Dexter Calling, a biography that Maxine Gordon has
been working on for University of California Press.

Gordon is not only remembered for his playing but
also for his composing Were always adding things to
the repertoire, the 71-year-old Cables notes. You can
usually count on hearing us play Cheesecake or Fried
Bananas, but we do want to keep expanding the
repertoire. Were doing things that people are familiar
with as well as things that might be a little more
obscure. The concept is to keep the memory and the
legacy of Dexter Gordon alive and its a very important

legacy.

Gordon began making a name for himself in the
jazz world in the early 40s, when he played swing in
Lionel Hamptons big band. But soon Gordon was a
champion of bebop and applied the innovations of alto
saxophonist Charlie Parker and trumpeter Dizzy
Gillespie to the tenor. Because of his drug problems
and time served in prison, Gordon was out of
circulation for much of the 50s but made a triumphant
comeback in the early 60s, recording a series of classic
albums for Blue Note and other labels. When he was
living in Copenhagen, Denmark from 1962-76, Gordon
was prolific both on stage and in the studio.

Moving to Denmark was really good for Dexter,
recalls Danish producer Nils Winther, who recorded
Gordon extensively for his label SteepleChase Records
during the 70s. He found a club in Copenhagen that
loved him, the Jazzhus Montmartre. Dexter was a
fixture in the club and had several great rhythm
sections there. Dexter used to play three months during
the summer at the Montmartre Clubevery night
except Monday night. Dexter had the summer gig.
Where in America would Dexter have had a threemonth gig in a club playing every night except Monday
night? Nowhere.

Danish drummer Alex Riel has fond memories of
playing with Gordon extensively at Jazzhus
Montmartre and other Scandinavian venues. Im glad
he chose to stay in Denmark because he meant a lot to
me personally, but also because he had a great impact
on the Danish jazz scene, Riel explains. I mean, can
you think of a greater inspiration if you are a young
jazz cat? Dexter would sometimes be playing at
Jazzhus Montmartre several weeks in a row and the
place would be packed every single night. People came
back to hear him. It was usually me or Makaya Ntshoko
on drums, Niels-Henning rsted Pedersen on bass and
either Tete Montoliu or Kenny Drew on piano.
Gordon experienced three major comebacks
during his lifetime: the aforementioned return to
recording in the early 60s; his decision to move back to
New York in 1976; and the Round Midnight film in
1986. Winther remembers that when Gordon moved
back to the U.S. after 14 years in Europe, signed with
Columbia/CBS Records and headlined the Village
Vanguard, it was an historic series of events for jazz.
Dexter was comfortable here in Denmark but, of
course, he also liked to be recognized in America,
Winther observes. And Dexter was really big when he
came back to New York. He was on top of his game at
the Vanguard and everybody in New York was there.
Pharoah Sanders was there. I remember walking
around the Village and people on the street were
talking about Dexter.
Cables, Lewis, Hutcherson, trombonist Slide
Hampton and trumpeter Woody Shaw were among the
improvisers who joined Gordon on 1977s Sophisticated
Giant, the saxophonists first album for Columbia. 39
years later, Lewis still appreciates Gordons insistence
that he be part of the project. Sophisticated Giant is a
record Im very proud of, but I almost didnt get on the

record, Lewis remembers. I was 27 and I was new on
the scene. The powers that be at CBS didnt really
know me and since it was a larger ensemble as opposed
to a quartet or quintet, CBS didnt know if I could
handle the job. So Woody and Dexter convinced CBS to
use me. They really wanted me on that record and it
gave me goosebumps to have them go to bat for me.

Although Gordon favored a big tone and swung
hard, he also had a reputation for being highly melodic.
According to bassist Buster Williams (who appeared
on some of his Prestige recordings of the 60s-70s) that
love of melody was a key element of his greatness.
Dexter sounded great in the 40s and 50s and in the
60s, he just got better and better, as far as Im
concerned, Williams stresses. Dexter developed a
distinctive sound early on and he never lost it. Dexter
never cluttered things up when he improvised. Dexter
respected melody and when he played a melody, you
could hear that he knew the lyric.

Like his idol Lester Young, Gordon firmly believed
that instrumentalists should be familiar with the lyrics
of standards they were embracing. Norwegian vocalist
Karin Krog, who performed with Gordon when he was
living in Europe, recalls, Working with Dexter as a
singer was fun because he knew a lot of lyrics and
I would say he took up the heritage after Lester Young
wonderfully. You can sometimes hear Dexter is playing
the words more than the melody. Dont forget: he had
done a bit of acting and he brought that into his
performances, which enriched them and got him in
contact with his public.

Cables recalls that when Gordon employed him in
the late 70s, he was struck by the fact that a lot of
younger listeners were showing up at Gordons gigs
and, in 2016, the fact that jazz musicians continue to be
affected by his work illustrates his timelessness. One
thing I noticed when I played with Dexter in the 70s
was that two-thirds of the audience was under 30,
Cables explains. That would always startle me. People
who were under 30 at the time could relate to Dexter
and they were emotionally and spiritually invested in
the music when they were in the audience. Dexter s
music is not superficialit has strength and depth.
Dexter Gordon is the spirit of jazz. v
For more information, visit dextergordon.org. The Dexter
Gordon Legacy Ensemble is at Dizzys Club Feb. 25th-28th.
See Calendar.
Dexter GordonBOPland: The Legendary Elks Club
Concert L.A. (Savoy Jazz, 1947)
Dexter GordonDaddy Plays The Horn
(Bethlehem-Verse, 1955)
Dexter GordonGo (Blue Note, 1962)

Dexter GordonThe Tower of Power! (Prestige, 1969)
Dexter GordonThe Complete Trio & Quartet
Studio Recordings (SteepleChase, 1974-76)
Dexter GordonHomecoming: Live at the
Village Vanguard (Columbia, 1976)
ENCORE
ALAN BRAUFMAN
by clifford allen
F rom an historical perspective, its inevitable that

some of our most intriguing windows into far corners
of the creative world are ever-so-slightly cracked, and
to some, may appear nondescript and hidden. Take, for
example, the music of alto saxophonist and flutist Alan
Braufman, who recorded one LP as a leader in 1974
(with bassist Cecil McBee, drummer David Lee Jr. and
multi-instrumentalists Cooper-Moore [Gene Ashton]
and Ralph Williams) for India Navigation and a
smattering of rare sideman dates, as well as a couple of
nearly invisible CDs under the name Alan Michael in
the 90s. A thick-toned and technically robust player,
who would have fit in well alongside such wellregarded alto firebrands as Jackie McLean and Gary
Bartz in the 70s, Braufman has remained certifiably
obscure despite his connection to a number of disparate
players and now-vaunted communities.

Born on May 22nd, 1951 in Brooklyn, Braufman
expressed an interest in music at an early age,
supported by a creatively-inspiring family. Raised on
Long Island, he started playing clarinet at eight. My
mom would play Mingus, Eric Dolphy and Coltrane in
the house. It grabbed methere was something
exciting about it that I didnt hear in other music. When
I was 13 I got my first saxophone. I had a teacher who
could teach me how to play but not how to improvise.
I didnt know changesI knew I couldnt get to first
base by looking at a bebop tune, but I could pick out
the patterns that were happening in free music and
figure out stuff to do. Braufman entered Berklee
College of Music in Boston in 1969 and it wasnt long
before he met other people interested in creative
expression. With Berklee, I actually did four years in
three but I took a year off in between, so it was still a
full term. I kick myself making this decision now, but I
played with the Philip Glass Ensemble with
[saxophonists] Dickie Landry and Richard Peck, Jon
Gibson and those guys. I went to one rehearsal and he
asked me to do a concert and I couldnt because I was

playing a duo with Cooper-Moore on WKCR the same
day!

Braufman returned to New York at the culmination
of his time at Berklee and moved into a building at 501
Canal Street, where concerts and rehearsals took place
and musicians like drummer Tom Bruno and vocalist
Ellen Christi would later take root. There are some
stories about that place! Those space heaters wed turn
on because there was no electric bill? It was the FEAR
of an electric bill. ConEdison never came aroundit
was three years that theyd never been by to check the
meter and we werent going to volunteer, because we
were just out of college. One day there was a knock on
the door and David [S. Ware] and I were closest to the
window and saw the ConEdison truck out there. We
realized that if they got in there it would be a $10,000
bill for five floors so it became a cat-and-mouse game.
Every time you went out you had to look around
because you didnt want to run into the ConEd guy.
Braufmans Valley of Search consists of two sidelong suites and while yet to be reissued is considered
to be a rugged classic of post-Coltrane improvised
music and is a studio embodiment of the loose, allencompassing sessions taking place at 501 Canal Street
and other artist-run spaces. Interestingly, a sideman
appearance on McBees leader debut for Strata-East in
1974, Mutima, led to the bassists work on Braufmans
own album: He found out about me and asked me to
be on his date, so I felt comfortable asking him to be on
mine, which was a real honor since hes such an
amazing player. I was just a young guy and he said
Yes, Id love to!wow, you know? Braufman went
on to work with drummer William Hooker (including a
deep, earth-rattling duo issued privately on the Brighter
Lights LP, now part of the compilation Light: The Early
Years 1975-1989) and stints with the Carla Bley Band,
guitarist Paul Nash, progressive art-rocker Michael
Zentner and by the 90s was recording sessions under
the name Alan Michaelapparently a result of his
name being continually misspelled or misattributed.
Raising two young children, Braufman and his family
relocated to Salt Lake City, where he continues to teach
saxophone and perform, as well as participating in
ultramarathons and other long-distance athletic events.

Recently, however, he has begun making entreaties to
New Yorks free music scene in the form of
neighborhood sessions with Cooper-Moore, William
Parker, Chad Taylor and Darius Jones. His tough,
precise ebullience is still in full flowera commanding
sound that seems only more distilled from what it was
40 years agoyet Braufman remains largely unknown
to even the most fanatical jazz fan. It is hoped that ratio
will change in the years to come, whether through
well-done reissues or more frequent and publicized
local appearances. v
and sensual, with just enough dry, reedy grit thrown in

for good measure. He meshed the cerebral stolidity of
Konitz, bluesy Kansas City howls of Parker and
thrashing intensity of Coltrane. You can feel the love
in his playing, said saxophonist Joe Lovano.
But his progress was hampered by addiction.
During the late 50s and early 60s, Pepper was
constantly in and out of jail for heroin possession,
which slowed down his career considerably. Still, in
1957 he managed to produce one of the finest albums
of his life with very little preparation, the creation of
which he recounts in his memoir, Straight Life,
co-written with his wife, Laurie. That album was Art
Pepper Meets the Rhythm Section, with pianist Red
Garland, bassist Paul Chambers and drummer Philly
Joe Jones (the rhythm section for Miles Davis first
great quintet). In the late 60s, he started to straighten
himself out and joined Buddy Richs band. Near the
end of his run, he toured extensively and recorded a
spate of very fine duo albums with the pianist George
Cables, including Goin Home and Tte--Tte (both
released 1982, the year he died).
Pepper struggled with the physical and
psychological toll drugs, alcohol and cigarettes had
wrought on his body and mind. Pepper was a moody,
complicated man who had seen a lot. (Hate and
beauty are so close, he observed, ominously, in the
documentary about him, Notes From a Jazz Survivor.)
His life ended too early; he died from a stroke at the
age of 56, well before he could prove correct his boast

to the Times. Pepper albums continue to be released,
including the Neon Art series and Live at Fat Tuesdays,
which came out last fall (see review on pg. 30). For
those who are listening, there is much to savor. Young
players should be hip to players like him and Joe
Maini, but there was always more focus put on the
vibrance of moving music forward to establish more
identity, said the saxophonist Dick Oatts. Pepper
knew exactly what kind of musician he was, but maybe
that wasnt sufficient. Sometimes being just a great
player is not enough, Oatts noted. You have to be a
consistent visionary. v
Cecil McBeeMutima (Strata-East, 1974)
Alan Brauiman QuintetValley of Search
(India Navigation, 1975)
Carla BleyMusique Mcanique (WATT, 1978)
William HookerBrighter Lights
(Reality Unit Concepts, 1984)
Paul NashSecond Impression (Soul Note, 1985)
William Hooker QuartetLifeline (Silkheart, 1988)
WILLIAM
HOOKER
STONE RESIDENCY
FEB 9-14, 2016
Ave C, 2nd St. NYC, $15 per set
williamhooker.com
thestonenyc.com
LEST WE FORGET
ART PEPPER
by matthew kassel
Alto saxophonist Art Pepper thought very highly of

his own playing. In 1977, he told New York Times music
critic John S. Wilson that he considered himself the
best jazz saxophonist in the world, squaring out that
holy trinity of Lester Young, Charlie Parker and John
Coltrane. Ive felt that way all my life, he boasted.
Ive never doubted it. He may have been right:
Pepper was highly influential in his day. A featured
soloist in Stan Kentons orchestra, he finished second
only to Parker in a 1952 DownBeat readers poll and was
a handsome, stylish arbiter of West Coast cool. (He
rarely made New York appearances and spent his life
in California.) But its hard to find much evidence of
his impact in todays jazz circles.

Despite Peppers early career success, it seems that
Phil Woods, Cannonball Adderley and Lee Konitz carry
more weight in the jazz world today. Perhaps thats
because Pepper was more focused on refining his sound
than making stylistic advances in the vein of Ornette
Coleman, who changed jazz forever. Pepper also didnt
write any well-known compositions, even though his
noir-ish ballad Our Song, from the 1980 album Winter
Moon, is underappreciated. Peppers sound was sweet
For more information, visit artpeppermusic.blogspot.com. An

Art Pepper Tribute is at The West End Lounge Feb. 21st,
featuring Dmitry Baevsky and Mike DiRubbo. See Calendar.
Shorty Rogers/Art PepperPopo (Xanadu, 1951)
Art PepperMeets The Rhythm Section
(Contemporary-OJC, 1957)
Art PepperArt Pepper + Eleven
(Contemporary-OJC, 1959)
Art PepperThe Complete Village Vanguard Sessions
(Contemporary, 1977)
Art PepperStraight Life (Galaxy-Concord, 1979)
Art PepperNeon Art: Vol. 1-3
(Widows Taste-Omnivore, 1981)
L ABELSPOTLIGHT
BAREFOOT
by ken waxman
Cinema had The Magnificent Seven, gunfighters who

banded together to protect beleaguered villagers. Jazz
has its own Magnificent Seven, another group of
freelancers, this time musicians banded together to
protect and promote an equally beleaguered entity:
improvised music. This seven-person collective is the
guiding force behind Copenhagens Barefoot records.
After a decade of existence and more than 50 releases,
the label will celebrate its 10th anniversary in May
with a birthday bash in the Danish capital.

We started out as a small group of students from
the Academy of Music in Esbjerg, Denmark, releasing
each other s music, recalls label spokesperson,
Norwegian-born drummer Hkon Berre, who is
featured on 21 Barefoot releases. Inspired by the DIY
ethos of the slightly older Danish ILK label, We
wanted to create a similar solution with our network,
he adds. In this way, we could be in control of the
music, own it and keep the sales to ourselves.
The labels first release was supposed to be a one-off
by the Barefoot Trio: Norwegian pianist Ole Jonas
Storli, Danish bassist Jesper Dyhre Nielsen and Berre.
Distribution was limited to one now-defunct
Copenhagen record store. Storli and Berre had financed
the initial release, but once they saw the potential of
having their own imprint, they invited other friends to
join the venture and kept the Barefoot name.

With collective members from several Scandinavian
Maria Faust Sacrum Facere

Maria Faust
Gullet
Adam Pultz Melbye
countries as well as Estonia and Poland, the initial

releases included pop and folk-oriented sessions. But
as some participants left to take up other jobs and were
replaced by others, the labels focus shifted to avant
garde and experimental jazz. Right now, beside Berre,
the members are Estonian saxophonist Maria Faust,
Danish pianists Morten Pedersen and Jeppe Zeeberg
and Polish trumpeter Tomasz Dbrowski, all in
Copenhagen;
Danish
drummer
Kasper
Tom
Christiansen, who lives in rhus; and Berlin-based,
Danish bassist Adam Pultz Melbye. A half-dozen
others have been part of the collective over the years
and can return if they wish.

Set up as voluntary association under Danish
law, each member pays yearly membership fees as well
as funding his or her own projects. Expenses regarding
recording, mixing, pressing, etc. are on the member s
shoulders, notes Berre. When we have common
activities, such as label nights or organizing a concert
series, we apply funds on behalf of the label and evenly
share the outcome. Right now 85% of sales through our
distributors are paid directly to the artists and 15% is
kept for the label manager s salary. Yulia Kulgavchuk,
Barefoots label manager, was hired on a part-time
basis in autumn of 2014 and handles distribution, sales
and accounting. However, the seven still help out with
grant applications and media relations. Earlier we
also had to share the workload of distribution, sales
and accountancy, explains Berre. But this was
extremely hard to share equally, so we ended up hiring
a label manager.
Zeeberg, who joined the collective in 2012, has
recorded seven Barefoot albums under his own name
and with the bands Horse Orchestra, Bird Alert and
Kort Fortalt
Jesper Zeuthen PLUS
Ddens Garderobe. I dont have any specific tasks

attached to me, per se, but often I am in charge of the
graphic stuff like concert posters, he relates. If a
Barefoot member wants to release an album, all
decisions are up to him or her. As a collective we help
each other through the boring tasks like promoting the
albums, but ultimately youre the only one in charge of
your own releases.

The biggest challenge, admits Berre, was finding
proper distribution. But now the label is available in
eight countries. When it comes to recordings though,
one member of the collective must still be on every
session. We never release something if its not
connected to one of the members of the collective,
confirms Berre. You can release a project either as a
bandleader or as a sideman, as long as at least one
Barefoot member is playing on the record. Changing
membership means that discs with ex-members remain
in the catalogue. Beach Party, for instance, is a duo with
drummer Han Bennink and ex-member guitarist Jaak
Soor while GNOMs eponymous disc features
another former member, tuba player Kristian Tangvik.
If an outsider wants to record for Barefoot, he or she
must apply for membership in the collective, Berre
elaborates. If there are applications, we always
discuss these at meetings. We then decide if we want to
include this musician in the collective, or not. It
depends on the quality of the music, of course, and if
the person applying is ready for voluntary work,
collective thinking, etc.

Tom, who joined the collective in 2012, notes that:
My first Barefoot release was Grn, a co-leader thing
with Pultz Melbye. And altogether Ive released five

Six Months and Ten Drops

Tomasz Dbrowski FREE4ARTS
I do admire things that are only what they are

Kasper Tom 5
VOX NEWS
AWARDS SEASON
by suzanne lorge
P ianist and singer Freddy Cole has been a Valentines
Day fixture at Dizzys Club for many years now. Cole

specializes in romantic tunes that sit deep in his husky
voice; his understated, unerringly precise playing
offsets his warm vocals perfectlytogether theyre like
champagne for the soul. Hell be performing in Songs
For Lovers at Dizzys Club (Feb. 11th-14th).

Freddys niece Natalie Cole, who passed away in
December, was one of the first pop stars to reawaken
public interest in the Great American Songbook in 1991
with UnforgettableWith Love, an album of standards
her father, Nat King Cole (Freddys older brother) had
popularized during the 40s-60s. The album and its
main hita touching, posthumous duet with her father
on his classic ballad Unforgettablewon several
Grammys and engendered a whole new awards
category for vocal music: Best Traditional Pop
Performance. In this category we often find singers
who have been successful in another genre and yet
want to express their appreciation for American
popular song. The nominees this year are Bob Dylan,
Josh Groban, Barry Manilow, Seth McFarlane and Tony
Bennettan unusually heterogeneous group of male
singers. But such is the reach of vocal jazz. Its

everywhere in American music and singers turn (or
return) to it when they want to talk about the things
that last. (An interesting aside: The final album that
singer and guitarist Glenn Frey, of The Eagles fame,
released before his death in January was the 2012
traditional pop album After Hours).

The Grammy Awards will air from Los Angeles on
Feb. 15th. Three of the vocal jazz nominees will be
performing in New York on or around that day: Karrin
Allyson, Many a New Day: Karrin Allyson Sings Rodgers
& Hammerstein (Motma), will be at the Riverdale Y in
The King and ISwings (Feb. 6th); Denise Donatelli,
Find a Heart (Savant), will be at Club Bonafide (Feb.
9th), Mezzrow (Feb 10th), Metropolitan Room (Feb.
11th), Mintons (Feb. 12th) and Django at The Roxy
Hotel (Feb. 13th); and Ccile McLorin Salvant, For One
to Love (Mack Avenue), will be at The Appel Room (Feb.
12th-14th). We applaud all of the nomineesincluding
Lorraine Feather, Flirting With Disaster (Jazzed Media),
and Jamison Ross, Jamison (Concord Jazz)for the
songs they sing and the way they sing them.
The winner of the 2015 Thelonious Monk
International Jazz Vocals Competition will also be in
town this February when Tribeca Performing Arts
Center presents Jazzmeia Horn in Monk In Motion:
The Next Face of Jazz (Feb. 20th). The competition is
often the first step toward a major career; of the three
Monk Competition winners from the last vocal round
Salvant, Charene Wade and Cyrille Aimeall now

appear on major jazz labels and one (see Salvant,
above) has twice been nominated for a Grammy.

Aimes new album Lets Get Lost (Mack Avenue)
features 13 guitar-based tunes ranging from sultry to
exuberant to introspective, with lyrics in three
languages. Its a lovely stroll through her personal jazz
worldand, yes, its easy to get lost in it. Aime will
appear at Lyce Franaise de New York (Feb. 24th).

Alexis Cole also just released a voice-guitar album;
A Beautiful Friendship (Venus) pairs her smooth,
honeyed vocals with Bucky Pizzarellis elegant guitar
accompaniment on 14 well-known standards. Cole will
be one of a handful of singers competing in the
American Traditions Competition in Savannah,
Georgia on Feb. 21st; this competition focuses on the
entire canon of American vocal music, from blues to
opera to jazz. Just getting in requires an impressive
amount of stylistic dexterity.

Good gigs this month: Pianist/singer Champian
Fulton will launch her new CD After Dark (Gut String
Records), a retrospective of the music of Dinah
Washington, at Jazz at Kitano (Feb. 24th); soulful,
imaginative singer Sarah Elizabeth Charles will be at
Harlem Stage Gatehouse (Feb. 24th); and on Feb. 2nd
former VOXNews columnist and bright light
Katie Bull will command the stage in the inaugural
concert for VoxEcstatic, a new jazz series at Cornelia
Street Caf curated by Deborah Latz. v
11
I N MEMORIAM
SAM DOCKERY
by andrey henkin
SNDOR BENK (Aug. 25th, 1940

Dec. 15th, 2015) The Hungarian
clarinetist founded the longstanding
Benk Dixieland Band in 1957, which
was the winner of the 1982 Sacramento
Jazz Festival Grand Prize. Benk died
Dec. 15th at 75.
TONY BLAZLEY (Sep. 10th, 1936
Dec. 16th, 2015) The New Orleanais
drummer s career started in earnest on
the West Coast after the army, leading
to late 50s-early 60s recordings with
Herb Geller, Wes Montgomery and Roy
Ayers. Blazley died Dec. 16th at 79.
Sam Dockery, a pianist who was part of drummer Art
Blakeys Jazz Messengers from October 1956-October

1957 and recorded on Hard Bop, Ritual (to which he
contributed Sams Tune), Tough! and A Night in
Tunisia, died Dec. 21st at 86 from Alzheimer s disease.
Though born (1929) and raised in Camden, NJ
Dockery, nicknamed Sure-Footed Sam, became a
fixture of the Philadelphia jazz scene of the 50s
(13 minutes drive away from each other via the
Benjamin Franklin Bridge, the two cities were sister
cities in music). Early experience came in the jam
sessions above Music City, a now-defunct drum shop.
As Dockery recalled in a 1996 interview with the
Philadelphia Inquirer, A lot of the musicians who were
playing the old Blue Note on Ridge Avenue would
come by every Tuesday. A lot of us got jobs as a result
of that connection. One night, for instance, some of the
guys from Art Blakeys band came by to jam. Later,
they recommended me to Art, and thats how I got that
job. Dockery first worked with the drummer on Sep.
17th, 1956, as part of a quartet led by saxophonist Stan
Getz, released in 1982 as part of Stan Getz Special, Vol. 1
(Raretone). A little over a month later, Dockery made
his debut with the Jazz Messengers and by December
of that year had made his first album, Hard Bop
(Columbia) with the quintet, which at the time was
completed by Bill Hardman (trumpet), Jackie McLean
and Spanky DeBrest (bass).

Though Dockerys tenure with the band was short
(coming in between the Horace Silver and Bobby
Timmons eras), it was prolific, yielding 10 albums for
Columbia, Savoy, Pacific Jazz, Vik, Jubilee, Cadet and
Bethlehem. It seemed we were always in a recording
studio. When I joined the band, we did one date and
then we went into the studio to record before going to
California, Dockery recalled. Even on the road, we
often recorded. I remember a tour of the Northwest,
when the package also included Chet Baker and Chris
Connor, and we stopped off even then to record.

After his tenure with Blakey, Dockery went on the
road with Buddy Rich, Betty Carter and, in what would
be Dockerys last tour in 1991, Archie Shepp. Despite
this work, Dockerys only other discographical entry
actually predates the Blakey sessions: Clifford Browns
The Beginning And The End, recorded on the day before
the trumpeter s death.

Dockery remained in Camden, teaching privately
and playing local gigs. His brother Wayne, a bassist
based in Paris who has worked with George Benson,
Sonny Fortune, Eddie Henderson, Hal Galper and
Archie Shepp, often told his brother to move to Europe,
to which Dockery, in the 1996 interview, replied:
Things are going pretty good for me here. I play and
I teach...Ive been there and I like it, but it would mean
starting all over again.
RICK DAVIES (???Dec. 11th, 2015)

The trombonists later career as an
educator at SUNY-Plattsburgh was
preceded by extensive work in the Latin
scene as well as recordings with Saheb
Sarbib, Jaki Byard and Blondie. Davies
died Dec. 11th at an unknown age.
DON DOANE (Nov. 6th, 1931Dec.
16th, 2015) The trombonist adapted
years of early big band experience with
Woody Herman, Maynard Ferguson
and Count Basie into a career as an
educator in Maine. Doane died Dec.
16th at 84.
DICK GAIL (Jun. 14th, 1938Dec. 2nd,
2015) The drummer performed with
Charles Earland, Albert Ayler, Grant
Green, Lonnie Smith, Rhoda Scott,
Frank Wright, Eddie Henderson,
Groove Holmes and Dizzy Reece,
among others. Gail died Dec. 2nd at 77.
OVE JOHANSSON (Dec. 3rd, 1936
Dec. 24th, 2015) Apart from a stint with
fellow Swede Lars Gullin, the saxophonist
was mostly a leader of his own groups
since the 50s, particularly Mwendo
Dawa, and also founded LJ Records in
1989. Johansson died Dec. 24th at 79.
RUSTY JONES (Apr. 13th, 1942Dec.
9th, 2015) The drummer worked from
1972-78 with George Shearing and also
toured with Marian McPartland, Adam
Makowicz, Ira Sullivan, J.R. Monterose
and Stphane Grappelli, among others.
Jones died Dec. 9th at 73.
ROLAND SCHNEIDER (Jun. 3rd,
1937Dec. 25th, 2015) The pianist was
part of his native Germanys post-war
Swing scene and later worked with
Charly Antolini, Conny Jackel and
Gnter Lenz. Schneider died Dec. 25th
at 78.
DANIEL SMITH (Sep. 11th, 1939Dec.
19th, 2015) The critically acclaimed
classical bassoonist was a featured
soloist with numerous orchestras and
made a late career switch to jazz
performance with a series of CDs for
Summit. Smith died Dec. 19th at 76.
JEROME ZIERING (Mar. 13th, 1924
Dec. 4th, 2015) The trumpeter toured
with Milton Berles U.S. Army show
and later led his own orchestra but is
most thanked for being Woody Shaws
first teacher. Ziering died Dec. 4th at 91.
F ESTI VAL REPORT
WINTERJAZZ KLN WINTER JAZZFEST

by andrey henkin
by tom greenland
NEW RELEASES
ERGO
A unique electro-acoustic
jazz trio who work in areas
of sound no one else
in jazz is doing.
alan nahigian
pattrick essex
As Subtle
As Tomorrow
Mingus Mingus Mingus
K ln,
still reeling from a series of sexual assaults

occurring on New Year s Eveoutside of the central
train station and right on the doorstep of the citys
famed Gothic cathedral, no lesshad a vastly different
and more positive gathering of its citizenry with the
fifth annual Winterjazz festival (Jan. 8th). Inspired by
and emulative of New York Citys Winter Jazzfest
(see review), 19 bands appeared on five stages in a
single-block stretch of Venloer Strasse, about 10
minutes walk from the Rhine River. Like its American
counterpart, the evening was a crowded one,
necessitating hard choices among groups; in contrast,
admission was free and the festival supported by both
local and regional cultural institutions.

Kln is the largest city in the German Federal State
of North Rhine-Westphalia (NRW), encompassing
nearly 18 million Deutschlnders and, arguably, the
birthplace of German free jazz (Manfred Schoof and
Alexander Von Schlippenbach both studied in Kln;
Peter Brtzmann and Peter Kowald were both based in
nearby Wuppertal). NRW also includes the cities of
Bonn, Dsseldorf, Dortmund, Essen, Duisburg and
Mnster and is one of the most prominent industrial
regions in Germany, full of civic-minded corporations, a
lucky thing for arts organizations located in the area.
During your correspondents visit to the area, he was
able to visit the Offene Jazz Haus Schule, a community
jazz school for all ages and styles, housed in one of
medieval Klns city gates; Moers Festivhalle, fabulous
home of the marvelously eclectic annual Moers Festival;
and the charming cottage housing the Moers Improviserin-Residence, one musician selected since 2008 to live
and work in the city, fostering relationships with local
and international players, curating concerts and
undertaking projects within the community (Germanybased Polish saxophonist Angelika Niescier, curator of
Winterjazz, was the inaugural recipient; local heroine
Ingrid Laubrock participated in 2012; and 2013 resident
Michael Schiefel appeared at this years Winterjazz). If
this is modern European socialism, bring it on.

Besides its Eau de Cologne and Klsch (a local
version of the regional Altbier), Kln is a vibrant jazz
center, as evidenced by the variety on hand at this
year s edition of Winterjazz. The venues in use were
also quite varied: three sections of the local jazz club
Stadtgarten (Saal, its main concert space; restaurant/
bar area; downstairs studio); local pub Umleitung; and
fragrant burger joint Zimmermanns. With all the
activity transpiring between 7 pm and midnight, there
was quite a bit of running around (your correspondents
American-ness demonstrated by constant jaywalking)
and bites, rather than full portions, of sets; still, like
the local Leberwurst, one felt satisfied at the conclusion.

Steven Bernstein
N ew Yorkers, especially fans of the creative arts, often
experience cognitive dissonance, the uncomfortable

feeling that they are missing an important event
because something of equal importance is conflicting
with it. The annual Winter Jazzfest just makes it worse.
And better. Where and when else can the intrepid jazz
fan find so many amazing artists performing within
walking distance of each other? Its like an all-you-canhear buffet, where the biggest names commingle with
contenders, hardcore fans with dilettante tourists,
opinionated music professionals (jazz literati) with
uninitiated observers (the illiterati). The audience is
often filled with accomplished musicians, fresh from
their own gigs at nearby venues, coming to see what
kind of creative sorcery their peers are doing.

Among many notable events of Jazzfest, surely the
highlight are the two Marathon Nights (Jan. 15th-16th),
this year expanded to 11 venues: 7 clubs in the
Washington
Square/Bleecker
Street
area;
4 clustered around The New School facilities up near
Union Square; and The Django in the basement of
TriBeCas The Roxy Hotel. This expansion meant that
concertgoers had to be more selective in their choices,
as a trek down to The Django to catch some Francojazz, over to Greenwich House Music School to hear
trad sounds or up to New Schools Tishman Hall for a
name act required factoring in commute time. In
contrast to last year s cold, blustery weather and long
waiting lines for the most popular acts in the smallest
clubs, milder weather and shorter waits were a distinct
improvement. Still, its almost impossible to plan ones
itinerary, because youre likely to drop in on an
unexpectedly vibrant set, stay the course and then
miss out on one you had hoped to see, which is one of
the festivals great benefits: in addition to seeing a
great talent you know about, youre sure to find an
equal number of people you wished youd know about.
The best plan is no plan: just improvise.
Early Friday night I began my odyssey at
Greenwich House Music School with a solo set by Tom
McDermott, a New Orleans piano professor who
enlivened a handful of stride classics, ragged Chopins
Waltz in C Sharp minor and boogied up Hank
Williams Hey Good Lookin. Sitting next to a man
who texted or Instagrammed through the entire set,
I caught saxophonist James Brandon Lewis at Zinc Bar,
mixing mid-Coltrane modal blowing with hip-hop
inspired beats. Over at Le Poisson Rouge, slidetrumpeter Steven Bernstein was visibly holding his
temper when drinkers conversation at the back bar
threatened to undermine SexMobs music, but it didnt
stop him from doing some serious blues preaching.
Close by, at The Bitter End, multi-instrumentalist

GARY LUCAS
FLEISCHEREI
featuring
SARAH STILES
Music From
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Guitarist Gary Lucas,
vocalist Sarah Stiles
and band bring the music
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One Child Left Behind
Compositions by Ed,
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Giorgio Moroder and more.
NAIMA
Bye
A modern jazz trio
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13
I N ME MORIA M
Meeting and playing with Paul in the late 50s
was my introduction to free jazz. Though he
was well-schooled musically he was able to see
the limitations of convention without destroying
tradition (listen to All the Things You Are on
Sonny Meets Hawk). Recording and touring with
Paul was always a musical adventure that
inspired me to go beyond expectation of whats
next to just this now. One of our first recordings
togetherPaul Bley with Gary Peacock, which was
recorded in 1963 and released years later on
ECMis still one of my favorites.

