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www.jazzINSIDEMAGAZINE.com
January 2013
Jazz At Lincoln Center
25th Anniversary:
Birth of the
Cool Festival
Interviews
Bill Charlap
Aaron Diehl
Jonathan Batiste
Dr. Lonnie Smith
Jazz Standard, Jan. 10-13
Ramsey Lewis
Blue Note, Jan. 12-13
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Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
January 2013 – Volume 4, Number 6
Cover Design by Shelly Rhodes
Cover photo of Wynton Marsalis by Eric Nemeyer
Publisher: Eric Nemeyer
Editor: Gary Heimbauer
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Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken
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Contributing Writers: John Alexander, Chuck Anderson, John R.
Barrett, Jr.; Curtis Davenport; Bill Donaldson; Eric Harabadian; Gary
Heimbauer; Alex Henderson; Rick Helzer; Mark Keresman; Nora
McCarthy; Joe Patitucci; Ken Weiss.
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CONTENTS
CLUBS, CONCERTS, EVENTS
15
Calendar of Events, Concerts,
Festivals and Club
Performances
27 Clubs & Venue Listings
44
4
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Noteworthy Performances
FEATURES
25th Anniversary of Jazz At Lincoln Center - Featuring The Birth
of The Cool Festival — Interviews
with Wynton Marsalis, Bill Charlap
and comments from Aaron Diehl,
Jonathan Batiste
29
Impressions in Modern Music: An
Overview of Miles Davis’ Birth of
the Cool Recordings - By John R.
Barrett, Jr.
INTERVIEWS
13
30
Jana Herzen
Dr. Lonnie Smith, Ramsey Lewis
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CDS & RECORDINGS
34
January 2013 Jazz Inside Magazine www.JazzInsideMagazine.com
Terri Lynne Carrington
Charles Compo
Paulette Dozier
Hiromi
Four Freshmen
David Gilmore
Marcus Goldhaber
Florencia Gonzalez
Wayne Shorter
Pharez Whitted
PERFORMANCE REVIEW
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Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
Feature
Birth Of The Cool Festival
Celebrating The 25th Anniversary of Jazz At Lincoln Center
Wynton Marsalis, Bill Charlap, Aaron Diehl, Jonathan Batiste
The Birth of The Cool Festival will take place on
January 18-19, 2013 in the Allen Room and
Dizzy’s Club Coca Cola in celebration of the
25th Anniversary of Jazz At Lincoln Center. This
feature below includes interviews with participants in the upcoming festival — Wynton Marsalis and Bill Charlap, comments by pianists
Aaron Diehl and Jonathan Batiste, plus a detailed article that begins on page 29, by John R.
Barrett, Jr., entitled Impressions in Modern
Music: An Overview of Miles Davis’ Birth of
the Cool Recordings — about the original performances and recordings from 1949 and 1950.
Wynton Marsalis
Interview by Scott H. Thompson
Birth of the Cool Festival
“Birth of the Cool” is an important movement in the music on several fronts: it is the
consolidation of the music with its own history.
Musicians from that period like to play the New
Orleans counterpoint using the modern language.
In terms of orchestration, there are interesting
ways of using a smaller group of instruments,
including of course, the records of Miles Davis.
And this music was a movement towards integration. A lot of the greatest movements in music have been movements towards integration.
That’s the way rock and roll was. That’s the way
“Birth of the Cool” was.”
“We had to come together — musicians of
different races — in the spirit of the music. It’s
also an attempt to consolidate the traditions. You
have smaller bands taking over from big bands
because big bands became no longer economically feasible and these musicians were trying to
bring a smallish big band back. Another thing
about the “Birth of the Cool” is that it’s comprehensively unique — it’s got ballads and up
tempo songs with a lot of complicated chord
changes, quasi-modal songs before real modal
jazz came along. This music had control of volume and the stressing of the nuance aspects of
playing, and the romantic aspects of it. The music was at a certain easy volume with a kind of
sweetness. There’s also the relationship of jazz
to classical music — like polytonality and contrapuntal techniques that come from European
music.”
Two important figures in this music: there
was Gerry Mulligan and John Lewis — both of
whom were great fans and friends of Jazz at
Lincoln Center. We played Gerry Mulligan’s
posthumous concert in 1996. He called me and
said he wanted me to go through all of his music
– and I picked things that I thought were exemplary of what he had done. John Lewis was also
a great fan of our program. He conducted the big
band several times. We played some of his music. He conducted us in a concert of Duke Ellington’s music. He actually got us to play in control
and in balance. Both men were extremely intelligent and deeply engaged in the process of music
making and the history of jazz and the value that
jazz had to our culture. They believed in
swingin’ and playing in four and they believed in
virtuosity and quality.”
Aaron Diehl
Our program at Dizzy’s Club Coca-Cola
will highlight John Lewis’s extensive writing
and arranging for the Modern Jazz Quartet,
which epitomized “cool” in every sense of the
word. The ensemble, led by Lewis, consisted
of a Yin and Yang between his judicious, carefully constructed piano stylings and Milt Jackson’s flawless virtuosity. Bassist Percy Heath
and drummer Connie Kay kept it all in balance, and these characteristics are reflected in
the MJQ oeuvre.
Selections will include popular classics
such as “Django,” “La Ronde,” and “Odds
Against Tomorrow,” but also lesser known
works from “A Day in Dubrovnik” to “the
Jasmin Tree.” The MIJA String Quartet will
appear Friday through Sunday to collaborate
with us on “Three Windows,” and “Sketch,”
composed during the Third Stream movement
of the late 50’s.
We hope to attract die hard devotees to
the Lewis canon while creating a new audience for this remarkable body of music.
(Continued on page 6)
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Bill Charlap
Interview by Eric Nemeyer
Birth of the Cool Festival
JI: How and when in your musical development
did you first discover the music from the Birth of
The Cool, and how did it influence you?
BC: First time I heard any of that music I was
actually working at one of the very first gigs I
ever did — which was playing for an acting
group on Two Bond Street called, The First
Amendment. They were something like Chicago’s “Second City” or “Who’s Line Is It Anyway?” And, what I would do is play sort of silent
movie piano for whatever skit they might get —
from suggestions in the audience and things like
that. Of course, that doesn’t have anything to do
with Birth of the Cool but one of the actors was a
great jazz fan, and he used to make me cassettes
of all kinds of different great jazz — everything
from like the Jazz Messengers, Jimmy Heath and
Cedar Walton and all the giants. On one of them
happened to be this track called “Godchild” and
it was of course from the seminal Birth of the
Cool album with Miles Davis, Gerry Mulligan,
Lee Konitz. It was Mulligan’s arrangement of
George Wallington’s, bop classic, “Godchild.” I
loved the sound of it, and immediately following
it on the cassette was a later recording. The piece
was called “Ontet.” It is the shout chorus of
“Godchild” but played slower with Chet Baker
as soloist and Gerry Mulligan at the piano playing those glorious voicings on the shout chorus
that the band played on Birth of the Cool. Now I
can see all of this stuff in retrospect though I
didn’t realize it at the time. I remembered only
after hearing “Godchild” on the cassette and all
of a sudden this piano player comes up playing
the same figures, but slower and you could hear
all of those beautiful inner voicings. With Mulligan’s writing every instrument had a line —
regardless of alto, or baritone, or trombone, or
tuba or French horn, every instrument has a line
so it’s a beautiful contrapuntal. It really made an
imprint on me and I searched out the rest of
Birth of the Cool and “Godchild” and all the
other amazing things that are on there by Mulligan, Gil Evans — of course, John Lewis, and
Johnny Carisi ... four great arrangers from those
days. So that’s the first exposure I had to what’s
known as Miles Davis’ Birth of the Cool. I
should also say that I worked with Gerry Mulligan for a number of years in his quartet—this
time with piano, bass and drums and I asked him
to please show me those beautiful voicings, and
how he was thinking. He sat at the piano with
me. He even sketched out the shout chorus and
piano score, which I have, and I cherish. There
are two shout choruses — one that’s a send off
for solos, the one, you know [Bill sings the musical line] and then that’s built on a very simple
Gerry Mulligan phrase [Bill continues singing
the musical phrase] — all of that coming out of
Wallington’s [sings phrase] … and by the way,
this piece of course is based on Harold Arlen’s
“Between the Devil and the Deep Blue Sea.”
Ayano Hisa
(Continued from page 4)
Aaron Diehl
That’s where “Godchild” comes from — although the harmony is a bit different. It’s become bopified. It’s still “The Devil and the Deep
Blue Sea.” So there’s this great wonderful
through line in history and in the music and I
[Continued on page 8]
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was looking up to kind of having a hands on
tutorial, from the fountainhead of that music.
JI: When he showed you the voicings, do you
remember any comments or discussions you
might have heard that you can share?
BC: Yes, like I said, every line is a melody—
and that was apparent looking at the way he
wrote, and he said that. Also in that shout chorus, the one that is the send off for Mulligan’s
couple of bars of solo on “Godchild” … and I
believe also the trombone solo on it …. anyway,
one of the things he pulled my coat to was something that they were thinking about namely Stravinsky …. Petrushka, I would have to play it for
you … and there’s a device where the harmony
is close, and is moving up chromatically while
that melody is built in triads, and is repetitive
over the closed position Dominant 7 harmony,
moving up in half steps. Well that’s exactly what
happens, except that there’s a Minor 7 this time,
exactly the device that Mulligan used on what
was essentially just coming from a Major
scale….. [sings scale] but the harmony that is
going on underneath are Minor 7 chords moving
chromatically upward, and is directly influenced
by that moment in Stravinsky’s “Petrushka.”
One of the beauties of it, especially that moment,
is you have this incidental counterpoint that
happens ... but because of the fact there is the
Major scale moving up and these chords are
moving chromatically, what you get is this sort
of ugly beauty in a sense, these wrong/right
notes, if you will, that happens ... and it is very
beautiful on the ear and it’s the same thing that
some of Stravinsky’s writing was doing. Johnny
Carisi developed that on “Israel,” that sort of a
more angular type of writing. Mulligan always
said that he shot for 42nd Street, and he overshot, and he ended up on 52nd Street. I think it’s
obviously a comment on the fact that he was as
influenced by Gershwin and Richard Rogers
[whose songs were integral parts of the Broadway shows] as he was perhaps influenced by
Charlie Parker [who like many bebop and swing
era musicians, often performed at the clubs that
dotted 52nd Street]. That’s a long winded answer
to Birth of the Cool and what those arrangements
mean to me — and that’s just the tip of the iceberg. Those arrangements really are very important. They amazingly sound like a large ensemble — and of course it is — but it swings like a
Jonathan Batiste
Birth of Cool/JALC 25th Anniversary
Frank Stewart
“But to me, Miles Davis’ Birth of the Cool is kind of
the culmination of the ‘Cool.’ It’s not really the
‘Birth of the Cool.’” - Bill Charlap
“JALC has made the case for why jazz is
a supreme art form. During the last 25 years
they’ve archived and curated the music, while
honoring it’s masters and educating all the rest
of us. They’ve paved the way for a countless
number of artists to express themselves
through swinging and playing the blues. It’s
been an honor to collaborate with JALC and
now it’s up to my generation to keep it going.
We’re ready. I love the Birth of The Cool era
because it’s sophisticated yet accessible. A
wide spectrum of listeners can easily enjoy
this music.”
small ensemble. I think that’s part of the magic
of Gerry Mulligan’s concert jazz band. Though it
was a larger band, the core of that band swung
like a small group although it was a larger ensemble. I think that was a piece of it. I can say
that that album was very influential on many
jazz musicians—very forward thinking and very
wonderful time creatively in the music. To think
that they were very young men ... Mulligan and
Konitz … and Gil Evans was sort of the “den
mother,” he was older. It was at Gil’s place that
everyone came and hung out and talked about
music and just crashed … and they had the idea
for this band ... and Miles was the one who
cracked the whip. He was the one who was the
organizing force that made things happen and
booked the gigs. Of course, he was such a powerful force. I think Mulligan was also very, very
important, he wrote the bulk of the arrangements, more than the other arrangers. Of course,
they were all under the influence of Claude
Thornhill.
JI: Thornhill had a great band and the music and
players coming out of his ensemble were laying
the groundwork and not widely credited.
BC: Yes, all you have to do is hear Gil’s arrangement of “Lover Man” in the Thornhill
Band and you hear Gil Evans right away—Gil’s
beautiful landscape of sound is right there. So
that was part of it too—a way of playing. Let’s
skip to what “Cool” is and why did we call it
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Birth Of The Cool
“Cool” and what is that aesthetic really mean?
The Birth of the Cool … I’ve heard many musicians talk about that. One of the ones that really
interests me is Joe Zawinul who talked about the
fact that that record was really important for
him. When you hear the way Joe wrote for
Weather Report, the inner voices and the way he
made synthesizers sound like they had wind
behind them ... the humanity that he put into the
electronic instruments and also all of the counterpoint within his voicings — it’s like big band
writing or orchestra writing. He talked about
Birth of the Cool — that it was a seminal album
for him. You can hear it, not just in Weather
Report, but there’s a piece called, “Del
Sasser”—I think it’s Sam Jones’ piece. T he
Zawinul Trio record, maybe with Lou Hayes on
that ... listen to the way he is voicing and playing
the piano, it’s coming right out of Birth of the
Cool, or at least that way of thinking ... I think
so. So what is “Cool” and what really is the aesthetic of what we call “Cool Jazz” … I believe it
is a simple description. It’s the harmonic and
rhythmic innovations of Charlie Parker and
Dizzy Gillespie, coupled with the relaxed swing
of Lester Young, and the rhythm section aesthetic of the Count Basie all American rhythm
section — which of course was Basie, Freddie
Green, Walter Page and [Papa] Jo Jones and that
to me is really the “Birth of the Cool” … that is
the “Cool School.” There is also a writer’s piece
of what we’d call “Cool Jazz” - like John Lewis
for instance, who had Classical influences ... and
not necessarily the same Classical influences I’m
talking about when I mentioned Stravinsky and
the Modernists. But of course, Lewis knew all
about that …. but in Lewis’ case, the counterpoint of Bach. But to me, Miles Davis’ Birth of
the Cool is kind of the culmination of the
“Cool.” It’s not really the “Birth of the Cool.”
JI: I agree. I like how you described the Basie
rhythm section — as a kind of foil to the other
musical elements … especially to the foundation
of Bebop … because of the enormous expanse of
their dynamic range ... whereas Bebop was often
constantly going for the fences dynamically.
BC: Or the beauty of “we’re not playing the
melody we’re going right to the chorus.” The
improvised solo is like G-d in a sense. But you
know it’s hard to put labels on all those things
because of course sometimes people think of
“Cool School” and they think, “West Coast” —
perhaps but there was plenty of hot music on the
West Coast, and there was plenty of “Cool”
music on the east coast. Sometimes when we
hear, “West Coast Jazz” we all think of Mulligan
and Baker … but there was also Curtis Counts
and Teddy Edwards and Hampton Hawes —
there was a lot happening on the West Coast. It
wasn’t just wasn’t what might fall under the
“West Coast Jazz” moniker. Anyway, that’s a
whole other story talking about the “West
Coast.” So what I’m doing at this concert is
touching on a couple of the things that mean the
“Cool School” … and particularly focusing on
10
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page 8
Gerry Mulligan’s and John Lewis’ music which
is a part of what’s happening at Lincoln Center,
and over at the Rose Theater at the same time.
My concert is kind of built into three sections in
a way. It’s all going to be with Kenny Washington and Peter Washington, who are my partners
of course for the last fifteen years, and very informed and individual players and they understand. Kenny certainly understands from Pape Jo
Jones to Philly Joe Jones and beyond, and Peter
certainly understands, Jimmy Blanton through
Ron Carter and beyond. So we’re going to start
with a group that celebrates Lester Young and
the Count Basie—the all American rhythm section. It will be me, Kenny, Peter and Bucky Pizzarelli on guitar. Bucky probably is the leading
rhythm guitar player in the world. Peter Washington said something great about Bucky once
which was, “When Bucky’s playing it’s not a
concert, it’s a dance.” I think that that’s true.
There is such a commitment to all four beats and
really swinging in that way, that it’s magic. We
also have the magic of Frank Wess — an NEA
Jazz Master and an iconic figure in the music
probably the leading exponent of Lester’s aesthetic. Of course he plays just like Frank … and
there’s Ben Webster in there too, and many,
many others. But Frank is, in a direct line from
Lester Young. So, we’re going to start there and
play a couple of pieces. We’ll be joined by Mary
Stallings. I didn’t mention, of course, the obvious and important, spiritual and musical connection between Billie Holiday and Lester Young
— which is another piece of “Cool” in a sense ...
the naturalness of it. Mary Stallings — of course,
nobody sings like Billie Holiday but yet, Billie
Holiday is a very key figure for Mary Stallings.
So, that’s what we’re going to do at the beginning of the concert. Then we’re going to bring
Steve Nelson on the stage and play a little bit of
John Lewis’ music from the music he wrote for
the MJQ [Modern Jazz Quartet, which is noteworthy for vibraphonist Milt Jackson’s integral
contributions] and others. Steve is probably, in
my estimation, one of the greatest living improvisers today — a real master, Steve is really right
in the direct line on his instrument from Lionel
Hampton to Milt Jackson to Bobby Hutcherson
to Steve Nelson. Of course, nothing is a straight
line and there are so many other great influences
and major artists on that instrument. But I think
of Steve in that way and he has great, great
depth, and always the Blues in his playing. So
we’ll play some of Lewis’ music some of the
type of things that he wrote for MJQ and others
and then we’re going to bring a wonderful nonet
on stage—with the same rhythm section. We’ll
have Jeremy Pelt on the trumpet, Steve Wilson
on the alto sax, Gary Simone on the baritone,
John Alwood on the trombone, and Bob Stewart
on the tuba and Jeff Scott on the French horn. Of
course those Birth of the Cool arrangements are
quite fascinating because of their instrumentation too, not just how they wrote for the instruments, but the unique instrumentation which
incorporates French horn and tuba, pretty unusual and often ranges that they weren’t often
called upon to play in other music. Notice the
omission of a tenor saxophone in that particular
aggregate of those six horns with rhythm sec-
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Bill Charlap
when you’d hear them at the Village Vanguard,
which I did many times in the ‘70’s.
(Bill Charlap — Continued from page 10)
tion—and that comes from Thornhill’s aesthetic,
and certainly Gil was not afraid to use bass clarinet and the like …. and any instrumentation that
created the sounds he was hearing in his head.
But with those players, they’re all master players
and we’ll be playing not the whole Birth of the
Cool album because this whole concert is about
70 minutes long and there is a lot of music we’re
going to include in it. It will be a variety show of
course, but a variety show of pure music. We’re
going to do seven or eight of those charts —
some of the greatest and certainly John Lewis’,
Gerry Mulligans’, Gil Evans’, and Johnny Carisi
— all will be represented there.
JI: When you were talking earlier about Ben
Webster and Joe Zawinul, it reminded me of a
superb album from the early 1960s, Soul Mates
with Ben Webster with Thad Jones.
BC: One of my favorite albums and one the first
jazz albums I ever had too.
JI: Thad is probably one of my biggest influences as an arranger. When you were talking
about Gerry Mulligan’s band, of course Mel
Lewis was the drummer in that band at the time,
1962, 63. Your comment about how they got a
small band vibe within the famework of a big
band was noteworthy. And, that was a characteristic of Thad Jones and Mel Lewis’ band as well
12
9-14
page 10
BC: Gerry Mulligan used to say that Mel Lewis
was of course a huge part of the Gerry Mulligan
Concert Jazz Band. If you listen to “Blueport”
there is such a great moment where Mulligan
and Clark Terry are trading back and forth choruses of the Blues, and then half choruses and all
this stop time …. and every one of Mel Lewis’
stop times, and the way that he sets those up for
the band to come back in, are priceless. They are
just glorious, and it’s a pleasure to listen to that
track. But another thing that happens is Mulligan
and Clark Terry start kind of joking with each
other and they start quoting cities like, “Chicago,
Chicago” or “California Here I Come” — all
these different cities start to show up and Mulligan quotes, my favorite one which really makes
me laugh. He says, “It starts to rain on cherry
blossom lane.” Only Mulligan would know these
kinds of obscure songs. Mulligan used to talk
about Mel Lewis. It was right after that they
created their own orchestra. I think that there’s a
great through line ... I wasn’t even thinking
about that but if you think from all the wonderful
bands of the big band era ... and Mulligan’s band
with Thornhill, and Elliot Lawrence. Of course, I
think Ellington is also a key figure in the sound
of the music. He’s a key figure in the history and
the sound of the music period. There is only one
Duke Ellington. We’re talking again, about a
figure so important that it’s almost a new kind of
music. It’s beyond category. It’s a new music—
and the sounds that were in the Ellington Orchestra certainly were highly influential in the
sounds that you would hear from Gil Evans and
Gerry Mulligan and all the other great arrangers.
I do think that Thad and Mel’s orchestra, and
subsequently the Vanguard Orchestra had a great
connection to that history through Gerry Mulligan’s Concert Jazz Band too.
JI: Did Gerry ever talk to you about the ways
he voiced the various sections in the big band?
BC: No, because at that time, it would have
been lost on me, I wouldn’t have been able to
read a score that way, or quite understand it. So
they weren’t questions that I asked. I wish I had
the chance to ask now. I think just seeing how he
thought of it in terms of the piano solo is enlightening. That certainly opened a lot of vistas for
me harmonically and melodically.
“The supreme quality
for leadership is unquestionably
integrity. Without it, no real success is
possible, no matter whether it is on a
section gang, a football field, in an
army, or in an office.”
- Dwight Eisenhower, 34th President of the USA
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OPEN HOUSE
January 19
Join Artistic Director Nilson Matta
and additional faculty members!
Faculty Performance &
Jam Session
Bring Your Instruments!
RSVP Required.
Brazil Faculty — 2013
VISIT WEBSITE FOR DETAILS
and to RSVP.
Learn about our
Jazz, Brazilian & Afro-Cuban
Week-long Instrumental & Vocal Workshops
Rio De Janeiro, Brazil
March 23-30
Trip Extension to
Salvador, Bahia
Study with Artistic Director
NILSON MATTA
MIKE DiRUBBO, ALFREDO CARDIM
PASCOAL MEIRELLES, MUIZA ADNET
Special Guest Faculty
IVAN LINS
Alice Schiller, Executive Director
Luisa Matta, Production Director – Brazil
Bar Harbor, Maine
July 22-27 &
July 28-Aug 3
Steps from
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tall white guy walking around with a brown
paper bag eating radishes, and he said, “Man, I
never saw anything like it in my life.” It makes
me laugh when you think of the characters of
these geniuses. I remember hearing Gil say in an
interview, that Miles Davis was the greatest
singer — that he wrote for….a beautiful singer
of songs. I think Gil was thinking more about
Porgy and Bess and Miles plus Nineteen. There
is just a magic in the chemistry on that Birth of
the Cool session between Mulligan. Dave
Brubeck said a beautiful thing about Mulligan
once — which was that you hear the past present
and the future all at the same time in Gerry’s
music. I think that that’s probably true for just
about any great jazz musician — the roots, the
personality, and the vision. Between Konitz and
Miles and Gerry and Max Roach and J.J. and the
writing, that magical chemistry that happened,
Miles’ beautiful lyricism, the way Miles had a
knack for leaving things out that weren’t necessary, personalizing a piece of music by actually
either elongating a section or maybe leaving a
section out …. I’ll give you some examples:
(Bill Charlap, — Continued from page 12)
JI: During your exploration of the music and
preparation for this upcoming event, what if any
interesting things did you discover about Miles
Davis and/or Gil Evans and their relationship?
BC: Truthfully, I wouldn’t say that I’ve done a
lot of study to get to this concert specifically—
except for the study I’ve been doing the last 40
years just as a fan. So, I don’t have anything
specific that I found out recently. Of course, we
all know that Miles Davis loved Gil Evans’ music and that Gil loved Miles. There are certain
quotes that I think of when I think of their relationship. I love the certain stories Miles tells
about Gil Evans. I might be getting this wrong, I
know it’s documented somewhere correctly,
maybe even in Miles’ autobiography. He talks
about the first time he saw Gil. There was this
Jazz at Lincoln Center Orchestra, Wynton Marsalis,
and special guest Jonathan Batiste
January 18, 2013, 8pm, Rose Theater
January 19, 2013, 2pm & 8pm, Rose Theater
• Bill Charlap: The Cool School — Bill Charlap (piano),
Kenny Washington (drums), Peter Washington (bass),
Frank Wess (saxophone, flute), Mary Stallings (vocals),
Bucky Pizzarelli (guitar), Steve Wilson (multiinstrumentalist), Steve Nelson (vibes), Jeremy Pelt
(trumpet), Gary Smulyan (baritone saxophone), John
14
9-14
page 12
JI: The economy of notes and the use of space,
you were talking about before with Miles is well
known. When you look at someone like Ahmad
Jamal, who Miles had wanted in his band in the
‘50’s, it makes perfect sense. When you listen to
Jamal’s recording of “But Not For Me” on his
classic album, one of the noteworthy aspects of
Ahmad’s performance is how he would play a
phrase and leave out a note or several melody
notes—the obvious—and your ear would hear
the notes not played, and fill in the blanks where
he left that space. There are similar examples in
Miles’ music.
BC: It’s interesting. You made me think of a
couple of things. Something that Jamal has said,
“You know, I prefer not to call it space. I prefer
“Dave Brubeck said a beautiful thing about
Mulligan once — which was that you hear
the past present and the future all at the
same time in Gerry’s music. I think that
that’s probably true for just about any
great jazz musician.”
“Godchild” for instance. Well, George Wallington wrote a bridge to “Godchild” a very wonderful notey classic bebop bridge, but that’s not on
the recording of “Godchild.” In fact, I think the
Chubby Jackson record has it. So Miles left that
out I guess, or maybe Gerry decided to leave it
out. Or something like “Deception” where he has
some elongated measures and kind of open
spaces. “Deception” is George Shearing’s
“Conception.” But instead of Shearing’s bridge,
Miles wrote something else. I think Birth Of The
Cool was a magical meeting ... think about the
uniqueness and singularity of Lee Konitz’ improvising style at that time of life. He was 22, so
innovative, and did not sound like Charlie
Parker—yet certainly had been informed deeply
BIRTH OF THE COOL FESTIVAL AT JAZZ AT LINCOLN CENTER
• The Music of Gerry Mulligan & John Lewis — The
by Charlie Parker, which was quite an achievement especially at that time. Lee has had many,
many, rebirths throughout his life, pretty much
every time he plays. I think it was a wonderful
confluence of events that created the Birth of the
Cool.
Allred (trombone), Bob Stewart (tuba), and Jeff Scott
(French horn).
January 18-19, 2013, 7:30pm, 9:30pm, Allen Room
to call it discipline.” This was interesting. It was
almost the ability to listen to your inner voice
and trust. I guess, playing less, or trust picking
and choosing.
JI: Or ... why repeat the obvious? Is there anything else you’d like to mention about the Birth
of The Cool?
BC: Konitz has a very beautiful and inimitable
sound, Mulligan had a completely unique baritone sound that had sweetness, Miles had such
sweetness in his sound too.
