Professional Documents
Culture Documents
com
THE The
Bad Ass
bad Pulse
PLUS
13
Records (Label Spotlight) or the many artists featured in our CD Reviews.
Festival Report: Belgrade • Berlin • JAZZUV Happy Holidays from AllAboutJazz-New York and check out pages 38-39 for
some jazzy gift suggestions, musical and otherwise.
CD Reviews: Ches Smith, Conrad Herwig, Freddy Cole,
14 Helen Sung, William Hooker, Paquito D’Rivera, John Escreet and more
Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director
40 Event Calendar
In Correction: In last month’s Interview with Danilo Pérez, the pianist referred to
45 Club Directory something “totally improvised” on his new album Providencia; he was in fact talking
about “The Maze” parts 1 and 2.
47 Miscellany: In Memoriam • Birthdays • On This Day Submit Letters to the Editor by emailing info@allaboutjazz-newyork.com
US Subscription rates: 12 issues, $30 (International: 12 issues, $40)
For subscription assistance, send check, cash or money order to the address
below or email info@allaboutjazz-newyork.com.
AllAboutJazz-New York
www.aaj-ny.com
Managing Editor: Laurence Donohue-Greene To Contact:
Editorial Director & Production: Andrey Henkin AllAboutJazz-New York
Staff Writers 116 Pinehurst Avenue, Ste. J41
David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Thomas Conrad, New York, NY 10033
Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, United States
Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman, Terrell Holmes,
Robert Iannapollo, Francis Lo Kee, Martin Longley, Suzanne Lorge, Laurence Donohue-Greene: ldgreene@allaboutjazz-newyork.com
Wilbur MacKenzie, Gordon Marshall, Marc Medwin, Russ Musto, Joel Roberts,
John Sharpe, Elliott Simon, Jeff Stockton, Celeste Sunderland, Andrew Vélez Andrey Henkin: ahenkin@allaboutjazz-newyork.com
Contributing Writers General Inquiries: info@allaboutjazz-newyork.com
George Kanzler, Scott Robinson Advertising: advertising@allaboutjazz-newyork.com
Contributing Photographers Editorial: editorial@allaboutjazz-newyork.com
Jacob Blickenstaff, Scott Friedlander, Sergei Gavrylov, Olympiad Ioffe, Calendar: calendar@allaboutjazz-newyork.com
Lars Klove, Stanislav Milojkovic, Alan Nahigian, John Rogers, Anna Tello
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.
The trumpet/drum duo has been coming into fashion In its earlier years, jazz was not always so - dare I say
lately. Before the past few years there were only a it? - serious. On Nov. 6th, conducting his big band for
handful of examples, but lately Wadada Leo Smith has an intimate gathering of family and friends at
been exploring the pairing as has Nate Wooley, Taylor University of the Streets, Andrew D’Angelo made it
Ho Bynum and a number of others. At Downtown clear that, in addition to his considerable talents as a
Music Gallery Nov. 14th, Kirk Knuffke (actually composer, arranger and improviser, he is serious
playing a cornet) and Kenny Wollesen accepted the about having fun. Abetted by an A-team of musical
horn/drum challenge while at the same time ‘character actors’ that included, among others, Bill
performing a small feat of engineering: they took two McHenry, Josh Roseman, Dan Weiss and Kirk Knuffke,
trios and compressed them into a duet. Knuffke and the alto saxophonist’s charts revealed a highly
Wollesen have recorded together separately with accessible if somewhat unconventional approach to
bassist Lisle Ellis and clarinetist Doug Wieselman and big-band writing, marrying catchy unison lines to
it was primarily from those two songbooks that the punchy riffs and dense, ‘bonky’ chords. The thickly
pair drew the material for their early evening set. With textured ‘shout’ sections of charts like “Egna Ot
Wollesen’s drums seemingly pitched low and Waog”, “Free Willy” and “Red Line” never
Knuffke’s naturally mellow tone, they delivered a overpowered the essential melodic ideas while the
breezy but thoughtful set. They played from scores but lush chorale voicings of “I Love You” and rock-funk
passed effortlessly into improvised sections that were bluster of “Big Butt” were equally compelling.
exploratory but still easy-going inventions, neither of Wearing a loud, yellow-gold shirt while delivering
them looking to push too hard, too fast or too long. keening, soulful solos, D’Angelo was an eye- and ear-
One piece began with a basic statement (four notes magnet, engaging even the most complacent listeners
ascending, three descending) repeated by Knuffke with his no-holds-barred approach to performance,
several times before the dots were connected to reveal which included running around the room during
a smart, jazzy melody. Knuffke swayed lazily with his solos, teasing the teenagers and, most importantly,
horn, more like a saxophonist than a bugler playing playing as if his life depended on it, whether it was a
“Taps” while Wollesen rolled comfortably behind his torchy reading of “Felicia”, a swinging solo on “Free
kit. The pieces they played were tuneful even while the Willy” or the full-throttle future-funk of “Egna Ot
structures seemed slight, making for a lightly perfect Waog”, the finale to a most impressive and - dare I say
set of songs. - Kurt Gottschalk it? - fun evening of jazz. - Tom Greenland
Photo by Scott Friedlander
©johnrogersnyc.com
Kenny Wollesen/Kirk Knuffke @ Downtown Music Gallery Andrew D’Angelo Big Band @ University of the Streets
H enry Threadgill’s three-night stand at Roulette Chris Speed and Jim Black, co-veterans of Bloodcount,
might not have been the event initially planned - a Pachora, yeah NO and AlasNoAxis, unveiled
scheduled collaboration with percussion ensemble and Endangered Blood, a project with Oscar Noriega and
a newly commissioned work didn’t come to pass - but Trevor Dunn Nov. 11th at Littlefield, a converted
the concerts he gave Nov. 11th-13th still proved to be a warehouse near Brooklyn’s Gowanus Canal. The
flexing of muscle for Zooid, a band that may have event’s hipster ambience was heightened by two
taken a while to find itself but is now a powerful unit. muralists working in the lounge and the starkly-lit
The second night was a typical, if fired up, set by his performance space with scattered chairs and a lonely
standing group of over a decade. Zooid has gone festoon made from spiral-cut plastic bottles, six-pack
through various changes in lineup and holders and Christmas lights. The music began
instrumentation, but finally gelled with the return of fashionably (an hour) late with Sküli Sverrisson’s solo
Stomu Takeishi, who played in Threadgill’s previous set of electronically-enhanced bass, a 30-minute
band, Make a Move. The cohesiveness of the group montage of looping soundwashes peppered with
was all the more apparent on the third night, when the scratchy static, evoking radar blips, humpback whale
sextet played without a setlist, the leader listening songs, wind-blown sheets, muffled alarm clocks or
intently, directing the band and calling each rainy pavement, creating an overall effect that was
composition. It was a remarkably slow ramp-up, quiet eerily soothing. Speed and Co. opened their set with
and taut for the first 20 minutes, but at the same time “Plunge”, a 7/4 rocker that established their signature
confident and exhilarating. The last night might have sound: Dunn’s cranked-up acoustic bass anchoring
been the most satisfying, but the first was the Black’s unpredictable but inevitably emphatic beat,
important one. Zooid has always orbited around together propelling a relatively laid-back frontline of
acoustic strings, with Takeishi’s hollow-body bass Speed’s offhandedly charismatic tenor in dialogue
guitar in the current lineup and oud and dual cellos in with Noriega’s buoyant alto and bass clarinet. Along
the past. The cello seat has recently and very ably been with an odd-time cover of Monk’s “Epistrophy” were
filled by Christopher Hoffman and for the opening compelling originals: the chorale-like “Vibing France”,
night a full string quartet was added for Threadgill’s a bopping “Uri Bird”, a slow-swaggering “Iris” and
concert-length In Frontispiece. Beginning as a back- the night’s highlight, “Elvin Lisbon”, a free
and-forth, the piece came together in one, beautiful association of groaning drones, lock-step lines and
tentet. (KG) futuristic ‘calypso’. (TG)
Mulgrew
Boogaloo to play piano. I hesitate to say this, but I’d
play electric bass (laughs). I knew where some of the
notes were (laughs again). And had ears good enough
to hear the chord changes to the songs. But technically
speaking I wasn’t much of a bass player. Sometimes I’d
get to play piano, as I knew some R&B songs and then
Miller
there’d be a real bass player.
MM: The first time was very scary. I was with Betty
photo by Alan Nahigian
by Laurel Gross
W hether he’s playing as a leader of his own groups or as a MM: Especially in the time I grew up. I was a child of
sideman, virtuosic pianist Mulgrew Miller is a savvy, the ‘60s and early ‘70s. I saw a lot of it, you know. I was
inventive improviser with the impressive technical prowess in 10th grade, about 15, before I went to a school that
to back it all up. He can be counted on to offer plenty of was fully integrated. Or in other words, I never came
surprises and challenges that will engage astute jazz in close contact with a white person until that point,
listeners as well as those just starting to explore the music. until I went to school with them … You know, growing
Originally from Mississippi, he attended Memphis State up “in” it, especially being so young, you don’t realize
University and in the following years distinguished himself all of the implications until you kind of mature,
with such groups as Art Blakey’s Jazz Messengers, the advance, travel the world and then think about, you
Woody Shaw Quintet, Mercer Ellington Orchestra and know, those times. I learned things after I left that I
Tony Williams Quintet as well as his own bands, including didn’t know when I was there. My parents were
Wingspan, which appears at Dizzy’s Club this month. mostly involved in protecting me. They tried to make
sure that you stayed in your place, because that’s what
AllAboutJazz-New York: Some people today have the you did growing up at that time. You stayed in your
impression that jazz is an intimidating music, that it’s place.
too difficult a music to listen to and that they need a lot
of special knowledge to appreciate it. What do you AAJ-NY: As Greenwood and the surrounding area
think of this, in terms of your own music? wasn’t much of a jazz scene, how were you introduced
to jazz? And then decide to be a jazz musician?
Mulgrew Miller: I don’t think a person should have to
have a Master’s Degree in music or theory to MM: I heard Oscar Peterson on the Joey Bishop Show on
Karl Berger’s
understand what’s going on. Hopefully the music
should be accessible on a number of levels. For
television. First of all, I never imagined that a piano
could be played like that. I had never seen nor heard
“Music Mind” Method
example, I don’t think the music should be 100% anybody do that live. It was like something from Karl Berger’s “Music Mind” method is now
progressive. There should be an accessible element another planet really. I had heard concert pianists on available in individual and group coaching
that I refer to as the folk element, something that TV but I hadn’t heard anybody play the piano telling sessions, live, and in dedicated online sessions.
reaches people where they live. In this music, jazz, for the story I could relate to, with that kind of technique “Music Mind” addresses how we play and listen,
me blues is the folk element. It’s also a storytelling and sophistication. When I heard that I said that’s deepening our feel and touch, expanding our
element; a storytelling element has to be there... what I want to do. I was a completely different child horizons, focus, confidence and creativity.
But my feeling is that the listener should be the next day. I knew what I wanted to do from then on.