PAUL BLEY
1932-2016
GARY PEACOCK, BASS
Paul Bleya master of voices. I met Paul in NYC

in the winter of 1962-63. He was among the first,
if not the very first creative musician in New York
to invite me over to his house to play. For six
months or so we met at his Hudson Street digs
and played in duo. A lot of free improvising but
also using his personal songsmostly from
Carla or Ornette. Sometimes I felt like a babe in
arms, his arms. This comfort invited my musical
ear to flow, and flow it did. These sessions were
the start of a 50 some years of exchange. The only
concert that we played in this early period was in
a funky little club in the village: Paul, me, Alan
Shorter and Rashied Ali (then still Robert).
I remember that there was a clapped-out piano,
with missing strings and keys that didnt work.
Amazingly, he was able to avoid the impossible
sounding notes and the piano sounded good.

We didnt play together that often
throughout the years but when we did our
musical story continued on from where it had left
off. I am so happy that Steve Lake provoked the
recordings for ECM that were made in trio with
Paul, Evan Parker and me. They really testify to
the harmonic and melodic story Paul and I shared.

And Paul was a character, a really strong
individual. He was egocentric and sometimes
difficult. I learned things about hotel living from
him. When we checked in he would go up and
look at the room and immediately refuse it saying
that he needed a better room. And after a bit of a
scene, usually involving the organizer of the
concert, he always did get a superior room. He
explained to me that hotels always hold back their
best room for the VIPs who might show up and
that he was one of them. He could also be very
demanding on the business side of things. But
when we got on the stand for the gig there was
never anything coming from him but giving music,
in the most positive ways. Yes, a master of voices.

BARRE PHILLIPS, BASS
Paul Bley was an iconoclast, but has become an

icon to the generations of pianists who succeed
him. Brilliant, charming, the greatest storyteller
ever, a contrarian for the ages and a restless,
endlessly imaginative improvising pianist, he
was always interested in the NEXT thing. Paul
showed me so much, both in terms of music, but
also in terms of musical philosophy: why we play,
what to play and how long to play it before the
next idea presents itself. He was a social animal,
very generous with his time, so hanging with
himwhether taking long walks or observing
him in the recording studio or at his gigswas
always a thought-provoking experience. He
believed in the healing properties of music and
had the greatest laugh! Ill miss him a lot and am
very grateful for the wonderful memories I have
and for the vast recorded legacy he leaves behind.

FRANK KIMBROUGH, PIANO
I was one of many young musicians who met Paul

Bley at just the right moment. I was 19 years old,
eager for a life in jazz and badly in need of
instruction. Luckily, Paul needed a bass player.
He taught me what he needed me to know, which,
fortuitously, was also exactly what I needed to
know. He also communicated to me his boundless
enthusiasm for ideas and a fearless willingness to
explore. To Paul, there was no danger in the
unknown, only promise. He and I crossed paths
now and then over more than 40 years; in all that
time his delight in discovering new ways to play
never diminished and I never ceased to profit
from his example.
STEVE SWALLOW, BASS
There was a period that Paul and I were in Charlie

Mingus band. Though I didnt know Paul
personally well, I admired his musicality and his
quest for new harmonic possibilities. He got a
beautiful sound out of the piano. I enjoyed my
time with him in the band.
CHARLES MCPHERSON, SAXOPHONE
Paul Bley had a huge impact on me. In my early
and developing years (1968-72), he was already
one of my heroes through listening to his
recordings. So, when he called me to play and
subsequently to tour Europe with his trio, it was a
dream come true. Immediately, his gorgeous
sound and incredible propulsion affected how I
produced my bass tonesthe ictus of the notes.

Improvising with Bley was all about risktaking and maybe not anticipating your
destination before you arrived there. He was one
of the most provocative musician-thinkers in the
music. When, 35 years later, I asked him to record
under my leadership for Playscape Recordings
(Trio Arc, 2008) and should I send him some
music, he offered, Great, no music. It will be
about what notes we dont play, what we choose
to leave out.

MARIO PAVONE, BASS
I first met Paul when he came to record at the

studio I was working in as a janitor. We had a
conversation, then to my surprise he called me
about a month after that conversation and asked
me to play a gig with him and Dave Izenzon,
which turned into the first performance at the
now famous club Slugs. That was in 1964. He
never heard me play before that. At the time I was
a hardbop player. Paul had extensive experience
playing with the likes of Charlie Parker, Mingus,
Blakey and the innovative playing with Rollins
and Coleman Hawkins. As a result he influenced
a number of pianists like Herbie Hancock, Chick
Corea, Keith Jarrett and many others who hardly
mention him as an influence. I respected his
knowledge of time and changes, which allowed
me to open up to his concepts of improvisation
and stretching and even ignoring many of the
rules of music, like not only phrasing over the
bar line as in bebop, but eliminating the bar line
completely, which allowed for other types of
phrasing and improvising. Instead of linear time,
it became circular time. I was fortunate enough to
keep that gig for a number of years, traveling all
over the world and recording many albums. Paul
opened me up and was an influence on my own
concepts and playing. He helped move jazz
improvisation to a place that many musicians
now take for granted. He will be greatly missed.

BARRY ALTSCHUL, DRUMS
I first heard about Paul Bley when he was involved

with the Jazz Workshop in Montral, where
Charlie Parker had played. When later he came to
the States, we worked together on many occasions.
He was quite a guy. One of a kind, really.

SONNY ROLLINS, SAXOPHONE
I feel very fortunate to have recorded with Paul in

trio with Barre Phillips. This connected me up
with the generation that had been such an
influence on my taste and my development as a
playerFootloose and then a bit later the
recordings with Jimmy Giuffre, culminating with
the extraordinarily visionary music of Free Fall.

I met Paul socially years before ECM
proposed the first recording, but making those
records took the relationship to a higher level.
I heard more of the stories and learned so much
about not wasting time or effort in the studio.

Touring with Paul was also an education:
it was clear that by that point every bad thing that
can happen on the road had happened to him
once and he was determined to avoid repeats.
Maybe the same thing applied to his playing?
Taking lessons with Paul was like a dream for me

because I loved his music. I still remember the
day of the first lesson. I was practicing Charlie
Banacos motives in a practice room at NEC.
Someone knocked on the door. I opened the door
and Paul was standing there. He asked me what
I was practicing. He was probably interested in
the sound of the patterns. I showed him the music
and I also introduced myself: I will be your
student. The first lesson is in this afternoon.
I was surprised to find him at the door but I was
more surprised with his lesson in the afternoon
and with all his lessons for the next two years.
I think in the two years I studied with him we
spent less than two hours in front of the piano.
Most lessons were held in Caf Express, which is
very close to the school. Many times I found that
after the talk I could play something I couldnt
play before even if I had spent 10 years practicing
it. His words always helped me to dig deep within
myself as well as to explore the world beyond to
find my own voice. Paul Bley helped me to realize
that I was capable of far more than I knew.

SATOKO FUJII, PIANO
Paul and I go back to when we played in Sonny

Rollins band in 1963. In the early 60s, Rollins
didnt use a pianist often, but when he did they
were great. Sonny liked to experiment, so with
Paul in the band it gave Sonny the opportunity to
do that. As a group, we played steadily for a few
monthsat The Five Spot for most of that time as
well an appearance at the Newport Jazz Festival
and a tour of Japan, which is now on record (Tokyo
1963). We also did that classic Sonny Meets Hawk
record with Coleman Hawkins. Pauls solos were
incredible on that record. My memories of him
were of a quiet guy with a pipe in his mouth all
the time, playing chess and the wonderful,
abstract but really nice solos he would play.
I had the pleasure of working with Paul between

1989 and 1991. The first was a trio recording for
SteepleChase with me and Billy Hart called The
Nearness of You. Billy and I hadnt played with
Paul before this session, arranged by Nils Winther
of SteepleChase, with whom Id already made
several CDs of my own and others. Paul was an
extraordinary improviser, with a strong rhythmic
and harmonic concept. He didnt believe in
rehearsing or sharing his chord changes with the
musicians he recorded with. There was never any
discussion. He had a small, spiral notebook with
only the names of tunes he played and the key he
played them in. He never prepared a list for any
of the recording sessions or club gigs I played
with him. Hed refer to his notes and count off
without mentioning the name or key in most
instances, but there was one count-off that I
especially enjoyed on the date with Billy Hart and
me. He looked at us and said: One, Two, F,
Brushes. It turned out to be the title track and
not a tune I was very sure of, especially at the
dirge tempo he called. On a later session, he
played Long Ago and Far Away without saying
a word or stating the melody. I was embarrassed
by what I played and asked Paul if we could do
another take. His response was: Why? Its not
going to be better. Symphony Orchestras never do
second takes! I found a 1963 ECM recording of
Bleys with Gary Peacock and Paul Motian of that
same tune and Garys choice of notes suggested
to me that he might not have known that Paul
was playing this standard composition either,
which made me feel a little less embarrassed!

I consider Paul one of the true innovators
in the jazz idiom. Footloose, his trio album from
1961 with Steve Swallow and Pete La Roca I think
is his most significant recording. Ive listened to it
a million times! Paul never gained the recognition
he deserved, but being overlooked is not
uncommon in this business. Ive been on the scene
for 53 years, played with everybody and have had
pretty much the same result. Pauls playing
seriously influenced pianists Keith Jarrett and
Richie Beirach, both being pianists Ive played
with extensively. As a jazz bassist and pianist
myself, I draw on Pauls phrasing and rhythmic
concepts constantly. He was as unique as a person
as he was a pianist and Im delighted to have
known and worked with this great man.
EVAN PARKER, SAXOPHONE

Paul Bley was probably one of the most gifted
improvisers that I have ever worked with. Not a
man to deal in clichs, it was always exciting to
work with him. When I played with him in the
ECM 4tet, with Paul Motian and Bill Frisell, as I
recall we usually went onstage with a completely
open plan to simply improvise and see what
developed. Although the music went off in many
different directions, Bley was always there to
restore some kind of focus to the proceedings and
set a new direction. Paul Bley was one of a kind
and will be sadly missed for his great creativity.

JOHN SURMAN, SAXOPHONE
From my experience with Paul, he was to me a

quiet, humble person. In the 60s, there were some
musicians who thought I played too much and
would tell me to play lessbut Paul allowed me
to do what I did. He just looked at me one time
and said to me that Im the man who plays the
whole drum set. And that really stuck with me all
these years. About three years ago I read an article
on Paul and I said to myself as I was reading it
how time has really passed and wouldnt it be
great to do something with Paul again. Thats
something I regret as I would have loved to have
done that during this present time. I can truly say
that Paul was one of the great musicians, this
coming from a musician talking about a musician.

MILFORD GRAVES, DRUMS
ROY MCCURDY, DRUMS
RON MCCLURE, BASS
15
CD REVIEWS
Hidden Voices
Arun Ortiz Trio (Intakt)
by Stuart Broomer
Arun Ortiz is a Cuban-born pianist whose background
includes a 1996 solo debut recorded in Spain, where he

spent six years before coming to the United States in
2002 to study at Berklee. Since then he has recorded
several times, exploring different dimensions of Cuban
and Haitian music in the context of jazz. In this program
made up largely of originals, Ortiz asserts his own
voice within a vigorous tradition of modern jazz piano
and composition running from Thelonious Monk and a
circle including Elmo Hope and Herbie Nichols through
the young Cecil Taylor to Andrew Hill and on to the
present. Ortiz is joined by the stellar team of bassist
Eric Revis and drummer Gerald Cleaver, masters at
creating three-way trio music.
From rambunctious opener Fractal Sketches,
there is a sense of circular logic to Ortiz compositions.
Deeply etched, expansive patterns support and
encourage the dense rhythmic dialogue central to this
music, with its expansive view of jazz harmony and a
rhythmic tradition reflecting the close relationship
between jazz and AfroCaribbean materials. Sudden,
almost-random, cluster splatters reveal that complexity
and joy are kin here, with a prevailing inventiveness
either playful or forceful. Ortiz makes a mini-medley of
Ornette Coleman compositionsOpen & Close/The
Sphinxtreating the latter to a leaping, kinetic solo
strongly invoking Taylor circa 1960. Monks Skippy
is abstracted further, with a dense overlay of thick
harmonies. It sounds much more like Skippy at the
end than it does at the beginning.

Ortiz gets closest to his Cuban roots on Caribbean
Vortex/Hidden Voices, adding percussionists Arturo
Stable and Enildo Rasa for rhythmic patterns on
claves. At the other end of the spectrum, theres the
sheer mass and gravity of the almost funereal
Arabesques of a Geometrical Rose (Summer), which
Ortiz somehow manages to lighten eventually.
For more information, visit intaktrec.ch. This project is at
Jazz Standard Feb. 2nd. See Calendar.
James Moore Plays The Book Of Heads

John Zorn (Tzadik)
by Eric Wendell
James Moore Plays The Book Of Heads showcases the

early compositional abstractions of avant garde
luminary John Zorn. Comprised of 35 etudes as short as
21 seconds and as long as 2 1/2 minutes, the album is a
great study of Zorns early work as a causerie of
experimental music and guitarist James Moores
capacity as a vessel for the same.

Composed between 1976-78, Zorns The Book Of
Heads utilizes a hermetic language of meticulously
notated sounds inspired by contemporary classical
extended techniques, the idiosyncratic guitar languages
of free improvisation, cartoons, film noir, world music,

philosophy and more. Moore, a founding member of
guitar quartet Dither, cleverly translates Zorns
mannerisms and methodology as he is tasked to employ
numerous items such as balloons, violin bows and
other objects.

Zorns pieces walk a fine line between clever and
annoying and, unfortunately, have a tendency to fall
towards the latter. Etude #2 is an ingenious sonic
display intermittently destroyed by the harsh stretching
of a balloon. Whether this feeling was intentional, its
jarring enough to shroud the intent of the song.

The album is most successful when quoting, or
seemingly quoting, another piece of music for satirical
effectEtude 5 flows from Row, Row, Row Your
Boat before sliding into a stomp-box infused electronic
soup while Etude 14 quotes The Beatles classic
Blackbird or takes shots at specific genres, such as
on Etude 11, a jazzy piece with beautiful chord work
ringing sonorously through the mix. Etude 21 begins
with Moore breaking a string and tuning it before
slowly moving into a bluegrass romp, as if signaling he
is not afraid of literally breaking the music and then
rebuilding it.

While the satirical and genre-specific etudes are
clear highlights, the album suffers from a heavy amount
of filler. However, it is a fine showcase for Moores
talents and essential for completists to understand
Zorns development as a composer.
reflected in Birckheads fiery solo.

Jalenti is strong and individual on the following
Alien, written by Marcus photographer friend Gary
Young, which also includes a trombone solo by Ferber
and another potent statement from Davis. Most
surprising, perhaps, is Marcus inclusion of and
arrangement for George Gershwins Summertime,
hauntingly colored by expressive horns, percussion
punctuation and some very striking vocals. This is
music that is smart, heartfelt and alive with ardent
conviction.
For more information, visit toddmarcusjazz.com. Marcus is
at Bar Next Door Feb. 3rd with Kevin Clark. See Calendar.
Marlene
VerPlanck
The Mood Im In (Audiophile)
CD Release Concert at Blue Note
Feb. 21st, 11:30 am 1:30 pm $35
A wildly winning set

throughout, this is a master
class on jazz vocal
that you better show
up on time for.
CHRIS SPECTOR,
Midwest Record
Marlene swings the
high notes here,
while a stunningly
tasteful quintet
frames her
perfectly
- MARC MYERS,
Jazz Wax
For more information, visit tzadik.com. James Moore is at

The Stone Feb. 2nd-7th as part of Dither. See Calendar.
marleneverplanck.com
Blues for Tahrir

Todd Marcus Jazz Orchestra (HiPNOTIC)
by Donald Elfman
The
2011 Arab Spring uprising provides the central

inspiration for bass clarinetist Todd Marcus new large
ensemble recording, a smart and passionate blend of
jazz and Middle Eastern influences.

The album opens with Many Moons (Intro),
a brooding line scored for just the horns of the leader,
Gregory Tardy (tenor saxophone), Russell Kirk (alto
saxophone), Brent Birckhead (alto saxophone, flute),
Alex Norris (trumpet) and Alan Ferber (trombone). Its
darkness and dissonance serves as a powerful intro to
what follows. Marcus solo ranges from delicate to
raucous, followed by pianist Xavier Davis, who begins
almost Monk-like, then builds slowly in intensity. The
band and the soloists are spurred on by the rhythmic
pulse of bassist Jeff Reed, drummer Eric Kennedy and
percussionist Jon Seligman.

The core of the set is the four-part title suite (Tahrir
or Liberation Square is a public space in downtown
Cairo used for demonstrations): Adhan; Reflections;
Tears on the Square; Protest. Marcus is of Egyptian
heritage on his fathers side and he attempts to come to
terms with frustrations over recent political and social
developments in that country. The suite traces the
progression of feelings from hope to fear, anxiety and
more. After the opening Adhan, named for and
expressive of the Muslim daily call to prayer, a piano
riff moves us into the struggle, brought to life by the
deepening unrest of the ensemble, complemented by
various solos: Marcus; Reeds introduction to Tears on
the Square and the wordless vocals of Irene Jalenti.
The closing segment Protest is a portrait of conflict
and the drum solo suggests military aggression, also
R
e
c
o
m
m
e
n
d
e
d
Ab Baars/Zlatko KauiCanvas (Not Two)

Florian BergmannCobalt Cluster (Umlaut)
Ari Brown/Francis WongNeeds Are Met
(Asian Improv)
Ed CherrySoul Tree (Posi-Tone)
Michael Formanek Ensemble Kolossus
The Distance (ECM)
Charles Lloyd & The Marvels
I Long to See You (Blue Note)
Myra Melford/Ben Goldberg
Dialogue (BAG Productions)
Marc Mommaas/Nikolaj Hess
Ballads and Standards (Sunnyside)
Sonny SharrockAsk the Ages
(Axiom-MOD Technologies)
Lew Tabackin TrioSoundscapes (s/r)
Laurence Donohue-Greene, Managing Editor
n
e
w
Michael Formanek Ensemble Kolossus

The Distance (ECM)
GushThe March (Konvoj)
Hlne Labarrire/Hasse Poulsen
Busking (Innacor)
John Lindberg/Anil Eraslan
Juggling Kukla (NoBusiness)
New Old Luten Quintet
Tumult! (Euphorium)
Arun Ortiz TrioHidden Voices (Intakt)
Art PepperLive at Fat Tuesdays
(Elemental Music)
SaagaraEponymous (Multikulti Project)
Heinz Sauer/Jasper Vant HofHamburg
Episode (Live at Fabrik) (Art Of Groove)
Veryan Weston/Trevor Watts
Dialogues For Ornette! (FMR)
Andrey Henkin, Editorial Director
r
e
l
e
a
s
e
s
Meltframe
Mary Halvorson (Firehouse 12)
by David R. Adler
This release by Mary Halvorson is doubly unusual in
that it is a solo guitar CD and a collection of material

solely by other composers. But these solo meditations
end up transforming the music in turn. Meltframe plays
out as a kind of many-layered tribute, a fresh attempt to
unite diverse threads and find a common entry point.
Only one piece, Nol Akchots loosely folksy and
melodic Cheshire Motel (from the 1996 Sam Rivers/
Nol Akchote/Tony Hymas/Paul Rogers/Jacques
Thollot album Configuration), is by a fellow guitarist.

Halvorson opens at full blast with Oliver Nelsons
Cascades, a corkscrew minor blues head she all but
obliterates with grinding fuzz-tone and a spasmodic
staccato delivery. As an opener its perplexing and not
very representative of the rest. When Halvorson comes
later to McCoy Tyners Aisha, the fuzz-tone wall of
sound returns, but only as a brief and deliberately jarring
tangent. Otherwise her tone is clean, her harmonic palette
more subtle and alluring, as it is on much of the disc. Its
worth noting that her Aisha owes less to the original
Ol Coltrane version and more to the freer solo piano
interpretations of Tyner himself (e.g., Counterpoints from
1978).

There are no noise-rock outbursts during Duke
Ellingtons Solitude, one of several tracks where
Halvorson outlines a lyrical chord-melody approach
marked by a wide oscillating volume swells or tremolos.
Wobbly pitch-shifting and harmonizer effects, with an
otherwise dry amplified tone, have also become a
Halvorson signaturetheyre powerfully present on the
closing rendition of Roscoe Mitchells Leola, a stately
minor-key theme from Nine to Get Ready (1997). On
Ornette Colemans Sadness, from Town Hall 1962, she
summons rattling and buzzing timbres with what is
presumably a slide. Its brilliant: she seems to emulate
the arco of bassist David Izenzon or perhaps even the
heart-rending portamento of Colemans alto saxophone.

Halvorson also makes the case for current young
composers, choosing Platform from bassist Chris
Lightcaps recent Epicenter. She identifies something
more explicitly raw in the tunecall it Lightcap meets
Soundgarden. Second to last is Tomas Fujiwaras When,
originally a 10-minute epic on After All Is Said by
the drummers band The Hook Up. On that version

Halvorson played a three-minute solo intro; the Meltframe
example could almost be a second take, but with a more
intimate, less reverb-y sound.

That the legacy of the late Paul Bley seeps into
Meltframe more than once is bittersweet following the
piano legends death last month. Blood, from Annette
Peacocks radical 1972 opus Im the One (which featured
Bley on synthesizer), evolves as a mournful rubato ode,
replete with Halvorsons distinct wavering tremolo.
Carla Bleys Ida Lupino, famously played by Bley in
1965 on Closer and throughout his career, takes on a
quasi-rock flavor at a majestic medium tempo. Its the
one song that Halvorson plays with no effects whatsoever.
For more information, visit firehouse12records.com.
Halvorson is at The Stone Feb. 4th and 12th and Ibeam
Brooklyn Feb. 7th. See Calendar.
Written in the Rocks

Renee Rosnes (Smoke Sessions)
by Andrew Vlez
Consistently notable for the variety and adventurousness
of her playing and writing, Canadian pianist Renee

Rosnes has been recording since the 90s. The bulk of her
latest venture is an ambitious new suite, The Galapagos
Suite, named for the island chain off of South America,
which inspired Darwins theory of evolution and our
own ever-evolving understanding of it.

The album begins with The KT Boundary (the
point in between the Cretaceous and Tertiary periods
some 65 million years ago), a prologue for the mass
extinction of the dinosaurs and most other life on the
planet at the time. Rather than focusing on the disaster, it
is the blossoming of new life that comes through the
music. Here and throughout saxophonist/flutist Steve
Wilson gives joyful life to the unfolding epic as does
Steve Nelson, whose luminous vibraphone playing
sounds as if it is pouring out of Rosnes keyboard.

The poignancy of Wilsons flute contrasts with the
swinging drums of Bill Stewart on Deep in the Blue,
a melody which suggests both the ocean and the land.
So Simple a Beginning builds from a single note to a
complex chord as Rosnes reaches to express the very
origins of life on Earth. Her sounds are fresh and friendly,
with off-center phrasing at once complex and yet utterly
uncluttered, such as the motifs played by Rosnes and
longtime cohort bassist Peter Washington on Lucy From
Afar, evoking the first tentative footsteps of one of our
first ancestors walking.

The suite concludes with Cambrian Explosion,
a telling of the burst of life over 500 million years ago,
which gave rise to most of the species alive today. The
seismic event is characterized with a spiky, atonal line
gaining momentum. The focus bounces from one
instrument to another, ending in a closely-knit collective
improvisation by all.

Two originals unrelated to the Suite close the album.
Goodbye to Mumbai a jazzy piece, recalls Rosnes first
visit to India in 2013, after discovering that her biological
mother was of Punjabi heritage. From Here to a Star
builds on the harmony of Irving Berlins classic How
Deep is the Ocean. Washington and Stewart quietly add
to the stargazing mood of the piece. Its all ear-opening
music.
For more information, visit smokesessionsrecords.com. This
project is at Smoke Feb. 5th-7th. See Calendar.
UNEARTHED GEM
All My Yesterdays:
The Debut 1966 Recordings at the Village Vanguard
Thad Jones/Mel Lewis Orchestra (Resonance)
by Duck Baker
A ll
My Yesterdays captures one of the greatest

modern big bands live on the occasion of its firstever public performance and again six weeks later.
50 years on, a version of the same band is still
holding forth on Monday nights at the same venue.
The historic value could not be higher, the packaging
is superb and the sound quality excellent. But the
reason this release is a must is the performances
themselves, which beg the question of how any
band could ever sound this good right out of the
starting gate with material this complex. Resonance
founder George Klabin was barely more than a
neophyte as a sound engineer when he was asked to
record the band live so they could have a demo for a
record deal and the balance he was able to get speaks
volumes for his capabilities. Fans of the Orchestra
have already been treated to several Jones/Lewis
live recordings from the late 60s, but this one feels
liver than any of the others. We hear not only
exhortations from the audience but also from the
bandstand. Its almost like being onstage, especially
on the first nights recordings.

Alto saxophonist Jerry Dodgion kicks off the
opening Back Bone on his own, with Jones calling
the band in at the end of the third chorus with one of
his trademark chords, which seems to have every
horn hitting a different note and we are off and
running. Those who know other recordings will
appreciate a lot of subtle and not-so-subtle changes
in how the arrangements are played here, one reason
Jones-Lewis fans shouldnt be concerned about
whether they already know the material. Indeed, it
is only the chance to hear different readings that
gives us any hope of scratching the surface of Jones
writing. An even more obvious reason for those who
have the other records to pick this up is that the
level of soloing is very high. What else would one
expect from Pepper Adams, Joe Farrell, Jerome
Richardson, Hank Jones, Tommy McIntosh, etc.?

The music is enhanced by page after page of
testimonials by former band members, which not
only give an idea of what playing in the band was
like, but also help us glimpse some of the inner
workings. For instance, Lewis has often been
described as a perfect big band drummer, but having
the people who worked with him break down what
made him special helps us really hear it. The
improvisational style of Jones as a leader is also
remembered by several commentators. For all that
he put into writing the arrangements, he left room
not just for soloists but also for other players or
sections to ad-lib riffs or counterpoint lines. The
fuller picture that emerges helps explain the
palpable excitement we can feel in the room when
this band first took the stage half a century ago.
For more information, visit resonancerecords.org. The
Vanguard Jazz Orchestra is at Village Vanguard Feb.
1st-8th, with the official 50th Anniversary Celebration
taking place Feb. 8th. See Calendar.
17
G LO B E U N I T Y: S W I T Z E R L A N D
Welcome Back
Irne Schweizer/Han Bennink (Intakt)
Hera
Le Pot (Everest)
Koch-Kocher-Badrutt
Hans Koch/Jonas Kocher/Gaudenz Badrutt (Bruit)
by Tom Greenland
Most
renowned for its mountains, lakes, watches,

chocolate, banks and folding knives, Switzerland
deserves equal attention for its vibrant jazz scene.
Recent recordings by Swiss artists furnish the proof.

Schaffhausen-born septuagenarian pianist Irne
Schweizer has been an outspoken voice on the
European free improv scene since the late 60s. Its
somewhat surprising, therefore, that she hasnt been
heard more often with iconic Dutch drummer Han
Bennink; Welcome Back, only their second duet
recording in 20 years, is a long overdue reunion. Both
inhabit overlapping musical orbits, sharing an
affinity for incisive swing, spontaneity and serious
playfulness, such that their camaraderie is effortless.
Besides short readings of Schweizer and Bennink
compositions, ranging from nervous pointillism and
frenzied bombast to light fairytales and rattling tone
poems, the album contains covers of Meet Me
Tonight in Dreamland, Johnny Dyanis Ntyilo,
Ntyilo, I Surrender Dear and Thelonious Monks
Eronel, all rendered in a more straightahead style.

Hera, recorded for the Berns Everest Records, is
the second installment of a fairytale trilogy by Le Pot,
a Swiss quartet of trumpeter/electronicist Manuel
Mengis,
keyboardist
Hans-Peter
Pfammatter,
guitarist Manuel Troller and drummer Lionel Friedli,
all veterans of Mengis Gruppe 6. After a four-day
sojourn at the ancient hilltop church of St. Roman
overlooking the historic hamlet of Raron, the group
emerged with an extended suite of collective
improvisations based on motifs gleaned from the
music of Benjamin Britten. Acoustic elementsopen
trumpet, piano, hand percussion, even the churchs
carillon tolling nine oclock in the background of a
piece inspired by Brittens Requiem Aeternam
readily blend with an almost constant wash of
processed electronica, making it difficult to
distinguish guitar from synthesizer or glissandoing
gongs from echoing trumpet. Hypnotic and
scarifying, it suggests a macabre soundtrack.

The Biel/Bienne district is homebase for KochKocher-Badrutt, a project recorded on the local Bruit
label by local musicians: bass clarinetist Hans Koch,
accordionist Jonas Kocher and live sampler Gaudenz
Badrutt. Koch and Kocher often perform duets with
Badrutt, so expanding to trio format was a natural
extension. Recorded live at Blutopia, a record store/
performance space in Rome, Italy, for a highly
attentive audience, the album is a study in contrast
and restraint, beginning with a high-pitched whine
reminiscent of a pediatricians hearing test, wending
through an eerie series of soundscapes until an
abrupt caterwauling conclusion. It could be a day in
the life of an industrial factory, with its various
whirrings and stirrings, squeaks and drones, rubbings
and mumblings, leaky faucet sounds and swelling
murmurs, punctuated with gaping silences, then
slowly cleaving into sustained plateaus with
occasional burps and brief climaxes.
For more information, visit intaktrec.ch, everestrecords.ch
and bruit-asso.org
Eat the Air

Sean Sondereggers Magically Inclined (Skirl)
by Tom Greenland
Reed player Sean Sonderegger makes his leader debut

with Eat the Air on Skirl, a decade-old, artist-run label
featuring cutting-edge, Brooklyn-based improvisers.
His septet, Magically Inclined, is made up of fellow
troopers from the new music undergroundvocalist
Areni Agbabian, guitarist Harvey Valdes, drummer Joe
Hertenstein (all alumni, like Sonderegger himself, of
Butch Morris conduction ensembles)along with
trombonist Curtis Fowlkes and bassist Greg Chudzik.

The music on the album is unusual yet accessible,
containing elements of vaguely familiar references, but
assembled in unexpected ways. The title track,
Crown, Were Born and A Visit are all pieces set
to the poems of Joanna Penn Cooper (the former three
by Sonderegger, the latter by Chudzik), whose imageladen, psychologically probing lyrics are variously
interpreted by Agbabian in light, oddly angled
melodies, often doubled by the horns and/or as
spoken-word exposs. Typically, the words and melody
defy a natural prosodic relationship, the melodic
accents at odds with the spoken accents, as if daring
the listener to hear these phrases with fresh ears.

Sonderegger s arrangements are a mix of control
and freedom: favoring the former when setting the
song, often with intricate counterplay among the vocal
line and horn players; favoring the latter in brief
intervals where the artists are given free rein to
co-improvise, as on the outro blowing of Old Timers
and The Crown and in various spots on the title
track. Sonderegger s playing style, primarily featured
on tenor saxophone, is both logical and loose, grounded
yet floating. On The Ball he outlines the tunes
unusual changes with elegant sequences, delivered
with a smoky cool tone, while on Crown, The Fifth
and elsewhere he suggests a blues preacher, reworking
time-tested boogie licks through a mellowed filter.
Fowlkes adds much to the date with his conversational
exchanges and unhurried aplomb.
For more information, visit skirlrecords.com. Sonderegger
is at Kettle and Thread Feb. 6th. See Calendar.
Peter s Church in Midtown. Bassist Ike Sturm has been

at its helm for the past decade and Shelter of Trees is a
reflection on that experience.
The comfort Sturm obviously receives from his
faith is present throughout and on first listen, Sturms
approach is innocent and delicate, distinguished by
the fragile blend of a trio of female voices with Chris
Dingmans angelic vibraphone and Fabian Almazans
flowing piano. The voices sing in praise with both
words (lots of Hallelujahs) and non-lexical vocables.
The effect is, well...heavenly. However, from a jazz
mindset there are some landmines inherent in the style.
Sometimes it veers too close to Godspell/Jesus Christ
Superstar territory and other times toward Yanni
vaporwave. However, saxophonist Loren Stillman,
guitarist Jesse Lewis and Sturm himself keep this from
being a major issue as they cut across the sunshine and
rainbows to great effect.