JI: The Birth of the Cool for me is not only
about the players and their inimitable voices, but
the confluence of textures that emerge from both
the writing, the unique combination of instruments, and those particular in-the-moment living
artists who brought a one-of-a-kind veneer or
landscape to that amazing music.
BC: It’s definitely forever music, that’s for sure.
• Aaron Diehl Quartet: Celebrating John Lewis and
The Modern Jazz Quartet with Warren Wolf, David
Wong, and Rodney Green, plus the MIJA String Quartet
January 16-20, 2013, sets at 7:30pm & 9:30pm
Dizzy’s Club Coca-Cola
“Time makes heroes
and dissolves celebrities.”
• Listening Party with the Aaron Diehl Quartet
January 10, 7pm - Irene Diamond Education Center
- Dan Boorstin, Past Librarian of Congress
Magenta
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Junior Mance Trio
Calendar of Events
Hide Tanaka, bass  Michi Fuji, jazz violinist
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NEW YORK CITY
 Tue 1/1 – Sat 1/5 Frank Wess 91st Birthday Celebration
at Birdland, 8:30 and 11:00 PM. 315 West 44th
 Tue 1/1, 1/8, 1/15, 1/22, 1/29: Yuichi Hirakawa House
Band at Arthur’s Tavern, 7:00 PM. 57 Grove Street. 212675-6879.
 Tue 1/1, 1/8, 1/15, 1/22, 1/29: Paul Sikivie Trio at Pierre
Loti Wine Bar, 8:00 PM. 258 West 15th Street. 212-6455684. www.pierrelotiwinebar.com/chelsea/
 Tue 1/1 Akira Ishiguro’s Beautiful Round at 55 Bar,
7:00 PM. 55 Christopher Street. 212-929-9883.
www.55bar.com
 Tue 1/1 New Orleans Jazz Brunch: The Music of Louis
Armstrong with “Hot Lips” Joey Morant and Catfish
Stew at B. B. King Blues Club, 12:00 noon. 237 West
42nd Street. 212-997-4144. www.bbkingblues.com
 Tue 1/1 Caffe Vivaldi. Jason Yeager at 6:15 PM; Jarrod
Dickenson at 8:30 PM. 32 Jones Street. 212-691-7538.
 Tue 1/1 Fat Cat. Tadataka Unno Trio at 7:00 PM; Nu
D’Lux at 9:00 PM; After Hours Session at 12:30 AM. 75
Christopher Street at 7th Avenue. 212-675-6056.
 Tue 1/1 The Bar Next Door. John Yao Trio at 6:30;
Dmitry Bavesy Trio at 8:30 and 10:30 PM. 129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
 Wed 1/2, 1/9, 1/16, 1/23. 1/30: Louis Armstrong Centennial Band at Birdland, 5:30 PM. 315 West 44th St.
 Wed 1 /2, 1/9, 1/16, 1,23, 1/30: Jason Marshall Organ
Trio at American Legion Post #398, 7:30 PM. 248 West
132nd
Street.
212-283-9701.
www.colchasyoungharlempost398.com
 Wed 1/2, 1/9, 1/16, 1/23, 1/30: Julie Milgram Trio at
Lime Leaf Thai Restaurant, 7:00 PM. 128 West 72nd
Street. 212-501-7800. www.limeleafnyc.com
 Wed 1/2, 1/9, 1/16, 1/23, 1/30: Arthur’s Tavern. Eve
Silber at 7:00 PM; Alyson Williams with Arthur’s House
Band at 10:00 PM. 57 Grove Street. 212-675-6879.
 Wed 1/2, 1/9, 1/16, 1/23. 1/30: Dixieland Jazz and The
Stan Rubin Orchestra at Swing 46, 8:00 PM. 349 West
46th Street. 212-262-9554. www.swing46.com
 Wed 1/2, 1/9 The Barrelhouse Stomp featuring Smokin’
Billy Stover at Edison Rum House, 6:00 PM. 228 West
47th Street. 646-490-6924. www.edisonrumhouse.com
 Wed 1/2 The Bar Next Door. Alex LoRe Trio at 6:30 PM;
Jonathan Kreisberg Trio at 8:30 and 10:30 PM. 129
January 2013  Jazz Inside Magazine  www.JazzInsideMagazine.com
15
MacDougal
Street.
212-529-5945.
www.lalanternacaffe.com
 Wed 1/2 Fat Cat. Raphael D’Lugoff Trio at 7:00 PM;
Vitaly Golovnev Quartet at 9:00 PM; After Hours Session at 12:30 AM. 75 Christopher Street at 7th Avenue.
212-675-6056. www.fatcatmusic.org
 Wed 1 /2 Lisa Gary Quartet at Kitano, 8:00 and 10:00
PM. 66 Park Avenue at 38th Street.
 Thu 1/3, 1/10, 1/17, 1/24, 1/31: Tiffany Chang Trio at
Lime Leaf Thai Restaurant, 7:00 PM. 128 West 72nd
Street. 212-501-7800. www.limeleafnyc.com
 Thu 1/3, 1/10, 1/17, 1/24, 1/31: Sam Taylor Trio at
Spring Street Natural Restaurant, 7:00 PM. 62 Spring
Street. 212-966-0290. www.springstreetnatural.com
 Thu 1/3, 1/10, 1/17, 1/24, 1/31: Thursday Night Latin
Jazz at Nuyorican Poet’s Cafe, 9:00 PM. 236 East 3rd
Street. 212-505-8183. www.nuyorican.org
 Thu 1/3, 1/10, 1/17, 1/24, 1/31: Dandy Wellington and
His Band plus Nicole Zuraitis at Ella Lounge, 7:00 PM.
9 Avenue A (bet. 1st and 2nd Streets.) 212-777-2230.
www.ellalounge.com
 Thu 1/3, 1/10, 1/17, 1/24, 1/31: Arthur’s Tavern. Eri
Yamamoto Jazz Trio at 7:00 PM; Sweet Georgia Brown
with Off the Hook at 10 PM. 57 Grove St. 212-675-6879.
 Thu 1/3, 1/24: Vanessa Trouble at Swing 46, 8:00 PM.
349 West 46th Street. 212-262-9554. www.swing46.com
 Thu 1/3 Patience Higgins at Ginny’s Supper Club, 7:00
PM. 310 Lenox Avenue. 212-421-3821.
 Thu 1/3 The Bar Next Door. Mark Cocheo Trio at 6:30
PM; Craig Yaremko Trio at 8:30 and 10:30 PM. 129
MacDougal Street. 212-529-5945.
 Thu 1/3 Tri-Fi at Kitano, 8:00 and 10:00 PM. 66 Park
Avenue at 38th Street.
 Thu 1/3 Fat Cat. Billy Kaye Quintet at 7:00 PM; Saul
Rubin ZEBTET at 10:00 PM; After Hours Session at
16
12:30 AM. 75 Christopher Street at 7th Av. 212-675-6056.
 Thu 1/3 Rob Reich/Peter Bernstein Duo at Somethin‘
Jazz, 9:00 PM. 3rd Floor, 212 E. 52nd St.
 Fri 1/4, 1/11, 1/18: Birdland Big Band at Birdland, 5:00
PM. 315 West 44 St.
 Fri 1/4, 1/11, 1/18, 1.25: Arthur’s Tavern. Eri Yamamoto
at 7:00 PM; Sweet Georgia Brown with Off the Hook at
10:00 PM. 57 Grove Street. 212-675-6879.
 Fri 1/4 – Fri 1/5 Victor Lin and Kiyoshi Kitagawa at
Knickerbocker Bar and Grill, 9:45 PM. 33 University
Place. 212-228-8490. www.knickerbockerbarandgrill.com
 Fri 1/4 Drom. Kevin Kastning and Carl Clements at 6:30
PM; Ilan Bar-Levi at 9:00 PM. 85 Avenue A (bet. 4th and
6th Streets.) 212-777-1157. www.dromnyc.com
 Fri 1/4 Rodrigo Bonnelli at Sugar Bar, 8:00 PM. 254
West 72nd Street. 212-579-0222. www.sugarbarnyc.com
 Fri 1/4 David Lopato Trio at Kitano, 8:00 and 10:00 PM.
66 Park Avenue at 38th Street.
 Fri 1/4 Rob Mintzer Band with Emily Braden at Ella
Lounge, 9:00 PM. 9 Avenue A (bet. 1st and 2nd Streets.)
212-777-2230. www.ellalounge.com
 Fri 1/4 Fat Cat. Ben Solomon Quartet at 6:00 PM; Dave
Gibson/Jared Gold B3 Quintet at 10:30 PM; After
Hours Session, 12:30 AM. 75 Christopher St.
 Fri 1/4 Caffe Vivaldi. Emily Katter at 7:30 PM; Warren
Malone and Diana Jones at 9:30 PM. 32 Jones Street.
212-691-7538. www.caffevivaldi.com
 Fri 1/4 Russ Spiegal Trio at The Bar Next Door, 7:30,
9:30, and 11:30 PM. 129 MacDougal Street. 212-5295945. www.lalanternacaffe.com
 Sat 1/5, 1/12, 1/19, 1/26: Avalon Jazz Quartet at Matisse, 8:00 PM. 924 Second Avenue at 49th Street. 212546-9300. www.matissenyc.com
 Sat 1/5, 1/12, 1/19, 1/26: Mal Stein at Cupping Room
Cafe, 9:00 PM. 359 West Broadway. 212-925-2898.
 Sat 1/5, 1/12, 1/19, 1/26: Peter Sparacino at Harlem
Tavern, 12:00 noon. 2153 Frederick Douglass Boulevard
(at 116th Street.) 212-866.4500. www.harlemtavern.com
 Sat 1/5, 1/12. 1/19, 1/26: Dandy Wellington and His
Band at Hotel Chantelle, 12:00 noon. 92 Ludlow Street.
212-254-9100. www.hotelchantelle.com
 Sat 1/5, 1/12, 1/19, 1/26: The Adventures of Maya the
Bee: A Jazz Puppet Show Composed by Nancy Harrow and Arranged by Roland Hanna at Culture Project
Theater, 10:30 AM. 49 Bleecker Street, Suite 602. 212925-1806. www.cultureproject.org
 Sat 1/5, 1/12, 1/19, 1/26: Arthur’s Tavern. Eri Yamamoto
Jazz Trio at 7:30 PM; Alyson Williams with Arthur’s
House Band at 10:00 PM. 57 Grove St. 212-675-6879.
 Sat 1/5 J. C. Hopkins Trio at Edison Rum House, 9:30
PM. 228 West 47th Street. 646-490-6924.
 Sat 1/5 Rome Neal’s Banana Puddin’ Jazz Jam and
Open Mic Night at Nuyorican Poet’s Cafe, 9:00 PM. 236
East 3rd Street. 212-505-8183. www.nuyorican.org
 Sat 1/5 Fat Cat. Vanderlei Pereira’s BLINDFOLD TEST
at 7:00 PM; Dr. Martino Atangana’s African Blue Note
at 10:00 PM; After Hours Session at 1:30 AM. 75 Christopher Street at 7th Avenue. 212-675-6056.
 Sat 1/5 Joyce Breach Quartet featuring Warren Vache
at Kitano, 8:00 and 10:00 PM. 66 Park Avenue at 38th St.
 Sat 1/5 Ed Cherry with Pat Bianchi and Allison Miller at
The Bar Next Door, 7:30 PM. 129 MacDougal St.
 Sat 1/5 Somethin’ Jazz. New York Jazz Academy at
2:00 PM; Soo Jin Suh/Alessandro Fadini and Friends
at 7:00 PM; Noshir Mody Quartet at 9:00 PM; Josh
Levinson Sextet at 11:00. 3rd Floor, 212 E. 52 St.
 Sat 1/5 Julie Kathryn at Caffe Vivaldi, 8:30 PM. 32
Jones Street. 212-691-7538. www.caffevivaldi.com
 Sat 1/5 CaneliBeat at Drom, 6:30 PM. 85 Avenue A (bet.
4th and 6th Streets.) 212-777-1157. www.dromnyc.com
 Sun 1/6, 1/13, 1/27: Arturo O’Farrill Afro-Latin Jazz Orchestra at Birdland, 8:30 and
11:00 PM. 315 West 44 St.
 Sun 1/6, 1/13, 1/20, 1/27: Tina deVaron at Setai Hotel, 11:00 AM. 400 Fifth Avenue. 212695-4005.
 Sun 1/6, 1/13, 1/20, 1/27: Bob Kindred Trio at Cafe Loup, 12:30 PM. 105 West 13th
Street. 212-225-4746.
 Sun 1/6, 1/13, 1/20, 1/27: Jam Session at American Legion Post #398, 7:30 PM. 248
West 132nd Street. 212-283-9701. www.colchasyoungharlempost398.com
 Sun 1/6, 1/13, 1/20, 1/27: Tony Middleton Trio at Kitano, 11:00 AM and 1:00 PM. 66
Park Avenue at 38th Street.
 Sun 1/6, 1/13, 1/20, 1/27: Dandy Wellington and His Band at Hotel Chantelle, 12:00
noon. 92 Ludlow Street. 212-254-9100. www.hotelchantelle.com
 Sun 1/6, 1/13, 1/20, 1/27: Avalon Jazz Band at The Lambs Club, 11:00 AM. 132 West
44th Street (bet. Broadway and 6th Avenue.) 212-997-5262. www.thelambsclub.com
 Sun 1/6, 1/13, 1/20, 1/27: Creole Cooking Jazz Band at Arthur’s Tavern, 7:00 PM. 57
Grove Street. 212-675-6879.
 Sun 1/6, 1/13. 1/20, 1/27: Junior Mance Trio at Cafe Loup, 6:30 PM. 105 West 13th
Street. 212-225-4746. www.cafeloupnyc.com
 Sun 1/6, 1/13, 1/20, 1/27: Atiba Wilson’s B4 Quartet at St. Nick’s Jazz Pub, 7:00 PM.
Corner of 149th Street and St. Nicholas Avenue. www.stnicksjazzpub.net
 Sun 1/6 Roz Corral Trio featuring Vic Juris at North Square Lounge, 12:30 and 2:15
PM. 103 Waverly Pl.
 Sun 1/6 Fat Cat. Terry Waldo’s Gotham City Band at 6:00 PM; Jade Synstelien’s Fat
Cat Big Band at 8:30 PM; After Hours Session at 1:00 PM. 75 Christopher Street at 7th
Avenue. 212-675-6056. www.fatcatmusic.org
 Sun 1/6 Faculty Concert: Brian Landrus Trio with Lonnie Plaxico at Weill Art Gallery,
92nd Street Y, 1:00 PM. Free. Corner of Lexington Avenue and 92nd Street. 212-415-5500.
www.92y.org
 Sun 1/6 Steve Bloom Trio at The Bar Next Door, 8:00 and 10:00 PM. 129 MacDougal
Street. 212-529-5945.
 Sun 1/6 Lee Feldman and His Problems at Somethin’ Jazz, 5:00 PM. 3rd Floor, 212 E.
52nd Street (bet. 2nd and 3rd Ave.)
 Sun 1/6 Jazz Mass at Saint Peter’s Church, 5:00 PM. 619 Lexington Avenue at 54th
Street. 212-935-2200. www.saintpeters.org
 Sun 1/6 Nick Hempton/ Ken Foley Quintet featuring Champian Fulton at Smithfield,
8:30 PM. 215 West 28th Street. 212-564-2172. www.smithfieldnyc.com
 Sun 1/6 Vanessa Trouble at Swing 46, 8:00 PM. 349 West 46th Street. 212-262-9554.
 Mon 1/7, 1/14, 1/21, 1/28: Eric Wyatt at Lenox Lounge, 9:30 PM. 288 Lenox Avenue.
 Mon 1/7, 1/14, 1/21, 1/28: Grove Street Stompers at Arthur’s Tavern, 7:00 PM. 57
Grove Street. 212-675-6879.
 Mon 1/7, 1/14, 1/21, 1/28: Jam Session featuring Melvin Vines’ Kortet at St. Nick’s
Jazz Pub, 10:00 PM. Corner of 149th Street and St. Nicholas Avenue.
www.stnicksjazzpub.net
 Mon 1/7, 1/14, 1/21, 1/28: Jam Session Hosted by Iris Ornig at Kitano, 8:00 PM. 66
 Mon 1/7, 1/14, 1/21, 1/28: Tom Abbott Big Bang Big Band at Swing 46, 8:30 PM. 349
West 46th Street. 212-262-9554. www.swing46.com
 Mon 1/7 Jazz Memorial for David S. Ware at Saint Peter’s Church, 7:30 PM. 619 Lexington Avenue at 54th Street. 212-935-2200. www.saintpeters.org
 Mon 1/7 Fat Cat. Jimmy Cobb Quintet for 9:00 PM; After Hours Session at 12:30 PM.
75 Christopher Street at 7th Avenue. 212-675-6056. www.fatcatmusic.org
 Mon 1/7 The Bar Next Door. Teriver Cheung Trio at 6:30 PM; Double Bass, Double
Voice at 8:30 and 10:30 PM. 129 MacDougal Street. 212-529-5945.
 Tue 1/8, 1/15, 1/22, 1/29: Avalon Jazz Band at Brasserie Beaumarchais, 7:00 PM. 409
West 13th Street. 212-675-2400. www.brasseriebeaumarchais.com
 Tue 1/8, 1/15, 1/22, 1/29: Jean-Michel Pilc at Kitano, 8:00 PM. 66 Park Avenue.
 Tue 1/8 – Sat 1/12 Kurt Elling at Birdland, 8:30 and 11:00 PM. 315 West 44th
 Tue 1/8 The Bar Next Door. Isaac Darche Trio at 6:30 PM; Ben Van Gelder Trio at 8:30
and 10:30 PM. 129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
 Tue 1/8 Art Hirahara Trio at Arturo’s, 8:00 PM. 1617 York Avenue (corner of York and
85th Street.) 212-535-4480.
 Tue 1/8 Fat Cat. Saul Rubin ZEBTET at 7:00 PM; Peter Brainin’s Latin Jazz Workshop
at 9:00 PM; After Hours Session at 12:30 AM. 75 Christopher Street at 7th Avenue. 212675-6056. www.fatcatmusic.org
 Tue 1/8 Caffe Vivaldi. Jason Yeager at 6:15 PM; Jarrod Dickenson at 7:15 PM; Sonja
Sofya at 8:00 PM; Amy Regan at 8:45 PM; Thomas Enhco/ Noam Weisenberg Duo at
9:30 PM; Danny Fox Trio at 10:30 PM. 32 Jones Street
 Tue 1/8 Somethin’ Jazz. Marla Sampson Quartet at 7:00 PM; Nancy Danino at 9:00
PM. 212 E. 52nd Street
 Wed 1/9, 1/16, 1/23, 1/30: Midtown Jazz at Midday at Saint Peter’s Church, 1:00 PM.
619 Lexington Avenue at 54th Street. 212-935-2200. www.saintpeters.org
 Wed 1/9 The Bar Next Door. Austin Day Trio at 6:30; Jonathan Kreisberg Trio at 8:30
and 10:30 PM. 129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
 Wed 1/9 Eric DiVito Group at Kitano, 8:00 and 10:00 PM. 66 Park Avenue at 38th Street.
 Wed 1/9 Jack Wilkins, Cal Berry at Whole Foods Market, 7PM. E. 57 St. 646-497-1222.
 Wed 1/9 Fat Cat. Jack Glottman Trio at 7:00 PM; Harold Mabern Trio at 9:00 PM; After
Hours Session at 12:30 AM. 75 Christopher Street at 7th Avenue. 212-675-6056
17
 Wed 1/9 Somethin’ Jazz. Marko Churnchetz Quartet at
7:00 PM; Sean McCluskey Trio at 9:00 PM. 212 E. 52
 Wed 1/9 Elizabeth Tamboulian at Zeb’s, 8:00 PM. 2nd
Floor, 223 West 28th Street. 212-695-8081.
 Wed 1/9 Caffe Vivaldi. Roger Davidson at 7:15 PM;
Equilibrium; Joe Alterman at 9:30 PM. 32 Jones St.
 Thu 1/10 Kendra Shank Quartet at Kitano, 8:00 and
10:00 PM. 66 Park Avenue at 38th Street.
 Thu 1/10 The Bar Next Door. Syberen van Munster Trio
at 6:30 PM; Timothy Hayward Trio at 8:30 and 10:30
PM. 129 MacDougal Street. 212-529-5945.
 Thu 1/10 Fat Cat. Dan Aran Trio at 7:00 PM; Greg
Glassman Quintet at 10:00 PM; After Hours Session at
1:30 AM. 75 Christopher Street at 7th Avenue. 212-6756056.
 Thu 1/10 Kendra Shank Quartet with Frank Kimbrough
at Kitano, 8:00 and 10:00 PM. 55 Park Avenue.
 Thu 1/10 Somethin’ Jazz. McCarron Brothers CD Release Party at 7:00 PM; Burning Gums, 9PM, 212 E.
52nd Street
 Thu 1/10 Gregory Porter at Schomburg Center for
Research in Black Culture, 515 Malcolm X Boulevard (at
135th Street.) 212-491-2040. www.carnegiehall.org ;
www.nypl.org
 Thu 1/10 The Heritage Ensemble with Eugene Marlow
at Caffe Vivaldi, 9:00 PM. 32 Jones Street. 212-6917538.
 Fri 1/11 – Sat 1/12 Jay Dreier Duo at Knickerbocker Bar
and Grill, 9:45 PM. 33 University Place. 212-228-8490.
 Fri 1/11 Fat Cat. Ray Gallon Trio at 6:00 PM; David
Weiss’ Point of Departure at 10:30 PM; After Hours
Session at 1:30 AM. 75 Christopher Street at 7th Avenue.
212-675-6056.
 Fri 1/11 Film: “Machito: A Latin Jazz Legacy” and Q&A
session with Bobby Sanabria and Machito’s son Mario
Grillo at Bronx Music Heritage Center, 8:00 PM. 1303
Louis Nine Boulevard. www.bronxmusic.org
 Fri 1/11 Somethin’ Jazz. Les Grant 5 at 7:00 PM;
Roberta Donnay and the Prohibition Mob Band CD
Release Party at 11:00 PM. 3rd Floor, 212 E. 52nd Street
 Fri 1/11 Kyoko Oyobe Quartet featuring Steve Wilson
and Peter Washington at Kitano, 8:00 and 10:00 PM. 66
Park Av
 Fri 1/11 Jean-Michel Pilc Trio with Francois Moutin and
Joel Frahm at Madison Room, Hilton New York, 7:30
PM. 1335 Avenue of the Americas.
 Fri 1/11 Jon Irbagon Trio at The Bar Next Door, 7:30,
9:30, and 11:30 PM. 129 MacDougal St. 212-529-5945.
 Fri 1/11 Le Poisson Rouge. Winter Jazz Fest: Ibrahim
Malouf at 6:00 PM; Catherine Russell at 7:15 PM; TBA
at 8:30 PM; Don Byron at 9:45 PM; Evolutionary
Minded!: Music of Gil Scott-Heron at 11:00 PM; Freedom Party at 12:00 AM. Le Poisson Rouge, 11:15 PM.
129 Bleecker St.
 Fri 1/11 Bowery Electric. Winter Jazz Fest: Bobby
Previte Bari Trio at 6:15 PM; Erik Deutsch at 7:30 PM;
Jacob Garchik’s The Heavens at 8:45 PM; Debo Band
at 10:00 PM. 327 Bowery at 2nd Street. 212-228-0228.
 Fri 1/11 Meg Okura’s Pan Asian Chamber Jazz Ensemble at 6:45 PM; Dan Tepfer & Lee Konitz at 8:00 PM;
Jaimeo Brown’s Transcendence at 9:15 PM; Eric Revis/Kris Davis/Andrew Cyrille at 10:30 PM; Felix Pastorius at 11:45 PM; AfroHORN at 1:00 AM; Ernest
Dawkins’ Afro-Straight at 2:15 AM. 82 West 3rd Street
(bet. Thompson & Sullivan St.)
 Fri 1/11 Culture Project Theater. Bryan and the Aardvarks at 7:00 PM; Michael Attias at 8:15 PM; Sunny
Kim’s Painter’s Eye at 9:30 PM; The Fringe at 10:45
PM; Nasheet Waits’ EQUALITY with Vijay Iyer at 12:00
AM; Seabrook Power Plant at 1:15 AM; Spontaneous
Construction at 2:30 AM. 49 Bleecker Street, Suite 602.
 Fri 1/11 Sullivan Hall. Marcus Strickland Twi-Life at
7:45 PM; Revive Big Band at 9:00 PM; Dorothy Ashby
Tribute featuring Brandee Younger at 10:15 PM; Corey
18
King Band at 11:30 PM; CHURCH featuring Mark CliveLowe at 12:45 AM. 214 Sullivan Street (bet. Bleecker and
West 3rd Streets.)
 Fri 1/11 The Bitter End. Yosvany Terry Quintet at 7:30
PM; Krystle Warren and the Faculty at 8:45 PM; Julian
Lage and Nels Cline at 10:00 PM; Roy Nathanson Sotto
Voce at 11:15 PM; Charnett Moffett/Marc Cary/Will
Calhoun at 12:30 AM; Jason Stein Quartet at 1:45 AM.
147 Bleecker Street (bet. Thompson and LaGuardia
Streets.) 212-673-7030.
 Fri 1/11 Emily Cavanagh at Caffe Vivaldi, 9:30 PM. 32
 Sat 1/12, 1/26: Tony Middleton at Opia, 9:30 PM. 130
East 57th Street. 212-688-3939. www.opiarestaurant.com
 Sat 1/12 Arturo O’Farrill Trio at Ginny’s Supper Club,
8:00 and 10:30 PM. 310 Lenox Avenue. 212-421-3821.
 Sat 1/12 Mark Soskin Trio with special guest Peter
Eldridge at Kitano, 8:00 and 10:00 PM. 66 Park Avenue
 Sat 1/12 Samba Saturdays: Dende & Band at SOB’s,
8:30 and 10:45 PM. 200 Varick Street. 212-243-4940.
 Sat 1/12 Irini Res and the Jazz Mix at Sugar Bar, 8:00
PM. 254 West 72 nd Street. 212-579-0222.
www.sugarbarnyc.com
 Sat 1/12 Fat Cat. Behn Gillece Vibraphone Quintet at
7:00 PM; Raphael D’Lugoff Quartet at 10:30 PM; After
Hours Session at 1:30 AM. 75 Christopher Street at 7th
Avenue. 212-675-6056. www.fatcatmusic.org
 Sat 1/12 Caffe Vivaldi. Colin Cannon Quartet at 7:15
PM; Ariadna Castellanos at 8:30 PM; Amanda Brecker
at 9:45 PM. 32 Jones Street. 212-691-7538.
 Sat 1/12 Bowery Electric. Frank Lacy’s “10 32K” at
6:15 PM; Mario Pavone Trio at 7:30 PM; Vinnie
Sperazza (40Twenty) at 8:45 PM; Brooklyn Bhangra at
10:00 PM. 327 Bowery at 2nd Street. 212-228-0228.