When you got the chops, it is the strength
prepared to meet the artist halfway. They should be of your spontaneous mind that is needed
prepared for any kind of the unexpected. You don’t AAJ-NY: Were there any local influences? to come up with the right decisions for
want to go to a concert and know exactly what you’re a convincing performance.
going to hear and not somewhat be challenged as to MM: I never had any formal lessons. But there was a
Wherever you are now in your development,
what you can appreciate. And the musician has an guy in Greenwood called Boogaloo Ames, an
this will take you to a new level and outlook.
obligation to meet the audience halfway. It goes both interesting figure for me, an older fellow who kind of
ways. The listener shouldn’t be expected to be played in the style of Nat King Cole and Erroll Garner. If your aim is to become a great performer,
spoonfed every little thing. And they shouldn’t be Many years later he surfaced on a Cassandra Wilson this is the way. If you are a great performer
patronized. record (Belly of the Sun) on one or two tunes as a blues and you want your performances to be
unforgettable, this is the way.
piano player but I had known him long before as a jazz
AAJ-NY: Speaking of the blues as an important player. He played in this almost prebop style and Participation in this coaching program is limited.
element in your music, you grew up in the heart of knew every standard ever written. He worked at Only a few spots are available now to
blues territory. While you don’t have to be from the Baldwin, tuning pianos, and every Saturday when he individuals or groups.
Delta to appreciate the blues, your roots were there. was off I’d pick him up and drive him downtown to Contact Karl Berger at creativemusic@verizon.net
Where specifically did you grow up and what was it the piano store where we’d sit for hours and I’d watch
like? him play songs and different runs and things like that.
MM: A small town called Greenwood, Mississippi. AAJ-NY: Did he influence your playing?
Greenwood is supposedly where [legendary blues
guitarist] Robert Johnson lived for a while, in that area, MM: Initially I would say so. In fact, some of the
and I’m told he died there. He was poisoned I think townspeople called me “Little Boogaloo” because I
somewhere else, but died there. [14-year-old] Emmett was the young kid who played piano around,
Till was lynched a week or two after I was born [in everybody knew me. I did school and church functions
August 1955], a few miles from Greenwood actually. and dances and everything. I don’t think I would have
And the guy who shot [Civil Rights activist] Medgar had as much of an appreciation of him had I not
Evers [in June 1963] was from Greenwood. already seen Oscar Peterson. I met Boogaloo a year or
so after that. Boogaloo befriended my high school
AAJ-NY: When you talk about racism, it must have bandleader who was a saxophone player and a caterer.
been a pretty heavy place in those days. So when he catered parties sometimes he’d hire
Recommended Listening:
• Microscopic Septet - The History of the Micros,
Septet
Vol. One: Seven Men in Neckties
(Press/Osmosis - Cuneiform, 1982/1984/1990)
• Microscopic Septet - The History of the Micros,
Vol. Two: Surrealistic Swing
(Osmosis/Stash - Cuneiform, 1981/1986/1988/1990)
• Microscopic Septet - Lobster Leaps In (Cuneiform, 2007)
• Microscopic Septet - Friday the Thirteenth
Photo by Lars Klove
©johnrogersnyc.com
Bill Smith two years again and then I stayed on for four years
playing in a group with John Eaton. We had a group
called the American Jazz Ensemble and we toured all
Recommended Listening:
• Dave Brubeck - The Dave Brubeck Octet
(Fantasy, 1953)
by Marcia Hillman over Italy and throughout the United States actually.” • Red Norvo - Music to Listen to Red Norvo By
Back in the US, Smith began his teaching career at (Contemporary, 1957)
In the world of musical the University of Southern California and went on to a • Bill Smith - Folk Jazz (Contemporary, 1959)
Smiths there is Bill 30-year teaching stint at the University of Washington • Dave Brubeck - Near-Myth (Fantasy, 1961)
Smith - jazz clarinetist, in Seattle in 1966. But it wasn’t all teaching. He was • Various Artists - Dedicated to Dolphy (1928-1964)
composer and arranger. constantly writing - both classical and jazz (Cambridge, 1966)
Then there is William compositions - recording and performing as well. “For • Dave Brubeck - Moscow Night (Concord, 1987)
Overton Smith - ten years I was with Brubeck steady in the ‘80s,” he
‘50s ‘00s classical clarinetist and remembers. “I was teaching at the same time and it
composer. And, yes, they are the same person. Born in was a killer flying into the East Coast for weekend
Sacramento, California on Sep. 22nd, 1926, Smith gigs. It was great playing with Dave. We’ve played
started playing the clarinet at age ten. He also started and recorded together throughout the years. And
his double life in his teens by putting together a jazz during the ‘60s he commissioned me to write an album
group at 13 and joining the Oakland Symphony a year for him for his quartet to play with him.”
Orchestra at 15. “As a kid, I wanted to be like Benny Based in Seattle, Smith continues to teach
Goodman,” Smith relates. “He was a great inspiration privately. (He is Professor Emeritus at the University
for me. He could play Mozart or he could play blues. I of Washington.) The clarinetist continues to write,
only knew jazz when I was a kid, but finally in my late record and perform. Smith states, “Every summer I go
teens I heard Benny Goodman’s classical recordings of to Rome and to Italy and I play a concert every week or
Mozart and I thought there’s a whole world.” a couple of times some weeks throughout Italy. I play
After high school, Smith toured cross-country locally around Seattle with a trio, but there’s not much
briefly with a dance band and soured on the idea of happening there. I performed with Brubeck a couple of
being on the road as a jazz musician. He settled in New
York City to begin his formal music studies at the
years ago and when he comes to Seattle, I play with
him,“ he goes on. Smith has a new CD, TramJAZZ
December 7
Juilliard School of Music in the daytime and playing at (Trambus, 2008) with clarinetist Paolo Ravaglia. Frank Perowsky and the
jazz clubs at night. One of the most significant impacts Smith recently performed at the Symphony Space
on Smith’s education and life came in 1946 when he premiere of his jazz opera Space In The Heart. Written
Cats and Jammers
forsook the East Coast and headed back to California in 2008 (and first performed in Seattle), the work has a
to study music with Darius Milhaud at Mills College in libretto by Peter Monaghan and is written for three
Oakland. It was there he met fellow classmate Dave voices and a group composed of clarinet, piano, bass December 14
Brubeck and began a lifetime of friendship and and drums. The performance was done in concert style
musical collaboration. He recalls, “The first guy I (without sets) and featured singers Rachelle Fleming,
Mike Longo Funk Band
recorded with was Brubeck. It won the DownBeat Nicole Pasternak and Dominic Infererra with Smith,
award for small band for that year in the early ‘50s. pianist John Eaton, bassist Michael Bisio and drummer
The earliest thing on it is my ‘Schizophrenic Scherzo’ Alan Bergman. The story is ‘the eternal triangle’ Concerts Resume
and that was my first experiment with trying to marry
what I knew of classical music and jazz.” (This
among astronauts and takes place mostly in outer
space. Smith comments, “My opera tries to combine
January 11, 2011
integration was later given the name “Third Stream” basically what I love about Monteverdi and jazz. I
by Gunther Schuller.) heard an opera of his about two years ago and the lines
Continuing his studies, Smith went on to study were simple and direct and the music was improvised
composition with Roger Sessions at the University of by the baroque continual players. I thought if baroque
California, Berkeley, earning his Bachelor’s and musicians can improvise, why couldn’t I do that with
Master’s degrees. Then came a succession of awards jazz musicians?”
that offered him the opportunity to study in Europe. Bill Smith, aka William Overton Smith, always
The Prix de Paris in 1951 gave him two years of study “wanted to compose music and play music when I can
at the Paris Conservatory. In 1957, he was awarded the and be connected with universities.” And this
Prix de Rome. “That took me to Rome for a year to the renaissance man is still doing all of that. K
American Academy in Rome,” he explains. “In 1960 I
had a Guggenheim thing which took me to Rome for For more information, visit faculty.washington.edu/bills
Johnny Griffin (1928-2008) from the Hampton band) had started a sextet that
lasted for several years. Griff can also be heard on
some early R&B recordings on the Atlantic label. The
Netherlands in 1978.) He recorded throughout this
period - with Dizzy Gillespie, the Kenny Clarke-
Francy Boland Big Band, Monk, Nat Adderley, Stan
by Donald Elfman saxophonist was soon based in New York but was Getz, Toots Thielemans and many others.
often on the road and then spent two years in the During the ‘90s he recorded with an American
J ohnny Griffin was one of the true masters of bop, and army, eventually returning to Chicago. Thelonious group that featured pianist Michael Weiss and
later hardbop, saxophone. He was known as “The Monk urged Orrin Keepnews to sign him for drummer Kenny Washington. Griffin’s sound had
Little Giant” due to his stature and extraordinary Riverside, but Blue Note beat him to it. (In that same mellowed some but his extraordinary musical sense
talent. His facility and control with tempos and deft period in the late ‘50s, he recorded with Art Blakey’s stayed intact. On Jul. 25th, 2008 Johnny Griffin died of
harmonic perception made him one of jazz’ finest Jazz Messengers and also several times with Monk.) a heart attack in France, where he’d lived for the
players. Griffin’s career as a leader started, for Blue Note, preceding 24 years.
John Arnold Griffin III was born in Chicago on in 1956. Introducing Johnny Griffin and then The It’s a study well worth pursuing - getting to know
Apr. 24th, 1928 and grew up on that city’s South Side. Congregation and A Blowin’ Session (with John Coltrane the music of Johnny Griffin. Strongly recommended
He studied music at the legendary DuSable High and Hank Mobley) introduced this dynamic player are the aforementioned Blue Notes, Art Blakey’s Jazz
School and by age 15 was playing with T-Bone Walker. with great speed and perfect intonation to the jazz Messengers with Thelonious Monk (Atlantic) and The Cat,
Alto sax was his instrument when, almost immediately world. He made recordings as a sideman as well and from 1990 on Antilles. K
after graduation, he joined the big band of vibist soon switched to Riverside where, from 1960-62, he
Lionel Hampton. Hamp urged him to play tenor and and Eddie “Lockjaw” Davis led their own quintet. A Johnny Griffin Tribute/The Big Soul Band 50th
he did, next to Arnett Cobb in the reeds section. In 1963, Griffin moved to France and stayed in Anniversary with Houston Person and others is at Jazz
In 1947, Griffin and trumpeter Joe Morris (also Europe through the ‘60s-70s (he moved to the Standard Dec. 14th-15th. See Calendar.
Sameness is the Enemy you’re gonna get - it’s always the same!”