Rejoice opens the program with an underlying
theme and ambience that sets the stage for the album
and the flowing River that follows. Origins
surprises with Almazans discordance and Turning
Point impresses with its rich tones. The title cut has
an infectious riff, which allows for Stillman and Lewis
to stretch out a bit before Guide returns to the overall
groove. Renew is a lovely vehicle for Almazan to
blend artfully with Dingman while Sanctus is an
intensely heartfelt joining-together in praise of the
trinity. An intimate portrait of Family features
touching guitar work before an ethereal Psalm 23
closes out the program. Shelter of Trees downplays
individual chops in favor of communal praisean
ethos at the heart of the session.
For more information, visit ikesturm.com. This project is at
Saint Peters Feb. 7th. See Calendar.
VTY Jazz
creating the
best jazz
experience
on Earth
Is Proud To Announce
Another Sunday Serenade
ART
PEPPER
TRIbuTE
Dmitry baevsky & Mike DiRubbo

(alto saxophones)
Mike LeDonne (piano)
Mike Karn (bass)
Peter Van Nostrand (drums)
Shelter of Trees
Ike Sturm & Evergreen (Kilde)
by Elliott Simon
The
relationship between jazz and religiosity is

complex and has been broadening and deepening since
Louis Armstrong first played When the Saints Go
Marching In. Duke Ellingtons Spiritual Concerts, John
Coltranes A Love Supreme, Ed Summerlin and Mary
Lou Williams sacred jazz and even John Zorns Tzadik
label are milestones in the jazz/spiritual/religious
timeline. Equal in importance, less well known and
replicated in many cities is the seminal jazz vespers
service held every Sunday for the past 50 years at Saint
*Live from The West End Lounge*

Sunday, February 21st, 4-7 pm
$25 with one drink minimum
The West End Lounge
955 West End Avenue @ W. 107th Street
Reservation Hotline: 917-882-9539
Sunday Street Parking No Meters
Food & beverages Are Available
vtyjazz.com
Light: The Early Years (1975-1989)

William Hooker (NoBusiness)
by Philip Freeman
Drummer William Hooker has been a fixture on the

New York music scene for four decades, bouncing
between the worlds of free jazz, avant-rock and liminal
in-between zones of his own devising. In recent years,
hes developed a relationship with the Lithuanian
NoBusiness label, releasing three albums since 2010:
the double LP Earths Orbit, which featured alto
saxophonist Darius Jones on one of its two discs;
Crossing Points, an archival recording of a 1992 duo
with the late saxophonist Thomas Chapin; and Live At
Vilnius Jazz Festival, a duo with Lithuanian saxophonist
Liudas Mocknas. Now, NoBusiness has compiled this
four-CD set, which gathers Hooker s early, selfreleased LPs alongside two-and-a-half discs worth of
previously unreleased performances. Its not only a
tribute to his thunderous, explosive style and
indomitable artistic spirit, but also a companion to
similar boxed sets the label has devoted to the work of
saxophonist Jemeel Moondoc and bassist William
Parker.

Hooker s first release, Is Eternal Life, is spread
across the first CD and half of the second. A double LP
originally issued on his own Reality Unity Concepts
label in 1977, it opens with Drum Form (Wings/
Prophet of Dogon/Still Water/Desert Plant/Tune), an
18-minute side-long solo on which Hooker plays the
drums, chants, sings and generally goes all out in an
expressionistic eruption straight from the Loft Era. The
next two pieces, Soy: Material/Seven and Passages
(Anthill), are also epic in length and find the drummer
doing battle with saxophonist David S. Ware, then
fresh out of his own trio Apogee and soon to join Cecil
Taylor s Unit. On Soy, electric bassist Mark Miller
serves as intermediary/sacrificial lamb; Passages is
a duo, every bit as unremitting and ferocious as one
might expect. His second album, 1982s Brighter Lights,
is also included here; the first two pieces, Others
(Unknowing) and Patterns I, II and III are duos
with little-known saxophonist Alan Braufman while
3 & 6/Right pairs Hooker with pianist Mark Hennen,
who was an early member of Jemeel Moondocs Muntu,
as well as the long-running Collective 4tet.

Its the previously unreleased material thats the
most interesting, though; that includes the nearly
19-minute Present Happiness with Moondoc on alto
saxophone and Hasaan Dawkins on tenor and an hourlong performance from 1988 featuring the late
trumpeter Roy Campbell and tenor saxophonist Booker
T. Williams. Its clear from this boxed set that Hooker
doesnt like chords getting in between him and the
other musicianshe prefers to stand toe-to-toe,
metaphorically speaking, with a horn player (or a
guitarist) or two and give as good as he gets until
whatever theyre doing has run its course and the
improvisers who do best with/against him are those
who can operate on an intellectual and a gut level at
once. But even solo, his performances have a musicality
and cohesion more Max Roach than Sunny Murray and
command the listener s attention even at lengths that
might initially seem forbidding. Hooker is a titan
behind the kit and this boxed set is no less tribute than
he deserves.
For more information, visit nobusinessrecords.com. Hooker
curates and is at The Stone Feb. 9th-14th. See Calendar.
19
Very Good Year

Jon Burr Quintet (jbQ Media)
by George Kanzler
Bassist Jon Burr s new quintet album is an ode to the

enduring appeal of swinging, muscular and captivating
hardbop. Taking cues from Art Blakeys Jazz
Messengers, the Jazztet and, especially, the Clifford
Brown-Max Roach Quintet, Burr s group brings a
driving rhythmic focus to a repertoire that, like
hardboppers and beboppers before them, employs
familiar standards as sources for jazz contrafacts, as
well as swaggering reimaginings of pop tunes. Among
the latter is the Sinatra anthem from which the CD title
derives: Ervin Drakes It Was A Very Good Year.
Refrains of the song are voiced by different instruments,
beginning with the leader s pizzicato bass, then Steven
Frieder s tenor saxophone and Tim Ouimettes
trumpet, each punctuated by a romping, stomping
turnaround bridge driven by Jerome Jennings drums
with stabbing chords from pianist Mike Eckroth. Stevie
Wonder s Dont You Worry About a Thing is given a
similarly radical remake, with a looser, loping rhythm
and sections of suspended time. Another pop song, Bill
Withers Lovely Day, is carried by a slithery Latin
shuffle, engaging solos from tenor and trumpet
weaving in and out of tropical beats and semi-rubato,
horns tandem soloing in the finale.

The Brown-Roach influence is strongest on Burr s
contrafacts. They include All the Things You Ate
(Are), with a slow burning trumpet solo, authoritative,
burly tenorFrieder sounds much more commanding
than his 22 years would suggestand tart harmonies
in a closing chorus and coda. Cherry Keys (Cherokee)
adds Latin accents, Frieder easily extending his range
upwards. Savoy Fare brings a relaxed savoir-faire to
a Stompin at the Savoy frame, bass adding to the
varied solo strategies, and Out of This Word (World)
ends the CD on an ebullient high note, alternating
Latin and 4/4 swing tempos behind extended solos
(its the longest track by far) from all. The dozen tracks
are a diverse excursion into the heart of hardbop.
For more information, visit jonburrquintet.com. This
project is at NYC Bahai Center Feb. 9th. See Calendar.
Blue Buddha
Louie Belogenis (Tzadik)
by Ken Waxman
Some musicians are so comfortable with free jazz they
work through its challenges as effortlessly as breathing.

Case in point is tenor saxophonist Louie Belogenis,
who, as part of Prima Materia during the 90s,
partnered with free-drumming master Rashied Ali.

Blue Buddhas seven spiritually-infused tracks establish
a group identity among the saxophonist and players
who are anything but hardcore free jazzers: bassist Bill
Laswell is identified with a blend of ethnic, industrial
and rock sounds; drummer Tyshawn Sorey mixes
mainstream and advanced concepts; and trumpeter
Dave Douglas is known as much for his composing as
his playing.

The bands varied background demonstrate that
free improvising is adaptable to changeable variants,
with Wrathful Compassion the best instance of this.
Belogenis altissimo cries and stratospheric glissandi
may arise from the John Coltrane-Albert Ayler sphere,
but he brings a personal precision while Douglas
advances high-pressure euphoria by mixing Woody
Shaws lyricism with Donald Ayler-like wails. Laswells
sluicing rhythms emphasize pure power and are as
assertive as they would be in a rock setting.

Heat from tonal exploration outdistances hybrid
incapability. On Renunciation, for example,
skittering trumpet counterpoint adds brightness to
renal tenor saxophone tones. The sparkling Diamond
Vehicle is driven by a bassline fit for an R&B session,
as Douglas aviary peeps and Belogenis banshee wails
couple as deliciously as wine and cheese.

The closing Lineage, featuring only Sorey and
Belogenis, moves through all variations of shaking and
screeching reed tones alongside irregular and
unanticipated percussion feints without ever becoming
intimidating. As Soreys pops and claps move the
theme back to systematic textures, Blue Buddhas ability
to challenge without alienating is highlighted.
For more information, visit tzadik.com. Belogenis is at The
Stone Feb. 11th and 28th. See Calendar.
MANUEL VALERA & GROOVE SQUARE

URBAN LANDSCAPE
An urban vision full of funk, groove,
and habanera.
C. Michael Bailey (All About Jazz)
Highly recommended.
Bill Milkowski (Downbeat)
FEATURING:
JOHN ELLIS, NIR FELDER, JOHN BENITEZ, EJ STRICKLAND,
JEFF TAIN WATTS, & GREGOIRE MARET
Available at DestinyRecordsMusic.com
and wherever music is sold online
Joyful Jazz
Pittsburgh Jazz Orchestra (with guest Freddy Cole)
(MCG Jazz)
by Marcia Hillman
ART PEPPER NEON ART

VOLUMES ONE TWO THREE
CD / LP / DIGITAL
WWW.OMNIVORERECORDINGS.COM
For more information, visit mcgjazz.org. Freddy Cole is at

Dizzys Club Feb. 11th-14th. See Calendar.
PHOTO BY JOE MARTINEZ
This new album by the Pittsburgh Jazz Orchestra and

co-artistic directors Sean Jones and Mike Tomaro is
truly a joyful sound and even though the selections are
Christmas songs and carols, the sound is appropriate
for any time of the year for several reasons.

One is the guest appearance of Freddy Cole for
three vocal contributions: Jingles, The Christmas
Cat, A Cradle In Bethlehem and Irving Berlins
classic White Christmas. Coles voice is like comfort
foodwarm and nourishingand his ability to tell a
story, whether singing or half-talking, is at its best
here.

The next is the arrangements, mostly by Tomaro
(also one of the orchestras saxophonists). They bring
freshness to these overly done selections with jazzy
riffing, chordal colors and new rhythmic patterns:
Carol Of The Bells, Leroy Andersons Sleigh Ride
and the Mel Torm-Robert Wells classic The Christmas
Song are all Latin-ized; aforementioned White
Christmas (subtitled In The Sahara), arranged by
Jay Ashby (the bands trombonist), is spiced with a
decidedly Middle-Eastern flavor, calling up visions of
a caravan across the desert. The Christmas Song

features vocalist Maureen Budway (who died in
January 2015). Well known in the Pittsburgh area but
flying under the radar in the rest of the country, she
possessed a clear voice, wide range and inventive
phrasing to impress the most hardened critic.

And finally it is the talent of the band, especially
Jones featured trumpet work on the opening Jingle
Bells and closing Joy To The World, the latter which
ends with a New Orleans marching band statement.
For the size of this orchestra (20 members), they are a
tightly-knit group producing a crisp and bright sound.
This offering proves that jazz is alive and well in
Pittsburgh at any time of the year!
MONTY
ALEXANDER
For One to Love

Ccile McLorin Salvant (Mack Avenue)
by Joel Roberts
V ocalist
Ccile McLorin Salvant is just 26, but sure

sounds like shes been around a lot longer than that.
While her voice has a fresh, youthful quality, the
maturity with which she approaches her material,
fierce intelligence that comes through in her singing,
and remarkable depth of her musical knowledge leave
you wondering how shes learned and mastered so
much in such a short time.

For One to Love is a follow-up to 2013s Grammynominated WomanChild, which established Salvant as
the breakout jazz singer of her generation. The new
release is a collection of standards and originals,
mostly on the theme of romance, Salvant backed by a
superb trio led by pianist Aaron Diehl. Like many of
the finest vocalists, she is equal parts singer and
actress, with a flair for the dramatic and, even more
notably, a real aptitude for comedy. Its no surprise,
then, that some of her best performances are on musical
theater numbers, in which she gets to inhabit
characters, like the ingnue smitten by a handsome
man in The Trolley Song or the jealous sister in
Richard Rodgers-Oscar Hammersteins Stepsister s
Lament. Shes also sly enough to comment, with a
wink and a nod, on the dated, misogynistic lyrics of
Burt Bacharach-Hal Davids Wives and Lovers. Best
of all is her tour de force, 10-minute-plus reading of
Stephen Sondheim-Leonard Bernsteins Somethings
Coming from West Side Story.
Theres a scholarly bent to Salvants repertoire,
too, as she seeks out obscurities like the sassy 30s
blues Growlin Dan, which she attacks with glee,
and mournful French ballad Le Mal de Vivre. She
also contributes some thoughtful originals chronicling
love lost and found, including a pair of beauties on the
shared theme of being unnoticed by the object of your
desire (Look at Me and Left Over).

None of this would matter, though, if Salvant didnt
have the voice to bring it all together. And she certainly
doesa rich, silky tone recalling Sarah Vaughan at
times and uncanny control over every note. She can sing
crisply and clearly, perfectly articulating each word, but
really seems to relish growling and snarling the blues.
Its a rare combination unmatched among young jazz
singers today.
For more information, visit mackavenue.com. Salvant is at
The Appel Room Feb. 12th-14th. See Calendar.
ccile mclorin salvant

FEB 1214 7PM & 9:30PM
Vocalist Ccile McLorin Salvant performs for
Valentines Day weekend
monty alexander & friends:

sinatra at 100
FEB 1213 8PM
Pianist Monty Alexander and special guest
vocalist Kurt Elling
christian mcbride/
henry butler, steven
bernstein & the hot 9
FEB 2627 8PM
An outstanding double bill of two of todays most
exciting and energetic jazz ensembles
moonglow: the magic

of benny goodman
MAR 45 7PM & 9:30PM
With narrator Wendell Pierce, pianist Christian
Sands, drummer Sammy Miller, vibraphonist
Joel Ross, and clarinetists Peter Anderson, Will
Anderson, Patrick Bartley, and Janelle Reichman
aaron diehl: the real deal

MAR 1819 7PM & 9:30PM
Pianist Aaron Diehl with vibraphonist Warren
Wolf, guitarist Dani de Morn, and saxophonist
Joe Temperley
jazz at
lincoln center
jazz.org
Venue Frederick P. Rose Hall

Box Office Broadway at 60th, Ground Fl.
CenterCharge 212-721-6500
21
Sixteen: Drummers Suite

Dan Weiss Large Ensemble (Pi)
by Thomas Conrad
O ur current jazz era is dynamic with worldwide

experimentation and innovation. Yet even now it is
rare to encounter a jazz recording of a kind youve not
heard before. Sixteen: Drummers Suite is one.

Dan Weiss never treats his 16-piece ensemble as
an orchestra, but as a company of artists on whom he
can draw as he needs them, in subgroups of varying
sizes. There are two percussionists (including Weiss),
two keyboardists, four reed players, two trombonists,
three vocalists, a bassist, guitarist and harpist. While
none of the instruments are exotic, Weiss combines
them in ways that create strange sonorities, new color
blends, dense, dizzying ensemble details and startling
energy spikes.

Sixteen is a through-composed suite in six
movements, each named for and inspired by one of the
characteristic rhythmic phrases of a groundbreaking
drummer. For Tony, Weiss chose 13 seconds of Tony
Williams drum break on Nefertiti, from Miles
Davis album of the same name. Williams rolls and
detonations make a melody bassist Thomas Morgan
uses in his introduction. A wild ride ensues, powered
by the furious alto saxophones of David Binney and
Miguel Zenn. Throughout, Williams drum song lurks
in the ensemble infrastructure. For Philly Joe, only
four seconds by Philly Joe Jones (from Billy Boy, on
Miles Davis Milestones) motivates a diverse nineminute form containing Ohad Talmor s brooding tenor
saxophone, careening voices, tuba, massed keyboards,
glockenspiel and even silence. For Ed, Weiss used a
seven-second Ed Blackwell drum pattern from The
Avant Garde by John Coltrane and Don Cherry.
Blackwells stark design gets into many instruments on
this 15-minute climax to Weiss suite. The piece is
assembled like a rough canon, the incantatory melody
first traced by Talmor, then alto saxophone and flute
and singers and all the others joining, until Ed
becomes a seething sonic sea.

There is formidable solo firepower here (pianist
Matt Mitchell and guitarist Miles Okazaki, among
others), yet solos are subservient to the collective
enterprise. Sixteen is turbulent but not chaotic. It is tied
together by its thematic connective tissue and by the
intricate, flowing energy sustained by the leader. Weiss
is a remarkable drummer who has just become more
remarkable as a composer and conceptualist.
For more information, visit pirecordings.com. This project
is at The Jazz Gallery Feb. 12th-13th. See Calendar.
Songs from Afar

Lucian Ban Elevation (Sunnyside)
by Terrell Holmes
P ianist
Lucian Ban sends a love letter to his native

Romania with his new album Songs from Afar. Ban and
his group Elevationtenor saxophonist Abraham

Burton, bassist John Hbert and drummer Eric
McPhersonblend the traditions of jazz and folk songs
seamlessly on this touching, inspiring journey.

Ban shows admirable composing range but he
evidently prefers the softer touch, as evinced by the
ballad Farewell, which has Mat Maneri guesting on
viola, a somber complement to Burtons wistful tenor.
That measured interplay of tenor and viola continues
on the clever and economical Travlin With Ra,
whose construction contains hints of Monk, and on the
laid-back, excellent Southern Dawn. Bans vivid
arpeggios and opulent tonality define the reflective
Solo for a Brother with Perfect Timing while Burtons
tenor on Chakra, the Island is dreamy, with a touch
of stridency. The band goes to church with the elegiac
Spiritual, moving among gospel-inflected piano,
percussion highlights and saxophone praise shouting.

Bans hometown of Cluj-Napoca, unofficial capital
of the Transylvania region, is the driving force behind
this album and to that end he offers a pair of traditional
songs, Transylvanian Sorrow Song and two versions
of Transylvanian Wedding Song, all sung in
Romanian by Gavril Tarmure, with translations in the
liner notes (interestingly, though polar opposites
thematically, both use sleep as a central metaphor).
The second version of the latter is closer to traditional
with the core group only but the furious interplay of
saxophone, viola, drums and vocals turn the first
version into a folk/jazz burnerhardbop at the altar.
The blending of the two genres and tempos defines the
intelligence of the Hbert arrangement, especially the
way Maneri echoes the vocal line splendidly. The
albums valediction, the nominal title track, is another
Ban solo, Teaca, a Song from Afar, a warm tribute to
the village where he grew up.
For more information, visit sunnysiderecords.com. Ban is at
Cornelia Street Caf Feb. 13th. See Calendar.
The Mood Im In
Marlene VerPlanck (Audiophile)
Better Than Anything: Live
Sheila Jordan (There)
by Fred Bouchard
H eres a paean to two elegant octogenarian doyennes

of swing and bop, still in the game after all these years.
Marlene VerPlanck and Sheila Jordan are wonderfully
bipolar oppositesstraight arrow vs. notebender,
unflappable vs. excitablebut intersect on tasteful
repertoire, respectful interaction with their bands,
glorious sense of community with adoring audiences
and loyal labels to document impressive careers.

Born and raised in Newark, Marlene Pampinella
married trombonist/arranger Billy VerPlanck at 21 in
1955, the year of her debut I Think of You with Every
Breath I Take. Her superb pipes, pinpoint intonation
and winning charm earned VerPlanck a prolific career
singing with big bands and made her a go-to-gal for
jingles, famously Campbell Soups Mm Mm Good!
Marlene VerPlanck Loves Johnny Mercer came out in
1979, her first of a dozen Audiophiles, each balanced
and articulate and she has lost nary a whit of it on The
Mood Im In, a companionable date laid last March in
London with relaxed Brits like pianist John Pearce and
trombonist Mark Nightingale. An upholder of
endangered repertoire, she handcrafts textbook
versions of Billy Eckstines I Want To Talk About
You, Mack Gordon-Harry Warrens This Is Always,
Sammy Cahn-Jimmy Van Heusens Come On Strong
and Ducal delights All Too Soon and It Shouldnt

Happen To A Dream. A marvel of elegant phrasing,
perfect timing, an elocutioner s enunciation, easy wit
and nuance, she invests Certain People with grit
while mustering the palest aqua on blue songs.

Sheila Jordan has enjoyed a similarly lengthy, if
late-starting, career: born in hardscrabble Appalachia,
she blossomed as a Detroit bop child baptized in Charlie
Parkers beaming eights, practiced prescient vocalese
with her group Skeeter, as Cherokee blood-lines fed her
singular chant-scat. Since diving full-time into jazz-biz
in her 50s, Sheila keeps slinging arrows from her quiver
and hitting bulls-eyes: fine improvisatory lyricist!
head-to-head scat whiz! globetrotting teacher! denmother to generations of ardent singers! Better Than
Anything celebrates the 25th anniversary of a set at
Kimballs East (Oakland, CA) with bassist Harvie S and
pianist Alan Broadbent. Her genius at timbral variation
and pitch modulation often finds each note in a falling
phrase with its own little arca sob, grace note, inflated
tear. Lyrics embrace her musical autobiography, in-themoment observations (Hi, [name here]!) and roomreading shout-outs (Nice tie!) as fans melt under her
glow like cocoa pips in a cauldron. Medleys unfold as
intuitive narratives; here Youd Be So Nice To Come
To flows into Clifford Jordan/Abbey Lincolns
Japanese Dream and Irving Berlins Whatll I Do?.
A deep bow to Bird (Confirmation with lock-hand
Broadbent) and duo with Harvie S on Bill Evans Waltz
For Debby, hilarious chit-scat with Harvie (Falling In
Love with Love) and a haunting Caterpillar Song
and were home.
For more information, visit jazzology.com and a-train.com.
VerPlanck is at Blue Note Feb. 21st. Jordans trio is at
Cornelia Street Caf Feb. 14th. See Calendar.
afforded freedom to create fluid, driving lines recalling

the best work of Alphonso Johnson.

Yes, there is room for a hip jazz harpist to grasp
the torch of Ashby, Coltrane and the rarely mentioned
Adele Girard, but this instrument needs to breathe.
Younger will prove to be an important voice but the
path will be clearer when she forgoes the trappings of
slow-jam crossover and just plays.
Wax & Wane
Brandee Younger (Revive Music)
by John Pietaro
Brandee Younger is a jazz harpist with a classical

pedigree and impressive performance resum to
match. Her instrument has held a sparing spotlight
over the decades, most powerfully by Dorothy Ashby,
whose spirit, the listener is told, loomed over the
recording of Wax & Wane, as did Alice Coltrane. Given
the limited history the instrument has within jazz, the
influence of either would be impossible to avoid.
Unfortunately, one would be hard-pressed to verify the
presence of either on the seven tracks offered.

Here is a disc largely imbued with the CD-101
aesthetica style of which critics often tag fuzak
to build on the funk influence of Younger s last release.
This format is interrupted just twice by atmospheric
chamber works of harp, violin and viola (the latter
played by string duo Chargaux) in which the leader is
vividly featured. The brevity of these selections leaves
the ears feeling cheated once the next mellow grooveoriented piece kicks in. The format is planted all too
firmly: tenor saxophonist Chelsea Baratz smoky
melodic lines can conjure memories of 80s Grover
Washington, Jr. Wax and Wane is at its best in the
acoustic moments or when bassist Dezron Douglas is
For more information, visit revive-music.com. This project

is at Dizzys Club Feb. 17th. See Calendar.
Charm
John Ellis & Double-Wide (Parade Light)
by Mark Keresman
Saxophonist
John Ellis Double-Wide has a distinct

New Orleans bent to it, but not just one particular
Nawlins style; Ellis brings various strands together:
Preservation Hall Jazz Band, Dr. John and The Meters
and music beyond The Big Easy as well.

Opener Booker has a loping groove part souljazz (Gary Versaces chugging organ) and part Crescent
City (Matt Perrines huffing-puffing sousaphone)
while Ellis creamy-smooth tenor saxophone gets
sweet n sour with Alan Ferber s suave yet rollicking
trombone. Horse Wont Trot has a lazy summer
afternoon tempo, Ellis blues-rich clarinet and vocallike trombone taking on expressive Ellington-ian
qualities. Charm is Nearly Always Sinister takes
Monk for a trip down to the Latin Quarter of New
Orleans, Versaces chords so thick you could virtually
walk on them. International Tuba Day combines
Monk with the chase-scene music Carl Stalling and
Raymond Scott composed for Warner Brothers
cartoons; Perrine peels out a nimble, punchy solo and
Ferber s lead brings a bit of Argentina to the
proceedings. Snake Handler begins with Ellis
unaccompanied saxophone, playing some obliquely
sweet lines. Ferber enters, singing (through his horn)
and it evolves into a classical-sounding dirge. Better
Angels is a detour into hard funk, but of the Northern
variant, its slightly cinematic, twisty tone recalling the
music from 70s Blaxploitation films.

Charm is, obviously, not a platter for the stodgy
purist: its a funk album; a tribute to the range of
sounds that have emerged from New Orleans in the
past several decades; and a quirky modern jazz session,
albeit one leaning more to groove than swing. Great
music and great fun as well.
Or should our criteria be more emotional? Does it elicit

sadness, excitement? Do I get lost in the music and
simply float along on its rhythm, pace, melody and
movement? Florian Hoefner s Luminosity made me ask
myself these questions, as it addresses all these criteria
at once, a rare feat.

Hoefner s tunes are seamlessly intertwined, as is
his bands performance. Luminosity is a total experience.
Besides sizzling saxophonist Seamus Blake, the other
musician names are less familiar on this record, the
third from German-born Hoefner. The entire band,
completed by bassist Sam Anning and drummer Peter
Kronrief, performs as if joined at the hip, as if they all
wrote the compositions, not Hoefner alone.

Composed while on sabbatical in Newfoundland,
Luminosity plays out like a suite, so flawless is the
material. The fabric of each composition relies on
complex chordal and rhythmic motifs but, as the album
speeds by, one is only caught up in the sound of the
music, grace of the piano, swells and surges of the
rhythm section and swirling tenor.

The rhythmic ingredients in Hoefner s music are
telling: a calm 5/4 time feel on the title track; a deft
metric modulation effect between drums and piano on
In Circles; scatting, bop-like tenor and bass unison in
The Bottom Line; gentle rhythms cascading like a
waterfall in The Narrows. Throughout, Hoefner s
music is as thoughtful as it is thought-provoking.
Far from a collection of tunes with separate
meanings and musical messages, Luminosity is a
complete work, so unified one forgets where one track
ends and the next begins. It is the essence of flow, as
clear as a stream rushing by and equally invigorating.
For more information, visit originarts.com. This project is
at Cornelia Street Caf Feb. 23rd. See Calendar.
For more information, visit johnaxsonellis.com. Ellis is at

The Jazz Gallery Feb. 19th-20th. See Calendar.
Luminosity
Florian Hoefner Group (Origin)
by Ken Micallef
O n what basis do we judge and review jazz records?

Is it on performance, skill, composition and production?
23
Lets Get Lost

Cyrille Aime (Mack Avenue)
by Matthew Kassel
J azz critics tend to describe French singer Cyrille

Aimes bright, springy voice as girlish, which is
certainly apt (though shes no Blossom Dearie). But its
not really worth ascribing human characteristics to her
style, because the songs she performs carry little
emotional weight. This is not to discredit the Frenchborn Aime, 31, Third Place Winner in the 2010
Thelonious
Monk
International
Jazz
Vocals
Competition, who may have the best voice-asinstrument in modern jazz.

On her new album, Lets Get Lost, a slightly
melancholy follow-up to her upbeat previous record,
Its a Good Day, she scats her way through the entirety
of Oscar Pettifords wordless, bebop-inflected
Laverne Walk, accompanied only by bassist Sam
Anning. You get the sense that Aime, who arranged a
number of the songs on this recordtaking its name
from the Frank Loesser-Jimmy McHugh tuneis most
at home when she isnt bound by the linguistic confines
of old standards like Three Little Words, That Old
Feeling and Theres a Lull in My Life.

Sure, she can be romantic when she wants to be.
The songs she sings in her native tongue, for instance,
are particularly lovely, such as Tes Beau Tu Sais and

Samois Moi. A dreamy tune called Nine More
Minutes, which she wrote with guitarist Michael
Valeanu, who is part of Aimes band along with
second guitarist Adrien Moignard and drummer Rajiv
Jayaweerawill send you into a contented haze. Light
Latin rhythms are scattered throughout the record, as
are faint nods to gypsy jazz. The singer also layers her
voice with a loop pedal.

Shes at her best, though, when shes improvising,
which is why her finest albums are live ones, recorded
within the intimate confines of New York jazz clubs
where she regularly performs.
For more information, visit mackavenue.com. Aime is at
Lyce Franais de New York Feb. 24th. See Calendar.
After Dark
Champian Fulton (Gut String)
by Ken Dryden
Champian Fulton has become a fixture in New York

City since earning her degree at SUNY-Purchase, where
she studied with pianist Hal Galper. Fulton is one of
the rare pianist/vocalists who excels in both areas and
has blossomed with each new release, displaying
maturity far beyond her years.

After Dark is a tribute to the Queen of the Blues,
Dinah Washington, one of Fultons favorite singers,
covering songs from her repertoire. Fulton is joined by
two talented veterans, bassist David Williams and
drummer Lewis Nash, with her father, trumpeter
Stephen Fulton, guesting on several tracks. She says
that listening to Washington comforted me when I
needed it, made me laugh and warmed my heart and
Fulton has also absorbed how Washington
communicated with her fans.

While theres a touch of sass in Fultons vocals
that has rubbed off from the singer who inspired her,
she is very much her own person. She captures the
essence of Fats Waller s Aint Misbehavin in her
miniature arrangement, supported by whimsical
muted trumpet. Fulton is at her most playful in the
sparkling, driving setting of That Old Feeling,
injecting humor into her vocal and a bit of Erroll
Garner in her piano solo while she audibly chuckles
during Williams feature. Her robust treatment of
Blue Skies swings like the band is playing in a club,
due to assertive piano, witty Clark Terry-flavored
flugelhorn and strong pulse of the rhythm section.
Fultons expressive rendition of A Bad Case of the
Blues is masterful, accented by vocal-like responses
from muted trumpet. Mad About the Boy is an
overlooked gem, which has fallen out of favor, but
Fulton uncovers what attracted so many vocalists to it
during the 50s while her spacious, bluesy playing
buoys her sensual vocal. Fulton wraps the session with
a down-home original instrumental blues played solo,
Midnight Stroll, which sounds like it could have
been performed during Washingtons heyday.
For more information, visit gutstringrecords.com. This
project is at Jazz at Kitano Feb. 24th. See Calendar.
FEBRUARY 13
GREGORY PORTER
@ THE TOWN HALL
FEBRUARY 20
MESHELL
NDEGEOCELLO
MARCH 13
KNEEDELUS
(KNEEBODY + DAEDELUS)
MARCH 16
TORTOISE
APRIL 15
SARAH NEUFELD
W/ EARTHEATER
Busy Being Free

Barbara Fasano (Human Child/Harbinger)
by Alex Henderson
Some in the jazz vocal world are strict purists, rejecting

anyone not totally straightahead in their approach.
That type of rigidity is unfortunate because one need
not be a purist to be a worthwhile contributor. Barbara
Fasano is a good example. Busy Being Free, the Long
Island natives fourth album, is an appealing mixture
of vocal jazz and cabaret. Drawing on direct or indirect
influences ranging from Sarah Vaughan and Lena
Horne to Barbra Streisand, Fasano is a thoughtful
interpreter of lyrics with in-depth knowledge of classic
Tin Pan Alley songs of the 20th Century.
That oeuvre is the priority on this album with
standards such as Richard Rodgers-Lorenz Harts
Where
or
When,
Richard
Rodgers-Oscar
Hammersteins The Surrey with the Fringe on Top
and Arthur Schwartz-Howard Dietz Dancing in the
Dark. Fasano also finds the jazz/cabaret possibilities
in everything from Joni Mitchells Cactus Tree and
Jimmy Webbs Time Flies to Nellie Lutcher s Hurry
on Down. And even when Fasano is acknowledging
Tin Pan Alley, she doesnt limit herself to the most
overdone standards; one of the highlights here is a
likable performance of Vernon Dukes Roundabout
(from the 1952 musical Twos Company).

Despite the strong cabaret factor, Fasano is backed
by some heavyweight jazz improvisers and is not shy
about letting them stretch out: pianist John di Martino
(who handles the arrangements) and cornet player
Warren Vach. Also on board are Aaron Heick (soprano
saxophone and flute), Paul Meyers (guitar), Boris
Kozlov (bass) and Vince Cherico (drums).