 Sat 1/12 Le Poisson Rouge. Celebrate Great Women of
Blues & Jazz with Toshi Reagon & Allison Miller at
6:00 PM; The Big Picture featuring Krakauer at 7:15
PM; The Cookers at 8:30 PM; Rudresh Mahanthappa’s
Gamak at 9:45 PM; James Carter Organ Trio at 11:00
PM; Gregory Porter at 12:15 AM; Bugge ‘n Friends with
Erik Truffaz, Ilhan Ersahin, Joaquin ‘Joe’ Claussell at
1:30 AM. 129 Bleecker Street.
 Sat 1/12 Culture Project Theater. Michael Formanek at
7:00 PM; Leo Genovese Trio at 8:15 PM; Tony Malaby
Tuba Trio at 9:30 PM; Kneebody at 10:45 PM; Jason
Lindner Breeding Ground at 12:00 AM; Merger with
Nasheet Waits at 1:15 AM; Spontaneous Construction
at 2:30 AM. 49 Bleecker Street, Suite 602.
 Sat 1/12 Sullivan Hall. Ari Hoenig Group at 7:45 PM;
Dezron Douglas’ Jazz Workshop at 9:00 PM; Somi at
10:15 PM; Otis Brown III at 11:30 PM; George Burton
Group at 12:45 AM; John Raymond Project at 2:00 AM.
214 Sullivan Street (bet. Bleecker and West 3rd Streets.)
 Sat 1/12 The Bitter End. Pedrito Martinez at 6:15 PM;
Claudia Acuna at 7:30 PM; Colin Stetson at 8:45 PM;
Brian Carpenter’s Ghost Train Orchestra at 10:00 PM;
Hazmat Modine at 11:15 PM; Rafiq Bhatia at 12:30 AM;
Oran Etkin at 1:45 AM. 147 Bleecker St (bet. Thompson
and LaGuardia
 Sat 1/12 Swingadelic at Swing 46, 9:00 PM. 349 West
46th Street. 212-262-9554. www.swing46.com
2:00 PM; Paul Kogut Trio at 5:00 PM; Alon Tayar Trio at
7:00 PM; Fado em Si Bemol at 9:00 PM; Zeke Martin
Project at 11:00 PM. 3rd Floor, 212 E. 52nd Street (bet. 2nd
and 3rd Ave.)
 Sat 1/12 Arturo Stable with Lionel Loueke, Seamus
Blake, and Elio Villafranca at Symphony Space, 8:00
PM. 2537 Broadway at 95th Street. 212-864-5400.
 Sat 1/12 Patrick Cornelius Trio at The Bar Next Door,
7:30, 9:30, and 11:30 PM. 129 MacDougal Street. 212529-5945.
 Sat 1/12 APAP Showcase featuring Super HiFi, DJ
Warp, Banda de los Muertos, Black Masala, Chicha
Libre and M.A.K.U. Soundsystem at Drom, 6:30 PM. 85
Avenue A (bet. 4th and 6th Streets.) 212-777-1157.
www.dromnyc.com
 Sun 1/13, 1/20, 1/27: Jazz Vespers at Saint Peter’s
Church, 5:00 PM. 619 Lexington Avenue at 54th Street.
212-935-2200. www.saintpeters.org
 Sun 1/13, 1/27: Swingadelic at Swing 46, 8:30 PM. 349
West 46th Street. 212-262-9554. www.swing46.com
 Sun 1/13 Somethin’ Jazz. David Jimenez Trio at 5:00
PM; Grupo Los Santos at 7:00 and 9:00 PM; Imaginary
Homeland at 7:40 and 9:40 PM; Kakande at 8:20 and
10:20. 3rd Floor, 212 E. 52nd Street (bet. 2nd and 3rd Ave.)
 Sun 1/13 Scott Tixier Trio at Edison Rum House, 9:30
PM. 228 West 47th Street. 646-490-6924.
 Sun 1/13 Nancy Harms Trio with Yotam Silberstein and
Paul Gill at North Square Lounge, 12:30 and 2:15 PM.
12:30 and 2:15 PM. 103 Waverly Place. 212-254-1200.
 Sun 1/13 Fat Cat. Afro-Latin Jazz Alliance at 12:00
noon; Terry Waldo’s Gotham City Band at 6:00 PM;
Sheryl Bailey Quartet at 9:00 PM; After Hours Sessionsat 12:30 AM. 75 Christopher Street at 7th Avenue. 212675-6056.
 Sun 1/13 Jonathan Batiste at Stage Two, Rockwood
Music Hall, 7:00 PM. 196 Allen Street. 212-477-4155.
 Sun 1/13 Zeb’s. APAP Showcase featuring Marianne
Solivan Group, Todd Marcus Group, and Freddie
Bryant & Kaleidoscope, 6:00 PM. 2nd Floor, 223 West
2 8 th
S t r e e t .
2 1 2 - 6 9 5 - 8 0 8 1 .
www.zebulonsoundandlight.com
 Sun 1/13 Peter Mazza Trio at The Bar Next Door, 8:00
and 10:00 PM. 129 MacDougal Street. 212-529-5945.
 Mon 1/14 Somethin’ Jazz. New York Jazz Force at 7:00
PM; Yoshino Nakhara Quartet at 9:00 PM. 212 E. 52 St.
 Mon 1/14 Jonathan Batiste at Stage Two, Rockwood
Music Hall, 9:45 PM. 196 Allen Street. 212-477-4155.
 Mon 1/14 Fat Cat. Harold O’Neal Solo Piano at 6:00 PM;
Ned Goold Quartet at 9:00 PM; After Hours Session at
12:30 AM. 75 Christopher Street at 7th Ave
 Mon 1/14 Steve Bernstein and Sex Mob at 55 Bar, 10:00
PM. 55 Christopher Street. 212-929-9883.
www.55bar.com
 Mon 1/14 Brandi Disterheft All-Stars at The Metropolitan Room, 11:30 PM. 34 West 22nd Street. 212-206-0440.
 Mon 1/14 The Bar Next Door. Abe Ovadia Trio at 6:30
PM; Andrea Wolper Trio at 8:30 and 10:30. 129 MacDougal St
 Tue 1/15 – Sat 1/19 Terence Blanchard Quintet at
Birdland, 8:30 and 11:00 PM. 315 West 44th
 Tue 1/15 Amanda Brecker at Stage One, Rockwood
Music Hall. 196 Allen Street. 212-477-4155.
 Tue 1/15 Fat Cat. Saul Rubin’s ZEBTET at 7:00 PM;
Maximo Bachata y Merengue at 9:00 PM; After Hours
Session at 12:30 AM. 75 Christopher Street at 7th Avenue.
 Tue 1/15 Dorian Wallace Big Band at Somethin’ Jazz,
9:00 PM. 3rd Floor, 212 E. 52nd Street (bet. 2nd and 3rd
Ave.)
 Tue 1/15 All the Way: 100th Birthday Tribute to the
Music of Sammy Cahn with Fernand Gabrielli, Russ
Kassoff, and Special Guest Steve Ross at Stage 72,
9:30 PM. 158 West 72nd Street. 212-362-2590.
www.stage72.com
 Tue 1/15 Juilliard Jazz Orchestra at Peter Jay Sharp
Theater, The Juilliard School, 8:00 PM. 60 Lincoln
Center Plaza. 212-799-5000. events.juilliard.edu
 Tue 1/15 Caffe Vivaldi. Jason Yeager at 6:15 PM; Elizabeth Bryson at 7:30 PM; Jarrod Dickenson at 8:30 PM.
32 Jones Street. 212-691-7538. www.caffevivaldi.com
 Tue 1/15 The Bar Next Door. Pat Carroll Trio at 6:30
PM; Bria Skonberg Trio at 8:30 and 10:30 PM. 129
MacDougal
 Wed 1/16 Fat Cat. Raphael D’Lugoff Trio at 7:00 PM;
Don Hahn Sextet at 9:00 PM; After Hours Session at
12:30 PM. 75 Christopher Street at 7th Avenue. 212-6756056.
 Wed 1/16 Rob Garcia 4 at Kitano, 8:00 and 10:00 PM. 66
 Wed 1/16 The Duke Ellington Society at Saint Peter’s
Church, 7:00 PM. 619 Lexington Avenue at 54th Street.
212-935-2200. www.saintpeters.org
 Wed 1/16 Vicki Burns at Zeb’s, 8:00 PM. 2nd Floor, 223
West
28th
Street.
212-695-8081.
 Wed 1/16 Melissa Stylianou Quintet at 55 Bar, 6:00
PM. 55 Christopher Street. 212-929-9883.
www.55bar.com
 Wed 1/16 Billy Cobham’s Spectrum 40 featuring Jerry
Goodman, Dean Brown, Gary Husband, and Ric Fierabracci at B. B. King Blues Club, 8:00 PM. 237 West
42nd Street. 212-997-4144. www.bbkingblues.com
 Wed 1/16 Caffe Vivaldi. Manami Morita at 8:30 PM;
Brad Hammonds at 9:30 PM. 32 Jones Street. 212-6917538.
 Wed 1/16 Sofijazz Quartet at Somethin’ Jazz, 9:00 PM.
3rd Floor, 212 E. 52nd Street (bet. 2nd and 3rd Ave.)
 Wed 1/16 The Bar Next Door. Quentin Angus Trio at
6:30 PM; Jonathan Kreisberg Trio at 8:30 and 10:30 PM.
129 MacDougal Street. 212-529-5945.
 Wed 1/16 Manhattan Vibes at Drom, 9:00 PM. 85 Avenue A (bet. 4th and 6th Streets.) 212-777-1157.
www.dromnyc.com
 Thu 1/17, 1/31: Rare Gems and Hidden Treasures:
Kathryn Allen and Frank Ponzio Trio at Stage 72, 7:00
PM.
158 West 72nd Street. 212-362-2590.
www.stage72.com
 Thu 1/17 Eric Reeves Ensemble at Somethin’ Jazz,
9:00 PM. 3rd Floor, 212 E. 52nd Street
 Thu 1/17 Sarah Aili at Caffe Vivaldi, 8:30 PM. 32 Jones
Street. 212-691-7538. www.caffevivaldi.com
 Thu 1/17 Cyrille Aimee Quartet at Kitano, 8:00 and
 Thu 1/17 Fat Cat. Brandi Disterheft Quintet at 7:00 PM;
Program of Deprogramming at 10:00 PM; After Hours
Sessionat 1:30 AM. 75 Christopher Street at 7th Avenue.
212-675-6056. www.fatcatmusic.org
 Thu 1/17 Lalah Hathaway at B. B. King Blues Club, 8:00
PM. 237 West 42nd Street. 212-997-4144.
 Thu 1/17 Jesse Elder and Friends at Edison Rum
House, 9:30 PM. 228 West 47th Street. 646-490-6924.
www.edisonrumhouse.com
 Thu 1/17 The Bar Next Door. Jeff McLaughlin Trio at
6:30; Leslie Pintchik Trio at 8:30 and 10:30 PM. 129
MacDougal
Street.
212-529-5945.
 Fri 1/18 – Sat 1/19 Bill Charlap Nonet: The Cool School
at The Allen Room, Lincoln Center, 7:30 and 9:30 PM.
Corner of Broadway and 60th Street. 212-721-6500.
www.jalc.org
 Fri 1/18 – Sat 1/19 Jazz at Lincoln Center Orchestra
featuring Jonathan Batiste: Music of Gerry Mulligan
and John Lewis at Rose Theater, Lincoln Center, 8:00
PM. (Additional 1/19 performance at 2:00 PM.) Corner of
Broadway and 60th Street. 212-721-6500. www.jalc.org
 Fri 1/18 – Sat 1/19 Michael Wolff Trio at Knickerbocker
Bar and Grill, 9:45 PM. 33 University Place. 212-2288490
 Fri 1/18 Colette Michaan and Querencia at Drom, 7:00
PM. 85 Avenue A (bet. 4th and 6th Streets.) 212-777-1157.
 Friday 1/18 Fat Cat. Jarod Kashkin Trio at 7:00 PM;
Diallo House of Sextet at 10:30 PM; After Hours Session at 1:30 AM. 75 Christopher Street at 7th Avenue. 212675-6056.
 Fri 1/18 Somethin’ Jazz. Emily Wolf Project at 9:00 PM;
Brust Horowitz Quintet at 11:00 PM. 3rd Floor, 212 E. 52
19
“In times of change,
the learners inherit the earth,
while the learned find themselves
beautifully equipped to deal
with a world that no
longer exists.”
- Eric Hoffer
St.
 Fri 1/18 Rosanna Vitro and the RNP Band featuring
Mark Soskin: The Music of Bill Evans and Clare
Fischer at Kitano, 8:00 and 10:00 PM. 66 Park Avenue at
38th Street.
 Fri 1/18 MSM Jazz Philharmonic at Borden Auditorium,
Manhattan School of Music, 7:30 PM. Free. 120 Claremont Avenue. 212-749-2802. www.msmnyc.edu
 Fri 1/18 Raviv Markovitz at The Allen Room, Lincoln
Center, 6:30 PM. Free. Corner of Broadway and 60th
Street. 212-721-6500. www.jalc.org
 Fri 1/18 Kym Hampton at Sugar Bar, 8:00 PM. 254 West
72nd Street. 212-579-0222. www.sugarbarnyc.com
 Fri 1/18 Dave Stryker Trio at The Bar Next Door, 7:30,
9:30, and 11:30 PM. 129 MacDougal Street. 212-5295945. www.lalanternacaffe.com
 Fri 1/18 Lynn Stein and John Hart at The Metropolitan
Room, 11:30 PM. 34 West 22nd Street. 212-206-0440.
 Sat 1/19, 1/26: Cyrille Aimee at Cupping Room Cafe,
8:30 PM. 359 West Broadway. 212-925-2898.
 Sat 1/19 Michael Carvin Experience at Kitano, 8:00 and
2:00 PM; Gary Fogel Lagtet at 7:00 PM; Alex Levine at
9:00 PM; Roach Sextet at 11:00 PM. 3rd Floor, 212 E.
52nd St.
 Sat 1/19 Fat Cat. Josh Evans at 7:00 PM; Wayne Escoffery Band at 10:00 PM; After Hours Session at 1:30 AM.
75 Christopher Street at 7th Avenue. 212-675-6056.
 Sat 1/19 Ben Cosgrove at Caffe Vivaldi, 8:30 PM. 32
 Sat 1/19 Jake Hertzog Trio with Harvie S at 78 Below,
8:00 PM. 380 Columbus Avenue. 212-724-7800.
www.78below.com
 Sat 1/19 Oscar Penas Trio at The Bar Next Door, 7:30,
9:30, and 11:30 PM. 129 MacDougal Street. 212-5295945.
 Sun 1/20 Mambo Mania: Eguie Castrillo Orchestra with
Gilberto Santa Rosa and Masacote Dance Company at
Carnegie Hall’s Stern Auditorium, 2:00 PM. Corner of
57 th Street and 7 th Avenue. 212-247-7800.
www.carnegiehall.org
 Sun 1/20 Roz Corral Trio with Dave Stryker and Chris
Berger at North Square Lounge, 12:30 and 2:15 PM.
12:30 and 2:15 PM. 103 Waverly Place. 212-254-1200.
 Sun 1/20 Peter Mazza Trio at The Bar Next Door, 8:00
 Sun 1/20 Sarah Hayes and the Savoy Seven at Swing
46, 8:30 PM. 349 West 46th Street. 212-262-9554.
 Sun 1/20 Bill O’Connell and the Latin Jazz All-Stars at
Birdland, 8:30 and 11:00 PM. 315 West 44th
 Sun 1/20 Lynette Washington at The Metropolitan
Room, 7:00 PM. 34 West 22nd Street. 212-206-0440.
 Mon 1/21 The Bar Next Door. Angela Davis Trio at 6:30
PM; Mika Hary Trio at 8:30 and 10:30 PM. 129 MacDou-
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20
gal Street. 212-529-5945. www.lalanternacaffe.com
 Mon 1/21 Stephen Wallem in “Schwartz and All” at
Birdland, 7:00 PM. 315 West 44th
 Tue 1/22 – Sat 1/26 Ann Hampton Callaway at Birdland,
8:30 and 11:00 PM. 315 West 44th
 Tue 1/22 Somethin’ Jazz. Danny Jonokuchi Sextet at
7:00 PM; Maya Nova Trio at 9:00 PM. 3rd Floor, 212 E.
 Tue 1/22 Michelle Zangara Trio at Lime Leaf Thai Restaurant, 7:00 PM. 128 West 72nd Street. 212-501-7800.
 Tue 1/22 Caffe Vivaldi. Jarrod Dickenson at 8:30 PM;
Jason Yeager at 9:30 PM. 32 Jones Street. 212-6917538.
 Tue 1/22 The Bar Next Door. Kyle Hernandez Trio at
6:30 PM; Geoff Vidal Trio at 8:30 and 10:30 PM. 129
MacDougal
Street.
212-529-5945.
 Wed 1/23 Ingrid James at Somethin’ Jazz, 9:00 PM. 3rd
Floor, 212 E. 52nd Street (bet. 2nd and 3rd Ave.)
 Wed 1/23 Igor Lumpert Quartet featuring Orrin Evans
and Nasheet Waits at Kitano, 8:00 and 10:00 PM. 66
Park Ave
 Wed 1/23 Joe Alterman at Caffe Vivaldi, 9:30 PM. 32
 Wed 1/23 Roz Corral Quartet with Saul Rubin, Paul
Gill, and Alvester Garnett at Zeb’s, 8:00 PM. 2nd Floor,
223 West 28th Street. 212-695-8081.
 Wed 1/23 The Bar Next Door. Chase Baird Trio at 6:30
PM; Jonathan Kreisberg Trio at 8:30 and 10:30 PM. 129
MacDougal
Street.
212-529-5945.
 Thu 1/24 Caffe Vivaldi. Pete Muller at 7:30 PM; Pat
McQuillan at 9:30 PM. 32 Jones Street. 212-691-7538.
 Thu 1/24 Somethin’ Jazz. Stephen Feifke at 7:00 PM;
John Lester “Jazz?” Quartet at 9:00 PM. 3rd Floor, 212
E. 52nd St
 Thu 1/24 Florian Hoefner Quartet CD Release Party at
Kitano, 8:00 and 10:00 PM. 66 Park Avenue at 38th
Street.
 Thu 1/24 James Genus at 78 Below, 10:00 PM. 380
Columbus Avenue. 212-724-7800. www.78below.com
 Thu 1/24 The Bar Next Door. Alex Sugerman Trio at
6:30 PM; Jacam Manricks Trio at 8:30 and 10:30 PM.
 Fri 1/25 – Sat 1/26 Michael Wolff Trio at Knickerbocker
Bar and Grill, 9:45 PM. 33 University Place. 212-2288490.
 Fri 1/25 Bill Cunliffe Trio at Kitano, 8:00 and 10:00 PM.
66 Park Avenue at 38th Street.
 Fri 1/25 Ron Sunshine and Full Swing at Swing 46, 9:00
PM. 349 West 46 th Street. 212-262-9554.
www.swing46.com
 Fri 1/25 Somethin’ Jazz. Ladies Day Trio at 7:00 PM;
Somethin’ Vocal with The Matt Baker Trio at 9:00 PM;
Jonathan Saraga Quintet at 11:00 PM. 3rd Floor, 212 E.
 Fri 1/25 Kendra Shank at 55 Bar, 6:00 PM. 55 Christopher Street. 212-929-9883. www.55bar.com
 Fri 1/25 David Berger Jazz Orchestra at Birdland, 5:00
PM. 315 West 44thwww.birdlandjazz.com
 Fri 1/25 The JT Project at Sugar Bar, 8:00 PM. 254 West
72nd Street. 212-579-0222. www.sugarbarnyc.com
 Fri 1/25 Melissa Aldana Trio at The Bar Next Door,
7:30, 9:30, and 11:30 PM. 129 MacDougal Street. 212529-5945.
 Sat 1/26 Caffe Vivaldi. Tania Stavreva and Friends at
12:00 noon; Violette at 3:00 PM.
 Sat 1/26 Somethin’ Jazz. Zach Resnick Quintet at 5:00
PM; Michael Webster Quintet at 7:00 PM; Frederick
Levore at 9:00 PM. 3rd Floor, 212 E. 52nd Street (bet. 2nd
and 3rd Ave.)
 Sat 1/26 Chaney Sims at 55 Bar, 6:00 PM. 55 Christo(Continued on page 23)
Fri, Jan 11 @ 8 pm • Dickey Betts & Great Southern
With Special Guest Jamie McLean Band
The New York Times has called Betts “one of the great rock guitarists…
who thinks like a jazz improviser, in thoughtfully structured, cleanly articulated,
intelligently paced phrases…” Ticket Price $75.00
Fri, Jan 18 @ 8pm • Blood, Sweat & tears
Known for fusing together rock, blues and pop with horn arrangements
and jazz improvisation creating the genre “jazz-rock.” Many critics
consider the band to be the musical version of Saturday Night Live.
Ticket Price $55.00
Thur, Feb 7 @ 8pm • Steve Tyrell
Grammy Award-winning vocalist, Steve Tyrell reinvented and re-popularized
classic pop standards for a modernday audience. With the grit and soul of a
lifetime of experiences, he has sold hundreds of thousands of albums and gained
a passionate following all over the world. He’s held top positions at various
outlets. Ticket Price: $50.00
ThuR, April 25 @ 8PM • AVerage White Band
Their infectiously danceable, funky soul based on the sounds of Memphis,
Motown and Philadelphia have made Average White Band (AWB) one of
the bestselling soul and funk bands in the history of music. With multiple
Grammy wins and Platinum selling hits, AWB continues to record and tour,
laying down their hip R&B grooves worldwide. Tickets: $40
Sat, May 4 @ 8pm • Steve March-Tormé
Singer-songwriter Steve March-Tormé (son of legend Mel Tormé)
performs classic standards, original songs and shares personal stories from
his never boring life. From Broadway to The Beatles, from Mercer to Mel,
Steve always entertains. He has wooed audiences from intimate jazz clubs
to Performing Arts Centers to festivals worldwide. Tickets: $35
80 East Ridge, Ridgefield, CT
203.438.5795 • www.ridgefieldplayhouse.org
Jazz Lovers
Heaven
Scan the QR Code below
with your mobile device
Calendar of Events
JAN
1 - Tue
Chris Botti
2 - Wed
Chris Botti
3 - Thu
Chris Botti
4 - Fri
Chris Botti; Eva Cortés
5 - Sat
Chris Botti; Matt Geraghty
6 - Sun
Brad Shepik; Chris Botti
Limited Availability
Jay Rattman 4
Thumbscrew
Nir Felder, Ben Street,
Adam Niewood & Bill
Goodwin
Sara Ferguson & Jesse
Green
Diane Schuur
31 - Thu
Diane Schuur
12 - Sat
15 - Tue
16 - Wed
17 - Thu
18 - Fri
19 - Sat
20 - Sun
21 - Mon
22 - Tue
22
Mary Halvorson 4
30 - Wed
11 - Fri
14 - Mon
Jan 8: Jon Burr Big band
Jan 15: Jay D’Amico Ensemble
Jan 22: Mike Longo’s 17 piece NY State of
the Art Jazz Ensemble with Ira Hawkins
Jan 29: Dave Chamberlain’s Band of Bones
Bill Goodwin Jazz Jam
Diane Schuur
10 - Thu
23 - Wed
24 - Thu
25 - Fri
26 - Sat
27 - Sun
Marc Devine 3; Jam Session
Les Kurtz 3; Joonsam Lee
Jam Session
Katsuko Tanaka 3; Kazu
Band Jam Session
Deer Head Inn
5 Main Street
Delaware Water Gap, PA
18327
www.deerheadinn.com
Julia Patinella & Cristian
Puig
Mary Halvorson 3
29 - Tue
9 - Wed
13 - Sun
All Shows on Tuesdays at 8:00 PM
Marc Devine 3; Jam Session
Les Kurtz 3; Joonsam Lee
Jam Session
Justin Lees 3; Kazu Band
Jam Session
Dan Furman 3; Jesse
Simpson Jam Session
Sonelius Smith 3; Jesse
Simpson Jam Session
Cornelia St. Café
29 Cornelia St.
(bet. W 4th & Bleecker)
212-989-9319
corneliastreetcafe.com
28 - Mon
8 - Tue
http://bit.ly/JvSML0
January 2013
Cleopatra’s Needle
2485 Broadway
(betw. 92nd & 93rd St.)
212-769-6969
Keith Ingham; Michika
New Zion 3
Fukumori Jam Session
Deborah Davis: 15th Annual Roger Lent 3; Jam Session Amram & Co
Leukemia & Lymphoma
Benefit
Donald Harrison, Ron
Marc Devine 3; Jam SesDan Weiss & Miles Okazaki
Carter & Billy Cobham
sion
Les Kurtz 3; Joonsam Lee Tyshawn Sorey 3
Jam Session
Kazu Band Jam Session
Samir Chatterjee
Masami Ishikaawa 3; Jesse Rez Abbasi Invocation;
Carter & Billy Cobham;
Simpson Jam Session
Cuban-Pak Collective
Marika Hughes
Ramsey Lewis & John
Sachmo Mannan 4; Jesse Ben Monder & Theo BleckPizzarelli; Spokinn MoveSimpson Jam Session
mann; World Time Zone;
ment
Michael Blake Band
Juilliard Jazz Brunch;
Tamarindo; Tony Malaby’s
Ramsey Lewis & John
Novela; Paloma 3
Pizzarelli
Martin Taylor, Brian Gore & Roger Lent 3; Jam Session Kiran Ahluwalia 5
Solorazaf
Benny Goodman ReinMarc Devine 3; Jam SesArun Ramamurthy 4
vented
sion
Benny Goodman ReinLes Kurtz 3; Joonsam Lee Roopa Mahadevan &
vented
Jam Session
Nishanth Chandran
Benny Goodman ReinMamiko Watanabe 3; Kazu Rogerio Boccato 4; Richard
vented
Band Jam Session
Miller 3
Benny Goodman ReinLonnie Gasperini 3; Jesse Billy Newman 4; Rob Curto
vented; Phony Ppl
Simpson Jam Session
3
Benny Goodman ReinKazu 3; Jesse Simpson
Gerard Edery 3; Mauricio
vented; Mister Barrington
Jam Session
Zottarrelli 4; Amanda Ruzza
6
Donald Vega 3; Benny
Sofia Rei & Jorge Roeder;
Goodman Reinvented
Sara Serpa 5
Roger Lent 3; Jam Session Emilie Weibel; Kristin Slipp
& Dov Manski
Sonny Fortune
Marc Devine 3; Jam SesAkiko Pavolka 5; Fay Victor
sion
5
Sonny Fortune
Les Kurtz 3; Joonsam Lee Lev Zhurbin 3
Jam Session
Omar Sosa & Paolo Fresu Rudi Mwongozi 3; Kazu
New York Flamenco Jazz
Band Jam Session
Project
Omar Sosa & Paolo Fresu; Yaacov Mayman 3; Jesse Jean Rohe & Vitor GonKrissy Krissy
Simpson 3
çalves; Jean Rohe &
Rogerio Boccato
Omar Sosa & Paolo Fresu; Rahn Burton 3; Jesse
Jason Rigby 3
Chris Massey
Simpson Jam Session
Mamiko Taira; Omar Sosa Keith Ingham; Michika
Jane Ira Bloom 4
& Paolo Fresu
Roger Lent 3; Jam Session Laila Salins
7 - Mon
Your Own Personal
Lifetime Access!