This scourge of sameness has somehow
permeated nearly every part of our landscape and
be made by a computer program whose sole criterion
is that the next piece must sound the same or nearly
the same, as the last.
by Scott Robinson every aspect of our culture. And it isn’t just here at Why does uniformity have such a hold over us?
home. Thanks to globalization, multinational Why do humans, those most creative of animals (in
You know the feeling: you’re just arriving in a part of corporate behemoths now bring us Kraft cheese in America, that most creative of nations), seem so eager
the US you’ve never visited and looking forward to France, Coca-Cola in Chad, McDonald’s in Moscow to prostrate themselves before the altar of sameness? I
seeing what it has to offer. Your plane touches down and Starbucks in Beijing’s Forbidden City. Where have a theory: perhaps, like brute physical strength,
and, like magic, Muzak switches on. In the airport, the America’s jazz once fired the imagination of the world, creativity is becoming less critical for day-to-day
insipid music (or another version of it) is again your now her bland, pitch-corrected pop has stultified the survival. Where early humans had to use brawn and
unwanted companion, following you even into the cultures of other nations, driving out their indigenous brains to find a way to stay alive, now most (in the
bathroom. You wend your way past the same Chili’s music like an invasive species. In cafés from Kowloon developed world, at least) can simply pick up a pizza
Express, Cinnabon and Miller Brewhouse you saw in to Cameroon, I’ve had to endure the same stuff that I or buy groceries. Could we be in danger of losing our
the airport you departed from 2,000 miles ago and pick would in my local New Jersey bar. What’s disturbing is creative edge? Certain species of birds have, through
up your car keys at the rental desk. Out in the lot, the the tyranny of it, the ubiquity. We are not allowed to the centuries, lost the ability to fly. Consider the
music continues to follow you as you make your way escape it - it is required listening wherever we go. ostrich: does not such a flightless bird seem somehow
to your car, through speakers mounted every five feet The forces of sameness are at work in education, less a bird, absent such a distinguishing characteristic?
in the canopy overhead. too, where the push is toward ever more And would not a diminishment of our own creative
You hit the road, looking forward to the local standardization and away from innovation in powers make us, in some immeasurable but crucial
scenery on the way to your hotel. You’re on a highway teaching. Even the world of jazz, supposed bastion of way, less human?
and it looks disturbingly like a lot of other highways in unfettered imagination, is susceptible (theme-solos- If there is an answer to this dilemma, at least for
a lot of other places you’ve been, nowhere near this theme formats, formulaic endings, the dreaded musicians, perhaps it cannot be stated more simply or
one. You pass shopping centers, malls and large “everybody wear all black”). And thanks to more passionately than what Anthony Braxton said to
swaths of housing developments just like the ones deregulation and corporate greed, jazz has virtually me years ago: “We have to keep playing music like our
back home. These bear evocative names that recall disappeared from radio along with almost anything life depends on it - which it does!” He was speaking, of
whatever was destroyed in order to put them there: that isn’t pop or talk. Radio stations once had live course, of creative, far-reaching music, music that
Fox Run Woods, Turkey Glen Estates. Nervously you orchestras; now many of them don’t even have local elevates the imagination and transforms the listener.
turn on the radio, thinking, “maybe I’ll catch some DJs, as programming is prerecorded from a prescribed We musicians are often told that we must “give the
local music.” But up and down the dial is a seemingly playlist and piped in from corporate headquarters. audience what it wants”... but an audience can only
endless supply of the same pop/rock you were This trend began in the ‘90s with test marketing: test want what it already knows. I believe that part of an
subjected to back at the airport, along with a hefty dose groups determine playability based on just 10 seconds artist’s job is to find that which the audience never
of right-wing talk and a smattering of news. of music. Playlists shrink, songwriters start “writing to knew it wanted, that which it was not even equipped
Near a big intersection you find your hotel, one of the test” and sameness wins the day. Today, any sort to imagine. This way, the music is allowed to evolve
a giant chain (aren’t they all nowadays?). Your spirits of DJ autonomy has vanished from most radio, as and grow and perhaps take us humans along with it.
fall as you look around and realize that this highway corporations decide what gets played. There’s big Indeed, creativity - and creative music in particular -
interchange is indistinguishable from all the others money in sameness! may be the most powerful weapon we have against the
you’ve seen all across this continent. Wal-Mart, What about the Internet? There’s been much to be creeping tide of sameness and uniformity. Let us wield
Wendy’s, Home Depot... you are in the center of a thankful for, with independent musicians finally out it often and well. K
giant ocean of unrecognizable conformity. Where from under the yoke of record labels and distributors
Indians once hunted bison is now no different than who decide which music is worthy of release. But I see For more information, visit mysite.verizon.net/smoulden/
where steamy Floridian jungle once stood. Those an ominous new trend coming: subscription services, scott.html. Robinson is at Brooklyn Lyceum Dec. 8th, gives
worlds have been removed and replaced with... this. which many say will soon replace downloads. For a a seminar at The Stone Dec. 13th and is at Littlefield Dec.
You step into the hotel lobby (yes, the pop music monthly fee, listeners can access an entire library of 15th with Ron Horton/Tim Horner. See Calendar.
is playing there, too) and make your way to the check- music... but only whatever music the company chooses
in desk, passing by the hotel bar. Maybe you’ll drop in to provide. Even more unsettling are the new “acoustic Multi-instrumentalist/composer Scott Robinson has been a
later for a good local beer! Quickly you scan the taps: personalization” services, which provide listeners highly-active presence on the New York-based jazz scene for
Bud, Bud Light, Coors, Coors Light... no luck there. As with music matching the acoustical profile of whatever more than 25 years, appearing on some 200 CDs. He has
the perky young gal at the desk hands you your key, they listened to last - a virtual recipe for sameness! been heard with Frank Wess, Bob Brookmeyer, Maria
you ask, “Where can I get some good local chow?” How would someone listening to Coltrane discover Schneider, Anthony Braxton, Hank Jones and more and
“Well, there’s a Denny’s next door,” she answers Art Tatum by such a method, let alone Bartók’s string toured 11 African nations in 2001 as a US Jazz Ambassador.
cheerfully, “and an Applebee’s just across the quartets? The joy of discovering new sounds will be This year, Robinson’s ScienSonic label has released its first
highway. I like Applebee’s, ‘cause you know what forever lost if we start allowing our listening choices to two CDs of “worlds of tomorrow through sound”.
VO X NEW S
by Suzanne Lorge like music boxes and pebbles and wind chimes and singer’s musical contribution fairly and respectfully.
little bells. Keith plays piano and Julie adds voice. The The hefty amount of research that went into the book
In the liner notes of Silver Pony (Blue Note), Cassandra impressionistic musical portraits they create rely less (more than 800 pages!) is astounding.
Wilson’s latest album, is a photo of a four-year-old girl on an established vocabulary or a recognizable tonal End-of-year headliners: Perennial favorite John
in cowboy regalia sitting atop a brown and white center than on inspiration in the moment. But their Pizzarelli will be at Birdland Dec. 14th-18th, followed
pony. On her first release since the 2008 Grammy- new CD, Couple in Spirit: Live at the Purcell Room by Freddy Cole Dec. 21st-25th. Manhattan Transfer
winning collection of standards, Loverly, the team is (Ogun), is a recording of their improvised performance takes the stage at Blue Note Dec. 8th; Dianne Schuur
nearly the same (guitarist Marvin Sewell, bassist at the 2008 London Jazz Festival, so you’ll find it returns to Jazz at Lincoln Center Dec. 10th-11th and
Reginald Veal, drummer Herlin Riley, percussionist tagged as a jazz product on Amazon. A strong Dena DeRose and Dee Cassella both play The Kitano,
Lekan Babalola, co-producer John Fischbach) and the recommendation to free improv buffs to look for it. Dec. 17th-18th and 29th, respectively. And don’t miss
disc opens with a redux of “Lover Come Back to Me”, Will Friedwald is an accomplished music Cilla Owens in her tribute to the great voices of jazz at
which also appeared on Loverly. The content here is journalist with plenty of welcome insight into the art Brooklyn Central Library on Dec. 2nd.
different, though: Wilson is still exploring her New of singing. In his intelligent new book, A Biographical Season’s greetings: Holiday-related jazz offerings
Orleans roots, but this time through more blues tunes Guide to the Great Jazz and Pop Singers (Pantheon), he this year include the Berlin Voices’ Jazz Christmas, 13
and instrumental solo sections. And this time, instead focuses on singers who made careers out of the Great traditional Christmas songs arranged for the tight
of heralding a return, she’s telling us how she saddled American Songbook, no matter what section of the vocal quartet, on the Hänssler Classic label. And on
up and took to the road. It was all those songs out record store their LPs ended up in. (The book Dec. 23rd you can attend the annual Jazz Nativity with
there, you see. The world owes a lot to that pony. catalogues singers primarily from the middle of the vocalist Amy London at BB Kings and/or Roseanna
In their improvs Keith and Julie Tippett use lots 20th century.) He lays out his selection criteria for a Vitro’s Christmas Celebration Concert with the NJCU
of fun things that you might have around the house, singer’s inclusion quite clearly and details each jazz singers at Miles’ Café. K
Origin Records which was going out and making records and then
selling enough records to make the next record,”
Bishop asserts. “Thinking like musicians is built into
a trio called Scenes, which has recorded two albums
for the label. And Stowell says that one of the things he
appreciates about Bishop is the fact that he thinks
by Alex Henderson our DNA.” creatively but also knows how to run a business.
Bishop adds that as much as Origin has grown and Stowell explains: “John has good ears, musical
F or many years, when musicologists think of Seattle expanded in the last 13 years, the company has never integrity and taste and is easy to deal with. You know
and its music scene, they typically think of a long list adopted a corporate mindset. “Most record companies very quickly if a project submitted to the label will be
of rock ‘n’ rollers. But Seattle has also had plenty of are set up in a way that they need to make a lot of accepted. John puts out uncompromising - in the best
jazz activity over the decades and these days Origin money in a hurry, but that isn’t how we’re set up,” sense of the word - music and creates great covers and
Records is recognized as the Pacific Northwestern Bishop explains. “If you’re signing some young singer packages as well. I’m really happy that John has given
city’s busiest, most prolific independent jazz label. and are trying to make her into the next Diana Krall or so many musicians, around 175 and counting, a chance
2010 marks the 13th anniversary of Origin, which was the next Jane Monheit because you have to satisfy an to document their work and, in my case and some
founded by jazz drummer John Bishop in 1997 and is investor who invested 300 grand in your company, others, create a small body of work.”
very much a musician-run operation; Bishop’s partner, you try too hard - which ruins everything. Origin has Vibist Joe Locke also describes Origin as a
Matt Jorgensen, is also a jazz drummer and Artist never been run that way. Our approach has been to put company that understands both the business and
Relations Manager/Production Manager Chad out a quality record and build from there.” creative sides of music. “Having done several projects
McCullough (who came on board in 2006) is a jazz Pianist Darrell Grant, who has recorded for with Origin as a leader,” Locke comments, “I can attest
trumpeter. Origin, says that for him, the fact that Bishop and to the fact that John Bishop and Matt Jorgensen are
Origin has grown a lot since 1997; Bishop Jorgensen are actual musicians is a definite plus. Grant about the music 100%. Not only can I do what I want
estimates that the company has released around 300 remembers: “I went to Origin after running my own artistically with these guys, it is what’s encouraged at
CDs along the way and the Origin umbrella now label for eight years... After doing the work of the label. This plus the fact that they are very savvy in
includes not only Origin proper but also OA2 Records producing, duplication, marketing, promotion, their marketing approach - keeping up with current
(founded in 2002) and Origin Classical (founded in managing and distribution myself, I was ready to pass trends in worldwide promotion - makes me return to
2008). The Origin Records team also runs the Ballard some of those jobs onto someone else. But I wanted it them when I am looking for an outlet for my various
Jazz Festival, which has been held annually in Seattle to be someone I could trust to do what they said they projects.”
since 2003. would do. Because John and Matt are musicians, it was Although Origin has given exposure to an
According to Bishop, the fact that Origin is run by easy to talk to them.” abundance of Seattle-based artists, Bishop stresses that
honest-to-God jazz musicians - not Ivy League MBAs Guitarist John Stowell, who has been playing with having a Seattle address is hardly a prerequisite. He
or investment bankers - has had a major impact on the Bishop since the early ‘80s, has had extensive dealings estimates that “maybe 120” of the roughly 300 CDs
way the label has been doing things. “Origin was an with Origin; Stowell has been associated with the Origin has put out since 1997 are by artists from the
offshoot of what we were already doing as musicians, company for about ten years and plays with Bishop in (CONTINUED ON PAGE 37)
E Pluribus Unum
Hadley Caliman
Jessica Williams
Straight Ahead
Plays for Monk
Benny Powell
Bobby Broom
Hal Galper
Nextep
Touch
LISTEN UP!