Combining vocal jazz and cabaret elements in a
pleasing fashion is clearly Fasanos strong point and
she does well on this respectable outing.
For more information, visit humanchild.com. This project is
at Metropolitan Room Feb. 25th. See Calendar.
Ubatuba
Ingrid Laubrock (Firehouse 12)
by John Sharpe
G iven that German-born New York-based saxophonist

Ingrid Laubrock started her career in London playing
Brazilian-inspired music, she is likely aware that
Ubatuba is a Brazilian municipality in the state of So
Paulo. Not that there are samba grooves anywhere to
be found on the eponymous debut of her new outfit. Of
course the name is also a punning reference to Dan
Pecks blown bass, which takes its place in an
idiosyncratic roster. Although Laubrock has adopted a
different compositional method for this band, the
opacity of her charts remains familiar from units like
Anti-House.
What is written blurs deliciously with what is
improvised. It results in a typically unpredictable
program, which retains a vivid freshness as repeated

phrases and overt structure peer out from a welter of
divergent voices. With its concentration on softly
blown exhalations, Any Breathing Organism
performs a scene-setting function. Thereafter pieces go
through multiple moods, even the relatively short
Homo Diluvii with its involved contrapuntal lines.
Several cuts, like Hall Of Mirrors and Any Many,
experience an abrupt shift to near silence before
progressing via a series of minimalist restrained
gestures, to a dissonant horn choir in the former and a
bracing crescendo in the latter.

Alto saxophonist Tim Berne fully enters into this
knotty universe. His most insistent and expressive
moments come on the suite-like Hypnic Jerk after an
extended spell featuring Laubrock also on alto.
Drummer Tom Raineys spasms of rhythm and texture
cause the music to snap into sudden focus. His staccato
outbursts become especially prominent on the spiky
Hiccups, first in a dynamite duet with Laubrocks
skittish tenor and then nudging Ben Gersteins garrulous
trombone and Bernes squalling alto. Although Gerstein
and Peck largely refrain from the spotlight, theres lots
of scope for braying horn polyphony, which creates
some of the most thrilling passages herein.
ensemble of varying size and instrumentation, ranging

from the sparest textures to passages of full-blown
romanticism. As with all of the most recent AMM discs,
the recording is first-class, allowing for every detail to
be captured in a natural environment.
For fans of what is still called free jazz, AMM
music is the logical next step. It embodies the freedoms
inherited from John Coltrane and Albert Ayler but in a
decidedly different language, of which AMM were
among the pioneers. Spanish Fighters now joins the
long list of testimonials to their adventurous spirits
and continued relevance and vitality.
For more information, visit matchlessrecordings.com
For more information, visit firehouse12records.com. This

project is at The Jazz Gallery Feb. 27th. See Calendar.
Spanish Fighters
AMM (Matchless)
by Marc Medwin
This is the most recent document from the cryptic and
brilliant AMM, who celebrated 50 years in December

2015. The ensembles debut was an uncompromising
journey into ambiguous sound and its production,
whose
genre-bending
resonances
the
label
improvisation would only partially explain. This
version of AMM, consisting of pianist John Tilbury,
who turns 80 this month, and percussionist Eddie
Prvost, charts a similarly engaging course, though it
is quieter than that blistering first outing.

AMMs use of silence and space has increased over
the years and this new disc certainly follows the trend
toward subtlety and nuance. This is, of course, an
overgeneralization and the sooner the listener becomes
acclimated to AMMs subtle shades of sonic color and
depth, the more shape is perceived. One way of
describing this 2012 festival performance is a series of
widening and concentric arcs punctuated by silence.
The timbres themselves may be fluid, as with the liquid
piano sonorities and bowed tamtam that begin the
performance, or may involve the imaginative interplay
of prepared piano and pitched percussion following
the first silence. The commencing softer sounds also
usher out the performance, giving an arc-like contour
to the whole.
As with every other AMM project, reference is
both enigmatic and exhilarating. Tilbury is well known
for his interpretations of Morton Feldmans piano
music and there is a Feldman-esque quality to the
meditative calm with which he touches the piano, but
his chords also conjure shades of Scriabin and Bill
Evans, so delicate and intricate are his harmonic
choices. Prvost has also established a unique aesthetic,
a swung rhythm sneaking through at key moments
during passages with a harder attack. Heard in
aggregate, these two players create the illusion of an
The Stone NYC

Russ Lossing Residency
February 23-28, 2016
2/23 @ 8pm Gerry Hemingway/Russ Lossing Duo
2/23 @ 10pm Hemingway/Lossing + Loren Stillman
2/24 @ 8pm King Vulture
Russ Lossing, Adam Kolker, Matt Pavolka, Dayeon Seok
2/24 @ 10pm Oracle Trio +1 -
Russ Lossing, Masa Kamaguchi, Billy Mintz + Samuel Blaser
2/25 @ 8pm Mark Helias, Russ Lossing, Dayeon Seok

2/25 @ 10pm Kyoko Kitamura, Adam Kolker, Russ Lossing
2/26 @ 8pm Russ Lossing, solo piano CD release, Eclipse
2/26 @ 10pm Gerald Cleaver, Masa Kamaguchi, Russ Lossing
2/27 @ 8pm Michael Formanek, Michael Sarin,
Russ Lossing, Russ Johnson
2/27 @ 10pm Ben Monder, Russ Johnson, Russ Lossing,
Michael Formanek, Michael Sarin
2/28 @ 8pm Tim Berne/Russ Lossing
2/28 @ 10pm Louie Belogenis, Kirk Knuffke, Jason Rigby,
Eivind Opsvik, Jeff Davis, Russ Lossing
New Album: Eclipse: Russ Lossing piano improvisations
(Aqua Piazza Records)
thestonenyc.com avenue C and 2nd street, NYC
russlossing.com
25
Blui
Pierre Drge (SteepleChase)
by Robert Iannapollo
Danish guitarist Pierre Drge, who turns 70 this

month, first came to prominence as a protg of John
Tchicai, playing on the Danish-Congolese saxophonists
epochal 1969 large ensemble (Cadentia Nova Danica)
album Afrodisiaca. Although hes since played in and
led bands of many different stripes, his most wellknown project has been the New Jungle Orchestra
(NJO), a collective that draws from Duke Ellington,
Sun Ra, African and Indian music and Danish composer
Carl Nielsen, somehow making sense of the whole
shebang. Formed in 1980, theyve released 20 albums
since 1982 and are still going strong. But Drge has
always returned to the small-group format throughout
this career and released some excellent recordings in
the process.

Blui is his latest, a quartet comprised of current
NJO bassist Thommy Andersson, Chicagoan drummer
Hamid Drake (former NJO drummer roughly from
1987-92) and American cornet player Kirk Knuffke. Its
an inspired collection of musicians and all serve the
material well, eight songs written by Drge. The
opener Else Belse Bird Beard has a wistful cast, with
Knuffkes beautiful tone essaying the melody in
tandem with Drge, creating a vaguely melancholic
mood, their sounds meshing nicely.

Although they straddle different eras of the NJO,
Andersson and Drake are a perfect rhythm section,
giving this music its drive as well as its color. Drge
provides the quartet with some interesting and diverse
material. Beauty Of Insects consists of small sounds
and scrapes from all four members while the raucously
upbeat Happy As A Cow is the perfect follow-up.
Drge draws on his favored world music influences as
well: on Wulla Wussa he manages to infuse a Middle
Eastern flavor into his solo guitar introduction; Cha
Cha Lupa is a cha cha only in the most abstract sense
but its fun.

When people think of Drge, they tend to gravitate
toward the NJO releases but his small-group recordings
provide an excellent alternative and a more expansive
picture of this unique guitarist.
heyday of English jazz (1965-85), was only active for

about 15 years but almost everything he produced
during that time showed a unique command of rhythm
and melody in otherwise wide-open situations. A fiery,
thick and acerbic improviser with searing swing, he
was on call as a regular sideman throughout the period,
as evidenced by numerous large and small-group
appearances in England and the Continent with the
likes of Selwyn Lissack, Michael Gibbs, Ric Colbeck,
Harry Beckett, Mike Cooper, Norma Winstone, Kenny
Wheeler, Chris McGregor s Brotherhood of Breath and
Harry Miller s Isipingo. Sadly, mental health issues
sidelined him by the early 80s and he spent his latter
years institutionalized, dying just shy of his 66th
birthday.

Dawn collects three previously-unreleased studio
sessions and two are firsts: the opening three tracks are
the debut of the saxophonists regular trio with South
African bassist Harry Miller and drummer Louis
Moholo while the closing four tracks, from 1966, make
up Osbornes earliest known work. The latter is a
quartet featuring Miller, baritone and soprano
saxophonist John Surman and drummer Alan Jackson
on three modernist covers and Osbornes An Idea.
On the two trio sessions, Osborne is unbridled but not
without gruff sentimentality as he weaves Charlie
Hadens Song for Ch into the original Scotch
Pearl before moving into the title track and spry yoke
of Herbie Hancocks Jack Rabbit. Moholo and Miller
are a robust team and create expanding and contracting
tumbling circles that the saxophonist traces and pushes
against in jubilant, bitterly-edged pirouettes. The
second trio session, from a few months later, is perhaps
a little less crisp sonically but captures the seamless
motion of their volleys and allover sketches through
three Osborne tunesas the late engineer Mike King
put it once in conversation, the trio was like a
ferociously amped-up rock band (speaking especially
of Miller s bass, which on later recordings was often
grungily distorted) in its approach.

Three years earlier, Osborne hadnt yet waxed his
LP debut as part of composer Mike Westbrooks
orchestra (Celebration, Deram), but if he is a little more
tentative than frontline mate Surman on a bright,
choppy version of Pharoah Sanders Seven By Seven,
the sheer cooperative joy of this unit is infectious. A
brief, taut and captivating take of Carla Bleys And
Now the Queen follows (Surman appeared on a
version of Bleys Ictus a year earlier as part of pianist
Peter Lemer s Local Colour date), leading into stomping,
vampy skirls of An Idea. The music on offer here is
incredibly rich and provides ample fuel for the fire of
any self-professed Osborne-ophile.
For more information, visit cuneiformrecords.com
For more information, visit steeplechase.dk
what stands out are the numerous ways De Looze

deploys his unusual resources and the absolute fluidity
with which the band moves between moods and
textures, written and improvised segments. The
opening Thorium develops through shifting layers,
reflective segments highlighting the lyrical resource of
the individual reed players (Belgians Robin Verheyen
on soprano and tenor and Bo Van Der Werf on baritone;
German Gebhard Ullmann on bass clarinet, tenor
saxophone and flute) contrasting with the raw, welling
power of the whole roaring ensemble. On Xenolith,
its the strange mix of bowed percussion (Dutch Flin
Van Hemmen) and the array of gritty arco sounds and
wandering quartertones from the cellos (Americans
Daniel Levin and Lester St.louis) that is particularly
distinctive. De Loozes gift for orchestral color of a
more conventional kind is especially evident on the
beautiful Land of Morning Calm, certainly the most
written piece here, bass flute and soprano standing
out against exotic percussion and harmonies; Seven
Trees Out East, co-composed by De Looze and
Verheyen, has an almost boppish soprano lead. Subtle,
shifting contrasts between individual and collective
voices are a constant and they arise in three group
improvisations as well.

De Looze rarely foregrounds his own playing
here, but hes possessed of a special quickness of mind
and hands, weaving in and around the other voices.
His playing is in the spotlight on two improvised
duets, the almost balladic Interlink with Van Der
Werf and conversational LEsprit dEscalier with Van
Hemmen. Like the larger ensemble music, it is fresh,
thoughtful work.
For more information, visit cleanfeed-records.com. De Looze
is at Spectrum Feb. 7th. See Calendar.
February 2nd
Warren Chiasson and Trio
February 9th
Jon Burr Group
February 16th
Paul Hefner Group
Dawn
Mike Osborne (Cuneiform)
by Clifford Allen
W hile it would be unfair to claim any sort of cosmic
clairvoyance, there are certain artists whose flourish

seems linked to an implicit understanding that their
careers may not be particularly lengthy, placing a
premium on cramming as much creative energy as
possible into a given stretch. Alto saxophonist and
clarinetist Mike Osborne, one of the most significant
instrumentalists that Britain produced during the
Septych
Bram De Looze (Clean Feed)
by Stuart Broomer
Bram De Looze is a 24-year-old Belgian pianist and

Septych is the first CD under his own name, following
recordings with percussionist Dre Hocevar and two
collective groups, the LABTrio and De Looze/Machtel/
De Waele. Septych is ambitious work, with De Looze
leading a septet that immediately establishes the
independence of his thought: the band includes three
reeds, piano, drums andfar less likelytwo cellos.

The style falls within the realm of free jazz, but
February 23rd
Frank Perowsky Group
New York Bahai Center
53 E. 11th Street
(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night
Present Time
Matt Parker Trio (Bynk)
by Eric Wendell
Living in the moment is a theme that weighs heavy on
saxophonist Matt Parker s latest release. Following up

from his 2013 album Worlds Put Together, Parker
stretches the vocabulary defining the jazz idiom. Nine
tracks highlight Parker s melodic tool-kit, showcasing
a chameleon-like style both hell-bent on defying jazz
many sub-genres and putting his stamp on them all.
Aiding Parker is the sparse instrumentation of
bass and drums, expertly defined by Alan Hampton
and Reggie Quinerly, respectively. Taking a cue from
other saxophone-bass-drums trios, the rhythm section
allows the saxophone to experiment freely. This is
evident from bluesy opener Noahs Arc,
Parker taking his time to build a dramatic narrative.

Parker s songs each highlight a different melodic
component of the saxophone. The second track, New
Horizons, features the leader on soprano, strident
squeals and squawks before a minimalistic melody.
One For Duke mixes postbop delicacy and early
Ornette phrasing, bridging the gap between beauty
and bestial. Hamptons solo demonstrates a firm
rhythmic foundation and beautiful melodic sensibility.

Parker is at his best when accompanied by vocalist
Emily Braden, the pair intertwining their timbres in a
beautiful dance on three tracks. The album also features
an arrangement of a previously unrecorded Charles
Mingus tune, Song to Keki, based on a brief melody
that appears in the documentary film Charlie Mingus
1968. It shows Parker s talents as an arranger, building
a strong musical construct from a short melodic figure.
The one misstep is The Gong, an attempt at
trance-like abstraction, which feels too short to be
successful and too long to be taken seriously. This one
gaffe can hardly derail this nearly airtight album,
which sets up Parker as a talent with a bright future.
For more information, visit mattparkermusic.com. This
project is at National Sawdust Feb. 11th. See Calendar.
Natural Perception
Tobias Meinhart (Enja)
by Elliott Simon
Chord opens saxophonist Tobias Meinharts

Natural Perception as a loose but melodic vehicle to
highlight his tenor s affinity for Ingrid Jensens
honeyed trumpet. Pleasant enough stuff, but the heart
and soul of this release lies deeper in the program.
Meinharts muse is Alejandro Jodorowsky, whose acid
Western El Topo remains a seminal psychedelic Zen
masterpiece. It spawned a pretty cool and obscure jazz
fusion release (The Music of El Topo, Shades of Joy,
Douglas, 1970) but those tunes are not featured here.
Instead, it is Jodorowskys philosophy and specifically
his goal of attaining an empty mind full heart that
most informs this session.

Dark Eyes of Tomorrow presages the soughtafter self-actualization as pianist Yago Vazquez
introduces the band to an egoless fluidity through
collective improvisation. The Effort is a paean to the
journey. A delicate rhythm from Vazquez, bassist Phil
Donkin and drummer Jesse Simpson frees Meinhart to
demonstrate his gorgeous tone and improvisatory
skill. Effortless Mind is the self-surrender as
Meinharts soprano blends with trumpet in graceful
organic flow. Donkin and Simpson similarly unbind
their minds and support the progression with subtle
colors. Jensens mellow horn shows Meinhart the way
on Native Speaker, the two trading off, Vazquez
injecting tranquility into the piece by switching to
Fender Rhodes. Chorale, a Vazquez original,
contrasts a fleet rhythm with Meinharts relaxed but
beefy tenor to close out the session.

Two covers, creatively restyled but incongruous
with the sessions ethos, round out the program. Jazz
standard Youre My Everything gets a total facelift
with the addition of synthy trumpet while guitarist Bill
Frisells Throughout sacrifices surreal drift for
power as a result of Meinharts muscularity and
Vazquez sparse setting.

While Charlie Parker never read Jodorowsky; he
got it when he said, Master your instrument, master
the music and then forget all that crap and just play.
Natural Perception is at its best when Meinhart follows
that advice and plays from his heart.
Shawwho often favored 3/4 and other odd times

also features a quintet format favored by Shaw,
trombonist David Gibson joining the frontline.
But Hendrix might be most impressive as a
moving, lyrical ballad interpreter on flugelhorn,
burnishing the glow on the standard You Dont Know
What Love Is and showing why Horace Silver s
Peace is his favorite ballad. And in a sparkling bit of
revisionism, his chart on Bronisaw Kaper s oft-soppy
Invitation is hiply enlivened with an early Ahmad
Jamal rhythmic flavor.
For more information, visit sunnysiderecords.com. This
project is at Jazz Standard Feb. 10th. See Calendar.
CAROL SUDHALTER
UPDATES AND AWARDS

JANUARY THRU JULY 2016
Feb. 20 8-12, Cleopatras Needle
Quartet with Patrick Poladian (pno)
March 18 8-9 pm, Lady Got Chops Fest - Club 5C

Carol w/Mala Waldron (pno/voc),
Yuka Tadano (bass), Doug Richardson (dms)
April 16 8-12, Cleopatras Needle
Quartet with Patrick Poladian (pno)
May 18 7:30 pm Guest Jazz Artist,
Jackson Heights Chamber Orchestra Concert
St. Marks Church, 34th Ave/82nd St, JH, NY
May 28 6 pm,
Flatted 5th Jazz Vespers Series
Memorial West United
Presbyterian Church, Newark, NJ
featuring Cynthia Holiday (voc)
June 18 - 7 pm,
Sunnyside Reformed Church
Astoria Big Band: Women
Composers of Popular Music.
Funding: Queens Council on the Arts
For more information, visit jazzrecords.com/enja. This

project is at Jazz at Kitano Feb. 18th. See Calendar.
SUDHALTER.COM
July 17-23 - Faculty

Augusta Heritage
Blues/Swing Week, Elkins, WV.
augustaheritagecenter.org/
augusta-schedule/blues-swing
Jersey Cat
Freddie Hendrix (Sunnyside)
by George Kanzler
West Orange, New Jersey, is only a half hour s train
ride from Penn Station in midtown Manhattan. Its jazz

scene centered around the now-defunct Cecils Jazz
Club, where trumpeter and New Jerseyan Freddie
Hendrix was a regular at jam sessions, along with most
of the musicians, including drummer Cecil Brooks III,
on this showcase for the performing and arranging
talents of the leader, a mainstay of many New York
area big bands since emerging on to the scene around
the turn of the century. The trumpeter is not only from
New Jersey, but one of his idols and influences is the
late Newark trumpeter Woody Shaw, although in his
more exuberant uptempo moments Hendrix recalls
namesake Freddie Hubbard. This album is a diverse
presentation of Hendrix playing and writing, featuring
formats ranging from quartet through septet, ballads
to hardbop and even a bit of hip-hop.

The latter rises from Brooks off-center accents in
his introduction to Hubbards Hubtones, giving this
septet version a bounce continued in the spirited fours
exchanged by Hendrix and Brooks at the climax of the
soloing cycle. The two also interact excitingly in a
duologue coda to Tex Allens St. Peter s Walk, the
flagwaver that opens the CD with a blast of trumpet
and saxophones (Bruce Williams, alto and Abraham
Burton, tenor). Hendrix originals move from the
heartbeat tempo title track, with a rangy theme voiced
by the soulful flugelhorn to Latin blues The Journey
Man and exotic Madeira Nights. On the Rise is a
neo-bop swinger from a quintet with Burton, where
Hendrix midrange soloing recalls Clifford Brown and
Shaw, while Whims of A Waltz, a more overt nod to
Its a book for inquisitive players looking for something

stimulating to read after Steve Lacys Findingsand curious
listeners who want to know how smart musicians think.
Kevin Whitehead/NPRs Fresh Air;
author of Why Jazz?: A Concise Guide
Newsomes insights will inspire musicians of all ages and
skill levels to develop to their highest potential.
Dr. Michael Veal, musician and professor of
ethnomusicology at Yale University, author of
Tony Allen: An Autobiography of the Master Drummer of Afrobeat
This book is for anyone who has tried and failed but
unwilling to give up on their own passion for becoming.
Dr. David Schroder, musician and professor and
NYU Steinhardt Jazz Studies Director
I wish that I had this book when I was much younger, as Id
probably be further along in my studies by now!
Ethan Iverson, pianist and composer (with The Bad Plus)
and writer of the blog Do The Math
samnewsome.com
27
Harlem Stride: Jazz NOW Series

For tickets and details, visit www.harlemstage.org or call 212 281 9240 Ext.19
Experience the emerging voices and rising stars in the world of

SHOW TIME: 7:30PM
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Elena Pinderhughes
Photo by Julie Vastola
Feb 10
The Kwami Coleman Trio
Photo by Idris Solomon
Mar 2
James FranciesJF3
Photo by Rob Davidson
Apr 20
Nate Smith + KINFOLK
Photo by Laura Hanifin
May 4
Manuel
Valera, an innovative and adventurous

pianist and composer, has issued a pair of diverse new
releases, confirming his status as one of the most
talented and promising young players around.
Valera, with bassist Hans Glawischnig and
jazz!
drummer E.J. Strickland, recorded a swinging live set
in 2014 at Firehouse 12, a club in New Haven,
Connecticut that has quickly become one of the premier
jazz spots on the New England map.

The show begins with Spiral, a song with which
Valera opened his fine 2014 solo album Self Portrait. He
lays down his distinctive fluid arpeggios and rapidfire single notes as Strickland thrashes behind him and
Glawischnig lays down pizzicato with the quickness
and force of Ali jabs. The classic-styled bop tune
Wayne appropriately precedes a stellar arrangement
of Wayne Shorter s Footprints, which includes a
blistering ostinato passage by the trio, another one of
Valeras trademarks. Valera uses ostinati constantly
during this set and it isnt tedious; instead it lets the
trio truly stretch out and build momentum. They are
dazzling on En Route and the tango-influenced
Lirico and quite adept on ballads like the warmhearted Distancia and a lovely version of the
Intermezzo Sinfonico from the opera Cavalleria
Rusticana (used famously as the music behind the
opening credits of the 1980 Robert De Niro character
vehicle Raging Bull). Valera is a stunning musician
whose celerity detracts neither from his lyricism nor
his flawless harmonic schemes. Live at Firehouse 12
defines energy and cohesiveness and the crowd at the
club that night was clearly bowled over by these
amazing players.

The focus shifts from acoustic to electric on Urban
Landscape. Valeras band Groove Square is comprised
of Strickland, John Ellis (tenor and bass clarinet), Nir
Felder (guitar) and John Benitez (electric bass). Valera
works out on several electric keyboards, sounding like
a kid in a music store and the greater instrumental
depth results in a vivacious sonic palette.

The album begins with the cool funk of 121st
Street and from there Valera and the band breezes
through a silky roster of contemporary jazz tunes. And
if the core band isnt enough, this party has an
impressive guest list. Drummer Jeff Tain Watts
supplies
polyrhythmic
on three
tunes,
including
Spring
2016
Harlem drive
Stride:
Jazz
Now
Series
the blistering Coming Down. Ascendant harmonica
Subscription
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player Grgoire
Maret lends his soulfulness to
Gliding and forms a splendid tandem with Ellis on
Purchase
the series
subscription
and see
all of these amazing
artists
Five
Reasons.
Similarly,
percussionists
Paulo
Stagnaro
and
Mauricio
Herrera
give
an
added
ings of over 15%.
dimension to All Around You and Geometrico,
respectively. Felder is seductive on the blues-steeped
As I Listen and Valera turns into a sorcerer on the
burner Never Absent. Benitez lays down ice blue
lines on the bright-eyed Little By Little and Ellis and
Felder engage in a frenetic trading of fours on the
closer New Ways. Urban Landscape takes up almost
all of the 74-minute CD limit and one gets the feeling
that without the time constraint Valera and the band
would play forever.
These programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership
with the City Council, The National Endowment for the Arts and New York State Council on the Arts. Additional program
support comes from Mertz Gilmore Foundation and Jerome Foundation.
Please visit http://www.harlemstage.org/donate/corporations-foundations/ for a complete list of our sponsors.
Live at Firehouse 12
Manuel Valera Trio (Mavo)
Urban Landscape
Manuel Valera & Groove Square (Destiny)
by Terrell Holmes
For more information, visit manuelvalera.com and

destinyrecordsmusic.com. Valera is at Terraza 7 Feb. 5th
and Smoke Feb. 24th-25th. See Calendar.
Threshold
Mike DiRubbo (Ksanti)
by Mark Keresman
Alto saxophonist Mike DiRubbo has been part of the
NYC scene for 20+ years, with eight platters as a leader.

DiRubbo studied under late fellow alto saxophonist
Jackie McLean and while he doesnt sound much like
him, DiRubbo has the same cry. Stylistically, this is
hardbop but not yet another redux in the classic Blue
Note/Prestige glory days mode. Threshold has affinities
with that classic soundstate the moody, minorkeyed, catchy theme and solobut what separates this
from similar albums is the intensity DiRubbo and
company bring to the table.

Without any histrionics or excess, DiRubbos
playing is passionate and razor-sharp. Trumpeter Josh
Evans fiery crackle brings to mind Freddie Hubbard
and Lee Morgan and the way he and DiRubbo play off
one other in the title track is exhilarating. Ace drummer
Rudy Royston is volatile but never overbearing, always
supporting the totality of the music. Brian Charette is
known for his organ playing but here applies himself to
the acoustic piano without any loss of heat. Bassist
Ugonna Okegwo is self-effacing but solid.

As fine a player as DiRubbo is, he is also a striking
composer. Curvas Perigosas has a pleasing but not at
all predictable melody; DiRubbos solo is full of thrust

and parry, deep dark phrasing and bittersweet locution
while Evans conveys many shades of blue yearning.
This tune fades with a great sense of mystery. On the
other hand, DiRubbo is sublime on his ballad Salter of
the Earthwhile many saxophone wizards can burn
and roar, not everyone can make distinctive, surgingwith-longing balladry.

Threshold is aptly namedon one side, the glories
of the past; on the other, fresh glories and vistas
beckon. DiRubbo will take you there.
For more information, visit ksantirecords.com. DiRubbo is
at The West End Lounge Feb. 21st with Altos For Pepper.
See Calendar.
Dark Blue
Jim Rotondi (Smoke Sessions)
by Ken Dryden
Trumpeter Jim Rotondi is a postbopper who emerged

in the late 80s, playing with veterans such as Toshiko
Akiyoshi and Charles Earland, in addition to working
as a sideman with numerous leaders of his generation
and recording extensively under his own name. After
over two decades working in New York when not on
tour, Rotondi settled in Europe several years ago to
take a university faculty position.

Dark Blue reunites him with two old friends,
pianist David Hazeltine (a frequent collaborator for
years and fellow member of the collective One For All)
and vibraphonist Joe Locke, with bassist David Wong
and drummer Carl Allen providing a solid rhythmic
punch, producing performances that make it sound
like a working group.

Most of Rotondis new CD was inspired by his
extensive touring, starting with the hard-charging In
Graz, named for the Austrian city where he has taught
for the past few years. The fiery unison line by Rotondi
and Locke, the infectious theme and inspired solos all
around make it the perfect opener. The title ballad
initially has a melancholy, road-weary air, but rich,
expressive trumpet quickly changes the mood to one of
reflection, with both Locke and Hazeltine contributing
engaging solos. The pianists Highline utilizes many
twists in a showcase for Allen.
The quintet excels with their rich, deliberate
interpretation of the jazz standard Monks Mood,
giving it a dreamy air that suggests Ellington. Hazeltine
switches to electric piano for several numbers,
including the leader s frenetic Biru Kurasai (written
quickly for a record date in progress) and a playful,
upbeat setting of Pure Imagination (from the film
Willy Wonka & the Chocolate Factory). Bob Hilliard-Mort
Garsons Our Day Will Come, a 60s pop hit covered
numerous times by a wide range of singers over the
past half-century, is recast by Hazeltine as an easygoing
samba feature for Rotondis soulful horn. With this
superb session, Jim Rotondi sounds like he has never
left New York.
For more information, visit smokesessionsrecords.com. This
project is at Smoke Feb. 26th-28th. See Calendar.
29
Live at Fat Tuesdays

Art Pepper (Elemental Music)
by Stuart Broomer
Art
Peppers career began brilliantly enough, as a

17-year-old alto saxophonist in bands led by Benny
Carter and Stan Kenton and, as this previously
unreleased 1981 session indicates, recorded just a year
before his death at 56, it ended the same way. For much
of the 38 years in between, however, Peppers life was a
disaster, marked by heroin addiction, prison terms and
brief periods of musical brilliance, some of it documented
in the 40-page booklet accompanying this CD and
including interviews with Pepper, his widow Laurie
and other people associated with him. Cast as a West
Coast jazzer, Pepper never quite fit in, his style rooted
instead in the rapid-fire flurries and blues inflections of
Charlie Parker. By the time he took the stage at New
York Citys Fat Tuesdays for these recordings, his
always passionate approach had grown to convey all
the urgency, pain and genius of his undone life.

There are five long tracks here, each intensely
etched by Pepper and an incendiary (and very well
recorded) rhythm section that fuels his flights: his
regular pianist Milcho Leviev and the first-rank pairing
of bassist George Mraz and drummer Al Foster. The
opening version of Rhythm-a-ning is a masterpiece,
Monks theme taken at a bright uptempo, ricocheting

between the poles of playful and manic. The remarkable
thing about Peppers late work is that he never stopped
growing as a saxophonist, never stopped expanding his
expressive range. One of the first musicians to cover an
Ornette Coleman composition (Tears Inside in 1960),
Peppers playing here includes a highly personal
absorption of Colemans vocal insistence and even
something of Eric Dolphys convoluted phrasing and
intervallic leaps.

The intensity level is heightened on What Is This
Thing Called Love? while Pepper brings his somber,
almost tearful depth to the ballad Goodbye, at times
reaching to high-pitched shrieks and cries. A pair of
Pepper originalsMake a List, Make a Wish and
Red Carhave the rhythm section developing strong,
gospel-suffused funk riffs. Each member of the band
individually stretches the form to the breaking point
while the others hold it together.
Pepper is consistently remarkable, a musician
capable of such emotional depth that joy and pain,
exuberance and terror, live side by side, constantly
impinging on and inferring the opposite. This is among
the recorded highlights of his career.
For more information, visit elemental-music.com. An Art
Pepper Tribute is at The West End Lounge Feb. 21st,
featuring Dmitry Baevsky and Mike DiRubbo. See Calendar.
Our Father Who Art Blakey

Valery Ponomarev Jazz Big Band
(with Benny Golson) (ZOHO)
by George Kanzler
When trumpeter Valery Ponomarev came to America

from his native Russia in 1973 at age 30 (he turned 73
last month), his playing reflected that of his jazz role
models, Clifford Brown and Lee Morgan, both of whom
had played with drummer Art Blakey. Ponomarev had
devoured Blakeys Jazz Messengers recordings in Russia
and fulfilled a dream when he joined the band in 1976,
staying for four years.
Now, after appearing in Blakey tribute bands
himself, he debuts his own jazz big band, a tribute to
Blakey featuring four tunes from the Messengers
repertoire as well as his own short Overture and
Ginas Cooking and Duke Jordans Jordu as a
tribute to Brown. In a move that shows confidence in the
big bands charisma, the album was recorded live at two
Big Apple venues: the majority at Dizzys Club and two
tracks featuring guest tenor saxophonist Benny Golson
at Zinc Bar.

Golson appears first on pianist Bobby Timmons
Moanin, close to a theme for the Messengers when
Golson was a member of the band. Ponomarevs rousing
arrangement includes his own solo quoting Lee
Morgans, plus driving solos from Golson and pianist
Mamiko Watanabe and closing choruses that quote from
Morgan and Timmons solos. Golson returns to reprise
his own Blues March, Victor Jones bringing frisson to
the band from his perch at the drums, the leaders
trumpet kicking off a string of building solos from
Golson, Jones, trombonist Corey Wallace, alto
saxophonist Todd Bashore and Watanabe before a fervid
ensemble finale.

Ponomarev incorporates and expands on elements
of original Jazz Messengers performances, including
signature solo phrases, in his charts, but outdoes himself
on the only non-Blakey tribute, Jordu, featuring his
scintillating orchestration of a Clifford Brown solo as a

soli for the brass and reeds. And the leader showcases
another exciting trumpeter, Josh Evans, on both Jordans
No Hay Problemas and Freddie Hubbards Crises,
both from the Messengers book (the latter was in the
band from 1961-64). Ponomarevs own compositional
take on the Messengers ethos comes through on his
backbeat-driven original Ginas Cooking, featuring
yet another talented trumpeter, Chris Rogers. It all adds
up to an exhilarating outing from a powerful new big
band.
For more information, visit zohomusic.com. Ponomarev is at
Zinc Bar Feb. 3rd and Smalls Feb. 6th. See Calendar.
IN PRINT
Life Lessons From The Horn

Sam Newsome (Some New Press)
by Kurt Gottschalk
The 2007 documentary Musician is uncommon in

the annals of music documentaries in its depiction
of the mundane, filmmaker Daniel Kraus following
Ken Vandermark as he made phone calls and hauled
gear. Eugene Chadbournes 1998 book I Hate the Man
Who Runs the Bar provides an insider s perspective
on the practicalities of being a gigging musician.
Add to that short stack of nonglamorizing
documents Life Lessons From the Horn: Essays on Jazz,
Originality and Being a Working Musician.