Jazz Listening,
Enjoyment, Discovery
Blue Note
131 W Third St.
(east of 6th Ave)
212-475-8592
www.bluenote.net
Davey Lantz & Dan Wilkins
Dave Liebman 6
Erica Golaszewski
Vicki Doney
Babby Avey & Matt Vashlishian
Smith/Reed 3
B.D. Lenz 3
Marko Marcinko 5
Bonnie Childs 2
Lisa Daehlin
Tessa Souter 4
GV3; TB3 Reinvented
pher Street. 212-929-9883. www.55bar.com
 Sat 1/26 Eric Comstock/ Barbara Fasano Quartet at
Kitano, 8:00 and 10:00 PM. 66 Park Avenue at 38th
Street.
 Sat 1/26 Terry Waldo Solo Piano at Edison Rum
House, 9:30 PM. 228 West 47th Street. 646-490-6924.
www.edisonrumhouse.com
 Sat 1/26 Avi Rothbard Trio at The Bar Next Door, 7:30,
9:30, and 11:30 PM. 129 MacDougal Street. 212-5295945.
 Sun 1/27 Lauren Henderson Quartet at The National,
6:00 PM. 557 Lexington Avenue (at 50th Street.) 212-7152400.
 Sun 1/27 Frank Senior Trio with Paul Meyers at North
Square Lounge, 12:30 PM. 103 Waverly Place.
 Sun 1/27 Nacho Arimany’s New World Jazz Quartet at
Drom, 7:00 PM. 85 Avenue A (bet. 4th and 6th Streets.)
212-777-1157. www.dromnyc.com
 Sun 1/27 Hiroshi Yamazaki and Friends at Somethin’
Jazz, 5:00 PM. 3rd Floor, 212 E. 52nd Street (bet. 2nd and
3rd Ave.)
 Sun 1/27 Bobby Sanabria’s New School Afro-Cuban
Jazz Band at Nuyorican Poet’s Cafe, 8:00 PM. 236 East
3rd St.
 Sun 1/27 Margret Grebowicz Quartet featuring Ben
Monder at 55 Bar, 6:00 PM. 55 Christopher Street. 212929-9883.
 Sun 1/27 Tom Dempsey Trio at The Bar Next Door, 8:00
 Mon 1/28 Lionel Loueke Trio at Schomburg Center for
Research in Black Culture, 7:00 PM. 515 Malcolm X
Boulevard (at 135 th Street.) 212-491-2040.
 Mon 1/28 Masako Fujimoto Quartet at Somethin’ Jazz,
Ave.)
 Mon 1/28 The Bar Next Door. Tom Finn Trio at 6:30 PM;
Sonia Szajnberg Trio at 8:30PM. 129 MacDougal St.
 Mon 1/28 MSM Concert Jazz Band at Borden Auditorium, Manhattan School of Music, 7:30 PM. Free. 120
Claremont Avenue. 212-749-2802. www.msmnyc.edu
 Mon 1/28 Christina Bianco in “More Diva Moments:
Songs That Made Divas Out of the Women Who Sang
Them!” at Birdland, 7:00 PM. 315 West
44thwww.birdlandjazz.com
 Tue 1/29 – Thu 1/31 Rebecca Luker Sings Jerome Kern
at 54 Below, 7:00 PM. (1/29 show at 8:30 PM.) 254 West
54th Street (bet. Broadway and 8th Avenue.) 646-4687619. www.54below.com
 Tue 1/29 – Thu 1/31 John Pizzarelli Quartet at Birdland,
8:30 and 11:00 PM. 315 West 44thwww.birdlandjazz.com
 Tue 1/29 Caffe Vivaldi. Jarrod Dickenson at 8:30 PM;
Dave Rudbarg Special at 9:30 PM. 32 Jones Street. 212691-7538.
 Tue 1/29 Joe’s Pub. Cynthia Sayer Swing Banjo at 7:00
PM; Stick Against Stone Orchestra at 9:30 PM. 425
Lafayette Street. 212-539-8778. www.joespub.com
 Tue 1/29 Kathleen Potton Band at Somethin’ Jazz, 9:00
PM. 3rd Floor, 212 E. 52nd Street (bet. 2nd and 3rd Ave.)
 Tue 1/29 The Bar Next Door. O’Farrill Brothers at 6:30
PM; Jared Gold Trio at 8:30 and 10:30 PM. 129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
 Wed 1/30 Joe Alterman at Caffe Vivaldi, 9:30 PM. 32
 Wed 1/30 Erika Matsuo Quintet at Kitano, 8:00 and
 Wed 1/30 Jenny Arrigo at Zeb’s, 8:00 PM. 2nd Floor, 223
West
28th
Street.
212-695-8081.
 Wed 1/30 The Bar Next Door. Benny Benack III Trio at
6:30 PM; Jonathan Kreisberg Trio at 8:30 and 10:30 PM.
 Wed 1/30 Matt Panayides Group at Somethin’ Jazz,
Ave.)
 Thu 1/31 The Bar Next Door. Mark Cocheo Trio at 6:30
PM; Howard Alden and Warren Vache at 8:30 and 10:30
PM. 129 MacDougal Street. 212-529-5945.
 Thu 1/31 Vadim Neselovskyi at Caffe Vivaldi, 9:30 PM.
32 Jones Street. 212-691-7538. www.caffevivaldi.com
 Thu 1/31 Tony Jefferson Quartet at Kitano, 8:00 and
 Thu 1/31 Somethin’ Jazz. Harmony Keeney at 7:00 PM;
Troy Roberts Quartet at 9:00 PM. 3rd Floor, 212 E. 52nd
Street (bet. 2nd and 3rd Ave.)
BROOKLYN
 Wed 1/2 Matthew Garrison Music Workshop at
Shapeshifter Lab, 3:00 PM. 18 Whitwell Place, Park
Slope.
 Wed 1/2 Background Music: The Music of Lennie
Tristano – Matt Mitchell/ Chris Speed Quintet at Barbes, 8:00 PM. 376 Ninth Street, Park Slope. 347-4220248.
 Thu 1/3, 1/10, 1/17, 1/24, 1/31: Jazz Vocal Workshop
with Gerry Eastman and Carlton Holmes’ Trio at Williamsburg Music Center, 8:00 PM. 367 Bedford Avenue.
718-384-1654.
 Thu 1/3, 1/10, 1/17, 1/24: Terry Waldo Solo Piano at
Manhattan Inn, 7:00 PM. 632 Manhattan Avenue, Greenpoint. 718-383-0885. www.themanhattaninn.com
 Thu 1/3 Shapeshifter Lab. David Sanford and The
Pittsburgh Collective at 8:30 PM; Julian Shore Band
with Gilad Hekselman at 10:00 PM. 18 Whitwell Place,
Park Slope.
 Fri 1 /4, 1/11, 1/18, 1/25: Jam Session featuring Gerry
Eastman Quintet at Williamsburg Music Center, 10:00
PM. 367 Bedford Avenue. 718-384-1654.
www.wmcjazz.org
 Fri 1/4 Mara Rosenbloom Trio at I Beam Music Studio,
8:30 PM. 168 7th Street. ibeambrooklyn.com
 Fri 1/4 Shapeshifter Lab. Percy Jones Quartet with
Aubrey Smith at 8:30 PM; Percy Jones Quartet with
Mike McGinnis at 9:30 PM. 18 Whitwell Place, Park
Slope. 646-820-9452. www.shapeshifterlab.com
(continued on page 24)
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23
 Sat 1/5 George Gray Project with Special Guest
Camile Thurman at Sistas’ Place, 9:00 and 10:30 PM.
456 Nostrand Avenue. 718-398-1766.
www.sistasplace.org
 Sun 1/6, 1/13, 1/20, 1/27: Matthew Garrison Music
Workshop at Shapeshifter Lab, 3:00 PM. 18 Whitwell
Place
 Sun 1/6, 1/13, 1/20, 1/27: Stephane Wremble at Barbes, 9:00 PM. 376 Ninth Street, 347-422-0248.
 Sun 1/6 Shapeshifter Lab. Jorn Swart Quartet at 8:00
PM; (tentative) Chad Lefkowitz-Brown Quartet at 9:30
PM. 18 Whitwell Place, Park Slope. 646-820-9452.
 Mon 1/7 Shapeshifter Lab. Kirk Knuffke Trio at 8:30
PM; Max Johnson Trio at 9:30 PM. 18 Whitwell Place,
Park Slope. 646-820-9452. www.shapeshifterlab.com
 Mon 1/7 Frank Carlberg’s City Band at Tea Lounge,
615 PM. 837 Union Street. 718-789-2762.
 Tue 1/8 Ben Holmes Quartet at Barbes, 7:00 PM. 376
Ninth Street, Park Slope. 347-422-0248.
 Tue 1/8 Roulette. Barry Altschul 70th Birthday Bash &
CD Release Party featuring Jon Irabagon 8:00 PM.
509 Atlantic Avenue at 3rd Avenue. 917-267-0363.
 Wed 1/9 Shapeshifter Lab. Chris Massey & NJP at
8:00 PM; Opus 5 featuring Alex Sipiagin, David
Kikoski, and Seamus Blake at 9:15 PM; Andy Hunter
group at 10:30 PM. 18 Whitwell Place. 646-820-9452.
 Wed 1/9 William Hooker Orchestra at Knitting Factory Brooklyn, 8:00 PM. 361 Metropolitan Avenue.
 Wed 1/9 Jeff Davis Trio at Barbes, 8:00 PM. 376 Ninth
Street, Park Slope. 347-422-0248.
 Sat 1/12 Zane Massey Plays Cal Massey at Sistas’
Place, 9PM. 456 Nostrand Av. 718-398-1766.
www.sistasplace.org
 Sat 1/12 Manuel Valera at Shapeshifter Lab, 8PM
 Sat 1/12 Steve Swell at Roulette, 1:00 PM. 509 Atlantic
Avenue at 3rd Avenue. 917-267-0363. www.roulette.org
 Sun 1/13 Ben van Gelder Quartet at Shapeshifter Lab,
8:00 and 9:00 PM. 18 Whitwell Place, Park Slope.
 Mon 1/14 Shapeshifter Lab. Ingebrigt Haker Flaten
Quartet featuring Joe McPhee, James Cammack; Joe
Hertenstein. 18 Whitwell Place, Park Slope.
 Mon 1/14 I Beam Music Studio. Paul Kogut/Drew
Gress Duo at 8:30 PM; Vinnie Sperazza, 10:00 PM.
168 7th Street.
 Tue 1/15 Shapeshifter Lab. Forge the Bell with Joy
Askew at 8:00 PM; Matthew Garrison with Seamus
Blake. Wed 1/2 Matthew Garrison Music Workshop at
Shapeshifter Lab, 3:00 PM. 18 Whitwell Place.
 Thu 1/17 – Sat 1/19 Aaron Parks at Shapeshifter Lab,
times TBA. On 1/17: Performing the INVISIBLE CINEMA album live with Eric Harland, Mike Moreno, and
Harish Raghavan. 18 Whitwell Place, 646-820-9452.
 Fri 1/18 Cyrille Aimee at Caverock Room, 8:00 PM.
269 Stanhope Street. 347-327-6720.
 Fri 1/18 The Firehouse Space. “2 x 3: A Trio of Duos”
featuring Josh Deutsch/ Nico Soffiato, Ben Monder/
Aaron Shragge, and Dan Blake/ Leo Genovese, 8:00
PM. 246 Frost Street. www.thefirehousespace.org
 Fri 1/18 I Beam Music Studio. Art Bailey Trio at 8:30
PM; Kirk Knuffke Group at 9:30 PM. 168 7th Street.
 Sat 1/19 Ahmed Adbullah at Sistas’ Place, 9:00 and
10:30 PM. 456 Nostrand Av. 718-398-1766.
www.sistasplace.org
 Sun 1/20 Zach Brock Group at Shapeshifter Lab, 8:00
PM. 18 Whitwell Place, Park Slope.
 Tue 1/22 Shapeshifter Lab. Matthew Garrison, Gene
Lake30 PM. 18 Whitwell Place.
 Fri 1/25 Sirius Quartet plus Uri Caine at Shapeshifter
Lab; two sets, times TBA. 18 Whitwell Place, Park
Slope.
 Sat 1/26 Winard Harper at Sistas’ Place, 9:00 and
10:30 PM. 456 Nostrand Ave. 718-398-1766.
www.sistasplace.org
 Sun 1/27 Parias Ensemble at Goodbye Blue Monday,
8:00 PM. 1807 Broadway. 718-453-6343. www.goodbyeblue-monday.com
24
Calendar of Events
Dizzy’s Club
Coca Cola
JAN
B’dwy &t 60th, 5th Fl.
212-258-9595
jazzatlincolncenter.com
Garage
The Iridium
Jazz Standard
116 E 27th St
212-576-2232
www.jazzstandard.net
99 Seventh Ave. S
(at Grove St.)
212-645-0600
www.garagerest.com
1 - Tue
Joey DeFrancesco
Michika Fukumori 3; Cecilia Abe Ovadia
Coleman 5
2 - Wed
Joey DeFrancesco
Anderson Brothers
Jimmy Cobb, Harold Mabern, Peter Bernstein, Eric
Alexander, J.Webber
3 - Thu
Joey DeFrancesco
Champian Fulton 3; Brandon Lees 4
Ed Palermo Band
John Abercrombie 4
4 - Fri
Joey DeFrancesco
Hide Tanaka 3; Dre Barnes Ed Palermo Band
John Abercrombie 4
5 - Sat
Joey DeFrancesco
Larry Newcomb 3; Justin
Wood; Akiko Tsuruga 3
Andy Timmons
John Abercrombie 4
6 - Sun
Joey DeFrancesco
Mayu Saeki 3; David Coss
4; Abe Ovadia 3
Andy Timmons
John Abercrombie 4
7 - Mon
Erik Charlston & Jazz Brasil Howard Williams Orchestra; Andy Timmons
Ben Cliness 3
Mingus Orchestra
8 - Tue
Chano Domingues
Eyal Vilner Band
Jazmo
Sachal Vasandani
9 - Wed
Chano Domingues
Marc Devine 3; New Tricks
Midge Ure
Sachal Vasandani
10 - Thu
Chano Domingues
George Weldon 3; Randy
Johnston 3
NYC Hit Squad
Dr. Lonnie Smith 3
11 - Fri
Chano Domingues
Doug McDonald 3; Hot
House
David Murray Band
Dr. Lonnie Smith 3
12 - Sat
Chano Domingues
Daniela Schaechter 3;
David Murray Band
Fukushi Tainaka 3; Daylight
Blues Band
Dr. Lonnie Smith 8
13 - Sun
Chano Domingues
Lou Caputo 4; David Coss
4; Masami Ishikawa 3
Dr. Lonnie Smith 8
David Murray Band
Howard Williams Orchestra;
Al Marino 5
14 - Mon
Mingus Big Band
15 - Tue
Oberlin College Jazz Faculty All Stars
Lou Caputo Band; Justin
Lees 3
Doug Beavers 4
Cristina Pato Band
16 - Wed
Music of John Lewis
Nick Moran 3; Steve Kortyka 3
Chihiro Yamanaka 3
Ornette Coleman: Free
Jazz Tribute
17 - Thu
Music of John Lewis
Rick Stone 3; Ben Benack 4 Shemekia Copeland
Jeff “Tain” Watts 4
18 - Fri
Music of John Lewis
Alex Layne 3; Jason Prover Shemekia Copeland
Orchestra
Jeff “Tain” Watts 4
19 - Sat
Music of John Lewis
Larry Newcomb 3; Mark
Marino 3; Virginia Mayhew
4
Jeff “Tain” Watts Band
20 - Sun
Music of John Lewis
Joonsam Lee 3; David Coss Peter Asher
4; Mauricio DeSouza 3
Jeff “Tain” Watts Band
Howard Williams Orchestra; Pat Martino
Kenny Shanker 4
Mingus Big Band
Gilad Hekselman 4
21 - Mon
Shemekia Copeland
22 - Tue
Cyrus Chestnut
Cecilia Coleman Band;
Emmet Cohen 3
23 - Wed
Cyrus Chestnut
Alex Wyatt 6; Paul Francis 3 Hot Club of Detroit with
Cyrille Aimee
Vijay Iyer 3
24 - Thu
Cyrus Chestnut
Josh Lawrence 4; Alan
Chaubert 3
Hot Club of Detroit with
Cyrille Aimee
Vijay Iyer 3
25 - Fri
Cyrus Chestnut
Rob Edwards 4; Joey
Morant 3
Leslie West
Vijay Iyer 3
26 - Sat
Cyrus Chestnut
Marsha Heydt 4; Champian Leslie West
Fulton 3; Carl Bartlett Jr. 4
Vijay Iyer 3
27 - Sun
Cyrus Chestnut
Iris Ornig 4; David Coss 4;
Dave Kain
Vijay Iyer 3
28 - Mon
Juilliard Jazz Ensemble
Howard Williams Orchestra; Pat Martino
Guy Mintus 3
Mingus Big Band
29 - Tue
Nicole Henry 5
Kyle Athayde Band; Kyle
Hernandez 3
Marc Johnson & Eliane
Elias
Ben Williams 5
30 - Wed
Nicole Henry 5
John Chin 3
Marc Johnson & Eliane
Elias
Ben Williams 5
31 - Thu
Rene Marie 4
Dylan Meek 3; Stan Killian 4 Marc Johnson & Eliane
Elias
Lauren Robert
Sketchy Black Dog
Patricia Barber 4
JAN
Shrine
Smalls
The Stone
Village Vanguard
2271 Adam Clayton
Powell Blvd.
212-690-7807
183 W. 10th
212-252-5091
smallsjazzclub.com
Ave. C & Second St.
thestonenyc.com
178 Seventh Ave. S
(below W 11th St.)
212-255-4037
villagevanguard.net
www.shrinenyc.com
1 - Tue
2 - Wed
Spike Wilner; Smalls Band; Kyle John Zorn Improv Night
Poole
Michela Lerman; David BerkStefan Jackiw & Anna
man 4; Josh Davis
Polonsky; String Noise
The Bad Plus
The Bad Plus
3 - Thu
Trevor New Band; Paul Tabachneck
David Berkman 4; Carlos
Abadie
4 - Fri
Rakiem Walker Project; American Opera; Akoko Hante
Ensemble
Sinan Rakir; John Seeger 3;
Raul Rothblatt Hungarian Band
Sam Raderman & Luc Decker;
Ned Goold 3; John Marshall
5 - Sat
6 - Sun
Jam Session; Shrine Big Band
7 - Mon
David Schnug 3; Daniel Weiss;
Soul Low
Elise Wood 2; DECOSTER;
Rusty Monks
8 - Tue
Dwayne Clemons & Sasha
Perry; Pete Malinverni 3; John
Marshall 5
Marion Cowings; John Merrill;
John Chin 2; Spike Wilner
Sooyun Kim; Anthony
Coleman
Matthias Pintscher
Michael Nicolas; Kyle
Armbrust
Vanguard Jazz Orchestra
Spike Wilner; Smalls Band; Kyle Uri Caine; Stephanie
Poole
Griffin
Fred Hersch 3
10 - Thu
Laurent David 5; The Kape;
ROTIMI
Jeff Williams 4
11 - Fri
Rakiem Walker Project; Sinead
McNally; Emanuele Tozzi;
Preacherman & The Revival
Michael Bank 4; Dawn Drake &
Zapote; Sekouba
Ralph LaLama
Jam Session; John Webber 3;
Yahawashi
14 - Mon
Claudia Hayden; PitchBlak
Brass Band
Antoine Cara
Dwayne Clemons & Sasha
Perry; Hayes Greenfield 4; Greg
Hutchinson 5; Eric Wyatt 4
Bucky Pizzarelli & Ed Laub
Fred Hersch 3
Ned Rothenberg; Fred
Sherry & Meaghan Burke
Fred Hersch 3
Jay Campbell; Nonoko
Yoshida
Fred Hersch 3
Barry Harris 3
Barry Harris 3
Nue Jazz Project; PitchBlak
Brass Band
17 - Thu
Yuki Shibata 4; Squirrels from
Hell; Richard Emery Project
Luis Perdomo; Seamus Blake 4; Nate Wooley, Agusti
Carlos Abadie 5
Fernandez, Ken Vander-
18 - Fri
Rakiem Walker Project; Sound
Frontier; Judah Tribe
Tardo Hammer 3; Harry Allen 4
19 - Sat
This Is Not the Radio; Kepaar
20 - Sun
Jam Session; Wataru Uchida
Dwayne Clemons; Michael
Kanan; Harry Allen 4
Marion Cowings; Larry Gelb 3;
Lezlie Harrison; Spike Wilner
21 - Mon
Matthew Fries 3; Ari Hoenig 3;
Spencer Murphy
Spike Wilner; Smalls Band; Kyle Carl Testa, Anne Rhodes
Manny’s Boogaloo Crew; Lea
Anderson; Fado Em Si Be Mol Poole
& Joe Morris; Wildlife
Dallyce Cole; Maria Davis’ Mad Michela Lerman; Ethan Iverson, Stephen Haynes 4; Taylor
Wednesday R&B Against AIDS Andrew Cyrille, Tim Berne
Ho Bynum 3
23 - Wed
24 - Thu
25 - Fri
26 - Sat
27 - Sun
Steve Tarshis 3; Garr Cleary;
Humasbala; Diali Cissokho &
Kaira Ba
Rakiem Walker Project;
Weelye; Junior Lewis & The
Inity Band
Omar Haddad; Andrei Matorin;
Unlimited Force Band
Ethan Iverson, Andrew Cyrille,
Tim Berne & Sam Newsome
Jam Session; Natty Dreadz
Marti Maben; Grant Stewart 4
28 - Mon
29 - Tue
30th
Street Blues Band; Peter
Ayres; Chanel Nicole
30 - Wed
David Engelhard; Stratospheerius; Danny Switchblade
31 - Thu
Gerry Cruz; Skogen
Fred Hersch 3
Marianne Solivan 2; Ari Hoenig;
Spencer Murphy
16 - Wed
22 - Tue
Fred Hersch 3
Gareth Flowers; Christopher Otto
Steven Beck; Matt Poon
Spike Wilner; Smalls Band; Kyle String Quartet
Poole
Michela Lerman; Seamus Blake Agusti Fernandez, Joe
4; Adam Larson 5
Morris & Nate Wooley
15 - Tue
The Bad Plus
Roberta Piket; Ari Hoenig 4;
Spencer Murphy
Noah MacNeil; Blue As Blues; Michela Lerman; Gerald Clayton Carol McGonnell; MosseChris Phillips Band; Molly Tigre 4; Logan Richardson 4
nek
13 - Sun
The Bad Plus
Brad & Doug Balliett; Ches The Bad Plus
Smith
9 - Wed
12 - Sat
The Bad Plus
Barry Harris 3
mark, Joe Morris
Ken Vandermark & Agusti Barry Harris 3
Fernandez; Abstract
Forest 4
John Zorn Improv Night
Barry Harris 3
Agusti Fernandez, Joaquim Badden H & Kyoko
Kitamura
Matthew Shipp 3; William
Parker 3
Barry Harris 3
Al Foster 4
Al Foster 4
Al Foster 4
Al Foster 4
Dwayne Clemons; Virginia
Mayhew; Myron Walden
Al Foster 4
Al Foster 4
Peter Bernstein; Jonny King 4;
Spencer Murphy
Spike Wilner; Smalls Band; Kyle Gerald Cleaver 5; Noah
Poole
Kaplan 4
Michela Lerman; Omer Avital;
Ivo Perelman 4; Stephen
Ben Meigners
Haynes 4
Corin Stiggall 2; Omer Avital;
Carlos Abadie 5
David Virelles - Continuum
Lava Bat; Ultra
Sam Raderman & Luc Decker; Mess Hall; The Spanish
Armen Donelian; Myron Walden Donkey
Steve Lantner 4; Joe
Morris 4
Jean Carla Rodea; Frank
Carlberg 4
Jazz Lovers
Heaven
Your Own Personal
Lifetime Access!
Jazz Listening,
25
 Sun 1/27 I Beam Music Studio. Gene Ess’ ‘Fractal
Attraction’ with David Berkman
 Mon 1/28 Shapeshifter Lab. Jim Black at 8:00 PM; 18
Whitwell Place,
 Tue 1/29 Shapeshifter Lab. Matthew Garrison at 8:30
PM; Victor Bailey at 9:30 PM. 18 Whitwell Place
QUEENS
 Thu 1/3 Carl Fischer Big Band at The Astor Room, 8:30
PM. 34-12 36th Street, Astoria. 718-255-1947.
STATEN ISLAND
 Tue 1/1, 1/8, 1/15, 1/22, 1/29: Mark Sganga and Larry
d’Albero at Bayou, 7:30 PM. 1072 Bay Street, Staten
Island. 718-273-4383. www.bayounyc.com
 Sun 1/6, 1/13, 1/20, 1/27 Mark Sganga Bossa Nova
Brunch at Beso, 12:30 PM. 11 Schuyler Street, Staten
Island. 718-816-8162. www.besonyc.com
LONG ISLAND
 Tue 1/2, 1/9, 1/16, 1/23, 1/30: Steve Blanco Trio at
Domaine Wine Bar, 9:30 PM. 50-04 Vernon Boulevard,
Long
Island
City.
718-784-2350.
www.domainewinebar.com
 Wed 1/3, 1/10, 1/17, 1/24, 1/31: Jam Session at Two
Finger Jake’s, 8:00 PM. 39 Sarah Drive, Farmingdale.
631-390-8844. www.twofingerjake.com
 Sun 1/6, 1/13, 1/20, 1/27: John Benitez Jazz Jam at
Terraza 7, 9:30 PM. 40-19 Gleane Street, Elmhurst. 718803-9602.
 Fri 1/11 Urban Acoustic at Port Jazz, 9:00 PM. 201 Main
Street, Port Jefferson. 631-476-7600. www.portjazz.com
 Fri 1/18 Jerry Weldon Trio at Grasso’s, 7:30 PM. 134
Main Street, Cold Spring Harbor. 631-367-6060.
 Fri 1/25 Joe Alterman Trio at Grasso’s, 7:30 PM. 134
Main Street, Cold Spring Harbor. 631-367-6060.
WESTCHESTER
 Wed 1/2, 1/9, 1/16, 1/23. 1/30: Bill Crow Trio at Red Hat
Bistro, 6:00 PM. One Bridge Street, Irvington-on-Hudson.
914-591-5888. www.redhatbistro.com
 Wed 1/2, 1/9, 1/16, 1/23, 1/30: Jam Session at Bassline
Club, 8:30 PM. 130 East 1st Street, Mount Vernon. 914433-1052. www.basslineclub.com
 Wed 1/2 Kristina Koller at The Winery at St. George,
6:30 PM. 1713 E. Main Street, Mohegan Lake. 914-4554272. www.thewineryatstgeorge.com
 Fri 1/4, 1/11, 1/18, 1/25: Hiroshi Yamazaki at Castle on
the Hudson, 6:30 PM. 400 Benedict Avenue, Tarrytown.