J AMIRE WILLIAMS is a thriving drummer, producer Did you know? I sleep with my eyes open… By Day: I teach at various schools including The Aaron
and composer on the New York City scene. A native of Copland School of Music (Queens College), Brooklyn
Houston, TX, Williams is a graduate of that city’s For more information, visit myspace.com/erimaj. Williams is at Charter School, The Jazzmobile Vocal Workshop, as
Grammy-Award winning High School for the Village Vanguard Dec. 7th-12th with Robert Glasper and Jazz well as private students.
Performing & Visual Arts. After moving to New York, Standard Dec. 28th-31st with Dr. Lonnie Smith. See Calendar.
he received his BFA in Jazz and Contemporary Music I knew I wanted to be a musician when... I went away
from New School University and was chosen as to a music summer program called NYSSSA School of
recipient of the university’s Young Beacon of Music Choral Studies in high school. The program was
Award. Recently named in DownBeat Magazine’s 2010 rigorous: choir practice in the morning, then
Critic’s Poll Rising Star Drum category, he’s definitely theory/ear training class, voice lesson, lunch, choir
one to keep your eye on. Williams has worked with practice again, then our elective, then dinner. We ate,
Roy Hargrove, Jason Moran, Pharoah Sanders, Kenny drank and slept music. I remember one day, I was
Garrett, Terence Blanchard, Bobby Hutcherson, Stefon sitting on the bridge/overpass working on some
Harris and Gretchen Parlato, to name a few. music. I looked up for a moment at the sunset and I
suddenly thought I could do this. I could be a musician
Teachers: Michael Carvin and Charli Persip. Jamire Williams Charenée Wade everyday, perform, practice, master my craft and
really be happy. Soon after, I got one of the teachers to
Influences: Anwar Sadat, James Baldwin and Jean- C HARENÉE WADE graduated from Manhattan allow me to lead a Jazz Vocal Ensemble as one of the
Michel Basquiat. School of Music with a Master’s degree and has elective courses.
performed at Jazz Gallery, Dizzy’s Club, Smalls and
Current Projects: Recording my own band ERIMAJ’s Zinc Bar. Her debut CD, Love Walked In (s/r), was Dream Band: This is hard for me to say because the
debut record. I also work regularly with Christian released in July 2010. Wade recently placed 2nd in the musicians that I work with now are so amazing. I love
Scott, Robert Glasper, Jacky Terrasson and Dr. Lonnie 2010 Thelonious Monk International Vocal playing with them. But if I had to choose, I would love
Smith. Competition. to play with Christian McBride, Gene Jackson and
Herbie Hancock.
By Day: Probably on a flight to the next show. Teachers: Peter Eldridge, Luciana Souza, Miles
Griffith, Cecil Bridgewater, Bob Stewart. Did You Know? When I was in high school, I used to
I knew I wanted to be a musician when... I heard my always be mistaken for being one of the teachers; I
mother singing and playing the piano as a little boy. Influences: Sarah Vaughan, Betty Carter, Carmen wore business suits and heels to school.
McRae, Dianne Reeves, Shirley Horn, Abbey Lincoln,
Dream Band: Me, Jimi Hendrix, Charles Mingus, Eric Nina Simone, Cassandra Wilson. For more information, visit chareneemusic.com. Wade is at
Dolphy, Herbie Hancock (with the afro), Larry Young Tribeca Performing Arts Center Dec. 11th as part of Monk
and commission Wayne Shorter to write the music. Current Projects: Promoting my debut CD. in Motion: The Next Face of Jazz. See Calendar.
F rom Kalemegdan fortress above the old town of Berliners seeking to illuminate November gloom “N ow I realize why I was born. I was born to be
Belgrade, Serbia, you can see where the Sava and consider several bright options: a luminous ascent here,” a jubilant McCoy Tyner told the audience at his
Danube Rivers meet and across the former you can see inside the Reichstag’s glass dome, a stroll along sold-out Saturday night concert in Xalapa, Mexico’s
the stark architecture of Novi Beograd, New Belgrade. Kudamm to KaDeWe’s tinsellating Christmas Teatro del Estado. The legendary pianist had just
Even pretty views in Belgrade are austere, especially in windows or basking in the aural brilliance in and finished playing three original compositions - “Fly
the pale hazy light of late October. around Festival House during JazzFest Berlin. In JFB’s With The Wind”, “Ballad For Aisha” and “Walk Spirit,
The gray concrete of the city is covered in graffiti 46th edition and Swedish trombonist Nils Landgren’s Talk Spirit”, usual choices from his repertoire, but his
and the streets are gritty. Occasionally you come upon third as musical director, 27 bands with nearly 200 performance this evening was anything but typical.
the shocking ugliness of buildings with their guts musicians from 20 nations were summoned to the Inspired by the placid setting of the beautiful
exposed, hit with one of the bombs that NATO swinging synod. mountainside city, as well the exciting presence of his
dropped in 1999. An American can feel very far from Big bands ruled the week, classically-trained new drummer Francisco Mela, who recently joined the
home here. The streets signs are in Cyrillic. But there is ensembles playing concept programs, not blaring trio that also features stalwart bassist Gerald Cannon,
something about Belgrade that draws you back. There hard-driving bop or postbop as we usually know it. the pianist played with a joyous spirit, which filled the
is an edgy energy here that makes more romantic Jazz Bigband Graz (Austria) combined spacey, old songs with rhythmic and harmonic surprises that
destinations feel too tame. The people seem more real sensuous charts and airy solos, notably Heinrich von continued throughout the concert.
than those in more prosperous and fortunate places. Kalnein’s bluesy soprano, with grainy black/white The many musicians from north of the border that
The Belgrade Jazz Festival began in 1971, but went film and texts by Buzz Aldrin and Paul Simon to performed during the weeklong musical celebration
dark between 1991 and 2004 because of the wars in the transport a full house via the moon’s Sea of Tranquility echoed Tyner’s blissful assessment of the atmosphere
former Yugoslavia. The 2010 edition (Oct. 28th-31st) to a unison singularity. Zeitkratzer (Berlin), with guest of the Festival Internacional JAZZUV (Nov. 8th-14th).
was the 26th. After years of repression and isolation guitarist Terje Rypdal and trumpeter Palle Fellow headliner Jack DeJohnette was as effusive in his
and war, audiences in Belgrade embrace jazz with an Mikkelborg, scraped Nordic beach gravel in a thin- praise of the festival’s unique quality, which was
intensity not often equaled elsewhere. Wayne atmospheric, melancholic tribute to a tidal Miles typified in his two-hour-long SRO concert with a
Shorter’s quartet played on the first night in Sava Davis. Studio Dan (Vienna), 19 youths led by hastily-assembled sextet that included US artists -
Centar, the largest music venue in Serbia. At least two- trombonist Dan Riegler, plied Zappa-esque charts of trumpeter Jason Palmer, saxophonist Grace Kelly and
thirds of its 3,500 seats were occupied. The other six breathtaking wind unisons and ironic humors, served guitarist Nir Felder (each of whom also led groups and
events of the festival were at or very near capacity. The in a bloodless precision that squelched solos, except gave master classes during the week as part of the
city government supports the festival and keeps ticket the playful mewlings of pert singer Nika Zach. festival), along with Mexican players, pianist Edgar
prices low, around ten euros on average. With a wide-cast net embracing tolerance in Dorante - Director of the jazz program of Universidad
Historically, Shorter’s appearance was significant today’s backlash, some bands fused Arab-Western Veracruz, which sponsors the festival - and Emiliano
because no one of his stature had appeared in Belgrade connections in memorable encounters. After clearing Coronel, the phenomenal 18-year-old bassist, who
since the festival resumed in 2005. Artistically, it was dusty Wagner-ian brass blasts from hr-Bigband, avant stood out as an astonishing testament to the school’s
the same strange stream-of-consciousness marathon icon pianist Joachim Kühn’s charts warmed to the educational achievements. Performing an
that Shorter’s group offers these days. They played 80 Maghreb sands and intersected with Berber Majid uninterrupted set that included compositions by Joe
minutes without pausing. The individual components Bekkas’ hearty vocals, guembri and oud. Sparks flew Henderson, Freddie Hubbard, Ornette Coleman,
of the music were often startling, especially John when Macedonia’s Kocani Orchestar, astir with Dorante and DeJohnette, the group played with
Patitucci’s powerful bass rituals and Brian Blade’s flamenco and klezmer brass, engaged the mid-Adriatic incendiary verve ignited by the leader’s
curse-like drum eruptions. But the whole was a with Municipale Balcanica, a marching nonet from uncompromisingly creative drumming.
continuum of inconclusive gestures. Shorter’s Bari, Italy. Conducted with Chaplin-esque flair by Dorante and Coronel teamed up with festival
contributions were mostly brief flurries or trills, accordionist Livio Minafra, this flamboyant 20-man Artistic Director Mela to form Trio DCM, a ubiquitous
presumably meant to splash paint on the greater coalition flowed across the footlights to involve its presence throughout the festival, playing as a tight
canvas but the music felt like an endless preamble to a affection-starved audience with Roma gypsy dance threesome and accompanying various others,
work that perversely refused to begin. and jittery shenanigans from Bollywood to Shanghai. including Kelly, Palmer, Felder and Cubana sonera
Charlie Haden’s Quartet West appeared in Dom Another multi-kulti coup linked two Indias: Noila Carrazana. Other Cuban artists who added fire
Sindikata, an old auditorium in downtown Belgrade. Kinsmen altoists Kadri Gopalnath and Rudresh to the fest included pianist Osmany Paredes and
They performed plaintive noir music so perfect they Mahanthappa ululated and swooned, the former on percussionist Mauricio Herrera, both of whom - like
must have played it many times before, yet it was his mat with violin and mridangam (tuned drum) fellow expatriate Mela - currently reside in New York,
resonant with new emotion. Ernie Watts is one of the playing dryly formal and decorative, the latter, afront making major contributions to the city’s Latin and jazz
great unsung tenor saxophone players in jazz. Haden’s electric guitar and rhythm, lithe as a mongoose and scenes. Canadian soprano saxophonist/flutist Jane
ballad “First Song” was a vast, convoluted tale told by spicier than currywurst, as drummers Poovalur Sriji Bunnett, whose groups have introduced many Cuban
Watts in clarion, harrowing calls interrupted by and Dan Weiss locked eyes and grooves. artists to the United States in the past, performed her
blistering runs. Watts is the star of Quartet West, but Landgren’s taste for bass-clef instruments personal brand of AfroCaribbean jazz with Xalapa’s
few bass soloists can tug at your heart like Haden and continues to lend the fest a sonorous and vibrant air. stellar resident conguero Miguel Cruz joining Herrera
Alan Broadbent is a fascinating, unpredictably lyrical Excluding string bassists, the informal tally ran to in her exciting band’s percussion section.