Sam Newsome is a remarkable saxophonist and
if the truly unique solo albums he makes have a
limited audience, his book has an even more limited
appeal. The straightforward talk in this slim volume
concerns such issues as time management, valuing
community over money, the worthiness of publicists
and, above all, diligence. The target audience is the
young jazz musician just setting out on a career or
perhaps the seasoned professional wondering why
his or her career never took off.

Newsome does allow himself the occasional
sidetrack and its there that he falls short. He makes
comments about cold and uncommunicative
music and abstract computer sounds and tends
toward some grand and unchecked pronouncements
about human behavior and the need for order (the
notoriously slovenly Beethoven might question his
tidy workplace doctrine). And its more revealing
than it is instructional when he states, Its annoying
to find some knucklehead from Norway who claims
to play Norwegian jazz knowing nothing about the
traditions of American jazz and with no interest in
finding out about them. While an editor might
have called such paragraphs to question, they dont
take away from his larger lessons.

In other chapters, Newsome boldly defends
Kenny G and Wynton Marsalis and makes interesting
points in the process. And when he gets around to
Coltrane, he writes quite pointedly about taking the
legends quest for individuality as inspiration rather
than simply emulating his style. This might be the
strongest of Newsomes lessons, whether or not
those who should be learning are listening.
For more information, visit samnewsome.com. Newsome
is at The Stone Feb. 20th. See Calendar.
Embraceable
Svend Asmussen (Storyville)
by Mark Keresman
Danish violinist Svend Asmussen, who turns 100 this

month, is still active. He has played with generations
of performers, from Fats Waller and Duke Ellington to
bluegrass mandolin wizard David Grisman and
fusioneer violinist Jean-Luc Ponty. Like contemporary
Stphane Grappelli, Asmussen is profoundly oriented
to small group swing incorporating bebop and beyond
but has a darker tone, jaunty blues influence and some
of Fats Waller s exuberant irreverence.

Embraceable is Asmussen in trio with a pair of
players with whom hed never previously worked,
recorded in a small Paris club in September 1985. The
recording quality is excellent (though the bass is a little
distant in the mix) and is a treasure trove for lovers of
jazz violin. Singin In the Rain begins with a wry,
country-hoedown lilt before Asmussen embraces that
classic top-o-the-world melody as much as dancer
Gene Kelly did in the film of the same name. French
pianist Georges Arvanitas (1931-2005) peels out a
rollicking, punchy solo in a Bud Powell-like manner.
On Sophisticated Lady, Asmussen makes his violin
weep and moan vividly while Arvanitas provides the
balm-like counterpoint, picking his notes wisely
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without ever sounding tentative, drummer Charles

Saudrais providing subdued but assured propulsion.
Asmussen was trained in European classical
musicChopins Prelude in C minor is perhaps an
acknowledgement of that tradition, or perhaps he
simply thought it was a beautiful melody. While the
tune is full of bittersweet angst, the way Asmussen
essays it is purely from the bluesy ballad tradition.
Arvanitas skirts the melody in his solo, interspersing it
with some spare, almost noir-ish blues playing, bassist
Patrice Caratini and Saudrais subtly providing a cool
locomotion. In contrast, Sonny Rollins Pent-Up
House is a breakneck swing vehicle, Asmussen
wailing as if it were his last-ever chance to do so,
Arvanitas taking after him, Caratini getting a brief,
enthusiastic
bowed
spotlight
and
Saudrais
demonstrating how to be both vigorous and
understated simultaneously.

Asmussens playing is firmly based in the prebebop jazz tradition but, unlike some players of his
generation, his personal style didnt stop developing
after [pick an idealized year]. Every now and then hell
insert some wry, impactful dissonances in his solos
and not only is his violin amplified at times it even
uses a wee bit of electronic delay. For never having
played together before, incidentally, this foursome has
remarkable drive and unity of purpose. It is magnificent
this recordingoriginally done for radio broadcast
finally sees the light of day in CD form.
For more information, visit storyvillerecords.com
For Stphane
Didier Lockwood (Fremeaux & Associes)
by Ken Dryden
Didier Lockwood, who turns 60 this month, counts

late violin master Stphane Grappelli among his
influences, though Lockwood established his own
musical identity long ago. For this tribute, Lockwood
utilizes a constantly shifting supporting cast of
veterans and others deserving wider international
recognition, with most of the 18 selections pieces
Grappelli recorded or performed during his career.
For much of his Gypsy-flavored rendition of
Night and Day Lockwood emulates a whistler with
his violin, though he swings quite nicely, complemented
by Romanes Django-inspired guitar solo. Lockwood
opts for subtlety in his approach to Tea For Two,
playing a spacious duet with guitarist Sylvain Luc.
Pianist Martial Solal is his partner for the darting take
of Cest Si Bon while the rhythm section is anchored
by the underrated veteran pianist Ren Urtreger in an
explosive take of Just One of Those Things, featuring
some of Lockwoods best work on this release.
Guitarist Martin Taylor toured and recorded
extensively with Grappelli, so he is a perfect match, in
addition to bassist Jean-Philippe Viret, for an intimate
interpretation of Someone To Watch Over Me.
Another Grappelli sideman, guitarist Marc Fosset, is
on hand for a hard-charging take of Honeysuckle
Rose, the leader acknowledging the late master by
replicating his trademarked end-of-phrase high notes.
Lockwoods choice of a slow tempo for As Time Goes
By enhances its lyricism and showcases harmonica
master Toots Thielemans.

Like Grappelli, Lockwood delights in sharing the
spotlight with a fellow violinist, trading hot licks with
Fiona Monbet in a rousing Tiger Rag or with Pierre
Blanchard in the leader s Baroque-flavored Jazzuetto.

Of course, its hard for Lockwood to restrain himself
from showing off his virtuoso chops as in his solo
feature of 19th century classical violin great Niccol
Paganinis Mouvement Perptuel. Disc 2 was
obviously made for European audiences; the interviews
with Lockwood, Grappelli and documentary footage
are all in French, as are the PDF documents, The two
stand-alone audio tracks have nothing to do with the
tribute: Solo Globe-trotter is a lively overdubbed
raga while Bossa For Didier is an easygoing affair
with bass and guitar.
For more information, visit fremeaux.com
ON SCREEN
Channeling Coltrane:
Electric Ascension/Cleaning the Mirror
ROVA (RogueArt)
by Kurt Gottschalk
In 2003, ROVA Saxophone Quartet marked its 25th

anniversary with a new realization of John Coltranes
Ascension. Their interpretation of the free jazz
landmark was (and remains) as surprising as it was
successful. Adding electronics (Chris Brown, Ikue
Mori and Otomo Yoshihide), strings (Carla Kihlstedt
and Jenny Scheinman), electric guitar (Nels Cline)
and electric bass (Fred Frith) , they remained faithful
to the original while updating the onslaught of
sound. Its almost equally surprising that, over a
decade later, theyve retained it as a repertory piece,
especially given that Coltrane himself never played
the piece live. They brought the project to Winter
Jazzfest last month, marking the release of a BlueRay and DVD set capturing the project at the 2012
Guelph Jazz Festival, with much the same personnel.
Theres not actually a lot of music in the
Coltrane piece: a simple theme followed by a
sequence of solos and group improv. (Coltranes
album had 11 players; ROVA has tended to slightly
up that number.) ROVA has continued to capture the
spirit of the original, the sense of exploration, even
of yearning. They dont try to play the piece so much
as represent it. What must have been an enormously
noisy record to many ears upon its release in 1966 is
recontextualized with more contemporary noises. In
that regard, special mention should be given to
Cline, who also rerecorded Coltranes Interstellar
Space with drummer Gregg Bendian back in 1999.
He has a remarkable way of finding his place within
a wide range of settings and has been invaluable to
this Ascension since the beginning.

The Guelph set is beautifully shot and edited,
with multiple cameras capturing the projects scope.
It feels both expansive and intimate. But nearly as
valuable is the 45-minute documentary on both the
Coltrane and ROVA Ascensions. Cleaning the Mirror
includes interviews with a musician on the Coltrane
album (Art Davis) and footage of players in previous
ROVA incarnations (Yoshihide, Eyvind Kang).
Without attempting to make grand claims about
connectivity, it draws a nice lineage for the continued
survival of a key piece of the 60s revolution in jazz.
For more information, visit roguart.com
31
B OXED SE T
The Complete Dial Modern Jazz Sessions

Various Artists (Mosaic)
by Clifford Allen
The music of Charlie Parker is at this point more

likely referenced as an abstraction than actually
heard. That certainly makes sense, given that he died
almost 61 years ago and had only a brief, explosive
floruit. His influence on others whose careers lasted
considerably longer and resulted in more diversity
fellow alto saxophonists Lee Konitz, Phil Woods,
Ornette Coleman, only to mention collaborators like
Miles and Max Roachmeans that our perception of
Parker is often somewhat distilled. But, despite a
short life, Bird was copiously recorded both live and
in the studio and while not every session or
configuration was perfect, almost everything is
worth spending several lifetimes exploring. Most of
us dont have that much on the clock, so even a brief,
considered immersion in his work serves to reform
the way in which we hear jazz. While his later dates
for Verve/Norgran and Savoy are rightly esteemed,
the seven sessions he recorded over two years for
Ross Russells Dial label are among the foundational

materials for everything in modern jazz.

Russell founded Dial in Los Angeles in 1946 and
closed up shop in 1949, with the tail-end of the
catalog mostly consisting of modern composers
work like that of John Cage and the second Viennese
school. Dial wasnt just a home for Bird, as Russell
also recorded early sessions from, among others,
tenor saxophonists Lucky Thompson, Dexter Gordon
and Wardell Gray; pianists Dodo Marmorosa and
Erroll Garner; trumpeters Dizzy Gillespie and
Howard McGhee; trombonists Bill Harris and Melba
Liston; and vocalist Earl Coleman. The nine discs
that make up The Complete Dial Modern Jazz Sessions
augment a massive set released on Spotlite/Toshiba
in 1995 with extra takes and a bonanza of photos
from the Ross Russell papers held at the University
of Texas-Austin, though most of the booklets text
comes from the earlier versions notes. Dial
recordings may not stand up to contemporary
audiophile ears or those weaned on Rudy Van Gelder
and Roy DuNann, though Russell was able to use
some of the best studios available at the time. With
original acetates lost, the recordings are primarily
from later transfers and suffer somewhat, especially
in the sound of the drums or the low end, which can
sound boxy or positively underwater. This fact is
something one gets used to and its usually
counteracted by the forceful presence of the horns
(Bird sounds particularly beautiful and unmarred
across the set), but is a bugaboo of which to be
cognizant. After all, bebop is a drummer s music
and one wants to hear as much Max Roach, J.C.
Heard, Roy Porter and Stan Levey as possible.
Parker expressed that he wanted Dial to
FEB 1
FEB 15
oscar peas
antoinette henry
FEB 2
FEB 16 |
brooklyn big band
7:30pm greg lewis organ

monk quintet
9:30pm emmet cohen organ
quartet
FEB 3
silver city bound & sammy

miller and the congregation
FEB 4
mickey bass and the new york

powerhouse ensemble
FLIP SIDE SESSIONS
FEB 17
brandee younger
F E B 1 8 2 1
ben allison group
F E B 5 7
FEB 22
joe farnsworth prime time

quartet
akua allrich
FEB 8
F E B 2 3 2 4
the mark sherman quartet
joe chambers outlaw band
FEB 9
F E B 2 5 2 8
gotham kings
the music of dexter gordon:

a celebration
FEB 10
FEB 29 |
bria skonberg
M O N DAY N I G H T S W I T H W B G O
gerald clayton trio with

robert hurst & greg hutchinson
F E B 1 1 1 4*
freddy cole: songs for lovers

*prix fixe menu on feb 13 14
swing by tonight
set times
7:30pm & 9:30pm
jazz.org / dizzys
Jazz at Lincoln Centers Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc
represent a level of maturity in his musical concept

slower tempos being one facet of the next phase of
his musicwhen he signed a contract with Russell
in February 1946. That said, everything he (and by
extension most of the other musicians) waxed for the
label was certifiably scrappy in execution. Parker s
initial salvo for the label was actually made in 1945
under vibraphonist Red Norvos name for Comet
and later reissued by Dial and these sides present
jaunty, crackling soli bursting out of refined
arrangements. From 1946, Max Making Wax finds
Parker nearly violent in his outpouring on a session
co-led with McGhee; unsurprisingly, the saxophonist
could inhabit worlds of leaps and tectonic
adjustments from take to take, as well as lay out
syrupy, quavering cries in the caresses of an
occasional ballad. But even if this is a language
attributable to Parker and Gillespie, the sheer
number of co-practitioners is staggering and some
might even take stabs at eclipsing the originators
(such as Gordon and Gray on The Chase). Its also
interesting to hear players who became known for
their almost genteel qualities breaking out of that
cast early on, such as pianist Hank Jones and
saxophonist James Moody, with McGhee sounding
positively ferocious on a December 1947 session.

Theres so much music across the Dial universe
that it is hard to give many specifics, but suffice it to
say that these nine discs are a master class in raw,
uninhibited modern jazz. Alto saxophonist/flutist
James Spaulding once opined to this writer that there
was nobody freer than Bird. Going by the nearly
ten hours of music on this set, Id have to agree.
For more information, visit mosaicrecords.com
M ISCELLANY
ONTHISDAY
by Andrey Henkin
Jazz at the Philharmonic

Various Artists (Fresh Sound)
February 29th, 1956
Movin & Groovin

Horace Parlan (Blue Note)
February 29th, 1960
Estilhaos
Steve Lacy (Guilda Da Msica)
February 29th, 1972
The Heart of the Ballad

Baker/Pieranunzi (Philology)
February 29th, 1988
This two-CD set was released a half-
Horace Parlan, who came up in the

mid to late 50s bands of Charles
Mingus, began his career as a recording
leader with this release, the first of over
30 albums the pianist has made in his
native United States and adopted
home of Denmark. Parlan, who would
go on to make seven more albums for
Blue Note before switching mainly to
SteepleChase and, more recently,
Stunt, is joined by the rhythm section
of Sam Jones and Al Harewood for a
program that includes only one
original, Up in Cynthias Room, to
go along with seven standards.
Steve Lacy recorded for dozens of

labels from 1954 to his final tour in
2004, shortly before his death at 69.
This live release (the only LP he made
for the Portuguese folk imprint and
reissued in 2012 by Clean Feed) is from
the Cinema Monumental in Lisbon,
Portugal and features the soprano
saxophonists quintet of the period:
Steve Potts (alto saxophone), Irne
Aebi (cello, harmonica and radio
transistor), Kent Carter (bass) and
Noel McGhie (drums). As was the case
throughout most of his career, the fourtune program is all Lacy originals.
American trumpeter/vocalist Chet

Baker (b. 1929) and Italian pianist
Enrico Pieranunzi (b. 1949) first
worked
together in December
1979-January 1980 in a co-led quartet.
They reconvened for some dates in
1987-88, their collaboration cut off due
to Bakers tragic death at 58. This is
their only session as a duo, Baker and
Pieranunzi coming together in an
Italian studio (the following two days
would yield Chet Baker Meets Space
Jazz Trios Little Girl Blue) for a relaxed
program of seven standards, four by
Johnny Burke-Jimmy Van Heusen.
century after it was recorded in

Hamburg, Germany as part of the
JATPs 1956 European tour, 12 years
after producer Norman Granz first
established the series, which would
continue intermittently through the
80s. Three bands are represented: the
JATP All-Stars with Dizzy Gillespie,
Roy Eldridge, Flip Phillips, Illinois
Jacquet, Oscar Peterson, Herb Ellis,
Ray Brown and Gene Krupa;
Petersons trio with Ellis and Brown;
and Ella Fitzgerald backed up by the
Peterson trio and Krupa.
Wood Winds West

Frank Strazzeri (Jazz Mark)
February 29th, 1992
The
title of this album is an oblique

reference to Rochesterian pianist Frank
Strazzeris career thriving for decades
in Los Angeles. This session was
recorded in Hollywood and features a
veteran three-horn frontline of Bill
Perkins (soprano and alto saxophone,
flute, alto flute), Bob Cooper (tenor
saxophone, clarinet) and Jack Nimitz
(baritone saxophone, bass clarinet), the
band completed by Dave Stone (bass)
and Paul Kreibich (drums). The band
plays several Strazzeri originals, such
as the quirkily named Strazzatonic,
plus a few standards.
BIRTHDAYS
February 1
James P. Johnson 1894-1955
Tricky Sam Nanton 1904-46
Sadao Watanabe b.1933
Tyrone Brown b.1940
Bugge Wesseltoft b.1964
Joshua Redman b.1969
February 2
Sonny Stitt 1924-82
Mimi Perrin 1926-2010
Stan Getz 1927-91
James Blood Ulmer b.1942
Louis Sclavis b.1953
February 6
Ernie Royal 1921-83
Sammy Nestico b.1924
Bernie Glow 1926-82
Tom McIntosh b.1927
Nelson Boyd 1928-1985
Oleg Kiryev b.1964
Michael Griener b.1968
Scott Amendola b.1969
February 11
Claude Jones 1901-62
Matt Dennis 1914-2002
Martin Drew 1944-2010
Raoul Bjrkenheim b.1956
Didier Lockwood b.1956
Jaleel Shaw b.1978
February 12
Paul Bascomb 1912-86
Tex Beneke 1914-2000
Hans Koller 1921-2003
Art Mardigan 1923-77
Mel Powell 1923-98
Juini Booth b.1948
Bill Laswell b.1955
Ron Horton b.1960
Szilrd Mezei b.1974
February 7
Eubie Blake 1887-1983
Ray Crawford 1924-97
Ray Alexander 1925-2002
King Curtis 1934-71
Sam Trapchak b.1984
February 3
Lil Hardin Armstrong
1898-1971
Dolly Dawn 1919-2002
Snooky Young 1919-2011
Chico Alvarez 1920-92
John Handy b.1933
Leroy Williams b.1937
Bob Stewart b.1945
Greg Tardy b.1966
Rob Garcia b.1969
February 8
Lonnie Johnson 1889-1970
Buddy Morrow 1919-2010
Pony Poindexter 1926-88
Eddie Locke 1930-2009
Renee Manning b.1955
February 4
Manny Klein 1908-96
Artie Bernstein 1909-64
Harold Duke DeJean
1909-2002
Jutta Hipp 1925-2003
Wally Cirillo 1927-77
Tony Fruscella 1927-69
John Stubblefield 1945-2005
February 5
Roxelle Claxton 1913-95
Gene Schroeder 1915-75
Rick Laird b.1941
Bill Mays b.1944
February 13
Wingy Manone 1900-82
Les Hite 1903-62
Wardell Gray 1921-55
Ron Jefferson 1926-2003
Keith Nichols b.1945
February 9
Walter Page 1900-57
Peanuts Holland 1910-79
Joe Dodge 1922-2004
Joe Maneri 1927-2009
Steve Wilson b.1961
Daniela Schaechter b.1972
Behn Gillece b.1982
February 14
Perry Bradford 1893-1970
Jack Lesberg 1920-2005
Elliot Lawrence b.1925
Phillip Greenlief b.1959
Jason Palmer b.1979
February 10
Chick Webb 1909-39
Sir Roland Hanna 1932-2002
Walter Perkins 1932-2004
Rahn Burton 1934-2013
Rufus Reid b.1944
Butch Morris 1947-2013
Michael Weiss b.1958
Paolo Fresu b.1961
February 15
Harold Arlen 1905-86
Walter Fuller 1910-2003
Nathan Davis b.1937
Kirk Lightsey b.1937
Henry Threadgill b.1944
Edward Vesala 1945-99
Herlin Riley b.1957
Dena DeRose b.1966
February 16
Bill Doggett 1916-96
Charlie Fowlkes 1916-80
Howard Riley b.1943
Jeff Clayton b.1954
February 17
Wallace Bishop 1906-86
Charlie Spivak 1906-82
Harry Dial 1907-1987
Alec Wilder 1907-80
Buddy DeFranco 1923-2014
Buddy Jones 1924-2000
Fred Frith b.1949
Nicole Mitchell b.1967
February 18
Hazy Osterwald 1922-2012
Frank Butler 1928-84
Billy Butler 1928-91
Jeanfranois Prins b.1967
Gordon Grdina b.1977
February 19
Johnny Dunn 1897-1937
Fred Van Hove b.1937
Ron Mathewson b.1944
Blaise Siwula b.1950
David Murray b.1955
February 20
Jimmy Yancey 1894-1951
Fred Robinson 1901-84
Oscar Aleman 1909-80
Frank Isola 1925-2004
Bobby Jaspar 1926-63
Nancy Wilson b.1937
Lew Soloff 1944-2015
Anthony Davis b.1951
Leroy Jones b.1958
Darek Oles b.1963
Iain Ballamy b.1964
February 21
Tadd Dameron 1917-65
Eddie Higgins 1932-2009
Nina Simone 1933-2003
Graham Collier 1937-2011
Akira Sakata b.1945
Herb Robertson b.1951
Warren Vach b.1951
Matt Darriau b.1960
Christian Howes b.1972
February 25
Tiny Parham 1900-43
Ray Perry 1915-50
Fred Katz 1919-2013
Rene Thomas 1927-75
Sandy Brown 1929-75
Tommy Newsom b.1929-2007
Ake Persson 1932-75
Brian Drye b.1975
February 22
James Reese Europe 1881-1919
Rex Stewart 1907-67
Claude Fiddler Williams
1908-2004
Buddy Tate 1914-2001
Joe Wilder 1922-2014
Dave Bailey b.1926
George Haslam b.1939
Marc Charig b.1944
Harvey Mason b.1947
Joe La Barbera b.1948
February 23
Hall Overton 1920-72
Johnny Carisi 1922-92
Richard Boone 1930-99
Les Condon 1930-2008
Wayne Escoffery b.1975
February 26
Dave Pell b.1925
Chris Anderson 1926-2008
Hagood Hardy 1937-97
Trevor Watts b.1939
Yosuke Yamashita b.1942
Guy Klucevsek b.1948
February 27
Leo Watson 1898-1950
Mildred Bailey 1907-51
Abe Most 1920-2002
Dexter Gordon 1923-90
Chuck Wayne 1923-97
Rob Brown b.1962
Joey Calderazzo b.1965
February 28
Louis Metcalf 1905-81
Svend Asmussen b.1916
Bill Douglass 1923-94
February 24
Donald Garrett 1932-89
Eddie Chamblee 1920-99
Willie Bobo 1934-83
Ralph Pena 1927-69
Charles Gayle b.1939
Andrzej Kurylewicz 1932-2007 Pierre Drge b.1946
Michel Legrand b.1932
Hilliard Greene b.1958
David Fathead Newman
Mikko Innanen b.1978
1933-2009
Steve Berrios 1945-2013
February 29
Vladimir Chekasin b.1947
Jimmy Dorsey 1904-56
Bob Magnusson b.1947
Paul Rutherford 1940-2007
Maggie Nicols b.1948
Richie Cole b.1948
HILLIARD GREENE
February 28th, 1958

Hilliard Greene is a living
example of how bassists are
among the hardest working
musicians in jazz. After
studying at Berklee College
of Music and the University
of Northern Iowa, Greene
has gone on to a busy and
diverse career: how many
people can say they worked
with both pianist Cecil
Taylor and vocalist Jimmy
Scott? He has also released
some of his own albums, be
it solo (literally) or as part of
collective groups, to go
along with discographical
entries with Charles Gayle,
Marc
Edwards,
Dave
Douglas, Pheeroan akLaff,
Steve Swell and Billy Bang.
Greene is a fixture around
his adopted home of New
York, found improvising in
free jazz ensembles or
backing up singers in more
traditional groups.
(AH)
CROSSWORD
1
ACROSS
10
11
13
12
14
15
16
18
17
19
21
20
22
23
24
25
By Andrey Henkin
1. Helen 12 ____, 1976 Charlie Mariano

MPS album
6. 1993 Naked City release on Avant
9. Black and Tan Fantasizer?
10. Vogue Records compilation
double-LP catalogue prefix
11. Play slowly
13. Rick DellaRattas Jazz For Peace
partnered with this aid org.
14. Jazz Crusaders drummer Hooper
15. Dr. Lonnie Smith is the most
famous one in jazz
17. This song from Mike Barones
2014 Rhubarb album The Vamp
features Ernie Watts
18. Like many a free-jazz group?
20. Video Co. that is a sponsor of
the Shanghai Jazz Festival
21. Jean-Milc Pilc tune from 2005 Dreyfus
album Live At Iridium, New-York
24. Senator Allen ______ of Louisiana
who called Dizzy Gillespies music
so much pure noise in 1957
visit nycjazzrecord.com for answers
25. Paris _____ Kulesi, jazz club in

Mlheim an der Ruhr
DOWN
1. Track on Eyal Maoz 2009 Tzadik album
Hope And Destruction
2. Renate Da ___, founder of publishing house
Buddys Knife Jazzedition
3. Natl. of 12 Down
4. Vocalists Jones and James
5. J.J. Johnsons favorite dessert?
6. Claude Thornhill arranger Ralph
7. Second album from Marino Pliakas/
Michael Wertmller/Peter Brtzmann trio
Full Blast
8. Rudy Van Gelder, eg.
9. Lerner-Loewe tune I Still See _____
from Paint Your Wagon, covered by
Tom Scott, Nat King Cole and Al Hirt
12. Incus co-founder Tony
16. Flutist Hofman
19. Last half of a F Major scale
22. The Jazz Gallery to Jazz at Kitano dir.
23. Country of ICP (abbr.)
BROOKLYN
ARTS
CENTER for the PERFORMING
2016 Grammy nominee
The Robert Glasper Trio

Sat, Mar 19, 2016 at 8pm, $35
AT BROOKLYN COLLEGE
Rhythm Revue: A Latin Soul Celebration

Featuring Joe Bataan and DJ Felix Hernandez
A Con Edison Music Masters Series Event
Sat, Apr 9, 2016 at 8pm, $25
Regina Carters Southern Comfort

Sat, Apr 16, 2016 at 8pm, $35
BrooklynCenter.org
or
718-951-4500
Whitman Theatre at Brooklyn College

2 to Flatbush Avenue / on-site paid parking available
Supported by:
CALENDAR

Monday, February 1
Vanguard Jazz Orchestra 50th Anniversary Celebration

Village Vanguard 8:30, 10:30 pm $30
McCoy Tyner Trio with guest Gary Bartz

Blue Note 8, 10:30 pm $45
Oscar Peas with Pete Rende, Moto Fukushima, Richie Barshay, Grgoire Maret

Dizzys Club 7:30, 9:30 pm $30
George Gee Swing Orchestra The Rainbow Room 6, 8 pm $175-225
Los Aliens: Ricardo Gallo, Sebastian Cruz, Andrs Jimnez, Amanda Ruzza

Barbs 9:30 pm $10
Johnathan Blake Group with Joe Dyson, Dayna Stephens, Dezron Douglas

SEEDS 9 pm
John Merrill; Peter Bernstein Mezzrow 7:30, 9:30 pm $20
Alex Brown Quartet; Ari Hoenig Quartet; Jonathan Michel

Smalls 7:30, 10:30 pm 1 am $20
Behn Gillece; Billy Kaye Jam Fat Cat 9 pm 12:30 am
Brandon Lopez Group
Delroys Cafe and Wine Bar 9, 10 pm $10
Ms. Sauderton: Josh Sinton, Matt Bauder, Ava Mendoza, Adam Hopkins,
Kenny Wollesen; Folklords: Jason Ajemian, Nathaniel Morgan, Angela Morris,
Jason Nazary
Threes Brewing 8:30, 10 pm $10
Junbeom Lee Trio with Dustin Kiselbach, Piotr Pawlak;
Elisabeth Lohninger Trio with Walter Fischbacher, Hans Glawischnig

Bar Next Door 6:30, 8:30, 10:30 pm $12
Yako Eicher Trio
Tomi Jazz 8 pm
Marcos Rosa
Silvana 6 pm
Tuesday, February 2
Harlem Stride Celebration hosted by Ethan Iverson

Jazz Museum in Harlem 7 pm
Monterey Jazz Allstars: Raul Midn, Ravi Coltrane, Nicholas Payton, Gerald Clayton,
Joe Sanders, Gregory Hutchinson Birdland 8:30, 11 pm $40
Victor Wooten
Arun Ortiz Trio with Brad Jones, Eric McPherson and guests Enildo Rasa,
Mauricio Herrera
Jazz Standard 7:30, 9:30 pm $25
Brooklyn Big Band
Patrick Bartley
Dizzys Club 11:15 pm $5
Warren Chiasson Trio with Ed MacEachen, Alex Gressel

NYC Bahai Center 8, 9:30 pm $15
Spiros Exaras/Elio Villafranca Club Bonafide 7:30, 9:30 pm $20
Dither: Taylor Levine, Joshua Lopes, James Moore, Gyan Riley;
Object Collection: Taylor Levine, Joshua Lopes, James Moore, Gyan Riley,
Deborah Wallace, Avi Glickstein, Daniel Allen Nelson, Shayna Dunkelman,
Owen Weaver, Travis Just, Kara Feely

The Stone 8, 10 pm $15
The Horns Band: Matt Pavolka, Kirk Knuffke, Loren Stillman, Jacob Garchik,
Mark Ferber; Josh Sinton, Angelica Sanchez, Christian Weber, Harris Eisenstadt

Korzo 9, 10:30 pm
Joel Ross Good Vibes with Immanuel Wilkins, Jeremy Corren, Ben Tiberio,
Jalon Archie
The Jazz Gallery 7:30, 9:30 pn $15
Jocelyn Medina Quartet with Pete McCann, Evan Gregor, Todd Isler;
Katie Bull Group Project with Jeff Lederer, Landon Knoblock, Ratzo Harris,
George Schuller
Cornelia Street Caf 8, 9:30 pm $10
Tommy Holladay Trio with Zach Brown, Jonathan Pinson; Eden Bareket Trio with
Or Bareket, Yonadav Ha Levi
Bar Next Door 6:30, 8:30, 10:30 pm $12
The Birth of the Cool: Miles Davis and Gerry Mulligan: Juilliard Jazz Ensembles
with guest Lee Konitz
Juilliard School Paul Hall 7:30 pm
Marianne Solivan
Mezzrow 7:30 pm $20
Spike Wilner Trio; Kyle Poole Smalls 7:30 pm 12:30 am $20

Joe Barna Quartet; Willie Martinez y La Familia; Tadataka Unno

Fat Cat 7, 9 pm 12:30 am
Ryan Slatko solo
Jazz at Kitano 8 pm
Eileen Howard
Tomi Jazz 8 pm
Yiorgos Kostopoulos Band; Haley Kallenberg

Silvana 6, 8 pm

Matterhorn
Shrine 6 pm
Wednesday, February 3
Pat Martino Trio with Pat Bianchi, Carmen Intorre, Jr.

