February 2006 | No. 46 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com

Gerald Wilson • Kahil El’Zabar • Greenleaf Music • ABC No Rio • Event Calendar

NEW YORK

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INMEMORIAM

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Bailey

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LATE NIGHT GROOVE SERIES • 12:30AM SUNDAY VOCAL BRUNCH • 12:30&2:30PMNYU JAZZ FACULTY BRUNCH BRIAN LYNCH Feb 5

MARTA GOMEZ Feb 12

ELLEN O'BRIEN Feb 19

GRETCHEN PARLATO Feb 26

MONDAY NIGHTS • 8 & 10:30PMJAY COLLINS BAND Feb 6

NEW SOUND OF SOUL JAZZ SERIES: SOMI Feb 13

CD RELEASE PARTY ALLAN HARRIS Feb 20

& THE CROSS THAT RIVER BAND

MORDY FERBER Feb 27

SHARRIF SIMMONS Fri Feb 3

ERIC ROBERSON Sat Feb 4

DUB TRIO Fri Feb 10

TY CAUSEY Sat Feb 11

BILL WARE'S VIBES Fri Feb 17

SHAYNA STEELE Sat Feb 18

POOGIE BELL Fri Feb 24

CHRIS BERRY & PANJEA Sat Feb 25

AllAboutJazz-New YorkA P u b l i c a t i o n o f A l l A b o u t J a z z . c o m

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ALLABOUTJAZZ-NEW YORK | February 2006 3

Going over our records for the past several months has revealed a fascinatingfact: our last three cover story subjects were either born, grew up or made theirname in Detroit, Michigan. This month, Barry Harris (pg. 9) makes four in a row!Perhaps we should change our name to AllAboutJazz-Detroit or at least set up asatellite publication there to honor one of America’s great jazz cities.

But another thing we can take from this trend is that New York is still thedestination of choice for jazz people from Detroit to Delhi, Michigan to Mexico.Even after the more-full-than-usual holiday jazz season and a successfulInternational Association of Jazz Educators Conference (where for a moment youalmost felt like jazz had more than a 3% market share), the bitter winds ofFebruary in New York can’t keep good jazz down. Besides a week with BarryHarris, Los Angelino Gerald Wilson (Interview, pg. 6), who also grew up inDetroit, comes into town for three nights at Jazz at Lincoln Center. From anothergreat city - Chicago - we get a rare appearance by percussionist Kahil El’Zabar(Artist Feature, pg. 7). Joe Wilder, a jazz veteran since the ‘40s, shows you canteach an old dog new tricks when he makes his first ever New York appearanceas a leader and at Village Vanguard no less!

On a sad note, we ask that you remember the legacy of one of the great international musicians - one who certainly opened up the boundaries of jazz overthe years - guitarist Derek Bailey, who passed away Christmas Day 2005 (InMemoriam, pg. 13).

Filling out this month’s coverage are profiles on two segments of the do-it-yourself school of jazz: Dave Douglas’ artist-run record label Greenleaf and thelow-tech but high quality performance venue ABC No Rio (both on pg. 8).

So we know its February and it should be freezing. Until it becomes so oreven after it does, take some time to listen to a new CD (we’ve got plenty of recommendations starting pg. 14) or see a show (browse our Event Calendarbeginning on pg. 32). We’ll be happy to join you...

Laurence Donohue-GreeneAndrey HenkinMichael RicciDavid R. Adler, Clifford Allen, Ty Cumbie, Donald Elfman, Sean Fitzell, Ken Franckling, Kurt Gottschalk, Thomas Greenland, Marcia Hillman, Terrell Holmes, Francis Lo Kee,Brian Lonergan, Russ Musto, Brandt Reiter, Joel Roberts, Andrew Rowan, Elliott Simon, Tessa Souter, Jeff Stockton, Celeste Sunderland, Andrew Velèz, Florence Wetzel Ernest Barteldes, Rex Butters, George Kanzler,Matt Lavelle, Joel Levin, Suzanne Lorge, Marc Medwin, Greg Thomas

On the cover: Barry Harris, photo by Alan Nahigian

Correction: In last month’s CD reviews, Bigger was mistakenly called Slavic SoulParty’s debut album; it is their second release.

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New York@Night4Interview: Gerald Wilsonby Rex Butters6Artist Feature: Kahil El’Zabarby Kurt Gottschalk7

On The Cover: Barry Harrisby Andrew Velèz9Megaphone VOX Newsby Matt Lavelle by Tessa Souter10Encore: Joe Wilderby Greg Thomas11Lest We Forget: Jeanne Leeby Donald Elfman

12 Listen Up! Jacob Garchik & Jordan Perlson

14 CD Reviews: Marc Johnson, Mark Murphy, Miles Davis, Ben Wolfe, Michael Attias, Cedar Walton, Billy Bang & more

13 In Memoriam: Derek Baileyby Kurt Gottschalk

32 Event Calendar

37 Club Directory

39 Miscellany

Label Spotlight: Greenleaf Musicby Brian Lonergan8Club Profile: ABC No Rioby Kurt Gottschalk

In Memoriam • Birthdays • On This Day

4 February 2006 | ALLABOUTJAZZ-NEW YORK

NEW YORK @ NIGHT

With the albums Lay Up and Bigmouth (both on FreshSound), bassist Chris Lightcap has articulated a powerful two-tenor concept with the aid of TonyMalaby, Bill McHenry and drummer Gerald Cleaver.In recent months he’s added pianist Craig Taborn tothis volatile mix. At Cornelia Street Café (Jan. 6th), thegroup did its spacious funky thing, with Mark Turnertaking McHenry’s place. Lightcap called several tunesfrom his two discs, giving Taborn the chance to colormusic that was previously piano-less, including theupbeat “Neptune 66”, the African-inspired “Guinbri”,the deceptively simple groover “Lay-Up”, the non-bluesy “Blues for Carlos” and the obscure OrnetteColeman piece “I Heard It on the Radio”. Taborn’slines were brisk and detailed, his chording precise butnever stifling. Just as impressive was his instinct forsilence, which allowed the tenors to stretch. Asidefrom the opening “Port-Au-Prince”, the first set wasdevoted to newer pieces like “Silvertone”, with a rock-like 6/8 drawl; “Two Face”, syncopated andswinging but with an increasingly abstract beat; and“Deluxe Version”, a triple-meter affair informed byCleaver’s sticks-on-rims vivacity.