914-631-1980. www.castleonthehudson.com
 Fri 1/4, 1/11, 1/18, 1/25: Tekeshi Ogura Trio at Bassline
Club, 9:30 PM. 130 East 1st Street, Mount Vernon. 914433-1052. www.basslineclub.com
 Sat 1/5, 1/12, 1/19, 1/26: Hiroshi Yamazaki Duo at Castle on the Hudson, 7:00 PM. 400 Benedict Avenue,
Tarrytown. 914-631-1980. www.castleonthehudson.com
 Sat 1/5 David Kain Group at BeanRunner Cafe, 7:30
PM. 201 South Division Street, Peekskill. 914-737-1701
“The degree of
one’s emotion varies
inversely with one’s
knowledge of the facts
— the less you know
the hotter you get.”
- Bertrand Russell
26
 Sun 1/6 Sheryl Bailey Trio at The Spot, Casa del Sol,
5:00 PM. 104 & 106 Main Street, Nyack. 8450353-9846.
 Sun 1/13 Wycliffe Gordon at First Presbyterian
Church. 199 North Columbus Avenue, Mount Vernon.
914-667-0823. www.pjsjazz.org
 Fri 1/18 Jack Wilkins and Ethan Mann at Crestwood
Music Education Center, 8:00 PM. 453 White Plains
Road, Eastchester. 914-961-3497.
 Fri 1/18 Larry Del Casale/ Tony Romano/ Christina
Rohm at BeanRunner Cafe, 7:30 PM. 201 South Division
Street, Peekskill. 914-737-1701.
 Fri 1/25 Cyrille Aimee at Watercolor Cafe, 8:30 PM.
2094 Boston Post Road, Larchmont. 914-834-2213.
 Fri 1/25 Richie Goods at BeanRunner Cafe, 7:30 PM.
201 S. Division St, Peekskill. 914-737-1701.
NEW JERSEY
 Tue 1/1, 1/8, 1/15: Tim Lekan Jazz Series at Sandi
Pointe Coastal Bistro, 8:00 PM. Special Guests: Michael
Pedicin and Jim Ridl on 1/8; Joanna Pascal and Josh
Richman on 1/15. 908 Shore Road, Somers Point. 609927-2300. www.sandipointe.com
 Wed 1/2, 1/9, 1/16, 1/23, 1/30: Jam Session with Mike
Lee at Hat City Kitchen, 8:00 PM. 459 Valley Street,
Orange. 862-252-9147. www.hatcitykitchen.com
 Wed 1/2, 1/9, 1/16, 1/23, 1/30: Champian Fulton at
Novita Bistro & Lounge, 7:00 PM. 25 New St, Metuchen.
 Fri 1/4, 1/11, 1/18, 1/25: Joe Licari and Larry Weiss at
Palazzo Restaurant, 7:00 PM. 11 South Fullerton Avenue, Montclair. 973-746-6778. www.palazzonj.com
 Fri 1/4 The Four Freshmen at Newton Theatre, 7:00 PM.
230 Spring Street, Newton.
 Fri 1/4 Nikki Parrott Trio at Shanghai Jazz, 6:30 PM. 24
Main Street, Madison. 973-822-2899.
 Sat 1/5 Landom Brothers at Candlelight Lounge, 3:30
PM. 24 Passaic Street, Trenton. 609-695-9612.
 Sat 1/5 Hat City Kitchen. Jay Klum at 9:00 PM; Harrison
Young Quartet at 10:30 PM. 459 Valley Street, Orange.
862-252-9147. www.hatcitykitchen.com
 Sat 1/5 Grover Kemble Trio at Shanghai Jazz, 6:30 PM.
24 Main Street, Madison. 973-822-2899.
 Sun 1/6, 1/13, 1/20, 1/27: Jam Session at PJ’s Coffee,
1:00 PM. 315 Raritan Avenue, Highland Park. 732-8282323. www.facebook.com/PJs.Coffee.of.NJ
 Mon 1/7 Swingadelic at Maxwell’s, 9:00 PM. 1039 Washington Street, Hoboken. 201-798-0406.
 Tue 1/8 Akiko Tsuruga at Makeda, 7:30 PM. 338
George Street, New Brunswick. 732-545-5115.
 Wed 1/9, 1/30: Anne Mironchik at Stanhope House,
7:00 PM. 45 Main Street, Stanhope. 973-347-7777.
 Wed 1/9 Chris Botti at Bergen Performing Arts Center,
8:00 PM. 30 North Van Brunt Street, Englewood. 201-8168160. www.bergenpac.org
 Thu 1/10 Curtis Brothers Quartet at Makeda, 7:30 PM.
338 George Street, New Brunswick. 732-545-5115.
 Sat 1/12, 1/26: Sheryl Bailey Trio at Stanhope House,
7:00 PM. 45 Main Street, Stanhope. 973-347-7777.
 Sat 1/12 B. D. Lenz Trio at Small World Coffee, 8:30
PM. 14 Witherspoon Street, Princeton. 609-924-4377.
 Sat 1/12 Steve Slagle Quartet at Hat City Kitchen, 9:00
PM. 459 Valley Street, Orange. 862-252-9147.
 Sat 1/12 Mike Tate at Solari’s. 61 River Street, Hackensack. 201-487-1969. www.solarisrestaurant.com
 Wed 1/16 Bucky Pizzarelli at Shanghai Jazz, 7:00 PM.
24 Main Street, Madison. 973-822-2899.
 Wed 1/16 Joshua Breakstone at Stanhope House, 7:00
PM. 45 Main Street, Stanhope. 973-347-7777.
 Thu 1/17 B. D. Lenz Trio at DeAnna’s Restaurant, 8:00
PM. 54 North Franklin Street, Lambertville. 609-397-8957.
 Sat 1/19 Jason Marshall at Candlelight Lounge, 3:30
PM. 24 Passaic Street, Trenton. 609-695-9612.
 Sun 1/20 Don Braden Organix Group at New Jersey
Performing Arts Center, 11:00 AM. One Center Street,
Newark. 973-642-8989. www.njpac.org
 Sun 1/20 Bill Charlap at Shanghai Jazz, 6:00 PM. Seats
by reservation only; call for details. 24 Main St, Madison.
 Tue 1/22 Bucky Pizzarelli 88th Birthday Celebration at
Bickford Theatre, Morris Museum, 8:00 PM. 6 Nor-
mandy Heights Road, Morristown. 973-971-3706.
 Wed 1/23 Nikki Parrott/ Warren Vache Trio at Shanghai
Jazz, 7:00 PM. 24 Main Street, Madison. 973-822-2899.
 Thu 1/24 Jack Wilkins and Howard Alden at Glen Rock
Inn, 7:00 PM. 222 Rock Road, Glen Rock. 201-445-2362.
 Sat 1/26 Jessica Molaskey with Martin Pizzarelli and
special guest at South Orange Performing Arts Center,
8:00 PM. One SOPAC Way, South Orange. 973-2751114. www.sopacnow.org
 Sat 1/26 John Simon at Candlelight Lounge, 3:30 PM.
24 Passaic Street, Trenton. 609-695-9612.
 Sat 1/26 Joshua Breakstone at Session Bistro. 245
Maywood Avenue, Maywood. 201-880-7810.
 Sun 1/27 Tony Bennett at Prudential Hall, New Jersey
Performing Arts Center, 7:30 PM. One Center Street,
Newark. 973-642-8989. www.njpac.org
 Thu 1/31 Bob DeVos and Vic Juris at Glen Rock Inn,
7:00 PM. 222 Rock Road, Glen Rock. 201-445-2362.
...AND BEYOND
 Thu 1/3 Chris O’Leary Band at The Falcon, 7:00 PM.
1348 Route 9W, Marlboro NY. 845-236-7970.
 Fri 1/4 Jean-Michel Pilc Trio at The Falcon, 7:00 PM.
1348 Route 9W, Marlboro NY. 845-236-7970.
 Sat 1/5, 1/12, 1/19, 1/26: Saturday Afternoon Jam Session at Cafe Nine, 4:30 PM. 250 State Street, New Haven
CT. 203-789-8281. www.cafenine.com
 Sat 1/5 Russ Nolan Organ Trio CD Release Party at
Buttonwood Tree Performing Arts and Cultural Center,
8:00 PM. 605 Main Street, Middletown, CT. 860-347-4957.
 Sat 1/5 Mark Capon Trio at 74 State, 8:30 PM. 74 State
Street, Albany NY. 518-434-7410. www.74state.com
 Sun 1/6 Saskia Laroo and Warren Byrd at Downtown
Atrium, Hartford Public Library, 3:00 PM. 500 Main
Street, Hartford CT. 860-695-6280. www.hplct.org
 Mon 1/7, 1/14, 1/21, 1/28: Jazz Mondays at Black Eyed
Sally’s. TBA at 8:00 PM; Jam Session to follow. 350
Asylum Street, Hartford CT. 860-278-7427.
 Fri 1/11 David Liebman Group featuring Lydia Liebman
at The Falcon, 7:00 PM. 1348 Route 9W, Marlboro NY.
 Sat 1/12 Dan DeChellis Trio, Buttonwood Tree Perf
Arts Center, 8PM. 605 Main St, Middletown, CT.
 Wed 1/16 Ryan Keberle’s Catharsis at The Falcon, 7:00
PM. 1348 Route 9W, Marlboro NY. 845-236-7970.
 Thu 1/17 Reflections Big Band at 76 House, 8:00 PM.
110 Main Street, Tappan NY 845-359-5476.
 Sat 1/19 Misha Piatigorsky and Sketchy Black Dog at
The Falcon, 7:00 PM. 1348 Route 9W, Marlboro NY.
 Sun 1/20 Joe Lovano with James Weidman and
Esperanza Spalding at The Egg Center for the Perfoming Arts, 7:30 PM. Empire State Plaza, Albany NY 518473-1845. www.theegg.org
 Sun 1/20 Survivors Swing Band at Downtown Atrium,
Hartford Public Library at 3:00 PM. 500 Main Street,
Hartford CT. 860-695-6280. www.hplct.org
 Thu 1/24 Tisziji Munoz Quartet featuring John Medeski
at The Falcon, 7:00 PM. 1348 Route 9W, Marlboro NY.
 Sat 1/26 T.S. Monk Sextet at Garde Arts Center, 8:00
PM. 325 State Street, New London CT. 860-444-7373.
 Sat 1/26 Manhattan Transfer at The Egg Center for the
Performing Arts, 8:00 PM. Empire State Plaza, Albany
NY 518-473-1845. www.theegg.org
 Sat 1/26 Jim Campilongo Quartet at The Falcon, 7:00
PM. 1348 Route 9W, Marlboro NY. 845-236-7970.
 Sat 1/26 Jazz at Lincoln Center Orchestra with Wynton
Marsalis at Bushnell Center for the Perfoming Arts,
7:30 PM. 166 Capitol Avenue, Hartford CT. 888-824-2874.
 Sun 1/27 Vic Juris Duo featuring Kate Baker at The
Falcon, 10:00 AM. 1348 Route 9W, Marlboro NY. 845236-7970.
 Thu 1/31 Tony Purrone Trio at Cafe Nine, 8:00 PM. 250
State Street, New Haven CT. 203-789-8281.
 Thu 1/31 Hot Club of Detroit at Garde Arts Center, 7:30
PM. 325 State Street, New London CT. 860-444-7373.

Clubs & Venues
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883,
www.55bar.com
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500, www.92ndsty.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, www.aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050, www.lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway and
60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp
American Museum of Natural History, 81st St. &
Central Park W., 212-769-5100, www.amnh.org
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,
www.arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-3782133, www.artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, www.lincolncenter.org
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn,
NY, 718-622-7035, www.freddysbackroom.com
BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100,
www.bam.org
Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800,
www.Bar4.net
Bar on Fifth — Jazz at the Bar on Fifth, Music every night 8:00
PM - 11:00 PM, No cover charge, one drink minimum
The Bar on Fifth at the Setai Fifth Avenue Hotel, 400 Fifth Avenue,
New York, NY, 212-695-4005—www.capellahotels.com/newyork/
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, www.barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
www.bargemusic.org
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
www.bbkingblues.com
Beacon Theatre, 74th St. & Broadway, 212-496-7070
Bickford Theatre, on Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-744-2600
Birdland, 315 W. 44th St., 212-581-3080
Blue Note, 131 W. 3rd St., 212-475-8592,
www.bluenotejazz.com/newyork
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718403-7450, www.bluestonebarngrill.com
Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036,
212-245-2030, contact@bourbonny.com,
contact@frenchquartersny.com
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
www.bowerypoetry.com
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,
NY, 718-230-2100, www.brooklynpubliclibrary.org
Buttonwood Tree Performing Arts & Cultural Center, 605
Main St., Middletown, CT. 860-347-4957, www.buttonwood.org.
Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664,
www.cafestbarts.com
Caffe Vivaldi, 32 Jones St, NYC; www.caffevivaldi.com
Candlelight Lounge, 24 Passaic Street, Trenton. 609-695-9612.
Carnegie Club, 156 W. 56th St., 212-957-9676,
www.hospitalityholdings.com
Carnegie Hall, 7th Av & 57th, 212-247-7800,
Casa Dante, 737 Newark Avenue, Jersey City, NJ,
www.casadante.com
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange,
NJ, Phone: 973-736-4800, www.cecilsjazzclub.com
Charley O’s, 713 Eighth Ave., 212-626-7300
Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave.,
Asbury Park, 732-774-5299
City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-6080555. www.citywinery.com
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd),
212-769-6969, www.cleopatrasneedleny.com
Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia Street Café, 29 Cornelia St., 212-989-9319, www.
Creole Café, 2167 Third Ave (at 118th), 212-876-8838.
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
Crossroads – 78 North Avenue, Garwood, NJ
Cutting Room, 19 W. 24th St, Tel: 212-691-1900,
www.thecuttingroomnyc.com
Destino, 891 First Ave. & 50th St., 212-751-0700
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212,
www.jazzatdetour.com
Division Street Grill, 26 North Division Street, Peekskill, NY,
914-739-6380, www.divisionstreetgrill.com
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212258-9595, www.jalc.com
DROM, 85 Avenue A, New York, 212-777-1157,
www.dromnyc.com/
The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-8317272, Fax: 212-831-7927, www.elmuseo.org
The Encore, 266 W. 47th St., 212-221-3960,
www.theencorenyc.com
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
www.liveatthefalcon.com
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369,
www.fatcatjazz.com
Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street),
NY, 212-339-4095, feinsteinsattheregency.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
www.fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, www.flushingtownhall.org
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn,
NY, 718-625-9339, www.frankscocktaillounge.com
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188,
www.galapagosartspace.com
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, www.garagerest.com
Garden Café, 4961 Broadway, by 207th St., New York, 10034,
212-544-9480
Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY
10027, 212-792-9001, http://redroosterharlem.com/ginnys/
Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362,
www.glenrockinn.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
www.greenwichvillagebistro.com
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
www.harlemtearoom.com
Hat City Kitchen, 459 Valley Street, Orange. 862-252-9147.
www.hatcitykitchen.com
Havana Central West End, 2911 Broadway/114th St), NYC,
212-662-8830, www.havanacentral.com
Hibiscus Restaurant, 270 S. Street, Morristown, NJ, 973-3590200, www.hibiscusrestaurantnj.com
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.
www.highlineballroom.com, 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, www.hopewellvalleybistro.com
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com
Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800,
www.jalc.org
Frederick P. Rose Hall, Broadway at 60th St., 5th Floor
Dizzy’s Club Coca-Cola, Reservations: 212-258-9595
Rose Theater, Tickets: 212-721-6500
The Allen Room, Tickets: 212-721-6500
Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-2420491, www.jazzgallery.org
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232,
www.jazzstandard.net
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, www.joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-4200998, www.julesbistro.com
Kasser Theater, 1 Normal Avenue, Montclair State College,
Montclair, 973-655-4000, www.montclair.edu/arts/
performancefacilities/alexanderkasser.html
Key Club, 58 Park Place, Newark, NJ, (973) 799-0306,
www.keyclubnj.com
Kitano Hotel, 66 Park Ave., 212-885-7119. www.kitano.com
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
www.knickerbockerbarandgrill.com
The Knitting Factory, 74 Leonard St., Tel: 212-219-3132,
www.knittingfactory.com
La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090,
908-232-2642, www.lafamigliasorrento.com
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
Street, New York, 212-529-5945, www.lalanternarcaffe.com
Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn,
http://nymag.com/listings/restaurant/le-grand-dakar/
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,
New York, 212-246-2993, www.lemadeleine.com
Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
www.lenoxlounge.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
St.), 212-260-4080
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
www.liveatthefalcon.com
Living Room, 154 Ludlow St. (betw Rivington & Stanton),
212-533-7235, www.livingroomny.com
The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
www.makor.org
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
www.lounge-zen.com
Makeda, George St., New Brunswick. NJ, www.nbjp.org
Maxwell’s, 1039 Washington Street, Hoboken, NJ, 201-653-1703,
www.maxwellsnj.com
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
www.mccarter.org
Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw
Broadway & Amsterdam), 212-501-3330, www.ekcc.org/
merkin.htm
Metropolitan Room, 34 West 22nd Street New York City, NY
10012, 212-206-0440, www.metropolitanroom.com
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
718-488-8200 or 718-636-4100 (BAM)
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, www.mixednotescafe.com
Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
www.mobayrestaurant.com
Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
www.montaukclub.com
Museum of the City of New York, 1220 Fifth Ave. (between
103rd & 104th St.), 212-534-1672, www.mcny.org
Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or
860-231-0663
Newark Museum, 49 Washington Street, Newark, New Jersey
07102-3176, 973-596-6550, www.newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
07102, 973-642-8989, www.njpac.org
New School Performance Space, 55 W. 13th St., 5th Floor (betw
5th & 6th Ave.), 212-229-5896, www.newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St., 1st
Floor, Room 106, 212-229-5488, www.newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway &
University), 212-222-5159, www.bahainyc.org
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-7971197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, www.northsquarejazz.com
Novita Bistro & Lounge, 25 New St, Metuchen.
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925,
www.nublu.net
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212505-8183, www.nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
6th Ave.), 212-840-6800, www.thealgonquin.net
Oceana Restaurant, 120 West 49th Street, New York, NY 10020
212-759-5941, www.oceanarestaurant.com
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
www.opiarestaurant.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973746-6778. www.palazzonj.com
Performance Space 122, 150 First Av., 212-477-5829,
www.ps122.org
Pigalle, 790 8th Ave. 212-489-2233. www.pigallenyc.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 973-639-7885
Private Place, 29 S. Center Street, South Orange, NJ, 973-6756620 www.privateplacelounge.com
Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-3412233, jazz Wednesdays
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,
NY, 718-768-0855
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
908-232-7320, www.16prospect.com, www.cjayrecords.com
Puppets Jazz Bar, Puppet Jazz Bar, 481 5th Avenue, NY 11215,
718- 499-2622, www.PuppetsJazz.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
www.redeyegrill.com
Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795
Rockwood Music Hall, 196 Allen St, New York, NY 10002
212-477-4155
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100, www.amnh.org/
rose
Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY
12472, 845-658-9048, www.rosendalecafe.com
Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th
St. 212-620-5000. www.rmanyc.org
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www.
rustikrestaurant.com
Shapeshifter Lab, 18 Whitwell Pl, Brooklyn, 646-820-9452.
www.shapeshifterlab.com
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
www.saintpeters.org
Salon at Rue 57, 60 West 57th Street, 212-307-5656,
www.rue57.com
Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159,
www.sasasloungenyc.yolasite.com
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
27
Clubs & Venues
www.nypl.org/research/sc/sc.html
Session Bistro. 245 Maywood Avenue, Maywood. 201-880-7810.
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
www.shanghaijazz.com
ShapeShifter Lab, 18 Whitwell Place, Brooklyn, NY 11215
www.shapeshifterlab.com
Showman’s, 375 W. 125th St., 212-864-8941
Sidewalk Café, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-2652525, www.silverspooncoldpspring.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn,
NY, 718-398-1766, www.sistasplace.org
Skippers Plane Street Pub, 304 University Ave. Newark NJ, 973733-9300, skippersplanestreetpub
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
www.smallsjazzclub.com
Smith’s Bar, 701 8th Ave, New York, 212-246-3268
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Somethin’ Jazz Club, 212 E. 52nd St., NY 10022, 212-371-7657
Sophie’s Bistro, 700 Hamilton St., Somerset. www.nbjp.org
South Gate Restaurant & Bar, 154 Central Park South, 212-4845120, www.154southgate.com
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787
South Street Seaport, 207 Front St., 212-748-8600,
www.southstseaport.org.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, www.lincolncenter.org
The Stone, Ave. C & 2nd St., www.thestonenyc.com
Sugar Bar, 25 4 W. 72nd St ., 212-579-0222,
www.sugarbarnyc.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, www.swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212932-3228, www.symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762, www.tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
212-777-7776, www.terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, titopuentesrestaurant.com
Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254,
www.tomijazz.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212358-7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000. www.thetrashbar.com
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590, www.triadnyc.com
Tribeca Performing Arts Center, 199 Chambers Street, 10007,
info@tribecapac.org, www.tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www.
trumpetsjazz.com
Tumulty’s Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://www.turningpointcafe.com/
Village Vanguard, 178 7th Avenue South, 212-255-4037,
www.villagevanguard.net
Vision Festival, 212-696-6681, info@visionfestival.org,
www.visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
908-753-0190, www.watchungarts.org
Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538,
914-834-2213, www.watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY
11211, (718) 384-1654 www.wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
www.zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St.
RECORD STORES
Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway. 212-265-2050,
www.colonymusic.com
Downtown Music Gallery, 13 Monroe St, New York, NY 10002,
(212) 473-0043, www.downtownmusicgallery.com
J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, www.jazzrecordcenter.com
Norman’s Sound & Vision, 555 Metropolitan Ave, Brooklyn,
New York 11211
Princeton Record Exchange, 20 South Tulane Street, Princeton,
NJ 08542, 609-921-0881, www.prex.com
Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks
Pl.), 212-505-1774
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, www.scotticd.com
MUSIC STORES
Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave),
212-819-0576, Fax: 212-391-9250, www.mannysmusic.com
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212840-3057, 212-391-1185, www.drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036,
646-366-0240, Repair Shop: 212-391-1315; 212-840-7224,
www.robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New
York, NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island
City, NY 11101, 718-433-1990. www.sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New
York, NY 10019, 212-730-8138, www.maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn,
NY, 718-622-3300, www.brooklynconservatory.com
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
212-741-0091, www.thecoll.com
Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163,
Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, www.greenwichhouse.org
Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Long Island City, 718-482-5151
Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900
Long Island University — Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ
07305, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies, 35
West 4th St. Room#777, 212-998-5446, 212-995-4043
New
York
Jazz
Academy,
(718) 426-0633,
www.NYJazzAcademy.com
Princeton University-Dept. of Music, Woolworth Center Musical
Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College — Copland School of Music, City University of
NY, Flushing, 718-997-3800
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus, PO Box 270, New Brunswick, NJ, 908-932-9302
Rutgers University Institute of Jazz Studies, 185 University
Avenue, Newark NJ 07102, 973-353-5595
newarkwww.rutgers.edu/IJS/index1.html
SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY
914-251-6300, 914-251-6314
William Paterson University Jazz Studies Program, 300 Pompton
Rd, Wayne, NJ, 973-720-2320
RADIO
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, www.wbgo.org
WCWP, LIU/C.W. Post Campus
WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
WKCR 89.9, Columbia University, 2920 Broadway
Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920, www.columbia.edu/cu/wkcr, jazz@wkcr.org
One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on
Saturdays, and at www.tribecaradio.net at 11AM Sundays and
again on Monday and Thursday nights at 11PM.)
Lenore Raphael’s JazzSpot, www.purejazzradio.com.
PERFORMING GROUPS
Westchester Jazz Orchestra, Emily Tabin, Director, PO Box 506,
Chappaqua, NY 10514, 914-861-9100, www.westjazzorch.org
ADDITIONAL JAZZ RESOURCES
Big Apple Jazz, www.bigapplejazz.com, 718-606-8442,
gordon@bigapplejazz.com
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, www.satchmo.net
Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900,
www.jazzmobile.org
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
www.jazzmuseuminharlem.org
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, www.jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org
New York Blues & Jazz Society, www.NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, www.rmanyc.org.


28
Feature
Impressions in Modern Music:
An Overview of Miles Davis’ Birth of the Cool Recordings
By John R. Barrett Jr.
It happens often in jazz history: a prominent
figure launches a new project, which is ignored
until others realize (years after the fact, in many
cases) the influence it had on later efforts and
other musicians. In retrospective, it seems Miles
Davis went out of this way to make things difficult for himself: known mostly at the time for
being the other horn in Charlie Parker’s quintet,
his first band as a leader put him in a context
owing little to Bird, or to bop itself. While the
ensemble did include stars (most notably, Max
Roach) most of the players (and for that matter,
their instruments) were not familiar to the typical
jazz fan. Just finding gigs for the band proved a
major struggle: club owners balked at paying
nine musicians, and the group only managed two
engagements before disbanding. When the
band’s early discs failed to set the world on fire,
most of what they recorded remained in the vault
until 1957, nearly a decade after the tapes rolled.
But by that time, as many of the participants had
achieved names on their own, it was clear that
the group and its material had been an effective
proving ground, as Miles’ later groups would be.
While Miles was the catalyst, the Birth of
the Cool band was very much a collaborative
effort. While he only contributed two arrangements to the band’s book, Gil Evans was a key
ingredient, in his approach to scoring and
through the musicians he knew. Since 1941 he
had been arranging for the Claude Thornhill big
band, one of the first to include French horn and
tuba in its orchestration. On Sundays likeminded musicians, including Gerry Mulligan,
John Carisi, George Russell, and John Lewis,
would gather to discuss music and ways to advance their ideas. This salon-of-sorts developed
into a rehearsal band, including a number of
Thornhill’s crew.
An additional spark came in a roundabout
way: Evans, wanting to write a big-band arrangement of “Donna Lee”, contacted Miles to
get permission. Davis, who by this time had left
Parker and was eager to try something different,
asked to see how he arranged. In his autobiography Miles intimates that Evans’ true goal in this
was to get in with Charlie Parker. That never
happened, but once he entered the salon, Miles
became fascinated. “[W]e found out that I liked
the way Gil wrote music and he liked the way I
played.” In time Gerry Mulligan joined the circle, and the three men discussed Evans’ arranging dynamics and how to make it work in a small
group. Deciding nine musicians were necessary,
the next task was to find those musicians.
With the exception of Max Roach, most of
the personnel came from Gil’s contacts, either in
the salon band or Claude Thornhill’s outfit. For
the deep brass, tuba Bill Barber and French horn
Sandy Siegelstein came from Thornhill; Junior
Jazz Inside-2013-01_029-...
page 1
Collins, another Thornhill veteran, replaced
Siegelstein at the Royal Roost date. For the alto
chair Miles wanted Sonny Stitt, in part for his
sonic resemblance to Bird. As Stitt was unavailable, Miles hired Lee Konitz on the suggestion
of Mulligan. “But Gerry...wanted Lee Konitz
because he had a light sound rather than a hard
bebop sound ... Gerry felt that with me, Al
McKibbon, Max Roach, and John Lewis all in
the group and all coming from bebop, it just
might be the same old thing all over again...”