Valery Ponomarev Sextet
Zinc Bar 8 pm
Fabian Almazan Trio with Linda Oh, Henry Cole

Club Bonafide 7:30, 9:30 pm $20
Desolation Pops: Pauline Kim Harris, Conrad Harris, James Ilgenfritz, Brian Chase,
Kevin Norton, Kathleen Supov; Dither and TILT: Taylor Levine, Joshua Lopes,
James Moore, Gyan Riley, Brian Chase, Mike McCurdy, Kevin Norton, Tim Leopold,
Chris McIntyre, James Rogers The Stone 8, 10 pm $15
Benny Benack III Band with Braxton Cook, Emmet Cohen, Russell Hall, Bryan Carter

Smoke 7, 9, 10:30 pm $12
Jay Leonhart/Tomoko Ohno Duo Jazz at Kitano 8, 10 pm $15
Silver City Bound: The Amigos and Sammy Miller and The Congregation

Patrick Bartley
Superette: Chris Lightcap, Curtis Hasselbring, Jonathan Goldberger, Dan Rieser

Barbs 8 pm $10
Lafayette Harris solo; Tadataka Unno/James Cammack; Sarah Slonim

Mezzrow 7:30, 9:30 pm 12:30 am $20
Virginia Mayhew Sextet; Jovan Alexandre Collective Consciousness; Aaron Seeber

Smalls 7:30, 10:30 pm 1:30 am $20
Miki Yamanaka; Groover Trio; Ned Goold Jam

Ben Winkelman Trio with Desmond White, Obed Calvaire; Dan Wilkins Jnana-Vijnana
with Patrick McGee, Mike Bono, Dave Lantz, Daryl Johns, Jimmy Macbride

Chris Flory Quartet
The Django at Roxy Hotel 8 pm
Alma Micic Quartet with Rale Micic, Corcoran Holt, Tom Beckham

An Beal Bocht Caf 8, 9:30 pm $15
Kevin Clark Trio with Todd Marcus, John Tate; Matt Chertoff Trio

Bar Next Door 6:30, 8:30, 10:30 pm $12
Nicolas Letman-Burtinovic, Art Bailey, DaYeon Seok

Bar Chord 9 pm
Michael Gallant Trio
Tomi Jazz 8 pm

Hao-Wen Cheng
Silvana 6 pm
Alex Bryson Quartet
Shrine 6 pm
Bill Charlap
Saint Peters 1 pm $10
Thursday, February 4
Jimmy Cobb Trio with Tadataka Unno, David Wong
Ginnys Supper Club 7:30, 9:30 pm $15
Highlights In Jazz 43rd Anniversary Gala: Catherine Russell Band; Warren Vach,
Scott Robinson, Ted Rosenthal, Alvester Garnett

Tribeca Performing Arts Center 8 pm $50
The World Of KrakauerThree Perspectives Of David Krakauer:
Kathleen Tagg/David Krakauer; David Krakauer with String Quartet; David Krakauers
Ancestral Groove with Sheryl Bailey, Jerome Harris, Michael Sarin, Jeremy Flower

Le Poisson Rouge 8 pm $25
Mickey Bass New York Powerhouse Ensemble with Steve Nelson, Lakecia Benjamin,
Charles Davis, Jr., Mark Johnson Dizzys Club 7:30, 9:30 pm $35
Patrick Bartley
Interpretations: Lori Freedman solo; Morton Subotnick/Lillevan

Roulette 8 pm $20
Jazz Composers Workshop Vol. 5: The Stereography Project with Marike van Dijk,
Ben Van Gelder, Lucas Pino, Anna Webber, Brian Drye, Sita Chay,
Benjamin von Gutzeit, Eric Lemmon, Maeghan Burke, Manuel Schmiedel, Rick Rosato,
Colin Stranahan, Martha Kato
The Jazz Gallery 7:30, 9:30 pm $15
Michal Attias Quartet with Arun Ortiz, John Hbert, Nasheet Waits

Greenwich House Music School 7:30, 9 pm $15
Aaron Goldberg/Leon Parker
National Sawdust 9:30 pm $25
Gyan Riley solo; Dither and People: Taylor Levine, Joshua Lopes, James Moore,
Gyan Riley, Mary Halvorson, Kyle Forester, Kevin Shea

Joe Alterman Trio with James Cammack, Doug Hirlinger

Jazz at Kitano 8, 10 pm $15
Spike Wilner solo; Ron McClure/Michael Eckroth

Mezzrow 7:30, 9:30 pm $20
Simona Premazzis Outspoken; Ken Fowser Quintet

Smalls 7:30, 10:30 pm $20
Marcus Persiani Quartet; Saul Rubin Zebtet; Todd Herbert

Timucin Sahin Quartet with Cory Smythe, Greg Chudzik, Jeff Davis

The Firehouse Space 8 pm $10
Amy Cervini Quintet with Jesse Lewis, Michael Cabe, Matt Aronoff, Jared Schonig

55Bar 7 pm
Benjamin Bryden Trio with Marty Kenney, Arthur Vint; Tobias Meinhart Trio with
Marcos Varela, Jesse Simpson Bar Next Door 6:30, 8:30, 10:30 pm $12
Terraza 7 Big Band
Terraza 7 9 pm $10
Perfect Nothing: Roberta Michel, Karen Kim, Aminda Asher, Sean Statser

ShapeShifter Lab 7 pm $15
Queens Jazz OverGround Clinic and Jazz Jam

Flushing Town Hall 6, 7 pm $10
Bob Albanese Duet
Cleopatras Needle 7 pm
Chika Tanaka Trio
Tomi Jazz 9 pm $10

Benny Benack III Band with Braxton Cook, Emmet Cohen, Russell Hall, Bryan Carter

Smoke 7, 9, 10:30 pm $12
Chris Flory Quartet
Mary Foster Conklins Photographs with John di Martino, Ed Howard, Vince Cherico,
Joel Frahm
Birdland 6 pm $25

Scott Reeves Quintet with Tim Armacost, Rob Reiche, Rusty Holloway, Eric Reeves

Silvana 6 pm
Jun Xiao
Shrine 6 pm
Friday, February 5
Renee Rosnes Quartet with Steve Nelson, Peter Washington, Victor Lewis

Smoke 7, 9, 10:30 pm $38
Joe Farnsworth Prime Time Quartet with Jeremy Pelt, Harold Mabern, Bob Cranshaw

Patrick Bartley
Roni Ben-Hur Quartet with George Cables, Harvie S

Peter Evans Quintet with Sam Pluta, Ron Stabinsky, Tom Blancarte, Jim Black
and guests Ingrid Laubrock, Aaron Burnett

Roulette 8 pm $20
Dither plays Zorn Game Pieces: Taylor Levine, Joshua Lopes, James Moore,
Gyan Riley, Ikue Mori, Michael Nicolas; Dither plays Zorn The Bagatelles: Taylor Levine,
Joshua Lopes, James Moore
Shannon Powell New Orleans Rhythm King Mardi Gras Celebration with Kyle Roussel,
Chris Severin, Aaron Fletcher and guest Evan Christopher

Peter Apfelbaums Sparkler with Natalie Cressman, Jill Ryan, Will Bernard, Kyle Sanna,
Charlie Ferguson
Manuel Valera Trio with Zach Brown, Ludwig Afonso

Terraza 7 9:30 pm $10
Duende: Josh Sinton/Jason Ajemian; Alvaro Domenes Desvelo with Josh Sinton,
Briggan Krauss, Mike Pride
Ibeam Brooklyn 8:30, 10 pm $15
Julian Shore Quintet with Gilad Hekselman, Dayna Stephens, Jorge Roeder,
Colin Stranahan
Steve Davis with Larry Willis, Ugonna Okegwo; Johnny ONeal

Mezzrow 9:30 pm 12:30 am $20
David Bixler Quintet; Jean-Michel Pilc Total Madness Quintet

Smalls 7:30, 10:30 pm $20
Ray Parker Quartet; Jared Gold/Dave Gibson; Tal Ronen

Fat Cat 6, 10:30 pm 1:30 am
Sean Smith/David Hazeltine
Knickerbocker Bar and Grill 9 pm $3.50
Terrence McManus solo; Far Cry Flutes: Jamie Baum, Robert Dick, Jessica Lurie,
Elsa Nilsson
Soup & Sound 8 pm $20
Rob Garcia Quartet; Sam Sadigursky/Leo Genovese Duo

Prospect Range 7:30, 9 pm $20
Chris Washburne and SYOTOS Bronx Museum of the Arts 7:30 pm
Electric Red; Harvey Valdes Trio ShapeShifter Lab 7, 8:15 pm $8
The Sugarman 3 and Patrick Sargent

Audrey Silver/Dominique Gagne The West End Lounge 9 pm $10
Rick Stone Trio with Joe Strasser Bar Next Door 7:30, 9:30, 11:30 pm $12
Tony Tixier
Rockwood Music Hall Stage 3 7 pm $10
Gustavo Moretto Trio
Ryoji Ray Daike
Tomi Jazz 9 pm $10


Dana Reedy
Valentina Marino
Silvana 6 pm
Shrine 6 pm
Saturday, February 6
The Fringe: George Garzone, John Lockwood, Bob Gullotti

RENKU: Michal Attias, John Hbert, Satshi Takeishi

Greenwich House Music School 8 pm $15
Theo Crocker DVRKFUNK
The Blasted Heath: Joshua Lopes, Jon Lango, James Ilgenfritz, Mike Sperone;
Taylor Levine, Kevin Shea, Philip White

The King and ISwings: Ted Rosenthal, Karrin Allyson, Jay Leonhart, Dennis Mackrel

Riverdale Y 7:30 pm $35
Napoleon Revels-Bey
Sistas Place 9, 10:30 pm $20
Keio Light Music Society Big Band: Hirotoshi Shiraishi, Takeshi Nishikawa,
Hirotaro Takeuchi, Mikiko Motomuro, Ryoma Suzuki, Shun Katayama, Kazuki Yasui,
Yutaro Suzuki, Nayu Watanabe, Mai Imamura, Ryosuke Minowa, Shigetaka Ikemoto,
Hajime Taguchi, Keisuke Yoshida, Shoko Kitahata, Takahiro Nawashiro, Maho Suzuki,
Shimpei Ogawa, Takahiro Sakamoto, Kento Watari

Vinnie Sperrazza solo; Brian Drye/Rob Curto; Ben Goldberg, Michael Coleman,
Hamir Atwal
Ibeam Brooklyn 8:30 pm $15
The Hot Sardines
The Rainbow Room 6, 8 pm $250
Sugartone Brass Band
BAMCaf 9 pm
James Silberstein Trio with Marco Panascia, Peter Grant

Bar Next Door 7:30, 9:30, 11:30 pm $12
Melvis Santa and Ashedi; E.J. Stricklands Transient Beings with
Sarah Elizabeth Charles, Nir Felder, Tom Guarna, Rashaan Carter

The Cell 7:30, 9:30 pm $15
Theo Hill; Raphael Dlugoff Quintet; Greg Glassman Jam

Jim Hickey and Friends
Symphony Space Bar Thalia 9 pm
Richard Clements Trio
Emi Takada; Kathrine Vokes
Tomi Jazz 8, 11 pm $10

Smoke 7, 9, 10:30 pm $38

Patrick Bartley
Roni Ben-Hur Quartet with George Cables, Harvie S, Victor Lewis


Spike Wilner; Steve Davis with Larry Willis, Ugonna Okegwo

Mezzrow 7:30, 9:30 pm $20
Valery Ponomarev Quintet; Jean-Michel Pilc Total Madness Quintet;
Philip Harper Quintet
Smalls 7:30, 10:30 pm 1:30 am $20
Sean Smith/David Hazeltine


Isak Gaines
Silvana 6 pm
Briggan Krauss solo
Gallery 440 4:40 pm $5
8-Bit Aesthetic: Sean Sonderegger, Michael Eaton, Michael Bates

Kettle and Thread 4 pm
Family ConcertWho Is Frank Sinatra?: Allen Harris; Kenny Washington with
Andy Farber Orchestra
Rose Theater 1, 3 pm $10
Sunday, February 7
Moonseed: Tomas Fujiwara, Mary Halvorson, Briggan Krauss

Ibeam Brooklyn 8:30 pm $15
Jane Ira Bloom Trio with Mark Helias, Dominic Fallacaro

Cornelia Street Caf 8:30 pm $10
Giacomo Fiore, Stephen Griesgraber, Taylor Levine, Joshua Lopes, Grey McMurray,
James Moore, Larry Polansky, Geremy Schulick; Dither: Taylor Levine, Joshua Lopes,
James Moore and guests
Lester St.louis solo; Bram De Looze, Henry Fraser, Dre Hocevar; Aaron Larson Tevis,
Bryan Qu, Joe Morris, Brandon Lopez, Dre Hocevar

Spectrum 7 pm
Heroes Are Gang Leaders: Ryan Frazier, Larkin Grimm, James Brandon Lewis,
Thomas Sayers Ellis
Pasquale Grasso solo; Joel Frahm with Spike Wilner, Neal Miner

Mezzrow 7:30, 9:30 pm $20
Johnny ONeal Trio; Charles Owens Quartet; Hillel Salem

Smalls 7:30, 10:30 pm 1:30 am $20
Terry Waldos Gotham City Band; Jade Synsteliens Fat Cat Big Band;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
Stephen Fullers Trio
Tomi Jazz 8 pm
George Nazos Band; Astrid Kuljanic

Silvana 6, 8 pm

Smoke 7, 9, 10:30 pm $38



Deep Ecology Trio: Cristian Amigo, JD Parran, Andrew Drury; George E. Pinal,
Michael Foster, Kevin Shea
Downtown Music Gallery 6, 7 pm
Ike Sturm + Evergreen
Saint Peters 5 pm
John Zorns Bagatelles: Gyan Riley/Julian Lage

The Stone 3 pm $20
Hot Lips Joey Morant and Catfish Stew

Blue Note 11:30 am 1:30 pm $35
Roz Corral Trio with John Hart, Paul Gill

North Square Lounge 12:30, 2 pm
FIND A HEART FEBRUARY 9-13

WITH
2016 BEST JAZZ VOCAL ALBUM GRAMMY NOMINEE
DENISE DONATELLI
Join the superb vocalist and her outstanding
Band for a musical tour of NYC celebrating her
latest CD and GRAMMY Nomination for
www.denisedonatelli.com
37
Monday, February 8
Kermit Ruffins and The BBQ Swingers with Yoshitaka Tsjiu, Shannon Powell,
Kevin Morris, Nayo Jones
Mark Sherman Quartet with George Cables, Ray Drummond, Carl Allen

Chris Wasburne and SYOTOS Subrosa 8, 10 pm $20
Franky Rousseau Large Band with Arthur Hnatek, Michael Valeanu, Martha Kato,
Alex Weston, Matt Rousseau, Remy LeBoeuf, Dillon Baiocchi, Levon Henry,
Yacine Boulares, Sarah Safaie, Kyla Moscovich, Cody Rowlands, Maz Maher,
Carou Johnson, Andy Clausen, Andy Sharkey, Nick Grinder, Felix Del Tredici;
Keio Light Music Society Big Band: Hirotoshi Shiraishi, Takeshi Nishikawa,
Hirotaro Takeuchi, Mikiko Motomuro, Ryoma Suzuki, Shun Katayama, Kazuki Yasui,
Yutaro Suzuki, Nayu Watanabe, Mai Imamura, Ryosuke Minowa, Shigetaka Ikemoto,
Hajime Taguchi, Keisuke Yoshida, Shoko Kitahata, Takahiro Nawashiro, Maho Suzuki,
Shimpei Ogawa, Takahiro Sakamoto, Kento Watari

ShapeShifter Lab 7, 8:15 pm $15
John Merrill; Michael Kanan Trio with Neal Miner, Greg Ruggiero

Mezzrow 7:30, 9:30 pm $20
Eden Ladins YEQUM; Ari Hoenig Quartet; Jonathan Barber

Smalls 7:30, 10:30 pm 1 am $20
Ned Goold Quartet; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am
George Gee Swing Orchestra The Rainbow Room 6, 8 pm $175-225
Jason Mears/Stephen Flinn; Twiddlesticks: Devin Gray, Joanna Mattrey, Henry Fraser

Paul Jones Trio with Johannes Felscher, Jake Robinson; Linda Ciafalo Trio with
Mark Marino, Marcus McLaurine Bar Next Door 6:30, 8:30, 10:30 pm $12
Joe Maniscalco Trio
Tomi Jazz 8 pm

Bill Stevens, Rich Russo, Gary Fogel

Silvana 6 pm
Nodus Trio
Shrine 6 pm
Tribute to Jobim and Piazzolla: Andres Laprida

Highline Ballroom 12:30 pm $22-30
Tuesday, February 9
Keith Jarrett solo

Stern Auditorium 8 pm $45-125
The Kitchen Improvises 19761983: George Lewis, Thomas Buckner, Earl Howard,
Oliver Lake, Michael Lytle, Miya Masaoka, Ikue Mori, Andrea Parkins, Lucie Vtkov

The Kitchen 8 pm $15
Chris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore

GREEN I: David First, Eri Yamamoto, Reut Regev, William Hooker;
GREEN II: JD Parran, Edward Ricart, Luke Stewart, William Hooker

Gotham KingsA Mardi Gras Celebration with Riley Mulherkar and Alphonso Horne

Mathis Picard
Misha Piatigorsky Sketchy Orkestra Birdland 8:30, 11 pm $40
Jonathan Kreisberg Quartet with David Kikoski, Rick Rosato, Colin Stranahan

Jon Burr Group
Jazz from an African Perspective: Francisco Mora Catlett

Jazz Museum in Harlem 7 pm $10
Boris Kozlov Trio with Alex Foster, Freddie Bryant

Columbia University Buell Hall 8:15 pm
Dave Scott Quintet with Rich Perry, Jacob Sacks, Peter Brendler, Satoshi Takeishi

Cornelia Street Caf 8 pm $10
Dejan Terzic Quartet with Chris Speed, Bojan Z, Matt Penman; Tim Berne,
Shahzad Ismaily, Ches Smith
Korzo 9, 10:30 pm
David Smith Quintet with Dan Pratt, Nate Radley, Gary Wang, Anthony Pinciotti;
John Yao and His 17-piece Instrument with Billy Drewes, Alejandro Aviles, Rich Perry,
Jon Irabagon, Frank Basilie, John Walsh, Jason Wiseman, David Smith, Andy Gravish,
Luis Bonilla, Matt McDonald, Kaji Kajiwara, Jennifer Wharton, Jesse Stacken,
Bob Sabin, Vince Cherico
Issac Darche Trio with Adrian Moring, Cory Cox; Jeff Barone Trio with Jack Wilkins,
Ron Oswanski
Bar Next Door 6:30, 8:30, 10:30 pm $12
Denise Donatelli with Laurence Hobgood, Lage Lund, Ed Howard, Jeremy Dutton

Cristina Morrison
Metropolitan Room 7 pm $24
Stan Killian Quartet with Benito Gonzalez, Corcoran Holt, McClenty Hunter

55Bar 7 pm
Evan Christopher/Ehud Asherie Mezzrow 7:30 pm $20
Spike Wilner Trio; Smalls Legacy Band; Corey Wallace DUBtet

Smalls 7:30, 9:30 pm 12:30 am $20
Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop

Fat Cat 7, 9 pm
Curriculum Quintetn: Josh Sinton, Danny Gouker, Samuel Weinberg, Will McEvoy,
Max Goldman
Rye 9, 10 pm $10
Jeremy Danneman, Anders Nilsson, Michael Bates, Kevin Zubek

Troost 9 pm
Ryan Slatko solo
Jazz at Kitano 8 pm
Jasper Dutz
Tomi Jazz 8 pm
Forever Moonlight Band
Silvana 8 pm
Marcos Rosa; Big Beat
Shrine 6, 8 pm
Don Friedman solo

Jazz at Kitano
Mike Clark, Dave Stryker, James Genus
8, 10 pm $15

Iridium 8 pm $25
Dawn of Midi: Aakaash Israni, Amino Belyamani, Qasim Naqvi

The Kitchen 8 pm $15
BLUE I: Ted Daniel, Dick Griffin, Hill Greene, Larry Roland, William Hooker;
BLUE II: Michal Attias, Chris Welcome, David Soldier, Shayna Dulberger,
William Hooker
Freddie Hendrix Septet with Bruce Williams, Abraham Burton, David Gibson,
Brandon McCune, Corcoran Holt, Cecil Brooks III

My Fat ValentineLove Songs from the Big Easy: Bria Skonberg with Evan Arntzen,
Ehud Asherie, Russell Hall, Jerome Jennings

Mathis Picard
Sean Lyons Quintet with Jon Faddis, David Hazeltine, Bob Cranshaw, Al Foster

Smoke 7, 9, 10:30 pm $12
Michel Reis with Aidan ODonnell, Eric Doob; Vinnie Sperrazza with Loren Stillman,
Ben Monder, Eivind Opsvik
Elena Pinderhughes
Harlem Stage Gatehouse 7:30 pm $15
Fabian Almazans Rhizome
ShapeShifter Lab 8:15 pm $10
Denise Donatelli; Sarah Slonim Mezzrow 9:30 pm 12:30 am $20
Roberto Gatto Quartet; Jimmy OConnell Sextet; Sanah Kadoura

Smalls 7:30, 10:30 pm 1:30 am $20
Raphael Dlugoff Trio +1; Harold Mabern Trio; Ned Goold Jam

A Tribute to Benny Goodman: Julian Bliss Septet

Schimmel Center 7:30 pm $39
Michael Weiss Trio
Andrew Shillito; Candice Reyes Tomi Jazz 8, 11 pm

Nicole Glover
Silvana 6 pm
Alex Bryson Quartet
Shrine 6 pm
Ryan Keberle and Catharsis
Manhattan School Carla Bossi-Comelli Studio 3 pm
Mr. JoyA Celebration of Paul Bley: Lucian Ban; Ethan Iverson; Frank Kimbrough;
Matt Mitchell; Aaron Parks; Jacob Sacks; Rob Schwimmer

Greenwich House Music School 8 pm
Songs for Lovers: Freddy Cole Quartet with Harry Allen, Elias Bailey, Quentin Baxter

Mathis Picard
Dave Stryker/Steve Slagle Band Expanded with John Clark, Billy Drewes, Clark Gayton,
Bill OConnell, Gerald Cannon, McClenty Hunter

Anita Wardell and Art Hirahara Trio with Matt Aronoff, Josh Morrison with guest Perez

Taeko with Noah Haidu, Marcus McLaurine, Tommy Campbell

Birdland 6 pm $30
Jane Monheit
Birdland 8:30, 11 pm $40
Rachelle Ferrell
INDIGO I: Steve Dalachinsky, Lisa Sokolov, ARBRAF, Jesse Henry, Dave Ross,
William Hooker; INDIGO II: Louie Belogenis, Bern Nix, Cristian Amigo, William Hooker

Matt Parker with Alan Hampton, Reggie Quinerly, Emily Braden, Jimmy Sutherland,
Michael Arthur
National Sawdust 7 pm $25
Denise Donatelli
Metropolitan Room 9:30 pm $24
John Raymond Trio with Gilad Hekselman, Colin Stranahan

Spike Wilner solo; Rachel Z/Johnathan Toscano

Mezzrow 7:30, 9:30 pm $20
Ben Van Gelder Quintet; Nick Hempton Band

Smalls 7:30, 10:30 pm $20
John Benitez Quartet; Greg Glassman Quintet

Fat Cat 7, 10 pm
Magos Herrera/Javier Limn and guest Grgoire Maret

Americas Society 7 pm $20
Great On Paper: Kevin Sun, Isaac Wilson, Simn Willson, Robin Baytas

Brandon Lewis Trials; Timo Vollbrecht Fly Magic; Wing Walker Orchestra

Threes Brewing 8, 9, 10 pm
Lawrence Leathers
Flavio Silva Trio with Maksim Perepelica, Diego Joachin Ramirez; Jure Pukl Trio with
Marcos Varela, Johnathan Blake Bar Next Door 6:30, 8:30, 10:30 pm $12
Ken Simon Duet
Scot Albertson
Tomi Jazz 9 pm $10
Sean Lyons Quintet with Eddie Henderson, David Hazeltine, Bob Cranshaw, Al Foster

Smoke 7, 9, 10:30 pm $12
Michael Weiss Trio

Brian Pareschi BP Express
Silvana 6 pm
Jeffrey Schaeffer
Shrine 6 pm
Friday, February 12
Mingus Big Band

Frank Sinatra at 100: Monty Alexander and Friends with Kurt Elling

Rose Theater 8 pm $40-130
Ccile McLorin Salvant
The Appel Room 7, 9:30 pm $75-100
Dan Weiss Large Ensemble with Chris Tordini, Jacob Sacks, Matt Mitchell,
Miles Okazaki, Katie Andrews, Stephen Cellucci, Anna Webber, David Binney,
Tim Berne, Ohad Talmor, Jacob Garchik, Ben Gerstein, Jen Shyu, Judith Berkson,
Lana Is
Ellery Eskelin Trio with Christian Weber, Michael Greenair

Vince Giordano and The Nighthawks

Valerie Capers Trio with John Robinson, Doug Richardson

The Baylor Project: Jean and Marcus Baylor, Keith Loftis, Allyn Johnson, Corcoran Holt

Smoke 7, 9, 10:30 pm $45
Luis Perdomo/Rufus Reid; Johnny ONeal

Mezzrow 9:30 pm 12:30 am $20
David Schnitter Quartet; Kenyatta Beasley Septet; Joe Farnsworth

Smalls 7:30, 10:30 pm 1:30 am $20
Tuomo Uusitalo Trio; Greg Lewis Organ Monk

Fat Cat 6, 10:30 pm
Ronny Whyte/Boots Maleson Knickerbocker Bar and Grill 9 pm $3.50
RED I: Tom Hamilton, David Soldier, Bruce Eisenbeil, William Hooker;
RED II: Andrew Lamb, Mark Hennen, Adam Lane, William Hooker

Mark Guilianas Beat Music
Denise Donatelli
Mintons 7, 8:30, 10 pm $10-20
Sammy Miller and the Congregation Ginnys Supper Club 7:30, 9:30 pm $15
Andrew Smiley solo; Chris Welcome, Jaimie Branch, Sam Weinberg;
Julian Kirshner New York Trio with Sam Weinberg, Brandon Lopez

ShapeShifter Lab 7 pm $10
Tulivu-Donna Cumberbatchs Seasoned Elegance

BAMCaf 9 pm
Avalon Jazz Band
Jeff McLaughlin Trio with Marcos Varela, Rodrigo Recabarren

Bar Next Door 7:30, 9:30, 11:30 pm $12
Emanuele Basentini
Takenori Nishiuchi
Tomi Jazz 9 pm $10

Mathis Picard
Jane Monheit
Rachelle Ferrell

Liana Gabel Four
Silvana 6 pm
Jocelyn Shannon Quartet
Shrine 6 pm
Gregory Porter
Town Hall 8 pm $30-55
Kirk Knuffke/Frank Kimbrough Quartet with Jay Anderson, Matt Wilson

Michael Carvin Experience
Columbia University Low Library 7 pm
Lucian Ban/Mat Maneri Tuba Project with Bruce Williams, Bob Stewart, Billy Hart

ORANGE I: Jessica Pavone, Chris Pitsiokos, Kyoko Kitamura, William Hooker;
ORANGE II: Mixashawn Lee Rozie, Alan Licht, William Parker, William Hooker

Tribute to Jimmy Scott: TK Blue Quintet

Ben Monder Trio with Matt Brewer, Mark Ferber

Bar Next Door 7:30, 9:30, 11:30 pm $12
Clifford Barbaro Trio
Denise Donatelli
Revive Big Band
Janinah Burnett with Natalie Tennenbaum, Joshua Levine, Shirazette Tinnin

The Cell 7:30 pm $15
Benny Benack; Dayna Stephens; Greg Glassman Jam

Julian Kirshner, Sam Weinberg, Brandon Lopez; Tanya Kalmanovitch/Mat Maneri;
Anas Maviel solo
New Revolution Arts 8, 9, 10 pm
Oakwood Underground: Maddie Chilton, Nick Summers, Kyle Lashley, Kevin Quinn,
Jon Francke, Mike Schott; John Menegons Three for All with Aquiles Navaro,
Travis Sullivan, Mark Dzuiba, Tcheser Holmes, Dave Berger

Daniel Bennett Group; Paul Lee Trio

Kadawa; Noel Simone Wippler Band

Silvana 6, 8 pm
Benjamin Lopez; Abel Mireles Shrine 6, 7 pm
Mingus Big Band
Frank Sinatra at 100: Monty Alexander and Friends with Kurt Elling

Dan Weiss Large Ensemble with Chris Tordini, Jacob Sacks, Matt Mitchell,
Miles Okazaki, Katie Andrews, Stephen Cellucci, Anna Webber, David Binney,
Tim Berne, Ohad Talmor, Jacob Garchik, Ben Gerstein, Jen Shyu, Judith Berkson,
Lana Is
Vince Giordano and The Nighthawks

The Baylor Project: Jean and Marcus Baylor, Allyn Johnson, Corcoran Holt

Smoke 7, 9, 10:30 pm $45
Spike Wilner solo; Luis Perdomo/Rufus Reid

Mezzrow 7:30, 9:30 pm $20
Tommy Campbell Vocal-eyes; Kenyatta Beasley Septet; Brooklyn Circle

Smalls 7:30, 10:30 pm 1:30 am $20
Ronny Whyte/Boots Maleson Knickerbocker Bar and Grill 9 pm $3.50

Dizzys Club 7:30, 10 pm $140
Mathis Picard
Jane Monheit
Rachelle Ferrell

Sunday, February 14
Sheila Jordan Trio with Alan Broadbent, Harvie S

Cornelia Street Caf 8:30, 10 pm $10
YELLOW I: Matt Lavelle, Mike Noordzy, Ras Moshe, Tor Snyder, William Hooker;
YELLOW II: Anthony Pirog, Jon Irbagon, Luke Stewart, James Brandon Lewis,
William Hooker
Gene Bertoncini
The Drawing Room 7 pm $20
Chris Turner
Maria Grand Trio with Rashaan Carter, Craig Weinrib; Make a Mint: Josh Sinton,
Tony Malaby, Eivind Opsvik, Tom Rainey; Double Double: Patrick Breiner,
Adam Hopkins, Will McEvoy, Flin van Hemmen

Threes Brewing 8, 9, 10 pm $15
Jon Roche solo; Lezlie Harrison with Saul Rubin, Dezron Douglas

Mezzrow 7:30, 9:30 pm $20
Johnny ONeal Trio; Dmitry Baevsky Quartet; Hillel Salem

Smalls 7:30, 10:30 pm 1:30 am $20
Terry Waldos Gotham City Band; Samba de Gringo;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am
Aleksi Glick Trio with Sharik Hasan, Jeff Koch

Bar Next Door 5, 7, 9 pm $72
Melanie Penn/Laila Biali
Rockwood Music Hall Stage 3 8:30 pm $10
Hiroko Kanna Trio
Tomi Jazz 8 pm
Blu Cha Cha
Shrine 8 pm
Mingus Big Band
The Baylor Project: Jean and Marcus Baylor, Keith Loftis, Allyn Johnson, Corcoran Holt

Smoke 7, 9, 10:30 pm $45

Dizzys Club 6:30, 9 pm $140
Rachelle Ferrell

Tamio Shirashi/Louise Dam Eckardt Jensen

Downtown Music Gallery 6 pm
Frydis Grorud, Helge Nysted, Thomas Hvale

Saint Peters 5 pm
NY Japanese Women Jazz Composers: Miho Hazama, Asuka Kakitani,
Migiwa Miyajima, Meg Okura, Noriko Ueda and Sakura Jazz Orchestra

ShapeShifter Lab 4 pm
John Zorns Bagatelles: Mary Halvorson Quartet with Miles Okazaki, Drew Gress,
Tomas Fujiwara
The Stone 3 pm $20
Eric Wyatt
Emmanuel Baptist Church 3 pm $20
The Ladybugs
Roz Corral Trio with Gilad Hekselman, Joe Martin

Monday, February 15
Mingus Orchestra
McCoy Tyner Trio with guest Gary Bartz

Antoinette Henry with Adam Rogers, Christian Sands, Christian McBride,
Johnathan Barber
John Merrill; Don Friedman Trio with Rale Micic, Phil Palombi

Mezzrow 7:30, 9:30 pm $20
Rotem Sivan Trio; Matt Brewer Quartet; Jonathan Barber

Smalls 7:30, 10:30 pm 1 am $20
George Braith; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am
Anas Maviel; Gao Jiafeng; Jordan Morton

Delroys Cafe and Wine Bar 9 pm $10
Kyle Moffatt Trio with Max Marshall, Peter Tranmueller; Sonia Szajnberg Trio with
Matt Davis, Leon Boykins
Bar Next Door 6:30, 8:30, 10:30 pm $12
Kaz&Cats
Shrine 6 pm
Tuesday, February 16
Dave Holland Trio with Kevin Eubanks, Obed Calvaire

Cosmic Lieder: Darius Jones/Matthew Shipp; Darius Jones, Ben Gerstein, Jason Stein,
Pascal Niggenkemper, Ryan Sawyer

Charles Evans/Ron Stabinsky Duo; Ron Stabinsky solo; Moppa Elliott solo;
Mostly Other People Do the Killing: Steve Bernstein, Bryan Murray, Dave Taylor,
Terrence McManus, Ron Stabinsky, Moppa Elliott, Kevin Shea;
Joe Goehle and Cerebral People with Jim Piela, John Belvins, Alec Dube, Josh Bailey

ShapeShifter Lab 7, 9:30 pm $8-10
John Pizzarelli Quartet
Greg Lewis Organ Monk Quintet with Ron Jackson, Riley Mullin, Reggie Woods,
Jeremy Bean Clemons; Emmet Cohen Organ Quartet with Benny Benack III,
Tivon Pennicott, Joe Saylor
Dan Chmielinski
Nir Felder Quartet with Kevin Hays, Orlando Le Fleming, Ross Pederson

Paul Hefner Group
Tony Malaby, Kris Davis, Nick Fraser; Aaron Burnett and The Big Machine with
Peter Evans, Carlos Homs, Nick Jozwiak, Tyshawn Sorey

Korzo 9, 10:30 pm
Andr Carvalho Quintet; Ricky Rodriguez Trio with Troy Roberts, Henry Cole

Caroline Davis Trio with Will Slater, Jay Sawyer; Gianni Gagliardi Trio with
Pablo Menares, Jesse Simpson Bar Next Door 6:30, 8:30, 10:30 pm $12
Barbara Rosene/Ehud Asherie Mezzrow 7:30 pm $20
Spike Wilner Trio; Lucas Pino Nonet; Kyle Poole

Smalls 7:30, 9:30 pm 12:30 am $20
Saul Rubin; Roberto Quintero Fat Cat 7, 9 pm 12:30 am
Ryan Slatko solo
Jazz at Kitano 8 pm
Teodor Vanovski
Silvana 6 pm
JS Fusion
Shrine 6 pm
Brandee Younger with Anne Drummond, Chelsea Baratz, Dezron Douglas,
Dana Hawkins
Dan Chmielinski
Laurence Hobgood Trio with Matt Clohesy, Jared Schonig

Syberen Van Munsters Plunge with Ben Van Gelder, Vitor Gonalves, Rick Rosato,
Jochen Rueckert; BassDrumBone: Ray Anderson, Mark Helias, Gerry Hemingway

D Troyt Alchemy 1: Darius Jones, Ornate Coldtrain, Marty McCavitt, Chad Taylor;
Grass Roots: Darius Jones, Alex Harding, Sean Conly, Chad Taylor

Theo Croker Quartet with Sullivan Fortner, Chris Mees, Kassa Overall

Gregory Generet with Dominick Farinacci, Rick Germanson, Gerald Cannon,
Lawrence Leathers
Smoke 7, 9, 10:30 pm $12
Lafayette Harris solo; John di Martino/Martin Wind; Sarah Slonim

Mezzrow 7:30, 9:30 pm 12:30 am $20
BeatleJazz; Aaron Seeber
Smalls 7:30 pm 1:30 am $20
Raphael Dlugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam

Ark Ovrutski Quintet with Helio Alves, Michael Thomas, Craig Handy,
Duduka Da Fonseca
Dennis Lichtman
Will McEvoy Group with Mike Effenberger, Matt Nelson, Cody Brown;
Jaimie Branch/Jason Stein Quartet

Rye 9, 10 pm $10
Nicolas Letman-Burtinovic, Josh Sinton, Peter Kronreif

Bar Chord 9 pm
Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron,
Dan Silverstone
Caffe Vivaldi 8:30 pm

Nodus Trio
Silvana 6 pm
Alex Bryson Quartet
Shrine 6 pm
Eugene Marlowes Heritage Ensemble

Ben Allison Group with Michael Blake, Jeremy Pelt, Steve Cardenas, Allison Miller

Dan Chmielinski
Orrin Evans Trio with Luques Curtis, Mark Whitfield, Jr.