(CONTINUED ON PAGE 46) (CONTINUED ON PAGE 46) (CONTINUED ON PAGE 46)
blues for grounding while the slashing lines and refreshed and recharged for a strong finish.
distorted tones of guitarist Mary Halvorson provide an “From the Abyss”, the longest cut, is also the
avant rock edge. The consistently engaging Andrea disc’s most abstract. Even here, though, a metal-stomp
Parkins is the wild card, using combinations of guitar interrupts a dry rubato intro and the trio twines
accordion, organ and electronics to color the music or its lines into an exuberant granny knot. Midway
cover the low end, when Halvorson doesn’t. With this through the piece, a lone guitar introduces a slow,
unique blend of instruments and personalities, the sweet, lyrical melancholy theme, soon joined by the
music covers expansive territory. others, another surprise in an album that keeps on
The vaguely Middle Eastern “Anxiety Disorder” surprising, succeeding in this game even when the
Fables Hear You Say exemplifies the approach. Opening with a dramatic, strategy becomes patent.
Marty Ehrlich Anderson/Ehrlich tight ensemble passage boasting frenetic drums and
(Tzadik) Quartet (Intuition) emotive sax, the piece careens into chaos. Malaby’s For more information, visit bensyversen.com. This trio is at
by Jeff Stockton wails and Halvorson’s picked lines pierce the din, Café Orwell Dec. 3rd, University of the Streets Dec. 7th and
before Smith reestablishes the theme. Malaby starts the Freedom Garden Dec. 11th. See Calendar.
Marty Ehrlich has been around a while, with roughly title track with a jaunty repeating line that is soon
25 albums of his own compositions to his credit and contrasted by dirge-like drums and guitar, devolving
appearances on nearly 75 as a collaborator. Fables to a freer section. The pace subsides for “One Long
marks his second release among John Zorn’s Radical Minute”, its tender, warbling tenor line supported by
Jewish Culture series. This music is lyrical and elegiac, high-pitched accordion drones and impressionistic
dominated by Ehrlich’s lilting clarinet (as well as bass percussion. Smith’s skittering drums and clacking rims
clarinet, flute and soprano and alto saxes) with pace “Conclusion”, the group playing off the groove to
accompaniment from renowned Klezmer musician and develop a line with percussive accordion accents. A
scholar Hankus Netsky on piano and accordion. crashing flourish leaves Smith alone for a break, until
Numbered compositions entitled “Scroll” mark the he uses his tympani-like tom to reinvite the band. The
moment when the Torah is opened; the music is episodic “It Rained and the Tent Fell Down” begins
appropriately luminous and awestruck. The with sax squalls then alternates between amorphous
surrounding tunes, embellished here and there by sections and a repeating formal theme, which becomes
Marcus Rojas’ tuba, are “fables” telling stories that more intricate in the final round, as guitar and sax
occur outside the mystery. Jewish liturgical music is as double the rhythmic phrase.
emotional and heartfelt as any gospel or blues and
Ehrlich’s playing overflows with radiant beauty and For more information, visit skirlrecords.com. Smith is at Jazz
soulful commitment. Gallery Dec. 2nd with Tim Berne, Downtown Music Gallery
The Ray Anderson-Marty Ehrlich Quartet took 30 Dec. 5th, Zebulon Dec. 6th and 8th, The Stone Dec. 10th
years to come together, the pair having first played with Raz Mesinai and 14th solo and Littlefield Dec. 16th
together in an Anthony Braxton band. If only due to with Aarses. See Calendar.
sheer longevity, the pair has risen to the tops of their
respective lists for instrumental mastery and Hear You
Say (recorded live at the Willisau Jazz Festival)
documents what they do best. Along with bassist Brad
Jones and drummer Matt Wilson, Anderson growls,
RECOMMENDED
grumbles and mumbles and roars to the heavens while
Ehrlich answers him on rough-hewn alto and cajoles
NEW RELEASES
on clarinet. The pair audibly inspire each other, fueling • Luis Bonilla - Twilight (Planet Arts)
each other’s creativity, sparking ideas and disarming • Avishai Cohen - Introducing Triveni (Anzic)
one another - and the audience - with humor and brio.
• Patrick Cornelius - Fierce (Whirlwind)
Accessible yet challenging, knotty yet straightahead,
the music on this CD gets more listenable, surprising
Cracked Vessel • Benoît Delbecq - Circles and Calligrams (Songlines)
and admirable with each spin.
Ben Syversen (s/r) • Herculaneum - Olives and Orchids (EF)
by Gordon Marshall • SFJazz Collective - Live 2010: The Works of
For more information, visit tzadik.com and intuition- The best contemporary artists are both ironists and Horace Silver (SFJazz)
music.com. Ehrlich is at Roulette Dec. 2nd with Muhal archaeologists. Ben Syversen is no exception. On his David Adler
Richard Abrams and Cornelia Street Café Dec. 11th with debut Cracked Vessel, he digs and he digs. The first New York@Night Columnist
Mario Pavone. See Calendar. track, “Frontman”, opens with a trumpet line like
something out of Dizzy Gillespie’s “Salt Peanuts” and • Jason Adasiewicz - Sun Rooms (Delmark)
is soon crossed with a Jimmy Page-style guitar riff, as • Daniele D’Agaro/Alexander von
if straight from “Whole Lotta Love”. Of course, Dizzy Schlippenbach/Han Bennink - Fingerprints
and Jimmy were overshadowed in their day by more (Artesuono)
powerful - or at least more flamboyant - frontmen in • Benoît Delbecq - Circles and Calligrams (Songlines)
Charlie Parker and Robert Plant. Hence the notion • Red Mitchell/Warne Marsh - Big Two (Storyville)
immediately inferred is that Syversen is going to • Potsa Lotsa - The Complete Works of Eric Dolphy
challenge that idea of leadership in this project.
(Jazzwerkstatt)
It isn’t so much a homogenization that ensues, as
a tension among members on questions of style and
• Tiziano Tononi/Daniele Cavallanti -
direction. On the next number, “Weird Science”, the Nexus Plays Nexus (Splasc(H))
Finally Out of My Hands
trumpeter is still waxing bebop while guitarist Xander Laurence Donohue-Greene
Ches Smith & These Arches (Skirl) Managing Editor, AllAboutJazz-New York
by Sean Fitzell Naylor is funking out. Likewise “Bad Idea”’s subdued
start gets complicated through competition, as
Drummer Ches Smith has steadily earned a drummer Jeremy Gustin asserts his identity like a rebel • Atipico Trio - Eqqueqqua’ !!! (Leo)
reputation as a resourceful player within creative teen, bringing the album again into rock-ish territory. • Michael Blake - Hellbent (Label of Love)
music, powering projects led by guitarist Marc Ribot Drive and decision - and precision - are established. • Blob - Earphonious Swamphony (Innova)
and saxophonist Tim Berne, among others. With “Krazzle” is the sort of thing that might blare • Joe McPhee/Ingebrigt Håker Flaten -
Finally Out of My Hands, Smith establishes his from a band in a military barracks, with march time Blue Chicago Blues (Not Two)
credentials as a leader and composer, though he’s going gleefully awry. Syversen applies a mute on “End • Parker/Guy/Lytton + Peter Evans -
previously written percussion works and contributed of Time”, to which Naylor responds with a hard fuzz Scenes in the House of Music (Clean Feed)
to collectives in which he’s participated. guitar. Guitar and drums drop out halfway through to • Terje Rypdal - Crime Scene (ECM)
The title reflects his group’s strategy: his material give Syversen a chance to show what he can do
Andrey Henkin
provides direction but he expects the musicians to without props - which is, simply put, hold his own yet
Editorial Director, AllAboutJazz-New York
elaborate. Tony Malaby’s husky tenor sax injects the not go on too long to let the tension lapse. Instead, it is
Triple Play
Russell Malone (MAXJAZZ)
by Laurel Gross
W hile guitarist Russell Malone has made three earlier
recordings for MAXJAZZ and numerous CDs on other
labels as a leader since his recording debut for
LIVE
AT
SMALLS Eponymous
December 17th Ingrid Laubrock Anti-House (Intakt)
7:30 pm by John Sharpe
Since moving to New York City from London in 2008,
German saxophonist Ingrid Laubrock has fallen in
kerrypolitzer.com with a like-minded coterie of musicians adept at
NYC DRUMMERS, WE HAVE DRUM SET PRACTICE. SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS.
CALL JESS AT 212-730-8138 FOR DETAILS. TEACHING STUDIO IS OPEN
Shade Shadow cleverly uses the cool jazz of this same
time period as a foundation for an integrated program
of new musical structures. His compositions stand tall
on their own and also serve as soundtracks to
individual films about the lives of Krisel and Wexler.
Greenfield is no stranger to using his pen, alto and
a healthy respect for those who came before him to
construct beautiful takes on the jazz icons of past eras.
But while his Duo + One (Dots & Lines, 2007) with late
Deep Drink drummer Rashied Ali veered several Monk and Trane
Elderflower (s/r) classics toward a freer existence, Light Shade Shadow
by Gordon Marshall has him eschewing alto for the rare C-melody sax and
rebirthing the cool into a sophisticated skyline of very
Elderflower is Loren Stillman (alto sax) and Ryan listenable modern jazz.
Ferreira (guitar) and on Deep Drink they produce The C-melody, with its slightly nasal tone, gives
liquid, almost steam- or smoke-like tones. Sax could be these tunes a relaxed feel that blends well with Neal
mistaken for flute and guitar for viola. Style-wise, it is Kirkwood’s laid-back piano comping. Whether it is a
aerial or ethereal, much like the ECM titles of the ‘70s. tender ballad like the touching “Best Friends”, the
It is darker though and more romantic - romantic, to be Latin nugget “Brazilian Dream”, the sprightly
precise, in the sense of 19th century Romanticism, with piano/sax thrust-and-parry of “Steel House Blues” or
gothic tinges and plangent emotions. Sounds drift by the pensive far away thoughts that come to us during
one another like ships on a night sea or interplanetary “Lonely Nights” leading into the gentle awakenings of
movements seen through clouds. “Early Days”, there is always a pleasant whimsical air
Stillman is reedier and Ferreira picks up his about things.
plectrum for the second of the seven tracks. This one Even when Greenfield wails (and he sure can
has a little angularity to it and involves chromatics and wail) or Kirkwood gets Monk-ish as he does on opener
atonality. That said, Ferreira is very gentle to his “Candy Apples” and the intriguingly coy “One Bar
guitar, though firm, and Stillman is likewise soft and Rip”, there is a wonderful attention to melody present.
lyrical. He even guides the piece back into tonal, Bassist Dean Johnson and drummer Tony Moreno
melodic territory halfway through, so what is on offer provide a perfectly understated rhythm that allows
is a blissful panoply of tonal contrasts. Not a study that to happen and confirm that revisiting yesterday’s
exactly: the duo stays clear of dry academicism, vision of the future can be a very pleasurable
however close it drifts. experience.
Tracks are so closely aligned that it comes to
appear they should all be taken as a whole. Again, the For more information, visit hayesgreenfield.com. Greenfield
titles are indicated by some sort of number system, is at Smalls Dec. 4th. See Calendar.
with some recursion, adding to that conclusion.