Finding a suitable trombone proved difficult. Miles’ choice, J. J. Johnson, was on the
road with Illinois Jacquet, so the trumpeter went
scouting at jam sessions. The most obscure of
the original band members, Mike Zwerin wasn’t
even a professional musician, but a Florida college student on vacation in the Apple. Regarding
his inclusion, Miles in his book is dismissive:
“So we settled on a white guy...” Zwerin’s account is more detailed: “A lot of young cats
considered Minton’s too steep a slope, but I
never imagined that somebody might not like me
because I was white. I walked in, unpacked my
1998 album Complete Birth of the Cool.
One thing you notice immediately about the
live broadcasts: neither group nor music are ever
referred to by the session’s now-familiar name.
The WMCA studio announcer makes mention of
“the Miles Davis Nonet,” while Symphony Sid
Torin (who was likely present on the Royal
Roost stage) always calls the group “The Miles
Davis Organization.” Not until the music’s 1957
reissue, on 12-inch LP, would the Birth of the
Cool name be used; that title has been variously
attributed to Gerry Mulligan or to Pete Rugolo,
who produced the studio sessions.
On the September 4 broadcast Sid calls the
band’s program “Impressions in Modern Music” (likely his invention, as Miles never uses
this name in his autobiography.) Sid then introduces the band, for some reason mentioning Bill
Barber twice – perhaps to emphasize the novelty
of a jazz tuba. When the formalities are done, the
band gets going with “Move”: same chart as the
studio version, though the low brass seems more
prominent.
The first solo, surprisingly, goes not to
Miles but Mike Zwerin, the band’s newest hiree.
He actually begins two bars before the ensemble
concludes, continuing the phrase with leisurely
pace and buttery tone. Konitz’ effort seems hurried, perhaps a little agitated; his notes buzz as
they spiral upward. During his solo all goes
quiet: beyond McKibbon’s walk and the occasional bomb from Max, all is silence. Miles steps
in (a couple bars late, it sounds like) tentative at
“known mostly at the time for being the other
horn in Charlie Parker’s quintet, his first band
as a leader put him in a context owing little
to Bird, or to bop itself.”
horn and played “Walkin’”... When I noticed
Miles Davis standing in a dark corner, I tried
harder because Miles was playing with Bird …
‘You got eyes to make a rehearsal tomorrow?’
Miles asked me.”
Rehearsals took place at Nola’s Penthouse
on 57th Street, in the famous Steinway Building.
The band’s book was small and mostly crafted
by Mulligan and John Lewis; Gil Evans wrote
two charts, and John Carisi scored his tune
“Israel”. Typically the charts eschew the usual
big band call-and-response routines, preferring
to set the musicians in pairs: up front Miles and
another horn (typically Konitz), beneath them
trombone and the other sax, with French horn
and tuba at the depths. Through the assistance of
producer Monte Kay, the group landed a two
weeks’ residency at The Metropolitan Bopera
House, or to use its proper name, The Royal
Roost. For the first part of September, Miles
opened for Count Basie’s orchestra; Basie
thought the lineup intriguing (perhaps it inspired
his short-lived octet of 1950), but the general
reaction is often described as tepid. Two of the
group’s shows were broadcast live on New
York’s WMCA radio; for years available only as
bootlegs, these performances were compiled,
along with the band’s studio sessions for the
first, he soon sprints in angular steps, hewing
close to the theme. Max grows more active during Miles’ bit, and on the exchanges, he is ready:
lots of toms, and snares so rapid they sound like
cymbals. The ensemble sound is really tight at
the close, and sadly the ending is cut, so we
don’t know the crowd’s reaction. Throughout the
song they were silent; I suspect I would not have
been.
“Why Do I Love You?” is a surprise, the
first of two songs to be left off the studio album.
A misterioso opening leads to a sleek reading of
the theme, with Miles atop a soft bed of reeds.
Zwerin has a brief statement as the theme concludes; Miles takes it from there, with clear
rounded notes that glow in the right places. Behind him are tiny chords from John Lewis, and
not much else; when Kenny Hagood comes in
for the vocal, we get an up-and-down three-note
riff, mostly French horn with a little Konitz on
top. (This is the best part of the chart, which is
the work of Lewis.)
Hagood, one must admit, is an acquired
taste. He toured with Dizzy Gillespie’s band in
1948, specializing in the bop-syllables lyrics that
Dizzy adored. Here he’s attempting the emotional ballad style of Billy Eckstine, without
29
Composite
having quite the voice for it; he is, however, less
florid than on “Darn That Dream”, and that is a
plus. He gets quite a hand as he leaves; a quick
figure from Barber leads to a unison brass riff,
with concluding grace notes by Zwerin, then
Miles, and then the audience.
“Godchild” is where we hear Gerry Mulligan for the first time; it’s also his chart, and the
stream of orchestral colors, as the theme turns
from reeds to low brass to trumpet, is lovely to
behold. (The execution is rougher than on the
studio date, but the charts are identical.) On the
bridge, Miles is soft but strong; his tone is less
pinched then in the studio, and there’s a nice
vibrato on the longer notes. His solo is faster,
as jagged flutters intersperse with languid strolls
in mid-register. (During one of these intervals,
he slips in a quote of “Tiptoe Through the Tulips!”) Mulligan’s turn is quite woody, like a
clarinet in places; that mood is carried by
Konitz, who whistles through his part at the top
of his register. Miles is especially warm on the
end-theme, and crowd is likewise.
Max gives a Jo Jones intro to “S’il Vous
Plait”, a John Lewis blues that also missed the
recording session. Miles leads the brass through
a clipped march; the reeds do a double-time
spiral around them. Konitz is quite busy on a
metallic, interlocked cluster of notes; someone, I
think Miles, shouts encouragement. The leader
then does his, less frantic, but far from leisurely.
Junior Collins is prominent in the fog of backing
brass. Gerry whispers on his effort, with a good
bit of gravel; the busy riffs step on his toes, one
example where less might have worked more.
Miles glides smooth on the ballad “Moon
Dreams”; Mulligan is less audible on the intro
than on the studio take, but it appears to be the
same arrangement. Lee’s solo is short but perfect, a spiking surge blending well with the riffing backdrop. Gerry’s is also succinct, and almost as sweet; Miles doesn’t solo per se but is
heard prominently in the end-tag, a densely orchestrated lament sounding like a tone-poem.
The September 4 session ends with “Budo”,
Miles’ variation on a tune Bud Powell called
“Hallucinations”. The pace is slower than the
studio version, and Mulligan is less prominent
on the ensemble; since it seems to be the same
chart, this may be related to the sound quality.
Miles stays in a narrow range, swaying gently
with long-held notes; his pace picks up near the
end of his chorus, with Max helping out on bass
drum. Konitz has two turns, both short and both
wonderful; Miles’ return is annoyingly obscured
by Sid’s concluding remarks (and much noise
from the source disc.)
The remaining live material on Complete
Birth of the Cool comes from September 18, as
the group was winding down its residency at the
Roost. First up is “Darn That Dream”, and another spot of Kenny Hagood. He may not be
Eckstine, but he’s trying … in many senses of
the word. With the same chart as the studio take,
Miles seems stronger, more incisive; too bad that
ripe voice gets in the way. His solo varies little
from the theme, and his tone is radiant: his whispering harmonies during Gerry’s solo are inspired. Less so is Hagood’s return, where he
holds the final note way too long and wavers
badly in the process; still, the crowd seems to
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like it. The following “Move” does: even faster
than the studio take, Konitz is more noticeable
on the theme and gets the first solo. (Apparently
Mulligan thought it was his, as he comes in for
two bars before ceding to Lee.)
The alto is tightly coiled, whirring in furious movements; the second chorus is slower and
perhaps more lyrical, but still plenty fast. Miles
takes that challenge, slurring his phrases in a
mass of four-note ascents – his departure seems
very abrupt, possibly due to recording issues.
John Lewis’ comping is far more active than the
earlier date, with many melodic ideas; his solo
goes the same route, though little happens of
note. The exchanges (just two of them) are
prime, with Miles being edgy and Max thoroughly explosive. The drummer then decides to
not let Miles back in, uncorking an orgy of cymbals in a short but volcanic turn. Konitz gets the
bridge on this “Moon Dreams”, wispy and wistful; the solo goes to Gerry, whose slow amblings
are golden. This take is very much the template
for the later recording; Miles never leaves the
ensembles but his presence is felt.
The whole group seems loaded for bear on
“Budo”, the last track on this session, as it was
on September 4. Faster than the earlier rendition,
Miles is more clipped, less tangy: the track is
fast but the players sound relaxed, except maybe
Lewis, whose comps jab their way in. Miles ends
with a double-time passage, then the reeds share
a chorus: you get a “Four Brothers” vibe here,
given how well they complete each others’
phrases. On the next chorus, they do it unison – a
real thrill, and perhaps the inspiration for Gerry’s
excursions with Chet Baker. Stick around for
Max’ workout at the end, and lament that the
Nonet could not continue as a working band:
after a brief gig at the Clique Club, this group
was no more. Or would have been, but for
Miles’ contract with Capitol Records: he owed
the label twelve songs for 78 RPM singles, and
for this the outfit re-formed for three sessions,
the first in January 1949.
Most of the players from the Roost date are
here, with three exceptions: replacing John
Lewis was Al Haig, Miles’ bandmate from his
Charlie Parker days. The bass chair was now
held by Joe Shulman and, as Mike Zwerin had
returned to college, Kai Winding took the trombone spot. The limitations of the 10-inch 78,
where no song could exceed 3½ minutes,
brought with them a minus (solos had to be
brief) and a plus (players packed as much as they
could in their tiny spotlights.)
As a result, all the studio takes are shorter
than their concert versions; “Budo” is nearly half
its original length. Furthermore, most tunes have
faster tempos as well; “Move” now runs at a
gallop, and Miles dominates the theme statement. His solo attacks more than on the live
versions, with nervous diagonals and a raft of
slurred notes. Konitz is icy: precise notes in
delicate arcs, fast but not hurried. It’s a model of
precision: were his tone less metallic, it’d sound
like Paul Desmond. The exchanges are ferocious
and Max, with just four bars to himself, brings a
multitude of thunder.
“Budo” is compact to a fault: the lines go so
swiftly some of the chart’s beauty is lost. Not so
for Miles: his tone is crisp as he matches the
contours of Shulman’s taut bass. Mulligan hums
warmly as he approaches alto range; Konitz gets
quite lyrical in eight short bars, and Winding’s
bit is charming and rubbery. Not that it’s bad,
but you wish it were less tightly wound.
“Godchild” avoids that problem: the ensembles
aren’t rushed, and the chart’s dynamics seem
more polished than the live date. Davis’ notes
ring as he drawls upward phrases – there is no
hurry, and nothing out of place. Gerry is aggressive, with more bite to his tone than most of
these solos. By chorus end, with the band riffing
around him, he seems to go triple-time … astounding.
Mulligan also wrote “Jeru”, the first of the
tunes unique to the album. The rollicking theme
goes down easy, with a chart not as “full” as the
others; Miles is decidedly unboppish in his lyrical amble. Gerry sounds sly on his turn, a rusty
tone enhancing all. While much of this album is
not “cool” as normally defined, this track certainly qualifies, and it helps marks the path Mulligan would take for much of his career.
Two singles were issued of the January
material; the group returned to WOR Studios on
April 22 to cut four more sides. John Lewis was
back on piano, but fronting an unfamiliar rhythm
section, with Nelson Boyd’s bass and Kenny
“Klook” Clarke at the drums. (In roughly three
years Lewis would join Clarke in the first version of The Modern Jazz Quartet.) Sandy Siegelstein was now playing French horn, and Miles’
original choice J. J. Johnson filled the trombone
spot; otherwise the horns were identical. All
tunes on this date were unique to the studio:
Mulligan’s “Venus de Milo” comes with trumpet
and alto on a unison theme. This is complemented by a warm brass chord, Barber more
prominent than usual. Miles is clear and stately
as he first re-traces the theme, then floats gently
atop the ember-like brass. It may be his best of
these solos; Gerry wanders low with a tone that
suggests he’s smiling.
“Boplicity”, a song Miles wrote with Gil
Evans, was credited to “Cleo Henry” on the
original disc. Miles didn’t want the tune to go to
his publisher at the time, so he used his mother’s
maiden name as an alias. (It is the only tune he
would credit this way.) Evans’ chart has a nice
dynamic on the theme, where for a time the low
instruments play above the high. Mulligan continues the idea, strolling pretty near the top of his
range; after a unison interlude, Miles takes gentle steps north, parallels the ensemble for a
while, then rises again as the band radiates.
“Israel”, the album’s only blues, may have
the set’s most modern theme, certainly its most
ambitious chart. (Both were the work of John
Carisi, a trumpeter who later contributed
“Springsville” to the Miles Ahead album.)
Konitz’ hyperactive flutter starts it with a bang,
and Miles rides the theme above a thicklyharmonized ensemble. His solo has a tart tension, joined at first by piano and then the whole
gang; some might call this too busy, but I find it
fascinating. Lee soon returns, first as a soft
breeze, then as a hummingbird – fast, static, and
very lovely. How jagged the chart gets at the
end, and how confident. For me this ranks with
“Deception” as the album’s highlight. Lewis’
Composite
Performance Review
The Under_Line Benefit
Angel Orensanz Foundation, 172 Norfolk St,
NYC
December 4, 2012
Review and photo (of Milford Graves and Joe
Lovano above) by Ken Weiss
Hidden away on the second floor balcony
of the magnificent Angel Orensanz Foundation, the sudden blast from Roy Campbell’s
trumpet announced the start of the Under_Line Benefit - Patricia Parker’s Arts for
Art organization’s campaign to secure a permanent Lower East Side home for the creative
arts. The 17,000 square foot undeveloped
basement of the Clemente Soto Velez located
at 107 Suffolk Street is the targeted prize and
would serve as a dynamic performance/
practice venue for a broad spectrum of artists.
The benefit was programmed by cochairs Christian McBride, William Parker and
DJ Spooky (Paul Miller) to be a wide musically inclusive event. There was ex-Fugees
collaborator, guitarist/vocalist John Forte, to
satisfy the hip-hop crowd, DJ Spooky, who
said, “Everyone’s moving out to Brooklyn,
we’ve got to find a way to keep New York
City,” to reach the “trip hop” fans, McBride
and Joe Lovano to appeal to the more traditional-minded, drummer Billy Martin for the
“avant-groove” fans of Medeski Martin &
Wood, creative dancer Yoshiko Chuma, and a
boatload of avant-garde jazz stars. It certainly
was one to tell the grandkids about – when
else will you ever have Joe Lovano doing the
nasty in duo with sorcerous percussionist MilTo Advertise CALL: 215-887-8880
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ford Graves for three songs, getting progressively more connected and enthralling as they
settled in with each other, really nailing it on
the last piece. Another headlining mashup was
bass titans Christian McBride and William
Parker extorting their axes, side-by-side, as
part of an exhilarating and spiritually intense
segment that included all-stars Charles Gayle
on tenor sax, Hamiet Bluiett on bari sax, Jason
Kao Hwang on violin, and Cooper-Moore on
percussion. That’s only the tip of the iceberg,
what are the odds of Lovano, vocalist Judi
Silvano, William Parker and Billy Martin
playing together again?
Other once in a lifetime segments included dancer Chuma dancing into the audience to grab a photographer’s camera and
photograph him (reportedly it was poorly focused). She also grabbed a cane from a man in
a neck-brace, danced with it, and then danced
with him (happily, he survived the incident
unscathed). There was the DJ Spooky section
where he looped and layered Adrianna
Mateo’s violin into a soaring wondrous high
that filled the towering space. Personally, I’ll
not forget the intense drama attached to the
unplanned trio performance of Sun Ra Arkestra’s Marshall Allen on alto sax and EVI,
Graves and bassist Henry Grimes. The hyperkinetic saxophonist and percussionist
forged an impressive connection until Allen
decided that Graves should stop so he could
have an extended duet with Grimes. Graves
took advantage of the opportunity to climb
down off stage and sit in the front row to talk
with poet Amiri Baraka. He finally returned to
the drums upon seeing that his services were
again needed. Days
later, it was discovered
that Allen had mistakenly downed four
glasses of punch without realizing that it was
spiked. Further evidence that reality, as is
music, is not always
what you think it will
be.
Although the media may pigeonhole
jazz into tightly confined compartments,
it’s clear that forwardthinking artists such as
Lovano and McBride
don’t share that narrow
mindset.
“Milford
Graves,” Lovano said,
“Is one of the drummers I’ve always
wanted to play with,
man, my whole life. In
New York, in the midseventies, one of the first places I went to was
Ali’s Alley and met Rashied (Ali) and played
with him and, subsequently, through the
years, played a lot with him. That whole
school of playing, man, the creative flow,
developing ideas as you move along, and creating understructures, is what improvisation
has always been about for me. To play with
Milford tonight was a thrill. We played three
pieces and each piece had its own flavor,
mood and color. He’s a master.” McBride
was thrilled to co-chair the event and hoped to
be more active with Arts for Art in the future.
“It’s great to be here with a lot of the people
I’ve admired through the years like Charles
Gayle, William Parker, Milford Graves and
Marshall Allen,” he said. “Playing with William Parker was everything you think it would
be – it was great!” More information on Arts
for Art can be found at artsforart.org.
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Interview
Jana Herzen
Composer, Guitarist, Founder: Motema Music
JI: What was it that motivated you or pushed
you over the edge to startup a record label —
Motema — ten years ago?
JH: I actually sung and played guitar in folk
clubs when I was a teenager. That was my first
dream. Then I got involved in theater because I
thought it was a more rational profession. I’m
not sure that that’s true. [laughs] The music kept
calling me and I decided I would make a record.
So making my record is what turned me in this
direction. I had to read up on how to make a
record, and then trying to promote my record is
what resulted in me having discussions with
Babatunde Lea back in California. He was drumming with me, and he had some experience in
the music industry. He had put out a couple of
records. He thought it would be a good idea to
have a record label. I thought, “Well, maybe.”
It’s not like a I had a dream to have a label. But
I’ve always promoted other artists since I was
quite young.
JI: What comprised your repertoire when you
were focused on folk music?
JH: I was doing Leonard Cohen, the Doors, Pink
Floyd … I didn’t want to sing what everybody
else was singing. I didn't write my own material
so I had to go ferreting out interesting material to
sing. I had a real attitude about it. Everybody
was singing “Stairway To Heaven” - I wasn’t
going to be doing it. I had the “I’ve got to do
something different” vibe as a teenager—and I
producer of these first records and she introduced me to a number of people when I came to
New York. David taught me the ropes. I knew
nothing about the record industry. I hadn’t
worked in the industry. I knew about arts promotion from the theater industry. But I didn’t know
the all the ins and outs—so much detail … all
these little pieces and parts and things that you
have to send and list them and get the marketing
points correct, and shipping and shipping
charges … it’s really a lot of minutiae. Then you
get into the digital arena and there’s even more
minutiae—the reporting, the royalty reporting.
David gave me a primer on distribution. Then,
just as we were about to release the first record,
he left because he had gotten job with a big salary to work at Narada Records. I was like, “Uhoh! This label has no pop anymore.” That was
one of the big learning lessons for me. That’s
just the way the business is. We just experienced
that with a wonderful marketing person who had
been with us for three years. She decided to
move to Austin. So one of the things about having a company is that people work for you as
long as they do and then they move on—when
it’s time for them. That kind of set me scrambling—and that’s part of what brought me into
New York City. At the time I was actually backing the label and being involved artistically. But
I had hired David anticipating he would handle
the marketing aspect of it.
JI: Is Motema an all-female staffed company?
“I believe that if you don’t like the news, then
you go out and make some of your own.”
guess I still have it with this label.
JI: What did you learn from putting out your
own record and then what kinds of challenges
and learning did you experience at the label level
upon starting Motema?
JH: I learned about the DIY [do-it-yourself]
method. The first album that we put out was by
Babatunde Lea, and the second was Lynne Arriale’s Arise. Tunde was a West Coast AfroCentric jazz artist. Lynne had her trio and career
going, and was touring. Her record went to number one at jazz radio—which was fun to watch. It
was one of the best-sellers we ever put out. It
came out right after 911—and she had written a
song in memory of the people. By the way, I
didn’t start the label all by myself. I had hired a
consultant named David Neidhart, at the suggestion of Suzi Reynolds. He had been a marketing
executive for Polygram and Verve. Suzi was the
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JH: It has been a female-heavy label. There’s no
question. We have had more women than men
working at the label. It’s not that I have chosen it
that way. We have had various people working
with us over the years. There have been great
women who have come in—like Kaitlin who has
been with us for six years as Administrative
Manager and Production Coordinator. Cary
Goldberg has been publicist for us for years
now.
JI: What are your observations about the current
reality of this dynamic, fast-changing and evolving landscape and business that is the music
world and the jazz niche in particular?
JH: I believe that if you don’t like the news,
then you go out and make some of your own.
Even just starting the label had something to do
with that—that it takes a bit of a village to do
things. I just saw incredible artists who weren't
being promoted. Our sales are actually increasing in this contracting market. Some of the releases are going to sell more digital copies and
some are going to sell more physical copies.
There’s income from Sound Exchange, our internet broadcast royalties, the income from digital,
the income from overseas, physical sales, sales
from the bandstand. My approach for this label
has been: how can we help the artist get on the
road? We’re the only label that regularly keeps a
booth at the APAP Convention (Association of
Performing Arts Presenters) - to make sure that
those people who are booking those performing
arts centers and festivals are aware of the artists
that I’ve signed, are aware of those that just need
to be seen for the first time. I love a good record,
but what the label is really about is outstanding
live performers—who can make you feel something when they’re performing. I prefer working
with people who are not just out there trying to
get the glory, but are out there communicating
something. Also, it’s hard to get a label to sign
you sometimes if you’re a teacher—because that
person may not be able to tour 100% of the
time—and then it becomes harder to make a
release profitable. I do know that if someone is a
great artist, and happens to be teaching, our efforts are a way to help them in their development
as their teaching. The main thing I consider in
selecting artists for the label is that they are composers. If someone comes along with an album
full of standards, even if it is brilliant, I’m generally not going to put it out …. unless maybe
there is some incredible concept about why those
standards are on there together. So I like to work
with people who are bringing new material into
the canon. I’m a songwriter and maybe that’s
one of the reasons that I feel that way. I’m interested in hearing what happens when they go into
the studio and they’re creating out of their own
center … with a fierce individual vision, and
have a lot of courage and a lot of expression
without concern about what everyone is going to
think.
Thursday, January 03, 2013 13:54
Magenta
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Grammy Nominated
Percussionist
Wilson
“Chembo”
Corniel
Quotes For
AFRO BLUE MONK
“Corniel is a percussion colourist who
stands head and shoulders above most
of his peers. His great artistry is informed
by his flawless technique, which he
embellishes with his consummate taste.”
“In fact Corniel is almost akin to an
ancient druid who has some magical
connection to the very force of nature that
produces the echoes that pass through
the gauntlet of time itself.”
“In this regard, this time around Corniel
has surpassed himself with one of his
most enduring albums.”
— Raul da Gama
LATIN JAZZ NETWORK / Five Stars &
Album of the Week - September 17, 2012
Gigs for January
New CD
Afro Blue Monk
Special Guest:
Jimmy Owens, trumpet
(2012 NEA Jazz Master
Award recipient)
Ileana Santamaria,
vocals / lyrics
Jan 3rd • The Nuyorican Poet’s Cafe
236 E. 3rd Street (btwn. Ave. B & C)
New York, NY
9:30pm & 11pm / 212-780-9386
w/ Chembo Corniel Quintet
Jan 15th-26th • Latin Jazz All-stars U.S. Tour
Jan 15th - Minneapolis, MN
Jan 16th & 17th • San Francisco, CA, Yoshi’s
Jan 18th • Indianapolis, IN
Jan 23rd • Tulsa, OK
Elio Villafranca, piano
Jan 24th • Denver, CO
Vince Cherico, drums
Jan 26th • Detroit, Music Hall
Ivan Renta, sax
Carlo De Rosa, bass
Distributed by
Allegro Media Group
www.ChemboCorniel.com
Jan 29th • The NYC Baha’i Center
53 E. 11th Street, New York, NY
212-222-5159
w/ Dave Chamberlain “Band Of Bones”
PHOTO BY: JERRY LACAY
CD Reviews
Terri Lynne Carrington
MONEY JUNGLE: PROVOCATIVE IN
BLUE—Concord Jazz CJA-34026-02. Money
Jungle; Fleurette Africain; Backward Country
Boy Blues; Very Special; Wig Wise; Grass
Roots; No Boxes, Nor Words; A Little Max
(Parfait); Switch Blade; Cut Off; Rem Blues/
Music.
PERSONNEL: Terri Lynne Carrington, drums;
Gerald Clayton, piano and Fender Rhodes;
Christian McBride, bass; Robin Eubanks, trombone; Tia Fuller, alto sax and flute; Antonio
Hart, flute; Nir Felder, guitar; Arturo Stable,
percussion; Shea Rose, voice; Lizz Wright,
voice; Herbie Hancock, voice of Duke Ellington
(track 11); Clark Terry, voice, trumpet (track 2).
By Eric Harabadian
This is the follow up to Carrington’s
Grammy Award-winning album The Mosaic
Project. This current endeavor is based on Duke
Ellington’s groundbreaking 1962 recording
Money Jungle. That featured Ellington along
with drummer Max Roach and bassist Charles
Mingus. It was a commentary on the challenges
of art and commerce that, of course, continue to
carry on today. To commemorate the 50th anniversary of this landmark album Carrington revisited the compositions and re-energized them for
a modern audience.
“Money Jungle” comes out swinging hard.
It begins with Carrington playing unaccompanied, but is soon joined by the trio of Clayton
and McBride. The ensemble decrescendos to
solo bass and the band comes back much quieter.
Underneath, the concept for the album emerges
as sound bytes of prominent politicians and pundits like Martin Luther King and President Bill
Clinton offer comments on social justice and the
state of the economy. This piece quickly flows
into the Clark Terry vehicle “Fleurette Africain.”
Here Terry scats and utters vocalese along with
some subtle muted trumpet. Light orchestration
from the woodwinds and horns accentuate the
piece as Clayton plays ornamentally and embellishes rather than extensive soloing. “Backward
Country Boy Blues” begins with wordless gospel-tinged voices from Rose and Wright as
Felder’s slide guitar sets the proper mood. The
tune then shifts from a bluesy country feel to
more of an urbane soul mix. The voices and
piano follow in unison as Carrington maintains
the groove with a nice ride figure. “Very Spe-
cial” returns to the trio format and is a relaxed IIV-V structure. Clayton stands out by laying
back a bit and allowing the piece to build in the
pocket. “Wig Wise” follows with a playful spirit.