Big Gurl Trio: Darius Jones, Adam Lane, Jason Nazary;
D Troyt Alchemy 2: Darius Jones, Amanda Khiri, Adam Lane, Pascal Niggenkemper,
Jason Nazary, Marty McCavitt
James Carney Sextet with Ravi Coltrane, Stephanie Richards, Oscar Noriega,
Dezron Douglas, Tom Rainey
Tobias Meinhart Quintet with Ingrid Jensen, Yago Vazquez, Drew Gress, Jesse Simpson

Shai Maestro
National Sawdust 9:30 pm $25
Broc Hempel Quintet with Jeff Taylor, Jason Rigby, Sam Minaie, Jaimeo Brown;
Caroline Davis Quintet with Marquis Hill, Julian Shore, Tamir Shmerling, Jay Sawyer

Spike Wilner solo; Melissa Aldana/Emmet Cohen

Mezzrow 7:30, 9:30 pm $20
JC Stylles Quartet
Smalls 10:30 pm $20
Point of Departure
Fat Cat 10 pm
Carte Blanche
Yuto Kanazawa Trio with Zack Westfall, Ray Belli; Pete McCann Trio with Matt Clohesy,
Mark Ferber
Bar Next Door 6:30, 8:30, 10:30 pm $12
Gillian Margot/Geoffrey Keezer Rockwood Music Hall Stage 3 7 pm $10
Kuni Mikami Duet
Gregory Generet with Dominick Farinacci, Rick Germanson, Gerald Cannon,
Lawrence Leathers
Smoke 7, 9, 10:30 pm $12
Dennis Lichtman

Marcus Elliot Quartet
Birdland 6 pm $25
Aaron Irwin Trio
Silvana 6 pm
Jae Young Jeong
Shrine 6 pm
Friday, February 19
The New Drum Battle: Joe Farnsworth vs. Kenny Washington with Brian Lynch,
Vincent Herring, Harold Mabern, Peter Washington

Smoke 7, 9, 10:30 pm $38
Book of Mbul: Darius Jones, Matt Mitchell, Sean Conly, Ches Smith;
Le Bebe de Brigitte: Darius Jones, Emilie Lesbros, Matt Mitchell, Sean Conly,
Ches Smith
Pedrito Martinez Group with Edgar Pantoja-Aleman, lvaro Benavides, Jhair Sala

Zankel Hall 9 pm $44-52
Dion Parson 21st Century Band Ginnys Supper Club 7:30, 9:30 pm $15
Orrin Evans Captain Black Big Band

The Jazz Gallery 20th Anniversary Concert Series: John Ellis The Ice Siren
with Gretchen Parlato, Miles Griffith, Mike Moreno, Chris Dingman, Marcus Rojas,
Daniel Sadownick, Hiroko Taguchi, Olivier Manchon, Todd Low, Christopher Hoffman,
Daniel Barnidge
The Jazz Gallery 7:30, 9:30 pm $30-40
Mike Longo/Paul West
Lage Lund 3 with Orlando Le Fleming, Nasheet Waits

Spike Wilner; Buster Williams/Renee Rosnes; Johnny ONeal

Mezzrow 7:30, 9:30 pm 12:30 am $20
Ralph Lalama Bop-Juice; Michael Dease Sextet

Smalls 7:30, 10:30 pm $20
Alexis Cole Quartet with Scott Arcangel, Seth Lewis, Joe Spinelli

Vinnie Knight
Ginn Fizz Harlem 9, 10:30 pm $10
Petros Klampanis Trio with Gilad Hekselman, John Hadfield

Bar Next Door 7:30, 9:30, 11:30 pm $12
Elsa Nilsson/Jon Cowherd
Caffe Vivaldi 10 pm
Rudi Mwongozi Trio
Tsuyoshi Yamamoto Trio
Tomi Jazz 9 pm $10

Dan Chmielinski
Dennis Lichtman

Leland Baker Quintet
Silvana 6 pm
Tom Blatt Project
Shrine 6 pm
Miguel Zenn Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole

Miller Theatre 8 pm $20-35
The Sons Of George Garzone: George Garzone, Chris Crocco, Kenny Brooks,
Peter Slavov, Ian Froman
Meshell Ndegeocello
Le Poisson Rouge 7:30 pm $35
Ren McLeans Pentagram
The Cell 7:30, 9:30 pm $20
Orrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel

Shades of Black: Darius Jones, Cooper-Moore, Sam Newsome, Chad Taylor

Sheila Jordan/Cameron Brown and WORKS: Michel Gentile, Daniel Kelly, Rob Garcia

Brooklyn Conservatory of Music 7:30 pm $10
Mark Soskin Trio with George Mraz, Al Foster

Roberto Gatto Trio with Lew Tabackin, Joseph Lepore

Bar Next Door 7:30, 9:30, 11:30 pm $12
Brianna Thomas
Monk in MotionThe Next Face of Jazz: Jazzmeia Horn with Victor Gould,
Anthony Ware, Lawrence LeathersTribeca Performing Arts Center 7:30 pm $25
Raschiim Ausar Sahu
Lawrence Clark; Greg Glassman Jam

Fat Cat 10 pm 1:30 am
Carol Sudhalter Quartet with Patrick Poladian

Ken Kobayashi; Takafumi Suguri Trio

The New Drum Battle: Joe Farnsworth vs. Billy Hart with Brian Lynch, Vincent Herring,
Harold Mabern, Peter Washington Smoke 7, 9, 10:30 pm $38
The Jazz Gallery 20th Anniversary Concert Series: John Ellis The Ice Siren with
Gretchen Parlato, Miles Griffith, Mike Moreno, Chris Dingman, Marcus Rojas,
Daniel Sadownick, Hiroko Taguchi, Olivier Manchon, Todd Low, Christopher Hoffman,
Daniel Barnidge
The Jazz Gallery 7:30, 9:30 pm $30-40
Mike Longo/Paul West
Spike Wilner; Buster Williams/Renee Rosnes

Mezzrow 7:30, 9:30 pm $20
Michael Dease Sextet; Philip Harper Quintet

Smalls 10:30 pm 1:30 am $20

Dan Chmielinski
Dennis Lichtman

Rodrigo Bonelli
Shrine 6 pm
The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey,
Philip Harper, Alex Grassel, Dave Gibson

Brownsville Heritage House 3 pm
Sunday, February 21
LW-2: Darius Jones/Travis Laplante; The Oversoul Manual: Amirtha Kidambi,
Kristin Slipp, Jean Carla Rodea, Yoon Sun Choi

Claire Daly Quintet
Chris Pitsiokos, Andrew Smiley, Henry Fraser, Jason Nazary; Peter Evans,
Aaron Burnett, Brandon Lopez, Weasel Walter

JACK 8 pm
Los Aliens: Ricardo Gallo, Alejandro Flrez, Andrs Jimnez, Amanda Ruzza

Barbs 7 pm $10
Pasquale Grasso solo; Tad Shull with Ray Gallon, Neal Miner

Mezzrow 7:30, 9:30 pm $20
New York Jazz Nine; Behn Gillece Quartet; Hillel Salem

Smalls 7:30, 10:30 pm 1:30 am $20
New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman
with guests Jim Saporito, Harrison Hollingsworth

Sein Oh Trio
Tomi Jazz 8 pm
Tamuz Nissim
Shrine 8 pm
Orrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel

The New Drum Battle: Joe Farnsworth vs. Billy Hart with Brian Lynch, Vincent Herring,
Harold Mabern, Peter Washington Smoke 7, 9, 10:30 pm $38


Mike Richards
Silvana 6 pm
Ellen Rowe Trio
Saint Peters 5 pm
David White Jazz Orchestra
Full Gospel Assembly of Brooklyn 4:30 pm
Altos For Pepper: Dmitry Baevsky, Mike DiRubbo, Mike LeDonne, Mike Karn,
Peter Van Nostrand
The West End Lounge 4 pm $25
John Zorns Bagatelles: Ikue Mori solo

The Stone 3 pm $20
Marlene Verplanck Trio with Jon Weber, Jay Leonhart and guest Warren Vach

Michelle Walker Trio with Ron Affif, Matthew Parrish

Monday, February 22
Broadway Musicals of the 1930s: Annaleigh Ashford; Tonya Pinkins; Emily Skinner;
Nellie Mckay; Noah Racey

Town Hall 8 pm $50-65
Akua Allrich with Braxton Cook, Warren Wolf, Kris Funn, Carroll Dashiell III

Impressions of HammershiThe Poetry Of Silence: Nikolaj Hess Trio

Scandinavia House 7 pm $15
John Merrill; Stephen Riley/Peter Zak

Mezzrow 7:30, 9:30 pm $20
Gilles Naturel Trio; Ari Hoenig Trio; Jonathan Barber

Smalls 7:30, 10:30 pm 1 am $20
Caroline Davis/Greg Saunier; 100 times yourself: Jake Henry, Adam Hopkins,
Flin van Hemmen
Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber

Bar Next Door 8:30, 10:30 pm $12
Matt Malanowski Trio with Nick Dunston, Tim Rachbach; Matt Malanowski Quintet with
Lucas Kadish, Patrick McGee, Nick Dunston, Matt Wilson

Metropolitan Room 9:30 pm $10
Carmen Mizell solo and duo with Brad Whiteley

LIC Bar 8 pm
Laraine Alison
Tomi Jazz 8 pm
Greg Skaff Trio
Silvana 6 pm
Jon Sheckler Trio
Shrine 6 pm
Tuesday, February 23
Double Entendre: Russ Lossing/Gerry Hemingway; Triple Entendre: Russ Lossing,

Gerry Hemingway, Loren Stillman The Stone 8, 10 pm $15
Joe Chambers Outlaw Band with Rick Germanson, Ira Coleman, Bobby Sanabria

Sammy Miller and the Congregation Dizzys Club 11:15 pm $5
Ambrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown

Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca with guests
Dori Caymmi, Joyce Moreno
Otis Brown III Group with Jean Baylor, Keyon Harrold, John Ellis, Shedrick Mitchell,
Ben Williams
Frank Perowsky Group
Glenn Zaleski Trio with Dezron Douglas, Craig Weinrib

Weasel Walter Large Ensemble with Peter Evans, Chris Pitsiokos, Matt Nelson,
Michael Foster, Steve Swell, Leila Bordreuil, Brandon Lopez, Tim Dahl, Chris Welcome

JACK 8 pm
Tony Malaby, Ricardo Gallo, Juan David Castao; Danny Fox Trio with
Chris Van Voorst, Max Goldman Korzo 9, 10:30 pm
Florian Hoefner Luminosity with Lucas Pino, Rick Rosato, Peter Kronreif;
Or Bareket Quartet with Shachar Elnatan, Gadi Lehavi, Ziv Ravitz

Hilary Gardner/Ehud Asherie
Mezzrow 7:30 pm $20
Ehud Asherie Trio; Josh Evans Quintet; Corey Wallace DUBtet

Smalls 7:30, 9:30 pm 12:30 am $20
Saul Rubin Zebtet; Itai Kriss Gato Gordo; John Benitez Latin Bop

Ricardo Recabarren Trio with Raimundo Santander, Joshua Kwassman; Dan Rochlis Trio
with Sean Smith, Diego Voglino Bar Next Door 6:30, 8:30, 10:30 pm $12
Yuki Shibata Quartet with Yuto Kanazawa, Yoshiki Yamada, Joe Abbatantuono;
Noah MacNeil Quartet with Samir Zarif, Yoshiki Yamada

ShapeShifter Lab 8:15, 9:30 pm $10
Ryan Slatko solo
Jazz at Kitano 8 pm
Unstable Mates
Tomi Jazz 8 pm
Xinlu Chen
Silvana 6 pm
Tsuyoshi Yamamoto
Shrine 6 pm
King Vulture: Russ Lossing, Adam Kolker, Matt Pavolka, Dayeon Seok;
Oracle Trio + 1: Russ Lossing, Samuel Blaser, Masa Kamaguchi, Billy Mintz

Manuel Valera and The New Cuban Express with Troy Roberts, John Benitez,
Obed Calvaire, Mauricio Herrera Smoke 7, 9, 10:30 pm $12
Javon Jackson, Ron Carter, Billy Drummond

Iridium 8, 10 pm $30
Cyrille Aime
Lyce Franais de New York Cultural Center 7:30 pm $35
Camila Meza Quintet with Shai Maestro, Matt Penman, Jody Redhage, Jeremy Dutton
and guest Sachal Vasandani
Champian Fulton Quartet with Stephen Fulton, Adi Meyerson, Ben Zweig

Svetlana and The Delancey Five; Danny Lipsitz and his Brass Tacks

Joes Pub 7 pm $16
Sarah Elizabeth Charles with Jesse Elder, Burniss Earl Travis II, John Davis

Harlem Stage Gatehouse 7:30 pm
The New Cookers: Kenyatta Beasley, Keith Loftis, Anthony Wonsey, Linda Oh,
Chris Smith, E.J. Strickland
Dweck Center at Brooklyn Pub. Library Central 7:30 pm
Ray Charles Tribute: Bryan Carter Quintet with Emmet Cohen, Russell Hall,
Alphonso Horne, Julian Lee
Iris Ornigs The IO-5 with Jonathan Powell, Jeremy Powell, Glenn Zaleski,
Allan Mednard
Zinc Bar 7 pm $15
Kavita Shah Quartet with Leo Genovese, Franois Moutin, Nasheet Waits

Cornelia Street Caf 8 pm $10
Adam Birnbaum/Ben Wolfe; Sarah Slonim

Mezzrow 9:30 pm 12:30 am $20
Adam Larson Quintet; Sanah Kadoura

Smalls 10:30 pm 1:30 am $20
Raphael Dlugoff Trio +1; Ned Goold Jam

Fat Cat 7 pm 12:30 am
Kenny Warren Group; Stephen Gauci Trio with Zach Swanson, Max Goldman

Rye 9, 10 pm $10
Big Band Sounds of Wayne Shorter, Joe Henderson, and Lee Morgan:
Juilliard Jazz Orchestra with guest Igor Buttman

Juilliard School Peter Jay Sharp Theater 7:30 pm
Nick Brust Quartet
Chandry Abreu
Jacob Varmus-Igor Lumpert Group; Fresh Tones Trio

Tomi Jazz 8, 11 pm
Joe Chambers Outlaw Band with Rick Germanson, Ira Coleman, Bobby Sanabria


Alex Bryson Quartet
Shrine 6 pm
Daryl Sherman
Dexter Gordon Legacy Ensemble: George Cables, Dezron Douglas, Victor Lewis,
Joe Locke, Abraham Burton, Craig Handy

Eric Harland Trio with Alan Hampton and guest

3 Part Invention: Russ Lossing, Ralph Alessi, Mark Helias;
The Cuckoos Song: Russ Lossing, Kyoko Kitamura, Adam Kolker

Eli Yamin Quintet with Lakecia Benjamin, Elias Bailey, Winard Harper, Tom Dempsey

Juanita Delgado/Ricardo Gallo; Ricardo Gallo Cuarteto with Juan Manuel Toro,
Juan David Castao, Jorge Seplveda

Drom 7:30 pm $20
Jazz from an African Perspective: Michele Rosewoman

Jazz Museum in Harlem 7 pm $10
Patrick Cornelius Octet with Mike Rodriguez, John Ellis, Nick Vayenas, Alex Wintz,
Fabian Almazan, Peter Slavov, Eric Doob

Jeremy Dutton Trio with James Francies, Daryl Johns

Barbara Fasano with John di Martino

Michael Mwenso and the Shakes Ginnys Supper Club 7:30, 9:30 pm $15
Spike Wilner solo; David Bryant/Gerald Cannon

Mezzrow 7:30, 9:30 pm $20
Carlos Abadie Quintet
Smalls 10:30 pm $20
Stafford Hunter Quintet
Fat Cat 10 pm
Gioel Severeni Trio with Shin Sakaino, Kazuiro Odagiri; Jerome Saabbagh Trio with
Vicente Archer, Kush Abadey Bar Next Door 6:30, 8:30, 10:30 pm $12
Los Hacheros
Ray Parker Duet
Senri Oe
Tomi Jazz 9 pm $10
Manuel Valera and The New Cuban Express with Troy Roberts, John Benitez,
Obed Calvaire, Mauricio Herrera Smoke 7, 9, 10:30 pm $12

Papuna Sharikadze Trio
Birdland 6 pm $25
Christian Finger
Silvana 6 pm
39
Friday, February 26
Christian McBride Big Band; Henry Butler, Steven Bernstein and The Hot 9

Bob Dorough Quartet with Steve Berger, Pat OLeary, Peter Grant

Jim Rotondi Quintet with Peter Bernstein, David Hazeltine, David Wong, Carl Allen

Smoke 7, 9, 10:30 pm $38
Eclipse: Russ Lossing solo; Blackout: Russ Lossing, Drew Gress, Gerald Cleaver

Alan Broadbent/Don Falzone; Johnny ONeal

Mezzrow 9:30 pm 12:30 am $20
Chris Flory Quartet; Ken Peplowski Quartet; Joe Farnsworth

Smalls 7:30, 10:30 pm 1:30 am $20
Point of Departure; Jared Gold Fat Cat 10:30 pm 1:30 am
Jamie Baum Septet + with Amir ElSaffar, Sam Sadigursky, Chris Komer, Brad Shepik,
John Escreet, Zack Lober, Jeff Hirshfield

Charles Altura Quartet with Fabian Almazan, Matt Brewer, Marcus Gilmore

Arcolris Sandoval Quartet
Baruch Performing Arts Center 8 pm $30
Elliot Humberto Kavee, Tony Malaby, Stomu Takeishi

Annie Chen Septet
Flushing Town Hall 8 pm $16
John Colianni
Paul Meyers Trio with Tony DiCarlo, Tony Jefferson

Bar Next Door 7:30, 9:30, 11:30 pm $12
Cole Ramstad
MSM Concert Jazz Band
Manhattan School of Music Borden Auditorium 7:30 pm
Justin Weret Trio
Takenori Nishiuchi
Tomi Jazz 9 pm $10

Eric Harland Trio with Michael League and guest


Nick Di Maria
Silvana 6 pm
Alex Hamburger
Shrine 6 pm
Terri Lyne Carringtons Mosaic Project: Love and Soul with Valerie Simpson,
Oleta Adams
The Appel Room 8:30 pm $35
Chance Trio + 1: Russ Lossing, Ben Monder, Michael Formanek, Mike Sarin

Ingrid Laubrocks Ubatuba with Tim Berne, Ben Gerstein, Dan Peck, Tom Rainey

Rashied Ali Tribute with Billy Hart Sistas Place 9, 10:30 pm $20
Uri Gurvich Quartet with Leo Genovese, Peter Slavov, Francisco Mela

James Ilgenfritz Quartet; Charlie Evans The Language Of

Tom Chang Quartet with Jeremy Powell, Sam Trapchak, Kenny Grohowski

Ben Flocks Trio with Zach Brown, Michael W. Davis

Bar Next Door 7:30, 9:30, 11:30 pm $12
Steve Carrington; Greg Glassman Fat Cat 10 pm 1:30 am
Masami Ishikawa Trio
Yuko Ito Trio; Yusuke Seki
Christian McBride Big Band; Henry Butler, Steven Bernstein and The Hot 9

Bob Dorough Quartet with Steve Berger, Pat OLeary, Peter Grant


Smoke 7, 9, 10:30 pm $38
Spike Wilner solo; Alan Broadbent/Don Falzone

Mezzrow 7:30, 9:30 pm $20
Ken Peplowski Quartet; Eric Wyatt Quartet

Smalls 10:30 pm 1:30 am $20
John Colianni
Cole Ramstad

Eric Harland Trio with Chris Potter, Larry Grenadier


Sunday, February 28
Cloned: Russ Lossing/Tim Berne; Pavlovs Dogs: Russ Lossing, Kirk Knuffke,
Louie Belogenis, Jason Rigby, Eivind Opsvik, Jeff Davis

Helio Alves Quartet with Vic Juris, Edward Perez, Alex Kautz

Cornelia Street Caf 8:30 pm $10
George Gee Swing Orchestra; Michela Lerman; Alex Norris Organ Quartet; Hillel Salem

Smalls 4:30, 7:30, 10:30 pm 1:30 am $20
New York Jazzharmonic: Jay Rattman, Chris Ziemba, Ron Wasserman, Jim Saporito,
Harrison Hollingsworth
Kengo Yamada
Tomi Jazz 8 pm

Smoke 7, 9, 10:30 pm $38
Saul Rubin solo; Alan Broadbent/Don Falzone

Mezzrow 7:30, 9:30 pm $20

Eric Harland Quartet with Ben Wendel, Taylor Eigsti, Larry Grenadier


Isaac Darche
Silvana 6 pm
Marianne Solivan
Saint Peters 5 pm
John Zorns Bagatelles: Brian Marsella solo

The Stone 3 pm $20
Billy Drewes NYU Ensemble
Thana Alexa Trio with Ron Affif North Square Lounge 12:30, 2 pm
Monday, February 29
Gerald Clayton Trio with Robert Hurst, Greg Hutchinson

John Merrill; David Hazeltine Mezzrow 7:30, 9:30 pm $20
Will Sellenraad Trio; Jonathan Barber

Smalls 7:30 pm 1 am $20
Paul Jubong Lee Trio with Wallace Stelzer, Colin Hinton; Artemisz Polonyi Trio with
Jeff McLaughlin, BamBam Rodriguez

Bar Next Door 6:30, 8:30, 10:30 pm $12
Setsuko Hata
Tomi Jazz 8 pm
Damian Allegretti Trio
Silvana 6 pm
RE G U L AR ENGAGE MENTS
M O N D AY
Richard Clements and guests 11th Street Bar 9 pm
Orrin Evans Captain Black Band Smoke 7, 9 pm $9
Joel Forrester solo
Brandy Library 8 pm
Vince Giordanos Nighthawks Iguana 8 pm (ALSOTUE)
Grove Street Stompers
Arthurs Tavern 7 pm
Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm
Jazz Foundation of American Jam Session Local 802 7 pm
Arthur Kell and Friends
Bar Lunatico 8:30 pm
Mingus Big Band
Renaud Penant Trio
Analogue 7:30 pm
Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm
Stan Rubin All-Stars
Charley Os 8:30 pm
Smoke Jam Session
Smoke 10:30 pm
Svetlana and the Delancey 5 The Back Room 8:30 pm
Swingadelic
Swing 46 8:30 pm
Gracie Terzian
Bar Hugo 6 pm
Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30
James Zeller Duo
Spasso 7 pm (ALSO SUN)
OLDEST CONTINUOUSLY RUNNING JAZZ CLUB

IN THE COUNTRY

FEBRUARY SCHEDULE
T U E S D AY
EVERY THURSDAY JAZZ JAM NO COVER

2/5 Vicki Doney Trio
2/6 Adison Evans Hero CD Release Party
2/7 Dave Lantz III Trio
2/12 Erin McClelland Band
2/13 Matt Vashlishan Quartet
2/14 Michele Bautier Trio
2/19 Joanna Pascale & Jim Ridl
2/20 Patrick Mc Gee Quintet
2/21 Bill Test & Jay Rattman
2/26 Russ Kassoff with special guest
Catherine Dupuis
2/27 Hailey Niswanger Quartet
2/28 Denny Carrig Trio
2/29 Phil Woods COTA Orchestra an 18
piece jazz ensemble
Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm

Irving Fields
Ninos Tuscany 7 pm (ALSO WED-SUN)
George Gee Orchestra
Swing 46 8:30 pm
Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT)
Loston Harris
Caf Carlyle 9:30 pm $20 (ALSO WED-SAT)
Art Hirahara Trio
Arturos 8 pm
Yuichi Hirakawa Trio
Arthurs Tavern 7, 8:30 pm
Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm
Monas Hot Four Jam Session Monas 11 pm
Annie Ross
The Metropolitan Room 9:30 pm $25
Diego Voglino Jam Session The Fifth Estate 10 pm
W E D N E S D AY
Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
Rick Bogart Trio
Lybane 9:30 pm (ALSO FRI)
Rob Duguays Low Key Trio Turnmill NYC 11 pm
Jeanne Gies with Howard Alden and Friends Joe Gs 6:30 pm
Martin Kelleys Affinity
John Brown Smoke House 5:30 pm
Mark Kross and Louise Rogers WaHi Jazz Jam Le Chile 8 pm
Les Kurtz Trio
Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
Ron McClure solo piano McDonalds 12 pm (ALSO SAT)
David Ostwalds Louis Armstrong Centennial Band Birdland 5:30 pm $20
Saul Rubin Vocalist Series Zebs 8 pm $10
Stan Rubin Orchestra
Swing 46 8:30 pm
Eve Silber
Arthurs Tavern 7 pm
Donald Smith and Friends Cassandras Jazz and Gallery 8, 10 pm $10
Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm
T H U R S D AY
Marc Carys The Harlem Sessions Gin Fizz Harlem 10 pm $10
Sedric Choukroun
Brasserie Jullien 7:30 pm (ALSOFRI, SAT)
Dr. Dwight Dickerson
Cassandras Jazz and Gallery 8 pm $5
Joel Forrester/Christina Clare Vespa 7:30, 9 pm
Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15
Jazz Jam Session
American Legion Post 7:30 pm
Kazu Trio
Cleopatras Needle 11:30 pm
Martin Kelleys Affinity
Domaine Wine Bar 8:30 pm
Lapis Luna Quintet
The Plaza Hotel Rose Club 8:30 pm
Curtis Lundy Jam Session Shells Bistro 9 pm
Sol Yaged
Grata 8 pm
Eri Yamamoto Trio
Arthurs Tavern 7 pm (ALSOFRI-SAT)
JAZZ PACKAGES AVAILABLE

includes music, lodging, dinner, breakfast
Serving breakfast at The Morning Cure on
Saturdays and Sundays
F R I D AY
Scot Albertson
Parnells 8 pm (ALSO SAT)
Gene Bertoncini
Ryans Daughter 8 pm
Birdland Big Band
Birdland 5:15 pm $25
Rick Bogart Trio
New York Yankees Steakhouse 5 pm
The Crooked Trio: Oscar Noriega, Brian Drye, Matt Pavolka Barbs 5 pm
Day One Trio
Prime and Beyond Restaurant 9 pm (ALSO SAT)
Gerry Eastman Quartet
Williamsburg Music Center 10 pm
John Farnsworth Quartet Smoke 11:45 pm 12:45 am
Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
Sandy Jordan and Friends ABC Chinese Restaurant 8 pm
Bernard Linnette Jam Session University of the Streets 11:30 pm
Frank Owens Open Mic
The Annex at Hamilton House 7 pm $10
Richard Russo Quartet
Capital Grille 6:30 pm
Bill Saxton and the Harlem Bebop Band Bills Place 9, 11 pm $15 (ALSO SAT)
Joanna Sternberg Trio
Cleopatras Needle 12:30 am
DEER HEAD INN 5 MAIN STREET DELAWARE WATER

GAP PA 18327 570-424-2000
WWW.DEERHEADINN.COM

S AT U R D AY
Rob Anderson Jam Session University of the Streets 10 pm
Rick Bogart Trio
Broadway Thai 7:30 pm (ALSO SUN)
The Candy Shop Boys
Duane Park 8, 10:30 pm
Barbara Carroll
Birdland 6 pm $30
Curtis Lundy Trio with guests Shells Bistro 9 pm
Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm
Ruben Steijn.Sharik Hasan/Andrea Veneziani Farafina Caf & Lounge 8:30 pm
Nabuko and Friends
Nabe Harlem 12 pm
Johnny ONeal and Friends Smoke 11:45 pm 12:45 am
James Zeller Trio
Spasso 1pm
S U N D AY
Avalon Jazz Quartet
The Lambs Club 11 am
Rick Bogart Trio
New York Yankees Steakhouse 12 pm
The Candy Shop Boys
The Rum House 9:30 pm
Creole Cooking Jazz Band; Stew Cutler and Friends Arthurs Tavern 7, 10 pm
Glenn Crytzer Group
Pegu Club 6:30 pm
JaRon Eames/Emme Kemp The Downtown Club 2 pm $20
The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm
Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominies Astoria 9 pm
Ian Hendrickson-Smith
The Strand Smokehouse 7 pm
Jazz Brunch
Harlem Besame Latino Soul Lounge 1:30 pm
Bob Kindred Group; Junior Mance Trio Caf Loup 12:30, 6:30 pm
Matt Lavelles 12 House Orchestra Nublu 9:30 pm
Peter Mazza Trio
Bar Next Door 8, 10 pm $12
Tony Middleton Trio
Jazz at Kitano 11 am $35
Arturo OFarrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30
Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm
Lu Reid Jam Session
Shrine 4 pm
Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm
Ryo Sasaki Trio
Analogue 7 pm
LIVE AT THE DEER HEAD INN RECORDINGS

Phil Woods Quintet
Five Play
Nancy Reed & John Coates, Jr.
Guitar Trio: Bucky Pizzarelli, Ed Laub,
Walt Bibinger
Quartet: Joe Locke, Bill Goodwin, Jim
Ridl, Tony Marino
Sweet Sue Terry & Friends
WWW.DEERHEADRECORDS.COM
CLUB DIRECTORY
11th Street Bar 510 E. 11th Street
(212-982-3929) Subway: L to 1st Avenue www.11thstbar.com
440Gallery 440 Sixth Avenue, Brooklyn
(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com
5C Caf 68 Avenue C
(212-477-5993) Subway: F, V to Second Avenue 5ccc.com
55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
ABC - No Rio 156 Rivington Street (212-254-3697)
Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org
American Folk Art Museum 65th Street at Columbis Avenue
(212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org
American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
Americas Society 680 Park Avenue
(212-628-3200) Subway: 6 to 68th Street www.as-coa.org
An Beal Bocht Caf 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
Analogue 19 West 8th Street (212-432-0200)
Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com
The Appel Room Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
Arthurs Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
Arturos 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
BAMCaf 30 Lafayette Avenue (718-636-4139) Subway: M, N, R, W to
Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org
The Back Room 102 Norfolk Street
(212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street
www.backroomnyc.com
Bar Chord 1008 Cortelyou Road
(347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com
Bar Hugo 525 Greenwich Street
(212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com
Bar Lunatico 486 Halsey Street
(917-495-9473) Subway: C to Kingston-Throop Avenues
Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
Barbs 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
Baruch Performing Arts Center 17 Lexington Avenue at 23rd Street
(646-312-3924) Subway: 6 to 23rd Street www.baruch.cuny.edu/bpac
Bemelmans Bar 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Bills Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 125th Street
Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
The Bitter End 147 Bleecker Street between Thompson and LaGuardia
Subway: A, B, C, D, E, F, V to W. 4th Street
Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
Brandy Library 25 N. Moore Street
(212-226-5545) Subway: 1 to Franklin Street
Broadway Thai 241 West 51st Street
(212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com
Bronx Museum of the Arts 1040 Grand Concourse (at 165th Street)
(718-681-6000) Subway: 4 to 161st Street
Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street bqcm.org
Brownsville Heritage House 581 Mother Gaston Boulevard
(718-385-1111) Subway: L to New Lots Avenue
Caf Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
Caf Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V
to W. 4th Street-Washington Square www.caffevivaldi.com
Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
Cassandras Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard
(917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com
The Cell 338 West 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
Charley Os 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
Cleopatras Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street;
E, V to 53rd Street www.clubbonafide.com
Columbia University Buell Hall, Low Library 116th Street and Broadway
Subway: 1 to 116th Street
Cornelia Street Caf 29 Cornelia Street
(212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street
www.corneliastreetcaf.com
Delroys Caf and Wine Bar 65 Fenimore Street
Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries
Dizzys Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway:1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
The Django at Roxy Hotel 2 Sixth Avenue
(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.roxyhotelnyc.com
Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350)
Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com
Dominies Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
The Downtown Club 240 E. 123rd Street
(212-868-4444) Subway: 4, 5, 6 to 125th Street
Downtown Music Gallery 13 Monroe Street (212-473-0043)
Subway: F to East Broadway www.downtownmusicgallery.com
The Drawing Room 56 Willoughby Street #3 (917-648-1847)
Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com
Drom 85 Avenue A (212-777-1157)
Subway: F to Second Avenue www.dromnyc.com
Dweck Center at Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue
The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
Emmanuel Baptist Church 279 Lafayette Avenue
(718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com
Farafina Caf & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445)