Stillman is quite unique stylistically, not immediately
to be pegged as a blend of Charlie Parker, Ornette
Coleman and their alto disciples. Perhaps Jan
Garbarek is an influence, as the chilly beauty of such a
place as Norway comes to mind. Still, there is a
definite infusion of both bebop and harmolodics.
Stillman introduces harmonics in his solo intro to
Track 6. Ferreira bends notes in a eerie yet somehow
cheery way here and sticks in some harmonics of his
own, to which Stillman responds with some
understated circular breathing. Ferreira turns up the
volume and crunches some rock chords and Stillman
exits with just a trace of a Coltrane-style overblowing.
They are back in space or at sea, again, in the final
track, but beautifully harmonized, like foghorns and
bell buoys in unison the morning after a storm when
the ships have reached port.
$121.68, legacyrecordings.com
• 5C Café 68 Avenue C (212-477-5993) • Dicapo Opera Theatre 184 East 76th Street at Lexington Avenue • Miles’ Café 212 E. 52nd Street, 3rd floor (between Second and
Subway: F to Second Avenue 5ccc.com Subway: 6 to 77th Street Third Avenues) (212-371-7657) Subway: 6 to 51st Street; E to
• 55Bar 55 Christopher Street (212-929-9883) • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) 53rd Street MilesCafe.com
Subway: 1 to Christopher Street 55bar.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle jalc.org • NYC Baha’i Center 53 E. 11th Street (212-222-5159)
• 718 Restaurant 35-01 Ditmars Boulevard • Domaine Wine Bar 50-04 Vernon Boulevard Subway: 4, 5, 6, N, R to 14th Street-Union Square bahainyc.org
(718-204-5553) Subway: N, Q to Ditmars 718restaurant.com Subway: 7 to Vernon Boulevard-Jackson Avenue • New School 55 W. 13th Street
• 92nd Street Y Lexington Avenue at 92nd Street • Douglass Street Music Collective 295 Douglass Street (212-229-5488) Subway: F, V to 14th Street jazz.newschool.edu
(212-415-5500) Subway: 6 to 96th Street 92y.org Subway: R to Union Street myspace.com/295douglass • Nino’s Tuscany 117 W. 58th Street (212-757-8630)
• ABC No Rio 156 Rivington Street (212-254-3697) • Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
Subway: J,M,Z to Delancey Street abcnorio.org Subway: F to East Broadway downtownmusicgallery.com ninostuscany.com
• American Folk Art Museum 45 W 53rd Street (212-265-1040) • Drom 85 Avenue A • North Square Lounge 103 Waverly Place at McDougal Street
Subway: E to 53rd Street folkartmuseum.org (212-777-1157) Subway: F to Second Avenue dromnyc.com (212-254-1200) Subway: A, B, C, E, F to West 4th Street
• Antibes Bistro 112 Suffolk Street • Dwyer Cultural Center 259 St. Nicholas Avenue northsquarejazz.com
(212-533-6088) Subway: J, Z to Essex Street antibesbistro.com (212-222-3060) Subway: D to 125th Street dwyercc.org • Notaro Second Avenue between 34th & 35th Streets (212-686-3400)
• Antique Garage 41 Mercer Street (212-219-1019) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: 6 to 33rd Street
Subway: N, Q, R, W to Canal Street Subway: C, E to Spring Street • Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925)
• Anyway Café 34 E. 2nd Street (212-533-3412) • Empire State Building Lobby 350 5th Avenue Subway: F to Second Avenue nublu.net
Subway: F to Second Avenue Subway: 6 to 33rd Street • Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue
• Apple Store Upper West Side 1981 Broadway at 67th Street • FB Lounge 172 E 106th Street (212-348-3929) (718-857-5555) Subway: B, Q to Seventh Avenue
(212-209-3400) Subway: 1 to 66th Street apple.com Subway: 6 to 103rd Street fondaboricua.com • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and
• Ardesia Wine Bar 510 West 52nd Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) 160th Streets (212-781-6595) Subway: C to 155th Street
(212-247-9191) Subway: C to 50th Street ardesia-ny.com Subway: 1 to Christopher Street/Sheridan Square fatcatmusic.org parlorentertainment.com
• Arthur’s Tavern 57 Grove Street (212-675-6879) • Fetch 1649 Third Avenue between 92nd and 93rd Streets • ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981)
Subway: 1 to Christopher Street arthurstavernnyc.com (212-289-2700) Subway: 6 to 96th Street Subway: G to Clinton-Washington parlorjazz.com
• Arturo’s 106 W. Houston Street (at Thompson Street) • The Fifth Estate 506 5th Avenue (718-840-0089) • Piano Due 151 West 51st Street (212-399-9400)
(212-677-3820) Subway: A, B, C, D, E, F to W. 4th Street Subway: F to 4th Avenue fifthestatebar.com Subway: 1 to 50th Street pianoduenyc.net
• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn • First Presbyterian Church of Brooklyn 124 Henry Street • Prospect Series 363 Prospect Avenue, ground floor between
(718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 to Subway: 2, 3 to Clark Street Sixth and Seventh Avenues Subway: D, N, R to Prospect Avenue
Atlantic Avenue bam.org • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Puppet’s Jazz Bar 481 5th Avenue, Brooklyn (718-499-2622)
• Bflat 277 Church Street (between Franklin and White Streets) (718-463-7700) Subway: 7 to Main Street flushingtownhall.org Subway: F to 7th Avenue puppetsjazz.com
Subway: 1, 2 to Franklin Streets • Flute Bar 205 W. 54th St.between 7th Avenue and Broadway • Rockwood Music Hall 196 Allen Street (212-477-4155)
• BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) (212-265-5169) Subway: B, D, E to 7th Avenue Subway: F to Second Avenue rockwoodmusichall.com
Subway: 1, 2, 3, 7 to 42nd Street/Times Square bbkingblues.com • Flute Bar Gramercy 40 E. 20th Street • Rose Live Music 345 Grand Street between Havemeyer and Marcy
• Banjo Jim’s 9th Street and Avenue C (212-529-7870) Subway: 6 to 23rd Street (718-599-0069) Subway: L to Lorimer Street liveatrose.com
Subway: L to 1st Avenue; 6 to Astor Place banjojims.com • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800)
• Bar 4 15th Street and 7th Avenue, Brooklyn (718-832-9800) (718-625-9339) Subway: G to Fulton Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle jalc.org
Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue • Freedom Garden 294 Troutman Street Subway: L to Jefferson Street • Roulette 20 Greene Street (between Canal and Grand Streets)
bar4brooklyn.com • Galapagos 16 Main Street, Brooklyn (718-782-5188) (212-219-8242) Subway: 1 to Franklin Street roulette.org
• Bar Next Door 129 MacDougal Street (212-529-5945) Subway: F to York Street galapagosartspace.com • Rubin Museum 150 West 17th Street (212-620-5000)
Subway: A, C, E, F to W. 4th Street lalanternacaffe.com • The Garage 99 Seventh Avenue South (212-645-0600) Subway: A, C, E to 14th Street rmanyc.org
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: 1 to Christopher Street garagerest.com • St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street
Subway: F to 7th Avenue barbesbrooklyn.com • The Gatehouse 150 Convent Avenue at West 135th Street (212-283-9728) Subway: A, C, B, D to 145th Street
• Barnes and Noble 86th Street at Lexington Avenue (212-650-7100) Subway: 1 to 137th Street harlemstage.org • Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-369-2180) Subway: 4, 5, 6 to 86th Street bn.com • Gershwin Hotel Living Room 7 East 27th Street (212-935-2200) Subway: 6 to 51st Street saintpeters.org
• Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street (212-545-8000) Subway: 6 to 28th Street • SALT SPACE 1158 Broadway at 27th Street, 5th floor
• Benoit 60 W. 55th Street • Goethe Institut 1014 Fifth Avenue (212-439-8700) Subway: F to 23rd Street saltspacenyc.com
Subway: F to 57th Street, N, Q, R,W to 57th Street Subway: 4, 5,6 to 86th Street goethe.de/ins/us/ney/enindex.htm • Showman’s 375 West 125th Street at Morningside) (212-864-8941)
• Birdland 315 W. 44th Street (212-581-3080) • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard Subway: 1 to 125th Street
Subway: A, C, E, to 42nd Street birdlandjazz.com (212-280-2110) Subway: A, B, C, D to 125th Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
• Blackbird’s 41-19 30th Avenue (718-943-6898) gospeluptown.com Subway: B, 2, 3 to 135th Street shrinenyc.com
Subway: R to Steinway Street blackbirdsbar.com • Grace R. Rogers Auditorium 1000 Fifth Avenue at 82nd Street • Sintir 424 E. 9th Street between Avenue A and First Avenue
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (212-570-3949) Subway: 4, 5, 6 to 86th Street metmuseum.org (212-477-4333) Subway: 6 to Astor Place
Subway: A, B, C, D, E, F to W. 4th Street bluenotejazz.com • Greenwich House Music School 46 Barrow Street (212-242-4770) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
• The Blue Owl 196 Second Avenue (at 12th Street) Subway: 1 to Christopher Street greenwichhouse.org (718-398-1766) Subway: A to Nostrand Avenue sistasplace.org
(212-505-2583) Subway: L to First Avenue • Greenwich Village Bistro 13 Carmine Street (212-206-9777) • Sixth Street Synagogue 6th Street between First and
• Bocca 39 East 19th Street (212-387-1200) Subway: A,C,E,F,V to W. 4th Street Second Avenues (212-473-3665) Subway: 6 to Astor Place
Subway: 4, 5, 6, L, N, R, Q, W to Union Square • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street eastvillageshul.com
• Bowery Poetry Club 308 Bowery (212-614-0505) • I-Beam 168 7th Street between Second and Third Avenues • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 6 to Bleecker Street bowerypoetry.com Subway: F to 4th Avenue ibeambrooklyn.com Subway: 1,2,3,9 to 14th Street smallsjazzclub.com
• Brecht Forum 451 West Street (212-242-4201) • Ibiza Lounge 220 W. 242nd Street, Bronx • Smoke 2751 Broadway between 105th and 106th Streets
Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street brechtforum.org (646-256-9968) Subway: 1 to 242 Street ibizany.com (212-864-6662) Subway: 1 to 103rd Street smokejazz.com
• Brooklyn Lyceum 227 4th Avenue (718-857-4816) • Iridium 1650 Broadway at 51st Street (212-582-2121) • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street
Subway: R to Union Street brooklynlyceum.com Subway: 1,2 to 50th Street iridiumjazzclub.com • Solo Kitchen Bar 1502 Cortelyou Road (between E 16th and
• Buona Sera 12th Street and University Place • Issue Project Room 232 Third Street (at the corner Third Avenue) Marlborough Road) (718-826-0951) Subway: Q to Cortelyou Road
Subway: 4, 5, 6, L, N, R, Q, W to Union Square Subway: M to Union Street issueprojectroom.org • Sora Lella 300 Spring Street
• CJ Cullens Tavern 4340 White Plains Road, Bronx • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street (212-366-4749) Subway: C, E to Spring Street soralellanyc.com
Subway: 2 to Nereid Avenue/238th Street • Jazz 966 966 Fulton Street (718-638-6910) • Spike Hill 184 Bedford Avenue Subway: L to Bedford spikehill.com
• Café Carlyle 35 East 76th Street (212-744-1600) Subway: C to Clinton Street illbrew.com/Jazz966.htm • Steinway Hall 109 W. 57th Street (212-246-1100)
Subway: 6 to 77th Street thecarlyle.com • Jazz Gallery 290 Hudson Street (212-242-1063) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues Subway: C, E, to Spring Street jazzgallery.org steinwayhall.com
(212-255-4746) Subway: F to 14th Street • Jazz Museum in Harlem 104 E.126th Street between Park and • The Stone Avenue C and 2nd Street
• Café Orwell 247 Varet Street Lexington Avenues (212-348-8300) Subway: 6 to 125th Street Subway: F to Second Avenue thestonenyc.com