Here the trio shines at their optimum. It opens
with a samba-like groove and sets things up for a
number of surprises. Not only is everyone at
their peak but McBride steps out with some fascinating note choices. Also, the group’s samba
rhythms give way to unexpected mid-eastern
modes. “Grass Roots” is another number that
swings. It’s kind of funky as well and when the
tempo and dynamics increase, Stable’s tambourine work really picks up the pace. Again, the
use of samples and sound bytes by President
George W. Bush and others help illustrate the
economic backdrop looming behind the album’s
intent. “No Boxes (Nor Words)” finds Carrington playing very subtly and with restraint. Clayton opens with emphasis on arpeggios and semiclassical nuances. McBride plays very softly,
using bow and alternating with fingers. When
the ensemble jumps into full-on swing mode
Clayton explodes in a strident manner. “A Little
Max ( Parfait)” is dedicated to one of the original recording participants Max Roach. Carrington does him proud matching every intricate
accent and move Clayton makes on the acoustic
88s. Overall the leader cooks underneath; lighting a fire that truly ignites the trio. “Switch
Blade” takes things down to solo acoustic bass,
then atempo with a smoky blues swing. Clayton
gets down and dirty here as horns and woodwinds enter the fray, elevating the track to a
fever pitch. “Cut Off” couldn’t be more different
and shows a bit of respite and a tender side of
the ensemble. This all leads to the conclusion
“Rem Blues/Music.” The wordless and angelic
voices of Rose and Wright set the tone and perform a recitation on the true essence of creativity
and music. “Music is a girl-child beautiful and
beaming.” “Wise and patient, unfathomable
kind….music is the woman you always wanted
to find.” These are some of the original sentiments expressed by Ellington and re-defined and
delivered by Rose and Wright. Hancock in the
spirit of Ellington summarizes the concept behind this landmark project with these words of
wisdom: “If jazz means anything at all it means
the same thing it meant fifty years ago—freedom
of expression.” Also, “If jazz is accepted as an
art the popularity of it doesn’t matter. When you
get into popularity then you’re talking about
money, not music.” Amen!
Charles Compo
FOOLISH PLEASURE—Chaos Music Company. The Blue Horn Man; Keeping it Real;
Steppin’ Off; Arctic Spring; Mom’s Midnight
Dilemma; Six Was Eight; Isn’t That Bad?; King
Kat; Nothing to Do About it; Rockaway; Astral
Love Song; Can’t Get a Picture Out of My Head.
PERSONNEL: Charles Compo, flute and tenor
sax, guitars; Tony Stewart, piano and keyboards;
Jeff Miller, keyboards and effects; Ted Daniel,
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med, percussion; Jerry Brooks, bass; Dave
Jones, bass.
By Eric Harabadian
Compo is a rare talent that can cover a
number of bases and do them extremely well.
He’s an accomplished flautist and saxophonist as
well as a pretty mean guitar player. Add composer, arranger and bandleader to the resume and
you’ve got one major tour de force!
The overall vibe of Foolish Pleasure is
somewhat light hearted and integrates funk and
fusion elements, with some more traditional jazz
structures. Perhaps auto-biographical, the album
kicks off with “The Blue Horn Man.” There is a
strong ‘70s feel at work here, with Compo doing
his best Gato Barbieri meets Ronnie Laws sax
licks. The tune’s slow and steamy mid-tempo
funk is catchy and the orchestration of flute and
sax blends ever so smoothly. “Keeping it Real”
continues that mid-tempo atmosphere as Compo
adds rhythm and lead guitar to his arsenal. Sustained flute passages weave perfectly with his
robust sax riffs. “Steppin’ Off” is relaxed and
laid back, with a Stanley Turrentine soulful sax
approach. The leader’s integration of Steve
Cropper-like guitar comps make this one extra
special. The poetically named “Arctic Spring”
has kind of a throwback disco push to it.
Compo’s flute work recalls Herbie Mann or
Dave Valentin here and his twelve string acoustic rhythms keep things solid and flowing.
“Mom’s Midnight Dilemma” sounds like an
outtake from the classic John Klemmer album
Touch. It is very soft and serene, with a velvety
edge. “Six Was Eight” strays a bit from some of
the compositional formulae here. There is a lilting brisk swing to the piece which is propelled
by Compo’s woodwind counterpoint and
Miller’s vibrant electric keyboards. “Isn’t That
Bad?” follows and features some really tasty
piano work by Stewart. The steady and stalwart
combination of Gainer and Ahmed make this a
standout as well. “King Kat” is a seamless blend
of flute and Daniels’ smooth trumpeting. When
Daniels goes into his muted notes and then
switches to open bell the track recalls Jack Johnson-era Miles Davis. “Nothing To Do About It”
spotlights Compo’s very accomplished guitar
work. “Rockaway” is another stylistic departure
delving into pure reggae. Compo adds a little
pop spice by laying back a bit on his flute delivery and giving the tune time to percolate and
develop. “Astral Love Song” is an appropriately
lovely and spacey kind of ballad. “Can’t Get a
Picture Out of My Head” concludes the disc with
a rocky kind of energy. The jazzy side of early
Jethro Tull and Dutch progressive masters Focus
come to mind.
Foolish Pleasure is certainly a very pleasurable and diverse experience. Take the journey
and you’ll be glad you did!
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Paulette Dozier
IN WALKED YOU— www.paulettedozier.com
PDF3 20 12. The Days of Wine and Roses; Autumn Leaves; Just the Way You Are; In Walked
You; Loving You; Together Yet Alone; How Am I
Suppose to Live Without You; Sunny; Proud
Mary; Let’s Fall in Love; With You; Summer
Breeze.
PERSONNEL: Paulette Dozier, vocals; Mike
Levine, piano; Jamie Ousley, bass; Sammy Levine, drums; Richard Bravo, percussion; Nicole
Yarling, electric violin; John Lovell, flugelhorn
and shekere; Dominica Fossati, flute; Jesse Jones
Jr., alto sax; Dan Warner, guitar; Alex Berti,
bass; Ira Sullivan, flugelhorn.
By Eric Harabadian
Dozier not only has a stunning and statuesque look, but has an equally compelling alto
and performance demeanor to match. When she
sings you immediately take notice. Dozier has a
rich and articulate delivery that makes one hang
on every lyric. She sings in well measured
phrases and puts a lot of thought behind the in-
tent of a song. Hence, you tend to believe every
word she intimates.
Dozier’s arsenal of, primarily, cover tunes
is an exercise in taking the familiar pop music
canon and turning it on its ear. But she and the
Levine-led ensemble don’t restructure things to
be arbitrary; they just make most everything they
touch fresh and that much better! A case in point
begins with the classic “Days of Wine and
Roses.” Henry Mancini’s chestnut receives a
mid-tempo funk treatment, with just the right
amount of bounce. Yarling’s violin accompaniment blends perfectly with Levine’s robust piano
chords. Dozier lays back a bit on the vocal but
turns up the heat near the end with some inspired
scatting. “Autumn Leaves” has, of course, been
performed by many but Dozier and company
take it in more of a bluesy direction, with a bittersweet sort of cadence. Levine steps out nicely
on a rubato type solo. Billy Joel’s pop gem “Just
the Way You Are” is a great tune but could go
horribly south in the wrong hands. Fortunately
Dozier stays true to the original feel of the classic but adds a fresh and swinging kick that retains a lounge-like aesthetic without seeming
trite or contrived. Title track “In Walked You” is
the first of three collaborations between pianist
Levine and Dozier. It’s got a classic standard
kind of feel and is a really strong ballad. “Loving
You” is an interesting song choice because you
don’t hear too many people attempting the
Minnie Riperton tune. Range is an obvious issue
but Dozier utilizes her robust alto in an effective
manner and blends smoothly with Fossati’s lithe
flute work. “Together Yet Alone” is another
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Levine/Dozier track that is made that much more
special by Sullivan’s graceful flugelhorn tones.
Michael Bolton’s “How Am I Suppose to Live
Without You” is played pretty close to the vest
and solid but not that remarkable. Bobby Hebb’s
“Sunny” follows and picks up the pace, with a
funky swing that is brisk and cool. One of the
disc’s biggest surprises is a totally original take
on the John Fogerty classic “Proud Mary.” This,
of course, was probably made most famous as a
cover by Ike and Tina Turner back in the day.
But Dozier takes it in a new and bold direction—
swinging hard and ultra bluesy! Her husky and
world weary delivery makes you believe every
syllable of the song. Harold Arlen’s “Let’s Fall
in Love” recalls classic Hollywood where Fred
Astaire and Ginger Rogers reigned supreme.
Dozier and ensemble play it with ease, charm
and aplomb. “With You” completes the original
music triumvirate of the program. It is a solid
jazz-pop song that establishes Levine and Dozier
as a formidable writing duo. Dozier concludes
the disc with Seals and Crofts’ “Summer
Breeze.” She proves to be a great modern music
interpreter here joining forces with Levine’s
scaled down piano trio swing. Tasteful and
nicely done!
Hiromi
MOVE—Telarc International TEL-33814-02.
Move; Brand New Day; Endeavor; Rainmaker;
Suite Escapism: Reality; Fantasy; In Between;
Margarita!; 11:49PM.
PERSONNEL: Hiromi, piano and keyboards;
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Anthony Jackson, contrabass guitar; Simon Phillips, drums.
By Eric Harabadian
Japanese keyboard virtuoso Hiromi returns
with her new Trio Project featuring her steady
live and recording band of the last few years.
The classically-inspired jazz pianist truly shines
in the acoustic realm but tends to really spice
things up by tastefully utilizing synthesizers and
various electronics within her sphere as well.
She also likes to frame her works by establishing
storylines and concepts that add a lot to the interpretation of the music. The themes here seem to
be essentially centered on movement and a certain state of mind. Let’s join Hiromi on her journey as we break things down track by track.
The first piece “Move” contains the subtext
“The alarm clock sounds. Get ready for your
brand new day, a new page in your life.” And
with that the piece erupts with a dense and spirited collective energy. Hiromi lays down rapid,
almost disjointed chord punctuations and phrases
that become more distinct and developed once
the entire ensemble comes in. The level of intensity and rate at which they ebb and flow is quite
impressive. Hiromi engages in a variety of
movement, with a seemingly endless array of
piano runs, accents and variations on a theme.
Toward the latter section of the piece Phillips
emerges in a well measured solo break. “Brand
New Day” continues the story shining the spotlight on a delicate balance of jazz improvisation
and classical phrasing. There is a bit of Corea
mixed with classic Hancock and the grace of a
Brubeck or Bill Evans going on here.
“Endeavor” is all about work as the group jump
from kind of a free traditional modern jazz trio
to all out fusion. Hiromi sets the pace about midpoint with a whimsical and playful blend of odd
meters and synthesizer solos and coloration.
“Rainmaker” shifts gears a bit by keeping with
the movement theme and comparing it to the
delicate droplets of falling rain. Hiromi plays
appropriately romantic and delivers a melody
that is quite exquisite and beautiful. The next
few pieces are part of “Suite Escapism” and all
deal with the conflict between reality, fantasy
and that nebulous region somewhere in between.
“Reality” finds the ensemble doing battle—
weaving in and out of rhythms, tempos and intensely playing off each other. Their group momentum soon morphs into a smoother swing and
interplay. “Fantasy” kind of chills out and everyone tends to relax in their approach. It is a
dreamy and somewhat billowy piece that is soft
and surreal. “In Between” is, as one might think,
sort of a combination of the two previous pieces.
Hiromi engages in an exceptionally pretty melody here. The album starts to wind down with
“Margarita!” Jackson and Phillips lay down
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www.MilesHighRecords.com
some mean funk and infuse it with a light samba
feel. Hiromi returns to her playful self by integrating the somewhat traditional Latin structure
with an experimental spacey electronic center.
The trio concludes with the wistful and reflective
“11:49PM.” In the liner notes to this piece Hiromi comments “There are some days you wish
would not end. Can you leave today without
regrets?” Hiromi’s mix of storyline and conceptual contemporary instrumentals is both fascinating and visionary. Highly recommended!
Four Freshmen
LOVE SONGS—Web: 4Freshmen.com. Stardust; Body and Soul; Only Trust Your heart; I
Can’t Believe That You’re in Love with me; As
Long as I’m Dreaming; Plenty of Money and
You; These Foolish Things; A Nightingale Sang
in Berkeley Square; On The Street Where You
Live; I Love You
PERSONNEL: Brian Eichenberger, vocals,
producer, arrangements, engineer; Curtis
Calderon, vocals, producer; Vince Johnson, vocals, producer; Bob Ferreira, vocals, producer;
Andy Landham, acoustic piano; Hamilton Price,
acoustic bass; Kevin Kanner, drums; Petr Pycha,
engineer; Drew Reynolds, photography; Greg
Reierson, mastering
By Alex Henderson
2012 marks the 64th anniversary of the Four
Freshmen, who started out in 1948 and were at
their creative peak in the 1950s and 1960s. The
long-running vocal quartet has had numerous
lineup changes over the years, and none of the
group’s original members are still living (cofounder Ross Barbour and Bob Flanigan, who
was with the group from 1948-1992, both died in
2011). Some long-time fans have wondered
whether the current lineup (Brian Eichenberger,
Curtis Calderon, Vince Johnson and Bob
Ferreira) should even be calling itself the Four
Freshmen and would argue that 2012’s Love
Songs isn’t really the work of the Four Freshmen
but rather, a Four Freshmen tribute group. Be
that as it may, Love Songs is a likable outing—
and Eichenberger, Calderon, Johnson and
Ferreira are quite faithful to Four Freshmen’s
classic 1950s/1960s sound.
Stylistically, Love Songs doesn’t point the
Four Freshmen in any new directions. Performances of famous standards like “These Foolish
Things,” “I Can’t Believe That You’re in Love
with Me,” “Body and Soul” and Hoagy Carmichael’s “Stardust” fondly recall the way the Four
Freshmen sounded 50 or 60 years ago. And
that’s a good thing. The Four Freshmen’s classic
sound is not broke, which means that there is no
point in trying to fix it. That said, Love Songs
didn’t need to be quite so warhorse-heavy. Many
of the songs that Eichenberger, Calderon, Johnson and Ferreira chose are warhorses that have
been beaten to death over the years. And instead
of picking so many warhorses, they could have
been a bit more adventurous and looked for more
great songs of the 1920s, 1930s, 1940s and
1950s that haven’t been beaten to death. There
are so many great jazz and traditional pop songs
from those decades that weren’t recorded by
enough artists to be considered standards, but
they shouldn’t be ignored—and such lesser
known pearls that would fit well with the Four
Freshmen’s sound.
However, there are a few surprises on this
album, including a performance of Harry Warren’s “Plenty of Money and You” (which isn’t
among Warren’s beaten-to-death songs) and
Eichenberger’s sentimental “I Love You.” Some
listeners will no doubt assume that “I Love You”
is the Cole Porter standard, but in fact, the “I
Love You” on this CD is an Eichenberger original—and it is faithful to the spirit of the Four
Freshmen.
However, the fact that Love Songs is more
warhorse-heavy than it needs to be doesn’t mean
that it isn’t enjoyable. Eichenberger, Calderon,
Johnson and Ferreira do solid work even though
they play it closer to the vest that they need to.
And even if one thinks that they shouldn’t be
calling themselves the Four Freshmen (that one’s
open to debate), they are doing the world a big
favor by keeping the Four Freshmen’s sound
alive. Very few vocal groups could honestly be
described as an indirect link between the Pied
Pipers and the Beach Boys, but the Four Freshmen, do, in fact, fit that description; the Four
Freshmen were greatly influenced by the Pied
Pipers (as well as Glenn Miller’s Modernaires)
and became a major influence on the 1960s surf
rock of the Beach Boys.
Someone who has never acquired a Four
Freshmen CD would be much better off starting
out with their classic 1950s and 1960s recordings, but Love Songs is a decent, although
predictable, outing from their 2012 lineup.
David Gilmore
NUMEROLOGY—Evolutionary
Music
www.evolutionarymusic.com. Zero to Three;
Formation; Change; Balance; Balance; Rest;
Manifestation; Dispersion.
PERSONNEL: David Gilmore, electric guitar;
Claudia Acuna, voice; Miguel Zenon, alto sax;
Luis Perdomo, piano; Christian McBride, bass;
Jeff “Tain” Wats, drums; Mini Cinelu, percussion.
By Mark Keresman
Not to be confused with British rock guitarist David Gilmour, jazz guitarist David Gilmore
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has carved a distinctive path on his own. Perhaps
best known as Steve Coleman’s guitarist of
choice during the heyday of the M-Base sound,
as a member of the sadly underrated early ‘90s
fusion outfit Lost Tribe, and a member of Wayne
Shorter’s band, Gilmore has carved out his own
style which [happily] isn’t easy to categorize.
Elements of post bop, fusion, world music,
R&B—Gilmore synthesizes these elements and
more so thoroughly it’s hard to tell where one
ends and another takes over…it’s all Gilmore.
However you might feel about Numerology
as a “practice” or science, the album that bears
the name is a good one. It is rhythmic but there
is no “tyranny” to the grooves; the solos and
soloists are elastic but never formless (you
stretch “elastic” too far and that’s what you get),
and the overall package is thoughtful but never
forgets to swing. “Zero to Three” fades in like a
dream, Miguel Zenon’s serpentine alto creeps in
over some pensive percussion crackle and Claudia Acuna’s wordless voice lends some balm to
the slightly unnerving proceedings. Gilmore
picks in manner recalling both the sparkling
Afro-beat juju guitars of King Sunny Ade and
Carlos Santana in his more subdued moments.
“Formation” is some bop-and-weave Blue Noteish hard bop with Jeff Watts on “lead” drums
and some sparkling, zigzagging unison playing
from Gilmore and Zenon. Zenon delivers a driving solo rich with echoes of two great Colemans,
namely, Steve and Ornette. “Balance” has a
nursery rhyme-like melody that turns vaguely
menacing—it’d make a theme for a sciencefiction film—before Zenon and Gilmore weave
through a labyrinth/theme evoking Henry
Mancini in Charade/Experiment In Terror mode,
gradually building into some agitated, near-free
blowing from Zenon, while Watts and Mino
Cinelu ground the proceeding with a stormy yet
focused percussion workout.
“Rest” is just that—a rest but with the feeling that this is the proverbial calm before the
storm. Gilmore’s playing is spare, stark, with a
bit of folk flavoring and echoes of Jim Hall
whilst the band shimmers like a mirage. Zenon’s
sax evokes what Charles Mingus said of Charlie
Mariano’s sax playing: “tears of sound,” but
here, Gilmore and Acuna provide soothing-butnot-exactly-restful contrast. “Manifestation” is
shifting, fractured funk interlude evoking Gilmore’s stay will Ronald Shannon Jackson’s harmolodic raiders, with some subtle juju guitar
figures. This segues into “Dispersion” which
coolly and cleverly summarizes and builds upon
what came before, much like the final movement
of a symphony.
Throughout, Gilmore proves himself one of
the most self-effacing guitarists around. He
keeps soloing to a minimum, preferring ensemble playing and a supportive role. Acuna’s lovely
lissome vocalizing is also used as an ensemble
voice, occasionally coming to the fore like a
wraith making its presence known only when
“needed.” Luis Perdomo is likewise restrained
but really goes to town on “Dispersion” with a
lyrical, propulsive solo (evoking McCoy Tyner
somewhat) over—or against?—a delightfully
rough ‘n’ tough rhythm matrix with some subtle
Cuban flavoring.
With its swirl of numerals of the cover art,
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Numerology make look like some sort of abstract
voyage into the mystic world of numbers and
what they portend…and to a degree it is, but
Gilmore and company make it a fun, occasionally funky, slightly surreal run through a funhouse via some hot, brainy jazz.
Marcus Goldhaber
ALMOST LOVE—Fallen Apple Records.
Web: MarcusGoldhaber.com. Love Me Tonight;
I Love You More; Hide Away; Somebody in
Love; I Wanna Know; Last Night, I Found a
Melody; As Long as I’m with you; If I Knew
Better; It Won’t Be Long; What If; Let’s Be
Foolish Together; As Long as I Am Falling Love
PERSONNEL: Marcus Goldhaber, vocals, producer; Jon Davis, acoustic piano, electric organ;
Martin Wind, bass; Marcello Pellitteri, drums,
percussion, arrangements; John Hart, acoustic
guitar, electric guitar; Joel Frahm, tenor saxophone, soprano saxophone; Erik Friedlander,
cello; Lauren Kinhan, vocals; Joe Magnarelli,
trumpet; Robert Smith, engineer
By Alex Henderson
Looking at the credits of Marcus Goldhaber’s Almost Love, one could easily assume
that this is strictly a straight-ahead jazz vocal
outing along the lines of Mark Murphy, Kurt
Elling or Jon Hendricks. The musicians who
back Goldhaber include, among others, tenor and
soprano saxophonist Joel Frahm, cellist Erik
Friedlander, trumpeter Joe Magnarelli and guitarist John Hart. Plus, Lauren Kinhan of the jazz
vocal group New York Voices is present on one
of the tracks (“If I Knew Better”). But in fact,
about half of Almost Love is adult alternative or
adult contemporary rather than vocal jazz. Goldhaber wrote or co-wrote all of the album’s 13
selections, and about half of them are closer to
Van Morrison, James Taylor or John Mayer than
they are to Murphy or Elling—which isn’t necessarily a bad thing. None other than Duke Ellington himself said that when you get down to
it, there are only two types of music: good and
bad. And while parts of Almost Love are more
pop-rock/adult contemporary than jazz, Goldhaber achieves quality regardless of how jazzminded he is being.
The bluesy “Somebody in Love” and the
hard-swinging “As Long As I’m With You” are
among the CD’s straight-ahead bop selections.
Neither of those tracks would be out of place on
a Murphy, Hendricks, Ian Shaw or Mose Allison
album. Nor would the infectious “It Won’t Be
Long.” And on “Last Night, I Found a Melody”
and “If I Knew Better” (a male/female duet Kinhan), Goldhaber achieves a warm, relaxed intimacy that is somewhere between Chet Baker and
Michael Franks. But pop-rock and adult alterna-
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tive are the dominant ingredients on romantic
offerings that include “Love Me Tonight,” “I
Wanna Know,” “I Love You More” and the title
track. Goldhaber can be aggressive when he
wants to (“Somebody in Love” and “As Long as
I’m With You” fit that description), but much of
the time, he is more laid-back. And he is very
good at providing mood music whether it is of
the vocal jazz variety or the pop-rock/adult contemporary variety.
Some jazz snobs will no doubt insist that
Goldhaber should have embraced straight-ahead
jazz exclusively on Almost Love and stayed
away from adult contemporary. They will claim
that he needs to ditch the Van Morrison/James
Taylor/John Mayer influences and allow his
Mark Murphy/Kurt Elling/Chet Baker side to
prevail 100 percent of the time. But Goldhaber
would be doing himself a disservice if he abandoned pop-rock altogether because he’s obviously good at it. If “Hide Away” and “Love Me
Tonight” were boring or generic songs, then it
would make sense for him to dump pop-rock and
adult contemporary and concentrate on straightahead vocal jazz exclusively. Goldhaber, however, is expressive whether he is making
straight-ahead jazz moves or making pop-rock
moves.
Almost Love may not be a jazz purist’s
manifesto, but for listeners who are broadminded enough to listen to Van Morrison, James
Taylor or John Mayer one minute and Chet
Baker the next, this is a respectable, nicely
crafted effort that shows what Goldhaber has to
offer as both a vocalist and a songwriter.
Florencia Gonzalez
WOMAN DREAMING OF ESCAPE – florenciagonzalez.com. Hurry; Mujer Sonando con la
Evasion (Woman Dreaming of Escape); Chacarera para Greg (Chacarera for Greg); Minitura Cromatica (Chromatic Miniature); Candombe Estirado (Stretched Candombe); D E F G
Blues.
PERSONNEL: Florencia Gonzalez, composer,
arranger; Susanna Quilter, Sofia Gonzalez,
flutes; Nick Brust, Art Felluca, alto saxes, clarinets, flutes; Andy Voelker, tenor sax, soprano
sax; Andrew Halchak, tenor sax, clarinet, flute;
Mike Jacobs, baritone sax, bass clarinet; Josh
Mizruchi, Greg Marchand, Sam Dechenne, Chris
Kottke, trumpets, fluegelhorns; Tim Schneier,
Pete Fanelli, tenor trombones; David Schwartz,
bass trombone; Diego Porchile, guitar; Andrew
Washburn, piano; Mariana Iranzi, bass; Franco
Pinna, drums.
John R. Barrett, Jr.
The music and the band, says its leader, is
inspired by Maria Schneider; some similarities
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you recognize immediately. There’s an expansive sound, a fondness for the wind section
(which is bigger than most), and tunes influenced by classical composers. There’s also energy and a forward drive that Maria’s band lack
at times. You hear that drive on “Hurry”, where
an introspective piano dances nervously with a
guitar, than gives way to charging brass.
The theme is answered by flutes, rises high
in a breathy cloud, and yields to a gravelly tenor.
This is Andrew Halchak, capturing the toughtender sound of Ben Webster as the piano jabs
little chords behind him. Other horns whistle
softly, growing until we hear the full band; again
they retreat, and it’s Diego Porchile with a bubbling guitar. Less effective than Halcahak, his
effort gets submerged in the returning brass, who
charge to a mighty finale. By turns inward and
flashy, this is a sound that grabs your ears and
requires your attention. I, for one, am happy to
comply.
It’s a nervous, serpentine piano that opens
“Escape”, turning on itself in short sour phrases.
This theme is picked up by the bass as the reeds
take a similar excursion, like a drunk marching
band trying to play Monk. (Older music is also at
play; I hear hints of Kurt Weill as well as the
Stravinsky piece “Ragtime.”) At times the flutes
step forward, as does a weeping alto, but this is
an ensemble piece, swinging its muscles like a
‘Twenties gangster. Porchile’s turn is softer this
time, warming blending with the terse piano. A
wall of somber brass envelopes us at the end –
the escape, it would seem, was unsuccessful.
“Chacarera” offers a lighter tone, though
still nostalgic. A clarinet begins with a folk
dance, with the flutes joining in a pas-de-deux.
The piano has a brief interlude, then all sections
take the theme in a sort of rondo (thrilling, if too
dense for my taste) and we’re back to Art Felluca’s clarinet. He ambles softly, with a slight,
sassy tone. Andy Voelker is more aggressive on
tenor: harried zigzags that end in loud honks,
with weariness permeating all. A minuet follows
from the flute section, then an ecstatic trumpet,
and the winds interweave as the dance spins to
an end. More visceral than Schneider, Florencia’s charts have an air you might call Third
Stream, you might call world music. I’d call it
worth hearing.
After these sonic feasts come a pair of
miniatures. “Miniatura Cromatica” moves
slowly on a 12-tone row, a march of high reeds
and harsh harmonies. Inspired by Mahler, this
sounds cold and academic tro me, though Felluca’s clarinet has a good flight. “Candombe
Estirado” has a spritely step, with graceful arcs
from the alto, and angular edginess from
Voelker’s tenor. There’s a nice spot of trumpet
(too short, if you ask me) framed by the reeds in
a Benny Carter-like unison part.
The moods of the last pieces are joined in
“D E F G”, a chromatic 12-tone blues based on a
Bob Brookmeyer chart for Thad Jones’ band.