Subway: 1 to 145th Street www.farafinacafeloungeharlem.com
Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
The Fifth Estate 506 5th Avenue, Brooklyn
(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com
The Firehouse Space 246 Frost Street
Subway: L to Graham Avenue www.thefirehousespace.org
Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
Full Gospel Assembly of Brooklyn 131 Sullivan Place
(718-940-9687) Subway: 2, 5 to Sterling Street www.fgany.org
The Garage 99 Seventh Avenue South (212-645-0600)
Subway: 1 to Christopher Street www.garagerest.com
Gin Fizz Harlem 308 Malcolm X Boulevard at 125th Street
(212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com
Ginnys Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
The Graham 190 Graham Ave (718-388-4682)
Subway: L to Montrose Avenue www.thegrahambrooklyn.com
The Grange 1635 Amsterdam Avenue
(212-491-1635) Subway: 1 to 137th Street www.thegrangebarnyc-hub.com
Grata 1076 1st Avenue (212-842-0007)
Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com
Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
Happylucky no.1 734 Nostrand Avenue
(347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue
Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd.
Subway: 2, 3 to 125th Street www.harlembesame.com
Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
Highline Ballroom 431 W 16th Street
(212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com
Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
Iguana 240 West 54th Street (212-765-5454)
Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com
Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
JACK 505 Waverly Avenue
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org
Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com
The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway:N, R to 28th Street www.jazzgallery.org
Jazz Museum in Harlem 104 E.126th Street between Park & Lexington
Avenues (212-348-8300) Subway: 6 to 125th Street
www.jazzmuseuminharlem.org
Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway:6 to 28th Street www.jazzstandard.net
Joe Gs 244 W. 56th Street (212-765-3160)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
Joes 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
John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120)
Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com
Juilliard School Paul Hall, Peter Jay Sharp Theater 155 W. 65th Street
(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
Kettle and Thread 1219 Church Avenue Subway: B, Q to Church Avenue
The Kitchen 512 W. 19th Street
(212-255-5793) Subway: A, C, E to 23rd Street www.thekitchen.org
Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490)
Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com
Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue
www.facebook.com/konceptions
LIC Bar 45-58 Vernon Boulevard
(718-786-5400) Subway: 7 to Vernon-Jackson Boulevard
The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
Le Chile 839 W. 181st Street
(212-740-3111) Subway: A to 181st Street www.lecheilenyc.com
Le Poisson Rouge 158 Bleecker Street (212-228-4854)
Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com
Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
Lybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
Lyce Francais de New York 505 E. 75th Street
(212-439-3820) Subway: 6 to 77th Street
McDonalds 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
Manhattan School of Music Borden Auditorium, Carla Bossi-Comelli
Studio Broadway and 122nd Street (212-749-2802 ext. 4428)
Subway: 1 to 116th Street www.msmnyc.edu
Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street
www.mezzrow.com
Miller Theater 2960 Broadway and 116th Street
(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com
Mintons 206 West 118th Street (212-243-2222)
Subway: B, C to 116th Street www.mintonsharlem.com
Monas 224 Avenue B Subway: L to First Avenue
NYC Bahai Center 53 E. 11th Street (212-222-5159)
Subway:4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
National Sawdust 80 N. 6th Street
(646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org
New Revolution Arts 7 Stanhope Street
Subway: J to Kosciuszko Street
www.jazzrightnow.com/new-revolution-arts-series
New York Yankees Steakhouse 7 W. 51st Street (646-307-7910)
Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com
Ninos Tuscany 117 W. 58th Street (212-757-8630)
Subway:1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com
North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, V to Second Avenue www.nublu.net
Parlor Entertainment 555 Edgecombe Ave. #3F
(212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
Parnells 350 East 53rd Street #1(212-753-1761)

Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com
Pegu Club 77 W. Houston Street (212-473-7348)
Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com
The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
Prospect Range 1226 Prospect Avenue
Subway: F to Fort Hamilton Parkway www.prospectrange.com
The Rainbow Room 30 Rockefeller Plaza
(212) 632-5000 Subway: B, D, F, M to 47-50th StreetsRockefeller Center
www.rainbowroom.com
Riverdale YM-YWHA 5625 Arlington Avenue
(718-548-8200) Subway: 1 to 242 Street - Van Cortlandt Park
www.riverdaley.org
Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
Rose Theater Broadway at 60th Street, 5th floor
(212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle
www.jalc.org
Roulette 509 Atlantic Avenue
(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
Rue B 188 Avenue B
(212-358-1700) Subway: L to First Avenue www.ruebnyc188.com
The Rum House 228 W. 47th Street
(646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com
Ryans Daughter 350 E 85th Street
(212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com
Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue
www.ryerestaurant.com
Saint Peters Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway:6 to 51st Street www.saintpeters.org
San Martin Restaurant 143 E. 49 Street between Lexington and Park
Avenues (212-832-0888) Subway: 6 to 51st Street
Scandinavia House 58 Park Avenue at 37th Street
(212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central
www.scandinaviahouse.org
Schimmel Center for the Arts 3 Spruce Street
(212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street
www.schimmel.pace.edu
SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza
www.seedsbrooklyn.org
ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
Showmans 375 W. 125th Street at Morningside) (212-864-8941)
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street
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: 1,2,3 to 14th Street www.smallsjazzclub.com
Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers
Avenues) Subway: 2 to Sterling Street
Spasso 551 Hudson Street
(212-858-3838) Subway: 1 to Christopher Street www.spassonyc.com
Spectrum 121 Ludlow Street, 2nd floor
Subway: F to Delancey Street www.spectrumnyc.com
Stern Auditorium at Carnegie Hall 881 Seventh Avenue
(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue
www.carnegiehall.org
The Stone Avenue C and 2nd Street
Subway:F to Second Avenue www.thestonenyc.com
The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231)
Subway: N, Q to Broadway www.thestrandsmokehouse.com
Subrosa 63 Gansevoort Street (212-997-4555)
Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com
Swing 46 349 W. 46th Street (646-322-4051)
Subway:A, C, E to 42nd Street www.swing46.com
Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre
and Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3 to 96th Street www.symphonyspace.org
Terraza 7 40-19 Gleane Street (718-803-9602)
Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com
Threes Brewing 333 Douglass Street
(718-522-2110) Subway: R to Union Street www.threesbrewing.com
Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
Town Hall 123 W. 43rd Street (212-997-1003)
Subway: 1, 2, 3, 7 to 42nd Street-Times Square www.the-townhall-nyc.org
Tribeca Performing Arts Center 199 Chambers Street
(212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street
www.tribecapac.org
Troost 1011 Manhattan Avenue
(347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com
Turnmill NYC 119 East 27th Street
(646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com
University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300)
Subway: B, D to 182-183 Streets www.universityofthestreets.org
Vespa 1625 2nd Avenue (212) 472-2050
Subway: 4, 5, 6 to 86th Street www.vespaitalianorestaurant.com
Village Vanguard 178 Seventh Avenue South at 11th Street
(212-255-4037) Subway:1, 2, 3 to 14th Street
www.villagevanguard.com
Walkers 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street
Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)
Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com
The West End Lounge 955 West End Avenue at West 107th Street
(212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com
Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY
(718-384-1654) Subway: L to Bedford Avenue
Zankel Hall 881 Seventh Avenue at 57th Street
(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org
Zebs 223 W. 28th Street
212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com
Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
41
(INTERVIEW CONTINUED FROM PAGE 6)

go to after school programs. They would have
gymnastics, dramatics or acting, art and music. And
those music teachers I had were very good. They
taught you the basics and they taught you what you
needed to know. Some of them were very stern and
strict and its good that they were. After a while, when
the budget cuts started taking over, there were fewer
programs and less exposure to music and art in general.
TNYCJR: Teaching a history course as well as private
students, how do you try to impart the significance of
these different individual artists?
his age, youll still be able to play well. He gave away

his secret right there when he said, Its a must. The
reason that he always sounded good is because hes
practicing every day. That left a big impact on me
because I always wake up early anyway. So, since that
time, I try to do the same thing. Every morning Im up,
crack of dawn, practicing slow, practicing my
rudiments. Because sometimes older musicians dont
practice as much and sometimes they can get rusty.
Not everybody is like that; guys like Dick Hyman,
theyre practicing all the time, thats why he always
sounds good. Thats what I want to try to do.
I think it comes out in March or April on Verve. Its

going to be called Notes From New York. This is the first
record weve made in a few years. The record business
has gone to pieces, so Im not, I guess none of us are
recording as much as we did.
TNYCJR: So thats the goal, always to sound good.
Washington is at Smoke Feb. 19th as part of The New Drum

Battle. See Calendar.
KW: Teaching privately, what these guys dont know.

They know some names; they know a few records.
Them guys come to my lessons and they want to get
their cymbal beat, their spangalang together, and
I say, Well, do you have Miles Davis record Walkin?
And they say, Yeah, the one with Tony Williams and
I say, Hell no! The one with Kenny Clarke and Percy
Heath, man. And theyre looking at me like a deer
caught in headlights. They dont even know about that
record. Im not saying that the later versions are not
good; please dont misunderstand me. The Miles Davis
60s group and what they did with Walkin is
fantastic, but if you ask Sir Ron Carter about the
original Walkin with Percy Heath, hell talk your
ear off about that record. Every one of those guys
Wayne Shorter, Herbie Hancockthey were well aware
of the original version with Lucky Thompson; thats
where they come from. These kids dont know any of
that stuff, man.
My whole thing about jazz history is,
I could get any goofball off the street to read a couple
books and memorize facts. The thing is the sound. Can
you hear the difference between soloists and bands?
So, on my midterm and final I have what I call drop
the needle. We analyze these artists so they get the
chance to see what makes who who. Their assignment
week in and week out is to listen. If its Jimmie
Lunceford or a Duke Ellington or Count Basie record,
the arrangements sound a little bit different from one
another. Then you have to know the soloists. You might
say, I know that lead alto saxophone sound, thats
Willie Smith. When [he] gets up and takes a solo
I know thats Jimmie Luncefords band. So, we analyze
and talk about all of these different things. For tests,
the most important part to me is the drop the needle.
And you cant cram to learn the differences in these
soloists and bands.
KW: Always sound good. Hank was always sharp.

I played with him the last year or two of his life. Man,
this cat was still playing his ass off. From seeing Hank
do that, thats what made me start getting in the shed
every morning like that. So thats what I try to do,
every morning, two or three hours. And then sometimes
during the day I come back to it. If Im not playing and
I dont have anything to do, I try to at least put two
hours in. Two hours on the practice pad and then later
on Ill go upstairs and fool around with the drums. Im
up between 5 and 6, usually, every morning. Thats the
best time for me. Daybreak.
TNYCJR: Do you continue to practice regularly?
TNYCJR: So whats coming up? What are you working

on? What are you gonna sound good on next?
KW: I was practicing on the pad when you called.

I practice every day, at least I try to, which is something
I learned from the great pianist Hank Jones. A few
years back, Hank hired bassist George Mraz and myself
to do this gig with him. He said, Seeing as the gig is
the next afternoon, why dont you and George come up
to my house the night before? I got plenty of room for
you all, you can stay at my house. So, George and
I agreed. Hank had a big house way, way upstate.
Hanks wife cooked dinner for us and we were sitting
around watching TV and talking and then went off to
bed. The next morning I woke up early and the first
thing I hear is the piano. Hank is practicing scales,
slow, real slow. Im listening to this master practice. Its
about 7 in the morning. So I come down to where Hank
is practicing and say, Good morning, Mr. Jones.
Ahh, Mr. Washington, how are you? Im doing fine,
how are you feeling? Im doing fine. So I asked him,
Do you practice like this everyday? And he stopped
and just looked me dead in the eyes and he said,
Wash, its a must.

Right then and there it hit me and I thought, if you
start practicing like this, then maybe, if you make it to
TNYCJR: I always have so much room to improve and

practice is putting in that work, but the idea of always
sounding good is beautifully simple.
KW: Yeah, well, that and practicing slow. Thats
important too.
TNYCJR: Practicing slow may come with age a little
bit. I know for me I have more patience and
I understand better that Im teaching my brain to teach
my body how to do this.
KW: Thats true. I never really thought about it like
that. Thats the only way to really grasp, as a drummer,
what one hand is doing and what the other one is
doing is to practice it slow so you can get the feeling of
things. If you cant play it slow, you will not play it
fast. I have students, theyre just hacking away at
pieces. Ill actually have to stop and say, Okay, put the
sticks down. Now, take a deep breath. Inhale and
exhale. Relax. Now, pick up the drumsticks. Lets play
this again. Slow. Theyll play it perfect. I say, There
you go. Otherwise theyll just run through the stuff,
but youre not learning anything like that.
KW: I just got through producing a record with Lee

Konitz for Impulse Records. Its me, [pianist] Kenny
Barron, [bassist] Peter Washington and, of course, Lee.
I would think it will be out some time in the summer or
fall, I dont really know. So, Im doing that and still
playing with Bill Charlap. Theres a two-drum thing
coming up with me and Joe Farnsworth at Smoke in
February. We did it once before and had a great time so
well do it again. Peter Washington is playing bass,
Harold Mabern is going to play piano, but Im not sure
who the frontline is going to be [trumpeter Brian Lynch
and alto saxophonist Vincent Herring]. Im sure its
going to be good though.
TNYCJR: I found a discography of you online listing
251 albums from 1977 to 2010. Thats going to be six
years ago already, so I know theres a bunch more and
maybe more yet to be released.
KW: Ive made other records since then, I suppose.
Tony Bennetts record just came out, the one I did with
Charlap. Charlap has another record coming out too.
TNYCJR: So many artists are reliant on the Internet

and social media to promote their work, but you dont
even have a website?
KW: No. Im old school. Really old school. If they like
what I do, they can always find out about it. v
Lee KonitzNonet (Chiaroscuro, 1977)
Betty CarterThe Audience with Betty Carter
(Bet-CarVerve, 1979)
Charlie RouseSocial Call (Uptown, 1984)
Tommy FlanaganJazz Poet (Alfa-Timeless, 1989)
Johnny Griffin +3Dance of Passion (Antilles, 1992)
Bill Charlap TrioLive at the Village Vanguard
(Blue Note, 2003)
(LABEL CONTINUED FROM PAGE 11)

records with four different groups. The latest is Kasper
Tom 5s second release I do admire things that are only
what they are. Members are also free to record for other
labels. Tom, for example, has done CDs for WhyPlayJazz
and ForTune Records. In Barefoot you have to do
everything yourself, from planning the recording to
finding the funds to release it, he reports. For the
other labels I just have to maybe find a place to record
and they take care of the rest.
But besides the extra work, Barefoot provides
other advantages, he asserts. Being part of a wellorganized and, might I add, very cool label, helps me
get exposure through distribution, through Barefoots
other members and through the events we organize.
Adds Zeeberg: I havent recorded my own music for
other labels. I was and, still am, quite young when
I joined. But being a member has made a lot of things
easy for me, especially regarding releasing music. It
has made me perhaps also more visible to the public.
As an experimental composer/musician you need all
the exposure you can get.

As part of its democratic process, each Barefoot
member decides on which medium his or her release
will appear, with sessions so far on CD, LP, digital
download, cassette tape and even postcards. Zeeberg
and Rune Lohses Music Made in One Day featured
download codes printed on ordinary postcards. Some
future releases are planned on 3D-printed sculptures,
reveals Berre. Most physical sales are at concerts or for
domestic distribution, whereas international sales are
largely digital. These two go nicely hand in hand, he
affirms.

Besides the 10th anniversary party, new discs are
planned for 2016. They include Flamingo and Jitter,
two trios featuring Pultz Melbye; a Dbrowski solo set;
a duo with Tom and bass clarinetist Rudi Mahall; a
Pedersen quintet date; and Berre collaborating with
non-members trumpeter Susana Santos Silva, pianist
Christine Wodrascka and bassist Christian Meaas
Svendsen.
Barefoot may not be a major imprint, but the
cooperative ethos and group identity is working
perfectly for its members. As Berre notes: With the
attention paid to Barefoot everyone benefits and
benefits much more than having seven artists releasing
discs by themselves. v
For more information, visit barefoot-records.com
(KLN CONTINUED FROM PAGE 13)
(WINTER JAZZFEST CONTINUED FROM PAGE 13)

Mingus Mingus Mingus is a trio playing...well,
you know. Sebastian Sternal (piano), Dieter
Manderscheid (bass) and Dominik Mahnig (drums)
fted the master bassist/composer in the Saal,
simultaneously faithful to his vision and expanding
upon it. Manderscheid, elder of the group, has a fair
amount of Mingus strength behind the instrument
while Sternal is a Jaki Byard-like chameleon at the
keyboard. Mahnig, on the other hand, had far more in
common with NRW native Paul Lovens than Dannie
Richmond and occasionally overplayed or became
overly enamored of his percussive effects. The program
began with a tape of Mingus speaking and included
Top 40 hits Fables of Faubus, Reincarnation of a
Lovebird, Eclipse, Nostalgia in Times Square,
Duke Ellingtons Sound of Love and Boogie
Stomp, the band often chasing shadows of the
melodies. Icelandic pianist Sunna Gunnlaugs and
American trumpeter (and current Kln resident) Ryan
Carniaux followed in the Saal for a first-time meeting,
playing a pithy set of their originals. While there was
the bounded tonality that comes with this type of duo
(think John Taylor and Kenny Wheeler), Gunnlaugs,
who studied and worked in the New York area for
many years, brought an appealing bluesiness to the
proceedings while adding magisterial dynamic shifts.

The Stefan Karl Schmid/Philipp Brmswig 4tett in
the Stadtgarten restaurant had a hard time of it with an
audience talking over their fairly generic brand of
modernist jazz. The most interesting thing about the
group was hearing bassist Robert Landfermann, one of
Europes best young improvisers, in such staid
surroundings. The duet of Uli Kempendorff and Niels
Klein (saxophones and clarinets) also had to vie against
the loud Friday night crowd at Umleitung, but one
which quieted down on occasion to absorb some of the
pair s fascinating conversations. They differentiated
themselves via extended techniques and were most
effective when occupying opposite registers. At times
they sounded like John Surman dueting with himself.
Monsters for Breakfast, appearing in the
surprisingly quiet Stadtgarten studio, was a fascinating
trio of saxophonist Salim Javaid and the dual vocalists
Mascha Corman and Thea Soti. Jittery but surprisingly
warm, the music was all about moving air and
chopping it into pieces. Bassist Sebastian Gramss
FOSSILE 3 had to compete not only with a raucous
audience but the overwhelming scent of Zimmermanns
grill. Joining him were iconoclast bass clarinetist Rudi
Mahall and drummer Etienne Nillesen for short, quirky
postbop tunes. The sound and view were worse from
the upstairs seating but at least you could breathe.

The highlight and discovery of the evening took
place back at Umleitung with the pastoral duo of
bassist Clara Dubler and trombonist Janning Trumann.
Such a simple and delicate pairing could hardly stand
up to the audience noise but with extra focus, an
appealing earthiness arose. Trumann operates in a sort
of primeval Albert Mangelsdorff mode, doleful and
melodic, ably supported by Dubler s restrained
accompaniment. Trumann is actually studying in New
York and is a young player to watch (hear, whatever).

The night closed for your reporter with the solo
piano of Lars Duppler in Stadtgarten Saal (rather than
the world-funk of Terrence Ngassa Band audible next
door), romantic and cerebral in turn. Duppler s project
was called Naked and certainly the packed and quiet
audience was treated to a spiritually bare performance.

The model of Winterjazz (and its parent) is scalable
to any city with a good jazz scene. The audiences will
come (whether they come to any jazz throughout the
year is a question Niescier couldnt answer) and will
be open to diverse and challenging programming. Of
course, strong municipal support doesnt hurt. v
Terrace Martins septet was experiencing the seismic

tremors of Jonathan Barber s drumming. After a short
jaunt to the east, I caught part of The Yellowjackets set,
featuring the low-volume pyrotechnics of bassist Dane
Alderson and closing with the gospel send-up
Revelation. After a ten-block walk up to the spacious
Tishman Auditorium for the last half of trumpeter
Avishai Cohens sensitive set, I stopped to sample a bit
of Charene Wades soulful scatting at the New
Schools 5th floor theater, then took the elevator to the
lobby for the Dave King Trucking Company, which
employed a sort of alternative-rock-meets-jazz
approach. Back upstairs, pianist Marc Cary was taking
up the political banner where Wade had left off, buoyed
by a heavy, double electric bass onslaught. One street
over, Forro in the Dark was covering John Zorn at an
oppressive volume (not the acoustic instruments but
the sound system), so I went back to catch Sharel
Cassitys set, then moseyed over, at the wee hour of
1 am, to hear the amazing pianist David Virelles
Mboko with a trance-inducing AfroCuban percussion
team. Then, after seven-and-a-half hours on the trod, I
was ready for some sleep.

Back for the second Marathon Night, I started
north and worked my way south, first at Tishman for
Michael Formaneks Ensemble Kolossus, a traditional
sounding big band with decidedly nontraditional
players; any semblance of conservatism, however,
gave way to sonic freeplay when trombonist Ben
Gerstein was given space to blow. At the New Schools
12th Street Auditorium, clarinetist Don Byron played a
touching tribute to the recently passed Allen Toussaint,
the venues sound still notably loud, but bearable.
Harmonica player Grgoire Maret brought a gospel
choir and organist into the Judson Church on
Washington Square South for a spiritually uplifting
set, especially at the finale when he and drummer
Marcus Baylor went head to head. I just missed solo
guitarist Kaki King, but her all-white outfit, matching
guitar and spiky bleached hair made the strongest
visual statement of the evening. Pianist Cyrus Chestnut
came on next to perform a suite inspired by his travels
to Africa. It took a bit of hoofing to get down to The
Django, where I heard chanteuse Vronique Hermann
Sambin set the poetry of Derek Walcott to a soothing
bossa nova beat. Back on Bleecker Street, on its east
end, was trumpeter Amir ElSaffar s groundbreaking
Two Rivers ensemble, mixing Iraqi maqam (modal)
music with jazz; traditional Arab instruments like the
oud, buzuq, santour and doumbek blended with
Nasheet Waits floating backbeats and Franois
Moutins dazzling acoustic bass playing. From the Far
East I headed all the way West (and back in time) to
Barrow Street for trumpeter Gordon Aus Grand St.
Stompers, a trad-jazz outfit featuring vocalist/dancer
Tamar Korn. In the midst of all the citys cutting-edge
experimentalism, its easy to forget how strong the
local trad scene is and Au and Co. certainly hold their
own in terms of spontaneity and excitement. For
something completely different and a fitting cap to the
whole event, I crouched up in the corner of the Judson
Church balcony for the 16-piece Sun Ra Arkestra,
a pageant of merriment and mania, saxophonist
Marshall Allen and crew bedecked in glittering gowns
and outlandish hats, playing everything from oldfashioned back-beat swing or a cover of When You
Wish Upon a Star to seemingly anarchic explorations
led by Allens sirening electronic wind instrument
(EWI). Peace and Love! Have a great Sun Ra day
everybody! called the doorman as we sleepily shuffled
out. I couldnt resist poking my head into Zinc Bar,
where a late-night, open-mic jam session was going on,
but these participants, though competent, werent
traveling the same spaceways. v
For more information, visit winterjazzkoeln.com
For more information, visit winterjazzfest.com
Tue, Feb 2

VOXECSTATIC: JOCELYN MEDINA QUARTET 8PM

Pete McCann, Evan Gregor, Todd Isler
KATIE BULL GROUP PROJECT 9:30PM
Jeff Lederer, Landon Knoblock, Ratzo Harris, George Schuller
Deborah Latz, host
Wed, Feb 3

BEN WINKELMAN TRIO 8PM

Desmond White, Obed Calvaire
DAN WILKINS, CD RELEASE: JNANA-VIJNANA 9:30PM
Patrick McGee, Mike Bono, Dave Lantz, Daryl Johns, Jimmy Macbride
Fri, Feb 5

JULIAN SHORE QUINTET, CD RELEASE:

WHICH WAY NOW 9PM & 10:30PM
Gilad Hekselman, Dayna Stephens, Jorge Roeder, Colin Stranahan
Sat, Feb 6

GEORGE GARZONE & THE FRINGE 9PM & 10:30PM

John Lockwood, Bob Gullotti
Sun, Feb 7

JANE IRA BLOOM TRIO 8:30PM

Mark Helias, Dominic Fallacaro
Tue, Feb 9

DAVE SCOTT QUINTET, CD RELEASE:

BROOKLYN AURA 8PM
Rich Perry, Jacob Sacks, Peter Brendler, Satoshi Takeishi
Wed, Feb 10

MICHEL REIS TRIO 8PM

Michel Reis, Aidan ODonnell, Eric Doob
VINNIE SPERRAZZA QUARTET 9:30PM
Loren Stillman, Ben Monder, Eivind Opsvik
Thu, Feb 11

JOHN RAYMOND TRIO, CD RELEASE: REAL FEELS 8PM & 9:30PM

Gilad Hekselman, Colin Stranahan
Fri, Feb 12

ELLERY ESKELIN TRIO 9PM & 10:30PM

Christian Weber, Michael GreenAir
Sat, Feb 13

LUCIAN BAN & MAT MANERI TUBA PROJECT

FEATURING BILLY HART 9PM & 10:30PM
Bruce Williams, Bob Stewart
Sun, Feb 14

SHEILA JORDAN TRIO 8:30PM & 10:00PM

Alan Broadbent, Harvie S
Tue, Feb 16

ANDR CARVALHO QUINTET 8PM

RICKY RODRIGUEZ TRIO 9:30PM
Troy Roberts, Henry Cole
Wed, Feb 17

SYBEREN VAN MUNSTERS PLUNGE 8PM

Ben Van Gelder, Vitor Gonalves, Rick Rosato, Jochen Rueckert
BASSDRUMBONE 9:30PM
Ray Anderson, Mark Helias, Gerry Hemingway
Thu, Feb 18

BROC HEMPEL QUINTET 8PM

Jeff Taylor, Jason Rigby, Sam Minaie, Jaimeo Brown
CAROLINE DAVIS QUINTET 9:30PM
Marquis Hill, Julian Shore, Tamir Shmerling, Jay Sawyer
Fri, Feb 19

LL3 9PM & 10:30PM

Lage Lund, Orlando Le Fleming, Nasheet Waits
Sat, Feb 20

THE SONS OF GEORGE GARZONE 9PM & 10:30PM

Chris Crocco, Kenny Brooks, Peter Slavov, Ian Froman
Sun, Feb 21

DJANGO AT CORNELIA STREET: BEDLAM TRIO 8:30PM

Ellie Goodman, Brandon Vetrano, Josh Kaye, James Robbins
DJANGO AT CORNELIA STREET: ANOUMAN 10PM
Peter Sparacino, Koran Agan, Joshua Kaye, Eduardo Belo
Tue, Feb 23

FLORIAN HOEFNER, CD RELEASE: LUMINOSITY 8PM

Lucas Pino, Rick Rosato, Peter Kronreif
OR BAREKET QUARTET 9:30PM
Shachar Elnatan, Gadi Lehavi, Or Bareket, Ziv Ravitz
Wed, Feb 24

KAVITA SHAH QUARTET 8PM

Leo Genovese, Franois Moutin, Nasheet Waits
Thu, Feb 25

PATRICK CORNELIUS OCTET 8PM & 9:30PM

Mike Rodriguez, John Ellis, Nick Vayenas, Alex Wintz,
Fabian Almazan, Peter Slavov, Eric Doob
Fri, Feb 26

THE JAMIE BAUM SEPTET + 9PM & 10:30PM

Amir ElSaffar, Sam Sadigursky, Chris Komer, Brad Shepik,
John Escreet, Zack Lober, Jeff Hirshfield
Sat, Feb 27

TOM CHANG QUARTET 9PM & 10:30PM

Jeremy Powell, Sam Trapchak, Kenny Grohowski
Sun, Feb 28

NEW BRAZILIAN PERSPECTIVES: HELIO ALVES QUARTET 8:30PM

Helio Alves, Vic Juris, Edward Perez, Alex Kautz
Billy Newman, host
43
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Andrew Cyrille
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Andrew Lamb
Bill Mazza
Cheryl Richards
Connie Crothers
Cooper-Moore
Dave Burrell
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Dave Sewelson
David Budbill
Fay Victor
Francisco Mora Catlett
Henry Grimes
Hilliard Greene
James Brandon Lewis
Jason Kao Hwang
JD Parran
Joe Hertenstein
Joe McPhee
Joelle Leandre
Joseph Daley
Juan Pablo Carletti
Karen Borca
Katie Bull
Katja Cruz
Ken Filiano &
Andrea Wolper
Kenny Warren
Kidd Jordan
Kyoko Kitamura
Larry Roland
Leonid Galaganov
Lois Eby
Lou Grassi
Lyn Horton
Marc Ribot
Mark Dresser
Masahiko Kono
Michael Bisio
Michael TA Thompson
Milford Graves
Natsuki Tamura
Nick Lyons
Nicole Peyrafitte &
Pierre Joris
Oliver Lake
Patricia Nicholson Parker
Peter Gannushkin
Peter Kuhn
Ramsey Ameen
Raymond Nat Turner
Richard Keene
Sarah Bernstein
Satoko Fujii
Steve Dalachinsky
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Takashi Itani
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Yuko Otomo

Tnycjr 201602

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FEBRUARY 2016ISSUE 166

YOUR FREE GUIDE TO THE NYC JAZZ SCENE

FEBRUARY 2016ISSUE 166

US Subscription rates: 12 issues, $40

2 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

TALIB KWELI WITH LIVE BAND:

MCCOY TYNER TRIO

FEBRUARY 16, 18 - 21, 23, 25 - 28

LATE NIGHT GROOVE SERIES

l3l WEST 3RD STREET NEW YORK CITY 2l2.475.8592 WWW.BLUENOTEJAZZ.COM

TERMS, CONDITIONS AND RESTRICTIONS APPLY

ORRIN EVANS TRIO

WED-SAT FEB 3-6

PAT MARTINO TRIO

SUN FEB 7HCLOSED

THE STRYKER SLAGLE BAND EXPANDED

MINGUS BIG BAND

LUQUES CURTIS - MARK WHITFIELD JR

ORRIN EVANS CAPTAIN BLACK BIG BAND

OTIS BROWN III

THU-SUN FEB 25-28

HERIC HARLANDS IV PSALMSH

VERY SPECIAL GUEST - ALAN HAMPTON

CHRIS POTTER - LARRY GRENADIER

ERIC HARLAND TRIO: ERIC HARLAND TRIO:

HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH

MON FEB 1, 8, 22 & 29

MINGUS BIG BAND MINGUS ORCHESTRA

NEW YORK @NIGHT

SHAI MAESTRO - MATT PENMAN

It was, as tenor saxophonist Joshua Redman noted in

Ken Vandermark & Steve Swell @ The Stone

Joshua Redman @ Jazz Standard

Another Chicago onslaught arrived with several

W here cozier than Barbs, in Brooklyns Park Slope,

4 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

to take in local legends Endangered Blood? Led by

The inaugural 2016 Rose Theater engagement of the

Jacob Sacks @ Cornelia Street Caf

begin 2016, tenor saxophonist Ted Nash crossed

Frank Stewart for JALC

days of connecting a musician to his art via

Wynton Marsalis & Jazz at Lincoln Center Orchestra @ Rose Theater

An overflow crowd packed the West End Lounge for a

Sunday afternoon Tribute To Cedar Walton presented

The Banff Jazz Workshop in Alberta, Canada, led by

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016

Washington is a representative of the legacy of

Kenny Washington: Yes. I havent been there in a

TNYCJR: You continue to be a student, right?

6 FEBRUARY 2016 | THE NEW YORK CITY JAZZ RECORD

These kids are funny, because they say they want to be

(CONTINUED ON PAGE 42)

asked about his rather singular musical

For more information, visit russlossing.com. Lossing

Change of Time (OmniTone, 1998)

Russ Lossing/John HbertLine Up

Russ Lossing TrioOracle (hatOLOGY, 2007)

Russ LossingEclipse (Aqua Piazza, 2012)

MENGIS PFAMMATTER TROLLER FRIEDLI

jazz pianists, though; I didnt want to sound like

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2016

Dexter Gordon went down in jazz history as one of its