(347-294-4759) Subway: L to Morgan Avenue jazzmuseuminharlem.org • Sucre Café 520 Dekalb Avenue (718-636-2000)
• Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: G to Bedford-Nostrand Avenues
Subway: A, B, C, D, E, F, Q to W. 4th Street-Washington Square (212-576-2232) Subway: 6 to 28th Street jazzstandard.net • Swing 46 349 W. 46th Street (646-322-4051)
• Cameo Gallery 93 N. 6th Street Subway: L to Bedford Avenue • Joe G’s 244 West 56th Street (212-765-3160) Subway: A, C, E to 42nd Street swing46.com
• Casaville 633 Second Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Sycamore 1118 Cortelyou Road (347-240-5850)
(212-685-8558) Subway: 6 to 33rd Street casavillenyc.com • Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: B, Q to to Cortelyou Road sycamorebrooklyn.com
• The Castello Plan 1213 Cortelyou Road (718-856-8888) Subway: N, R to 8th Street-NYU; 6 to Astor Place joespub.com • Tea Lounge 837 Union Street, Brooklyn (718-789-2762)
Subway: Q to Cortelyou Road thecastelloplan.com • The Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: N, R to Union Street tealoungeNY.com
• The Cathedral of St. John the Divine 1047 Amsterdam Avenue Subway: 4, 5, 6 to Grand Central kitano.com • Tomi Jazz 239 E. 53rd Street (646-497-1254)
(212 316-7490) Subway: 1 to 110th Street stjohndivine.org • Klavierhaus 211 West 58th Street Subway: 6 to 51st Street tomijazz.com
• Charley O’s 1611 Broadway at 49th Street (212-246-1960) (212-245-4535) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Tribeca Performing Arts Center 199 Chambers Street
Subway: N, R, W to 49th Street klavierhaus.com (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street
• Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Knickerbocker Bar & Grill 33 University Place at 9th Street tribecapac.org
Subway: C to Clinton-Washington Avenues bistrolola.com (212-228-8490) Subway: N, R to 8th Street-NYU • Tutuma Social Club 164 East 56th Street 646-300-0305
• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) knickerbockerbarandgrill.com Subway: 4, 5, 6 to 59th Street TutumaSocialClub.com
Subway: C to Lafayette Avenue chezoskar.com • Korzo 667 5th Avenue (between 19th and 20th streets), Brooklyn • University of the Streets 130 East 7th Street (212-254-9300)
• City Winery 155 Varick Street (718-285-9425) Subway: R to Prospect Avenue Subway: 6 to Astor Place universityofthestreets.org
(212-608-0555) Subway: 1 to Houston Street citywinery.com eurotripbrooklyn.com/info.html • Via Della Pace 48 East 7th Street and Second Avenue
• Cleopatra’s Needle 2485 Broadway (212-769-6969) • LIC Bar 45-58 Vernon Boulevard (212-253-5803) Subway: 6 to Astor Place
Subway: 1, 2, 3 to 96th Street cleopatrasneedleny.com (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard • The Village Trattoria 135 West 3rd Street (212-598-0011)
• Club A Steakhouse 240 E. 58th Street (212-618-4190) • Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: A, B, C, D, E, F to W. 4th Street thevillagetrattoria.com
Subway: 4, 5, 6 to 59th Street clubasteak.com Subway: A, B, C, D, E, F to W. 4th Street lepoissonrouge.com • Village Vanguard 178 Seventh Avenue South at 11th Street
• Cobi’s Place 158 West 48th Street between 6th and 7th Avenues • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-255-4037) Subway: 1, 2, 3 to 14th Street villagevanguard.com
(516-922-2010) Subway: 1,2 to 50th Street (212-427-0253) Subway: 2, 3 to 125th Street lenoxlounge.com • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens
• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue • Leonard Nimoy Thalia 2537 Broadway at 95th Street (718-721-3010) Subway: N to Ditmars Blvd-Astoria
• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn (212-864-5400) Subway: 1, 2, 3, 9 to 96th Street • Walker’s 16 North Moore Street (212-941-0142)
(718-857-3175) Subway: B, Q to Seventh Avenue symphonyspace.org Subway: A, C, E to Canal Street
completemusic.com • Littlefield 622 Degraw Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)
• Cornelia Street Café 29 Cornelia Street (212-989-9319) (718-855-3388) Subway: M, R to Union Street littlefieldnyc.com Subway: N, R to Ditmars Blvd-Astoria Waltz-Astoria.com
Subway: A, B, C, D, E, F to W. 4th Street • The Local 269 269 East Houston Street at Suffolk Street • Water Street Restaurant 66 Water Street (718-625-9352)
corneliastreetcafé.com Subway: F to Second Avenue rucma.org Subway: F to York Street, A, C to High Street
• Creole 2167 3rd Avenue at 118th Street • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • York College Performing Arts Center 94-20 Guy R. Brewer Blvd.,
(212-876-8838) Subway: 6 th 116th Street creolenyc.com (212-245-4802) Subway: C to 50th Street jazzfoundation.org Queens Subway: E to Jamaica Center york.cuny.edu
• Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street • Londel’s 2620 Frederick Douglas Boulevard between 139th and • Zeb’s 223 W. 28th Street Subway: 1 to 28th Street
(718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria 140th streets (212-234-6114) Subway: 1 to 145th Street • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934)
• Crooked Knife 29 East 30th St between Madison and Park Avenue londelsrestaurant.com Subway: L to Bedford Avenue zebuloncafeconcert.com
(212-696-2593) Subway: 6 to 33rd Street thecrookedknife.com • Metropolitan Room 34 West 22nd Street (212-206-0440) • Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, C, E, F,
Subway: N, R to 23rd Street metropolitanroom.com Grand Street Shuttle to W. 4th Street zincbar.com
pianist. On Ornette Coleman’s “Lonely Woman”, three dozen bass-clef players. Several proved major Dorante also performed with the fine trio led by
Watts’ dramatic hovering out-of-time introduction soloists: Céline Bonacina on irrepressible bari and bassist Ray Drummond, with Boston-based drummer
made you sit very still in your chair. Denis Colin, Ulrich Drechsler, Per “Texas” Johansson, John Ramsay (two more master class presenters),
Enrico Rava’s new quintet, with exciting all on bass clarinet. playing a concert of both standards and originals,
trombonist Gianluca Petrella and brilliant young Tributes to Charlie Parker went literal and including Drummond’s own “Ballade Poetique” and
pianist Giovanni Guidi, played an incandescent set in subliminal; octogenarian altoist Emil Mangelsdorff’s “Maya’s Dance”, with a combination of fire and taste.
a full-to-overflowing Kolarac. It is a 78-year-old opening set dimly enshrined “Confirmation” and Ramsay’s fellow Berklee instructor, saxophonist
concert space with approximately 900 seats and, like “Night In Tunisia” while Django Bates’ Beloved Bird Daniel Ian Smith did a fine job rehearsing the student
everything in Belgrade, looks its age. But its acoustics piano trio fractaled “Billie’s Bounce”, tripped “Little Big Band JAZZUV through a difficult songbook of
are extraordinary. Most of the pieces were slow burns, Suede Shoes” over Latin lines from 4/4 to 7/4, arrangements of both familiar and not-so-familiar
Rava’s trumpet veering sideways to make revelatory lockhanded “Star Eyes” in the George Shearing style compositions - “Monk’s Mood”, Ralph Burns’ “Early
melodic breakthroughs. In live performance, Rava’s and atomized “Ah-leu-cha” into wispy Ravel cirrus. Autumn”, Oliver Nelson’s “Stolen Moments” and
poetic persona, so dominant on his ECM recordings, is Billie Holiday’s book got punk’d by Orchestre Dizzy Gillespie’s “I Waited For You” among the
more likely to diversify into shattering trumpet spikes National de France, when singers Karen Lano and Ian former while those from the latter category, Nat
soaring straight up. He and Petrella often soloed Siegal unfurled a noirish “Strange Fruit”, ac/dc “My Adderley’s “Sweet Emma”, Jaki Byard’s “Aluminum
simultaneously and created complex contrapuntal Man” and rocked-out “You’ve Changed”, with nice Baby” and Herb Geller’s “Geller’s Cellar”
synergies. Guidi is the perfect pianist for Rava because alto flute by Joce Mieniel. The audience at first demonstrated the veracity of Smith’s declaration that
he can allocate single notes into cryptic disembodied appeared outraged (some walked out) but later settled the aggregation was as capable as any student band
designs or smash the keys with the flats of his hands into amused, or at least grudging, surprise. getting off the bus in New York City. A tour de force
and make turgid heaving layers, as the moment Rock inflections rang out as frequently as black performance of the guest conductor’s “Dynamic Duo”
requires. Don Cherry’s “Art Deco” was one of the few turtlenecks, often as bold backbeats or guitar cameos, backing his tenor sax in a heated dialogue with Jason
recognizable themes. like Peter Rom’s violin-like finesse or Pierre Palmer’s virtuosic trumpet (that would continue
On the last night Jason Moran’s Bandwagon Perchaud’s blistering riffs or perky mandolin and were subsequently on Smith’s own daring club set) put an
played the Student Cultural Center. The crowd was the greeted with cheers in this hall that airs classical acts exclamation point on the revelatory concert.
youngest and loudest of the festival and filled all the most of the year. Electronica surfaced regularly in Numerous members of the young orchestra
seats and stood around the edges of the large two- supporting roles, but was prime in Heavy Rotation’s regularly proved themselves to be equally excellent
story room and spilled out into the smoky foyer. loops-n-patches at Quasimodo and Peter Bolte’s alto soloists (joined by a few fine songstresses) in the
(Cigarette smoke is the national plague of Serbia.) wired to Jim Campbell’s laptop jungle in the Side nightly jam sessions that followed each evening’s main
Perhaps in response to the party atmosphere, Moran Stage’s comparatively cozy confines. events, ending long days that often began with
played more Fender Rhodes and more funk than usual. Experimental vocals, a ripe mix of improvised and morning master classes and continued with afternoon
But he did offer “Study No. 6” by Conlon Nancarrow carefully scripted, were noted from Nika Zach, Studio jazz-related theater and films and free outdoor
on acoustic piano, a rapt, slow melody searching to Dan’s pixilated pixie, and Little Red Suitcase’s stark, concerts. Utilizing myriad venues, each with its own
coalesce in halting notes. And he did confirm that he is seriocomic duos. Paavo, co-led by bold pianist Cecilia individual charm and character, the festival afforded
the strongest living interpreter of Monk with a ringing Persson and crystalline singer Sofia Jernberg, were listeners (many coming from different Mexican locales,
“Crepuscule With Nellie”. midnight showstoppers at JFB’s black box sidestage. but very few from other countries, including the
Because of the insightful decisions of Artistic Their witty, brilliant chamber miniatures, with agile United States) the opportunity to partake in the beauty
Director Vojislav Pantic and Program Manager Dragan reeds and trumpet, danced on pinheads with utter of one Mexico’s greenest cities, strewn with
Ambrosic, the Belgrade festival always offers unpredictability - ever playful yet purposeful. spectacular landscapes, parks and mountain views.