The sour contours of the theme give way to leisurely solos: Nick Brust’s alto is a standout. All
goes quiet as the tone row returns, mournfully
stated on piano. With instruments leaping in to
produce a cacophonous stew. The jazz club and
the conservatory commingle in this piece, and if
the twain don’t exactly meet, it is an interesting
journey. You can say the same of this album: a
raft of influences, crafted by the mind and
steered by the heart. I’m not sure if it all works,
but enough does to wish her well … and wish for
more in the future.
Wayne Shorter
WITHOUT A NET – Blue Note — Orbits;
Starry Night; S. S. Golden Mean; Plaza Real;
Myrrh; Pegasus; Flying Down to Rio; Zero
Gravity; UFO.
PERSONNEL: Wayne Shorter, tenor and soprano saxes; Danilo Perez, piano; John Patitucci,
bass; Brian Blade, drums; add The Imani Winds
(Valerie Coleman, flute; Toyin Spellman-Diaz,
oboe; Mariam Adam, clarinet; Jeff Scott, French
horn; Monica Ellis, bassoon) on “Pegasus”.
John R. Barrett, Jr.
The circus metaphor is apt: skilled performers in routines that, while rehearsed, allow for
spontaneity. An audience that does not know
what to expect and whose reactions may affect
the outcome. And if it goes well, what you witness is indeed the greatest show on earth. On this
set, recorded primarily during a 2011 European
tour, ringmaster Wayne Shorter tames the wild
saxophone – wonderfully wild, on some tracks.
We begin with “Orbits”, where Danilo
Perez’ stalks menacingly in the lower register, a
four-note figure suggesting “Peter and the
Wolf.” This is bolstered by bass, and Shorter
then launches: bittersweet squiggles, hurried and
worried. In time he settles down and sketches the
theme; Perez now paints transparent chords, and
the drums softly drizzle. Danilo’s fingers then
travel north, hovering busily while Wayne does
the same. Tracing each others’ steps, their movement is matched by bold cymbals and the broad
hum of Patitucci’s strings. Best part is a whooping ascent near the end, where Shorter sounds
like a bird call, followed by Perez doing much
the same thing. The return to theme seems rather
abrupt, as does the closing; not bad, but I don’t
hear a lot of focus. Call it an appetizer for what
lies ahead.
“Starry Night” presents an airy ballroom:
dignified chords echo far, with shakers that
sound like fairy dust. Danilo’s right hand is
suave and polished, while the chords from his
left are percussive and tense. Shorter comes in
with a yawn at the third minute: he’s got a rumpled tone, an easy attitude. After a hopeful
climb, he disappears, returning to whisper
among Perez’ spiky chords. Near the end Blade
propels all into overdrive, with towering squeals
of soprano and crashing waves of melodramatic
keys. The crowd approves, but to me it’s disjointed; I sort of wish the parts fit better. Opening with a quote of “Manteca”, “Golden Mean”
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marches fast. For much of the way. Perez strikes
a montuno; Wayne begins with flutelike trills,
then darting zigzags with an oboe’s tone. The
highlights come in the lengthy fade: a slowedpaced vamp on piano, peppered with wispy reed
and the return of “Manteca”. And “Myrrh” is a
stately miniature, where Shorter’s tart phrases
twist above a static piano and clusters of tense
percussion. More a mood than a song, this hits
the stratosphere with dog-whistle notes from
Wayne (someone whistles approval) and a frantic tom demonstration. Nothing so far has been
bad, but the longer tracks are the meat of this
program, the main reason to give this your ears.
“Flying Down to Rio” was the centerpiece
of the like-titled film, remembered mainly as the
first time Fred and Ginger danced together. This
version has none of that mood: a vaguely-exotic
vamp from Perez is met with slow bass, ruminative rumbles from Blade, and a winsome horn
steadily climbing. As his intonation subtly gets
darker, Wayne briefly visits the theme of the
song – and then the mood changes. Danilo takes
a three-note riff that slowly grows discordant;
bass and drums pick up the pace, faster they
whirl, and Shorter returns as the calm in their
storm. Another mood swing comes up, offering
shrill squiggles from Wayne, bitter marching
chords from Perez. We’ve heard these hyperactive squawks elsewhere on the disc; here they
better fit the temper of the song and the adventurousness of his band mates. Whether they got
to Rio is unknown; whether they were flying is
not in question.
For “Zero Gravity”, Perez begins by tapping on the piano strings; switching to its keys,
he remains percussive in his dialogue with Patitucci. Shorter’s entrance is a barely-perceptible
murmur; he stays in this mode awhile as Danilo
shifts to romantic repeating chords. Now the sax
is louder, yawning with a metallic hum – the
keyboard turns edgy in vaguely Arabian figures,
then darts off in a gallop. In the torrent of chords
Shorter returns, his phrases tense, his tenor impassioned – then he retreats, quoting “The StarSpangled Banner” among thundering slabs of
piano. In a word: mighty - there’s a similar
power in “UFO”, where late-period Coltraneisms
collide with Cecil-style pianistics. This one has
no applause, and has a faded-in beginning –
likely, an extract from a longer piece. And for
dessert, the 23-minute “Pegasus” offers the set’s
only Stateside recording, and the addition of the
Imani Winds.
The theme is gentle, cerebral: the winds
arrive in unison, a crisp classicism that reminds
me of Copland. For two minutes they play alone,
occasionally prodded by bowed bass; Wayne
joins the ensemble seamlessly, doubling the flute
until his soprano stakes out the high ground,
hitting a peak note that brings on the drums. As
bassoon and French horn vamp a three-note
descent, the high winds join Wayne in a placid
theme that moves the piece closer to jazz … but
first, a ramshackle waltz! While a sour oom-pah
theme comes from shifting combinations, Wayne
runs downstairs with agitated strength. By this
point his main backing is a late-night piano,
hinting Tyner with its chord. The crowd laughs
as Wayne sneaks in a quote of “Oleo”; now the
Winds are back, and the heat is on full. Danilo’s
38-41
page 11
solo begins abstract, becomes rhythmically
funky alongside BIG drums, and greets Wayne
in a whirlwind of a solo, starting with a nearquote of “Like Sonny.” Moving fast in curling
lines, the Winds march somberly behind him …
and the soprano soars free, Danilo racing to
catch him but in vain. Soon the theme returns
and we are back in the concert hall, though
Wayne remains puckish, with a smile in his tone.
Welcome the tumult of drums at the drums, and
the wave of blissful piano to bring us back to
earth. This track – and much of the remainderhas been some flight.
Pharez Whitted
FOR THE PEOPLE—pharezwhitted.com.
Watusi Boogaloo; If They Could Only See; Another Kinda Blues; Freedom Song; For the People; It Is What It Is; Sad Eyes; Keep the Faith;
The Unbroken Promise; Venture; Hope Springs
Eternal
PERSONNEL: Pharez Whitted, trumpet, producer; Eddie Bayard, tenor saxophone, soprano
saxophone; Bobby Broom, electric guitar, producer; Ron Perrillo, acoustic piano, electric keyboards; Dennis Carroll, acoustic bass; Greg Artry, drums.
Promise.”
There are no standards to be found on this
album; all eleven selections are Whitted originals. And he has a reliable team behind him to
help bring his material to life, including Eddie
Bayard on tenor and soprano saxophone; Bobby
Broom on guitar; Ron Perrillo on acoustic piano
and electric keyboards; Dennis Carroll on bass
and Greg Artry on drums. Some jazz purists
might complain about the fact that Perrillo plays
electric keyboards on some of the tracks; as purists see it, electric keyboards have no place at all
in jazz. But in fact, Perrillo’s use of electric keyboards serves Whitted as well as his use of
acoustic piano. And those keyboards don’t detract from the album’s post-bop appeal. Perrillo
doesn’t take For the People into jazz-rock fusion
or jazz-funk territory; this is a straight-ahead
post-bop album first and foremost.
Most of the time, Whitted plays an open
trumpet and is very much in the Hubbard/Shaw/
Morgan school of Clifford Brown-influenced
playing. But he plays a muted trumpet on the
reflective “Venture,” recalling Miles Davis.
Broom’s presence on For the People is a
definite plus. The 51-year-old Chicago resident/
native New Yorker has recorded some excellent
albums as a leader (one of his strong points is his
ability to put a seriously improvisatory jazz spin
on rock and R&B songs), and Whitted makes a
smart move by featuring him extensively on this
recording. It’s good to see Whitted recording
again. Hopefully, there won’t be a long wait
between For the People and the next Pharez
Whitted album.
Jazz Lovers
Heaven
By Alex Henderson
Indianapolis-born trumpeter Pharez Whitted, now 52, has been playing jazz professionally
since the early 1980s, but his catalogue remains
small considering how long he has been in the
music industry. After recording two albums for
Motown (1994’s Pharez Whitted and 1996’s
Mysterious Cargo), the big-toned Whitted took a
long break from recording and didn’t come out
with a third album until his 2010 release Transient Journey. But perhaps he has decided to
record more often, which would be a good thing
because his fourth album, For the People
(recorded in early 2012) is a solid post-bop effort. Whitted, who is now based in Chicago, isn’t
terribly original; no one who has spent a lot of
time listening to Freddie Hubbard, Woody Shaw
or Lee Morgan will find this album to be the
least bit groundbreaking. But while For the People is derivative, it is enjoyably derivative—and
what Whitted lacks in originality, he makes up
for when it comes to both chops and expression.
Whitted clearly knows his way around his
instrument; that is evident on Hubbard-flavored
offerings such as “It Is What It Is,” “Another
Kinda Blues,” “Keep the Faith” and “Freedom
Song.” Lack of technical prowess is not a problem for Whitted. But chops don’t mean much
without feeling, and Whitted brings plenty of
feeling to original pieces that range from the
plaintive “Sad Eyes” to the funky “Watusi
Boogaloo” to the contemplative “The Unbroken
Your Own Personal
Lifetime Access!
Jazz Listening,
41
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Interview
Interview
Ramsey Lewis
Dr. Lonnie Smith
By Eric Nemeyer
Interview By Eric Nemeyer
Photo by Steven Sussman
JI: There is clearly a financial reason driving the tide for why jazz has JI: Could you talk a little bit about what was it that
not received more widespread dissemination through the media, nota- inspired you to get you to focus on the B3?
bly on national television and on radio.
RL: I think that anything of value, and sometimes not of so much value, promotion is the
name of the game. We know of pop songs that
are of little or no artistic value. But, if you hear
them enough times, someone will find themselves picking it up for their collection. The
problems jazz faces began in the 1960s, when
the youth movement of that day decided that
they wanted nothing to do with anything or anybody that was over 30 years old—and that included my parents’ music, and we need our own music. That movement grew and grew and grew to the point where Madison Avenue and
advertisers decided “we want to follow that movement because they
are in great numbers.” So they set out to determine what they’re about,
and discovered “oh they’re about this [pop, rock] music.” It affected
not only the record business, but television, radio, movies. While dollars drove jazz and classical music off of the general audience scene, it
was exposure that originally kept it there. Jazz was all over the radio in
the 40s and 50s. It was on television, especially public television, and
of course, every night on the Tonight Show, when Johnny Carson was
the host, and Doc Severinsen’s big band was the show’s band.
JI: You could tune in the Ed Sullivan Show at 8:00 PM every Sunday
night and invariably see Count Basie, Duke Ellington, Ella Fitzgerald,
routinely appearing among the variety of performers … that dominated
television and the American consciousness from 1950s to the 1970s.
LS: Oh wow that was that’s very easy. Growing up, you see it at church. In
church you hear the organ a lot. I used to hear Wild Bill Davis, Bill Butler,
Bill Doggett and Jimmy Smith. A friend of mine came over and said, “You
have to hear this song.” I said, “What?” My brother has this record and it
was Jimmy [Smith] playing. I thought it was really something. But I had no
idea that I would be playing the organ at all because I was singing. My
brothers were playing, and I was singing. Where we were going, it would
be like bass, drums, and guitar and then I would just get up and sing. People love vocalists. But I wanted to stay up on stage there because it looked
like my brothers were having too much fun. So anytime they would have a
keyboard I would go and jump on the keyboard. Club owners didn’t want
you to mess with their keyboard. But I would just mess around, until I met
a fellow by the name of Art Kubera. He had a music store in Buffalo.
Every day, just about every day, I would sit there until closing time. We
needed some equipment. We didn’t have any money, any credit, no cosigners, no anything and he took a chance on us and he let us take the
equipment. I got money from my brothers. Every week I would take and
drop the money off to him. It’s wasn’t that much. I must have been about
20 when I started playing. One day, Art asked me, “Why do you come in
here every day and stay until closing time?” I said, “Sir if I had an instrument I could work and make a living.” One day I went in there, and he
closed the place up. We went in the back and he showed me a B3 organ
back there and he said, “If you can get this out of here it’s yours.” I got it. I
didn’t know how to play it. I was working in this club - my brothers and I.
I was making $6 a night and they had an organ in there and it was of those
little spinnet organs. I was doing mostly singing and trying to play. I
wouldn’t take the B3 in there at all because I wanted to keep that at home.
Then one night a little fellow came by - a young fellow. You probably
heard of him, Jack McDuff. He came by and asked me if he could rent the
organ he heard I had. “I don’t know about that.” So he kept talking to me
and he said, “A friend of mine is coming to town and he needs an organ.”
So I did and guess who that fellow was? Lou Donaldson. We still had no
idea that we would connect - Jack and Lou and myself. I rented the organ
to him for $25 for the whole week. I kept seeing Jack he would come to
town and George Benson was playing with him.
RL: That’s right. Today, the audience, of late, has been deprived. A lot
of them are not even aware that this great music is there. Surely, there
is a small audience for jazz because it’s still alive and kicking. So with
my Legends of Jazz radio show, which reaches between five and eight
million people per week, I thought, “what else can be done?” I found
that television was the answer. Radio is fine. Radio is also rather passive. People can put the radio on and walk around and do what they
have to do. Some listeners sit down and actually listen. Some sit down
and read. Television is a bit more involved, a bit more interactive.
JI: What have you discovered about people and the music business?
JI: How do you stay balanced?
LS: I don’t see a lot of dedication, first of all, with the young people. EveRL: To this day, my life has been all about the music. Name in lights,
and adoration, notoriety, are trappings that come with the business.
But, as long as one keeps his or her eyes on the prize — and the prize
is your ability to move people through your music … and that takes a
certain amount of honesty and focus, straight-forwardness — then
you’re going to be alright. When you get caught up in seeing your
name… I’ll never forget the first time I played Las Vegas, and I was
on the bill with Sammy Davis. Of course, his name was about 100 feet
high, and my name was about 50 feet high. I had never seen my name
that big, and in big lights. And, for a minute it was like, “wow!” But,
once again, it took me back to when I was eleven, twelve, thirteen,
fourteen, fifteen years old, and I just loved this music, and loved to
play the piano, and with that attitude a lot of doors have opened, and a
lot of people have come to me and asked, “would you like to do this?
Have you thought of doing this?” - television, radio, record deals and
various other things. This was because of my commitment to doing
one thing well — and that is playing the piano.
Hear Ramsey Lewis at The Blue Note, January 12-13, 2013
42
42-Interviews
page 2
rybody wants to be a star. I can understand wanting to be a star, but they
fail to realize that they’re already a star. They have the greatness within.
Everyone has greatness. It’s inside. George [Benson] and I stayed together
for many, many, many years. We sounded beautiful, but I was always dedicated - even when I got my group, and my records started going pretty
good. My records took off before George’s did so I would take George on
the road with me. I was getting a lot jobs and then I got back with George
because I enjoyed his playing. Then when I left George, Lou and I started
playing together. But dedication is what’s important. I’ve seen musicians
passing their cards out on someone else’s job. I have never done that. You
see, it’s the respect. It’s an issue of boundaries and respect. I mean, we’ll
be looking for work for the rest of our lives, so we don’t need to knock
each other in the head just to get a job. Let’s work together. There’s this
attitude of “I’m afraid to tell you about this club because you might get in
the club and I won’t be able to work there no more.” I’m talking about
people who work in a place that they think that they’re going to be there
forever. We’re supposed to look out for each other, we’re family. Years
ago it used to be a little closer than this.
Hear Dr. Lonnie Smith at Jazz Standard, January 10-13, 2013
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Birth Of The Cool
(continued from page 30)
“Rouge” has the same lilt as his earlier tune
“Afternoon in Paris” … with “Comin’ Through
the Rye” tossed in besides! Lewis is affable on
his lone solo, though not exactly memorable.
Konitz does a soft shuffle with a pirouette in the
middle, and Miles weaves well among the brass.
In terms of the album sessions, this one may be
the best overall.
As 1949 was busy for Miles (he spent much
of the year with the Tadd Dameron band, in the
chair vacated by Fats Navarro). It would be
eleven months before he finished his Capitol
contract. New to the ensemble was the French
horn of Gunther Schuller; a classical composer.
He’d later develop the concept of “third stream
music” with John Lewis, culminating in Lewis’
Orchestra USA project.
In a sort-of reunion of the Royal Roost
band, McKibbon and Roach were back in the
fold - so, sadly, is Kenny Hagood, whose “Darn
That Dream” drones on as it did before. Aside
from Lewis’ comps and a good solo from Miles,
there isn’t much reason to hear this - and for
twenty years, no one did. Never released as a
single and left off the 1957 album, “Darn That
Dream” would stay in the vault until 1971, when
it appeared on the reissued LP as a bonus track.
Thanks for not much.
“Moon Dreams” stays true to the earlier
readings; the main change is a darker tone during
the final ensembles. Lee blows a clinker as the
finale begins, and the whole thing sounds
shriller, with Miles at best a minor presence.
43
page 1
This is not true of “Rocker”, a Mulligan line that
Charlie Parker would soon record on his Bird
with Strings album. Miles sails calmly on the
theme. He is doubled by Konitz on the bridge,
which is a nice touch. On his solo the trumpet
sounds puckered, draped by a curtain of reeds;
Lee hops along nicely and is over too soon. Mulligan’s brief effort, with brusque tone and a
slight but persistent surge, is the prize here.
“Deception” is Miles’ reharmonization of
George Shearing’s “Conception.” It is so close to
the original that Shearing’s publisher threatened
a lawsuit. This was resolved by Miles agreeing
to record “Conception”, which Prestige would
release in 1951. The main addition to
“Deception” is a brief fanfare - otherwise the
chords and tune are mostly Shearing’s. Miles’
tone on the theme is easy and quite cool. Konitz
improves things with his end-of-phrase interjections. (Mulligan tries the same later in the piece;
to me it sounds muddy.) His solo is pleasant but
only gets going as his chorus concludes – one
reason to curse the short running times. Johnson,
on his only solo, is dark and rich like caramel,
almost like the French horn joining him on the
riffs. This may be my favorite pairing of tune
and chart (which is the work of Evans), a work
that is cognizant of bop while moving beyond its
boundaries. Miles may have only wanted a different environment in which to play, but this
small group of songs, with its breadth of colors,
showed the jazz world other directions the music
could go. And this path – along with others
started by Miles – has enriched musical adventurers ever since.
Dave Brubeck
1920-2012
Pianist, Bandleader
Composer, Arranger,
Innovator
National Endowment For The Arts
Jazz Masters Awards, January 14 at
On January 14, 2013 at 7:30 p.m. EST,
the National Endowment for the Arts, in partnership with Jazz at Lincoln Center, will hold
its annual NEA Jazz Masters Awards Ceremony & Concert at Dizzy's Club Coca-Cola,
located at Jazz at Lincoln Center's Frederick
P. Rose Hall, in New York City. The NEA Jazz
Masters Awards Ceremony & Concert will
prominently feature NEA Jazz Masters who
will perform tributes to the 2013 honorees:
Mose Allison, Lou Donaldson, Lorraine
Gordon (A.B. Spellman, NEA Jazz Masters
Award for Jazz Advocacy), and Eddie Palmieri. The concert will begin at 7:30 p.m. EST
and can be accessed by the public at
arts.gov/jazzmasterswebcast as well as
jalc.org/neajazzmasters. An archive of the
webcast will be available the following day.
43
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Noteworthy Performances
JEFF “TAIN” WATTS
www.JazzStandard.net
Jazz Standard: 1/17-1/20
RENE MARIE
www.JALC.org/DCCC
Dizzy’s Club Coca Cola: 1/29-2/3
Drummer and composer Jeff “Tain” Watts is a Grammy
Award-winner who started his career performing and
recording with Wynton and Branford Marsalis. In 1992,
when Jay Leno became the new host of the Tonight
Show, Watts joined the newly created band for the TV
show under Branford Marsalis’ leadership, and stayed for
three years. He has performed with a who’s of who of jazz artists, including McCoy Tyner,
Geri Allen, George Cables, Terence Blanchard and currently performs with his own
groups.
René Marie, songwriter and jazz vocalist, began her
career while in her 40s, and has released four albums as
a leader, including her latest on the Motema label. She
has earned accolades from The Penguin Guide to Jazz,
composes songs that assimilate divergent influences
ranging from Leonard Cohen to Ravel, lyrics from public
domain songs of the 1800s to standard and jazz tunes. Here music expresses her awareness and activism involving social realities – homeless issues, racial problems, as well as
challenges and abuse she has experienced in her own life.
BENNY GOODMAN REINVENTED
with Ken Peplowski
Blue Note: 1/15-1/19
JESSICA
MOLASKEY
Dizzy’s
Club:
5/24-5/29
www.SOPAC.org
South Orange Performing Arts Center, SOPAC: 1/26
Hailing from Connecticut, vocalist Jessica Molaskey has appeared in a dozen Broadway shows, including Cats, and has
premiered theater pieces off-Broadway, including the Jason
Robert Brown 1995 musical Songs for a New World, and in
regional theaters across the USA. She has performed with
guitarist Bucky Pizzarelli, Martin Pizzarelli, Johnny Frigo and
others, and co-hosts a nationally syndicated weekly two-hour
radio program called "Radio Deluxe" with her husband John Pizzarelli. Ms. Molaskey has
released several album as a leader.
SARA SERPA http://corneliastreetcafe.com
Cornelia Street Café
Sunday, January 20, 8:30 p.m
From her native Lisbon to current hometown of
New York, vocalist Sara Serpa has marked herself
as a name to watch in the world of jazz vocalists.
Her captivating 2012 album Aurora (Clean Feed), a
daring interpretation of the Great American Songbook with iconoclastic pianist Ran Blake, aptly
showcases her remarkable abilities as an interpreter of lyrics and an improviser. Here, Serpa performs with her quintet featuring guitarist André Matos,
pianist Kris Davis, bassist Aryeh Kobrinsky and drummer Tommy
Crane. Serpa's set is followed at 10 p.m. by vocalist Sofía Rei in duo with bassist Jorge Roeder.
Ken Peplowski & company have re-worked selected songs from the
historic Benny Goodman at Carnegie Hall concert in 1938 — with a
contemporary perspective. This is much more a re-invention than a
recreation. Peplowski is a former member of the Tommy Dorsey
Orchestra, moved to New York City in 1980 and played in all kinds
of settings, from Dixieland to avant-garde jazz. In 1984, Benny
Goodman came out of retirement and put together a new band,
hiring Ken on tenor saxophone. Peplowski wound up signing with
Concord Records and recorded close to 20 albums as a leader. Ken
has collaborated with Mel Torme, Leon Redbone, Charlie Byrd, Peggy Lee, George Shearing,
Madonna, Hank Jones, Rosemary Clooney and many more.
TYLER BLANTON
Cornelia Street Café: 1/31, 10PM
Vibraphonist Tyler Blanton has been garnering
considerable acclaim on the New York music
scene as a composer and improviser of note. Tonight he presents TB3 featuring Blanton on vibraphone and midi, Geoff Vidal on tenor sax, Matt
Penman on bass. Their sound is distinctive: edgy,
powerful, tightly knit, unrelenting, and adventurous. Go hear this major musical voice.
DR. LONNIE SMITH
Jazz Standard: 1/10-1/13
Artists, Music Businesses & Organizations:
Influence the jazz world and way
beyond with your messages, photos
and videos via Jazz NewsWire’s
E-BLASTS & PRESS RELEASES ONLINE
Internet Marketing For The Link-Building, Traffic-Driving,
Lists & Leads to Power Your Business & Your Future
MusicMarketingDotCom.com P.O. Box 30284 Elkins Park, PA 19027
CALL: 215-887-8880
Visit
www.JazzNewsWire.com
44
Jazz Inside-2013-01_044 ...
page 2
www.Blue Note.net
www.JazzStandard.com
Keyboardist Lonnie Smith hails from Lackawanna, New
York, and from a musical family. He received his first
Hammond B3 organ from a local music store owner.
After moving to New York, he met George Benson with
whom he recorded in the mid 1960s. Smith has since
recorded 40 albums as a leader, performing with Lee
Morgan, David "Fathead" Newman, and numerous
others, including a productive association with Blue
Note recording artist Lou Donaldson. Smith’s formidable technique and swinging grooves are among his
calling cards. In addition to his jazz endeavors, he has
performed with Dionne Warwick, Gladys Knight, Etta James, Esther Phillips.
MARIA NECKAM
Bitter End, 1/11, 6:15 pm
Austrian-born vocalist/composer Maria Neckam is a bright
young star on the New York scene. She's been compared to
Joni Mitchell, Annette Peacock and Bjork, among others, but
her sound is all her own. Her 2012 release Unison showcases
her highly sophisticated and inviting music that encompasses
everything from avant pop to bost bop. We love her crystalline
voice, pure, gorgeous sound and finely crafted original
songs. For this performance, as part of Winter Jazz Fest, she'll
be joined by young lions Taylor Eigsti on piano, Nir Felder on guitar, Joe Martin on bass,
and Paul Wiltgen on drums.
Magenta
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WORLD’S FINEST JAZZ CLUB & RESTAURANT
DONALD HARRISON, RON CARTER
& BILLY COBHAM TRIO
RAMSEY LEWIS & JOHN PIZZARELLI
STRAIGHTEN UP AND FLY RIGHT
TRIBUTE TO NAT KING COLE
1/8-11
1/12-13
INTERNATIONAL GUITAR NIGHT
FEATURING MARTIN TAYLOR,
BRIAN GORE & SOLORAZAF
1/14
BENNY GOODMAN REINVENTED
75TH ANNIVERSARY, CARNEGIE HALL CONCERT
FEATURING KEN PEPLOWSKI, LEW TABACKIN,
TERRELL STAFFORD & MORE!
1/15-20
OMAR SOSA & PAOLO FRESU DUO
SONNY FORTUNE
1/24-27
1/22-23
DIANE SCHUUR
1/29-2/3
1/7 DEBORAH DAVIS & A FEW GOOD MEN
2/5-10 RON CARTER QUARTET
2/14-17 RACHELLE FERRELL
2/19-24 DOUBLE FEATURE:
KARRIN ALLYSON + RAUL MIDON
2/26-3/3 3/5-10 3/12-17
BILL EVANS SOULGRASS
W/ JOHN MEDESKI & GUESTS
THE JAZZ CRUSADERS
AFRO-CUBAN ALL STARS
131 W. 3RD ST NEW YORK CITY 212.475.8592 WWW.BLUENOTEJAZZ.COM
TWO SHOWS NIGHTLY:
8PM & 10:30 PM
LATE NIGHT GROOVE SERIES
FRI & SAT
SUNDAY BRUNCH:
12:30 & 2:30 PM

PDF - Jazz Inside Magazine

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