opportunities for important discoveries. The cross- Statesiders were few but iconic. Vocal group Moss With a temperate climate often described as
cultural trio of outcats led by trombonist Reut Regev broke out with Neil Young’s “Old Man” and Tom “perfect” and a thriving music scene of its own,
rocked the Student Cultural Center. So did Zerkman Waits’ “Take It With Me”. Tony Malaby ripped lusty featuring both local musicians and students and
Big Bang. They played electrified thunder through tenor treads opposite Denis Colin’s refined bass teachers from throughout Mexico, as well as Cuba,
which trumpeter Zoran Erkman interwove improbable clarinet. And Jazz-Institut Berlin’s concert featured a Xalapa and its Festival Internacional JAZZUV may
haunting melodies. Sinne Eeg, from Denmark, is a percussion ensemble led by John Hollenbeck and well become an international destination. But as with
singer with the whole package: looks, height, pipes, singer Judy Niemack’s Chillida Project. its grand finale, a free great hall concert featuring the
range, control and the ability to both scat and tell a An ‘intriguing instrument award’ goes to JAZZUV Big Band (under the direction of the fine
story. She also writes nice songs in English like Matthias Loibner for mastery of the hurdy-gurdy, a Cuban altoist Raúl Gutiérrez) playing its regular Latin
“Waiting For Dawn”, a poignant set of reflections on a medieval Tyrolean hybrid of accordion, fiddle and repertoire - with guests Herrera, Paredes, Bunnett,
long-distance love affair. crank organ; his turns wove exotic skeins in Jazz Smith and Mela (singing) that had many of the
The people of Serbia are in the process of rejoining Bigband Graz’ astonishing ‘rhythm section’ with estimated 5,000 attendees up and dancing for an hour
the world community. One of the best ways ever Barbara Buchholz’ theremin, Uli Rennert’s lap-steel long-encore - it is already, in its third year, one of the
devised to bring people together is jazz. K guitar and Christof Dienz’ e-zither. K best places in the world to hear music. K
For more information, visit belgrade-jazzfest.org For more information, visit berlinerfestspiele.de For more information, visit jazzuv.com
VINCENT DAVIS - The percussionist was an assistant professor at Berklee College of Music but HARVEY PHILLIPS - He was responsible for getting the tuba respect as a solo instrument and as a
made his name as a free-thinking drummer for a number of Chicago ensembles stemming from the destination for commissioned works. Though primarily working in the classical field, he also
AACM world like those of Roscoe Mitchell and Malachi Favors. Davis died Aug. 25th at 53. performed jazz in clubs and recital halls. Phillips died Oct. 21st at 80.
BILL FITCH - Who helped shape the Latin jazz sounds of Cal Tjader and Vince Guaraldi during the SID SIMMONS - The pianist worked early on with the famed Grubbs brothers of Philadelphia, was
‘60s? Conga player Bill Fitch, that’s who. An older contemporary of Gary Burton and Chick Corea at part of Locksmith, a famed local band of future stars like Tyrone Brown and John Blake, and became
Berklee College of Music, Fitch died Aug. 29th at 91. a mainstay of the city of Brotherly Love, being part of a first-call rhythm section for visiting
musicians. Simmons died Nov. 5th at 63.
S. NEIL FUJITA - While he may have gotten more exposure for his cover design of Mario Puzo’s
novel The Godfather, the graphic artist, while working for Columbia Records, was also responsible WALLY “GATOR” WATSON - The drummer had a few sticks in the pop world but also worked
for running the team that produced some of the most iconic jazz album art of the ‘50s, including with the large tribute ensembles of Lionel Hampton, Duke Ellington, Count Basie and Cab Calloway
Dave Brubeck’s Time Out and Charles Mingus’ Mingus Ah Um. Fujita died Oct. 23rd at 89. as well as being on faculty at York College. Watson died Sep. 4th at approximately 60.
BIRTHDAYS
December 1 †Eddie Gladden 1937-2003 Bob Dorough b.1923 †Joe Farrell 1937-86 Quinsin Nachoff b.1973 December 27
†Ike Isaacs 1919-96 Jay Leonhart b.1940 †Dodo Marmarosa 1925-2002 Radu Malfatti b.1943 †Bunk Johnson 1889-1949
†DickJohnson 1925-2010 Miroslav Vitous b.1947 Toshiko Akiyoshi b.1929 John Abercrombie b.1944 December 22 †Booty Wood 1919-87
Ted Brown b.1927 Harvie S b.1948 Juhani Aaltonen b.1935 Ronnie Ball b.1927 Bill Crow b.1927
Hadley Caliman b.1932 Jason Stein b.1976 Michael Carvin b.1944 December 17 Joe Lee Wilson b.1935 Walter Norris b.1931
†Jimmy Lyons 1933-86 †Tony Williams 1945-97 †Ray Noble 1903-78 †Nick Ceroli 1939-85 TS Monk b.1949
Carlos Garnett b.1938 December 7 Bruce Ditmas b.1946 †Sonny Red 1932-81 John Patitucci b.1959 Pablo Held b.1986
†Jaco Pastorius 1951-87 †Teddy Hill 1909-78 †Walter Booker 1933-2006
Sonny Phillips b.1936 December 13 John Ore b.1933 December 23 December 28
December 2 Mads Vinding b.1948 †Sonny Greer 1895-1982 Vyacheslav Ganelin b.1944 †Chet Baker 1929-88 †Earl “Fatha” Hines 1903-83
†Charlie Ventura 1916-92 Matthew Shipp b.1960 Ben Tucker b.1930 Chris Welcome b.1980 †Frank Morgan 1933-2007 †Al Klink 1915-91
†John Bunch 1921-2010 Borah Bergman b.1933 John McAll b.1960 †Moe Koffman 1928-2001 JEROME COOPER
†Wynton Kelly 1931-71 December 8 Reggie Johnson b.1940 December 18 †Ed Thigpen 1930-2010 December 14th, 1946
†Ronnie Mathews 1935-2008 Sol Yaged b.1922 †Fletcher Henderson December 24 Bob Cunningham b.1934 Drummer Jerome Cooper
Jason Rigby b.1974 †Jimmy Smith 1928-2005 December 14 1897-1952 †Baby Dodds 1898-1959 †Dick Sudhalter 1938-2008 may have spent the last
Tal Wilkenfeld b.1986 Tim Armacost b. 1962 †Budd Johnson 1910-84 †Willis Conover 1920-96 †Jabbo Smith 1908-91 Ted Nash b.1960 few decades concentrating
†Spike Jones 1911-64 †Harold Land 1928-2001 †Henry Coker 1919-79 on his solo performance,
December 3 December 9 Clark Terry b.1920 †Nick Stabulas 1929-73 Ray Bryant b.1931 December 29 including the recent A
†Corky Cornelius 1914-43 †Matty Malneck 1903-81 †Cecil Payne 1922-2007 Wadada Leo Smith b.1941 †Chris McGregor 1936-90 †Cutty Cutshall 1911-68 Magical Approach
†Herbie Nichols 1919-63 †Bob Scobey 1916-63 †Phineas Newborn 1931-89 †Woody Shaw 1944-89 †Irving Ashby 1920-87 (Mutable), but his biggest
Donald Byrd b.1932 †Leo Wright 1933-91 December 19 Ralph Moore b.1956 Jan Konopasek b.1931 contribution, apart from
December 4 Jimmy Owens b.1943 Jerome Cooper b.1946 †Erskine Tate 1895-1978 Paal Nilssen-Love b.1974 Joe Lovano b.1952 sideman work with figures
†Eddie Heywood 1915-89 Bob Brookmeyer b.1929 George Schuller b.1958 like Cecil Taylor and
Frank Tiberi b.1928 December 10 December 15 †Bobby Timmons 1935-74 December 25 Danilo Pérez b.1960 Rahsaan Roland Kirk, was
Jim Hall b.1930 †Irving Fazola 1912-49 †Stan Kenton 1911-79 Milcho Leviev b.1937 †Louis Cottrell 1878-1927 Reuben Radding b.1966 as one-third of the
†Denis Charles 1933-98 †Ray Nance 1913-76 †Jimmy Nottingham 1925-78 Lenny White b.1949 †Kid Ory 1886-1973 George Colligan b.1969 Revolutionary Ensemble.
Andy Laverne b.1947 †George Tucker 1927-65 †Gene Quill b.1927-89 Kuni Mikami b.1954 †Big Jim Robinson 1892-1976 With violinist Leroy
Cassandra Wilson b.1955 Bob Cranshaw b.1932 Barry Harris b.1929 †Cab Calloway 1907-94 December 30 Jenkins and bassist Sirone,
Andrew Drury b.1964 Ernst-Ludwig Petrowsky Curtis Fuller b.1934 December 20 †Oscar Moore 1912-81 †Jimmy Jones 1918-82 the trio created the
b.1933 †Dannie Richmond 1935-88 †John Hardee 1918-84 Pete Rugolo b.1915 †Jack Montrose 1928-2006 concept of ‘chamber jazz’,
December 5 Eddie Palmieri b.1936 Sam Falzone b.1933 †Eddie Safranski 1918-74 Wolfgang Dauner b.1935 releasing six albums
†Art Davis 1934-2007 December 11 Toshinori Kondo b.1948 Larry Willis b.1940 †Don Pullen 1941-95 Jerry Granelli b.1940 during the ‘70s and two
Enrico Pieranunzu b.1949 †Perez Prado 1916-89 Kris Tiner b.1977 Ehud Asherie b.1979 Ronnie Cuber b.1941 Lewis Nash b.1958 acclaimed discs in 2004
Anders Bergkrantz b.1961 McCoy Tyner b.1938 Frank Vignola b.1965 and 2008 after a reunion
Mara Rosenbloom b.1984 December 16 December 21 December 26 concert at the Vision
December 6 †Andy Razaf 1905-73 †Marshall Brown 1920-83 Butch Ballard b.1917 December 31 Festival. Cooper’s pliable,
†Ira Gershwin 1896-1985 December 12 †Turk Murphy 1915-87 Rita Reys b.1924 †Monty Budwig 1929-92 †John Kirby 1908-52 multi-layered drumming
Dave Brubeck b.1920 †Eddie Barefield 1909-91 †Steve Allen 1921-2000 †Hank Crawford 1934-2009 Billy Bean b.1933 †Jonah Jones 1909-2000 was integral to the group’s
†Bob Cooper 1925-93 †Frank Sinatra 1915-98 †Johnny “Hammond” Smith †John Hicks 1941-2006 Brooks Kerr b.1951 †Peter Herbolzheimer sound. - Andrey Henkin
Frankie Dunlop b.1928 †Joe Williams 1918-99 1933-97 Cameron Brown b.1945 John Scofield b.1951 1935-2010
ONbyTHIS DAY
Andrey Henkin