Malaby and Turner voiced Lightcap’s heads inappealingly sour harmony. Solo-wise, Turner wasmore the gradualist, building rich and multilayeredstatements note by note. Malaby charged ahead anddrew on harsher timbres, often coaxing a similaraggressiveness from Cleaver. -David R. Adler

Rudresh Mahanthappa’s Indo-Pak project used toinclude guitarist Fareed Haque and tabla master SamirChatterjee. The revived group, which now featuresRez Abbasi on guitar and Dan Weiss (a brilliant trap-set drummer) on tabla, had its premiere at Joe’sPub (Jan. 12th). These three have made their marks onthe New York scene, approaching jazz and SouthAsian music from different angles. As a unit they areformidable - as one would expect - although their relationship is new and in process. Mahanthappa’shard-as-steel alto saxophone tone and brisk line playing brought jazz vocabulary and Indian double-reed timbres into scintillating contact. Abbasi beganand ended the set on a sitar guitar, displaying rhythmic command on blistering single-note flightsand making use of the instrument’s sympatheticstrings. But for the most part, he played a Guildacoustic guitar with a rounder and softer sound, well suited to the lydian pastoralism of the traditional“Hymn to Ganesha”. His splashes of Western harmony lent another dimension to the music, whichwas predominantly pentatonic and minor in mood.

The trio’s full potential was clearest during“Adana”. Beginning with a lyrical melody,Mahanthappa then steered the group through a seriesof rhythmic pivots, while Weiss, whose tabla studyincreasingly informs his jazz drumming, was poisedatop a platform in Lotus position, tapping away withacuity and blinding speed. (DA)

Despite a particularly raucous East Village Fridaynight crowd at Detour (Jan. 6th), the premier of thequartet of guitarist John Abercrombie (always nice tohear in small venues), saxophonist Adam Kolker,bassist John Hebert and drummer Bob Meyer was asuccessful one. The set contained two Abercrombieoriginals, one each by Hebert and Kolker and an opening volley of “Green Chimneys” by Monk.

If we can assign a thread to the program after thefact, the quartet presented the material in somewhatstylistically chronological order, the Monk tune leading into an untitled waltz and then someadvanced Kolker postbop. The final tunes were theset’s abstractions: Hebert’s “Billy No Mates”, an edgycontemporary piece set up by a melancholy sloweighth note melody and the very loose feel ofAbercrombie’s “Stop and Go”.

The instrumentation gave the evening a feel akinto Wayne Shorter’s later Blue Note works, particularlySuper Nova and especially on “Green Chimneys” whenKolker played his only soprano sax of the evening.Apart from the wide open “Stop and Go” (whichclosed with a gritty blues segment where Abercrombieturned into Eric Clapton), the tunes followed strictstructures but became particularly inventive duringthe group improvs after the theme restatements.Rarely did the music become quiet and introspectivebut that was no surprise given the short attention spanof the audience. - Andrey Henkin

Another quartet that had its premier last month wasthat of bassist Ben Allison at 55Bar (Jan. 16th). For theensemble, he brought together the not-often used frontline of guitar (Steve Cardenas) and trumpet (theunder-noticed Ron Horton), drummer Mike Sarin joining him in the ‘rhythm section’. Though the formatmight have been uncommon, it fit Allison’s compositional ideas perfectly, the textures and tonesof the guitar and trumpet able to vary widely andadapt themselves readily to the wide stylistic rangeinherent in Allison’s writing. The material was someolder tunes mixed with newer pieces, most likely toappear on the this quartet’s upcoming album forPalmetto. “Tricky Dick” was redolent of reggae while“Weazy” was a cheerfully hokey modern rag.“Emergency”, perhaps inspired by the album by TonyWilliams’ Lifetime, was a bruising ‘70s arena rockworkout with clunking rhythms. This was followed upby the sole cover of the evening - the theme toMidnight Cowboy by John Barry, a loping Western ballad that included a lovely trumpet/guitar duetinterlude. “Hey Man” was inspired not only byCharlie Haden’s West Coast greeting but also his signature motif of lilting melody over minimal quietgroove. The final selection was a new arrangement of“Blabbermouth” (from Allison’s 1998 album with hisMedicine Wheel Band with Horton), which found theband moving from the cinematic intro to a funk segment into spacy dissonance. (AH)

Feb. 2-5: DR. LONNIE SMITH

Feb. 8, 15, 22: MAHAVISHNU PROJECT

Feb. 9-12: JIMMY SCOTT

Feb. 16-19: MARK MURPHY

Feb. 23-26: CARMEN LUNDY AND THENEW SONGBOOK ARTISTS

Mar. 2-5: 4 GENERATIONS OF MILESMike Stern, George ColemanBuster Williams, Jimmy Cobb

Mar. 8-12: JAMES CARTER ORGAN TRIO

EVERY WEDNESDAY:ED PALERMO BIG BAND

THE MUSIC OF FRANK ZAPPA

EVERY SUNDAY JAZZ BRUNCH BUFFET

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Chris Lightcap Quintet, Cornelia Street Café, Jan. 6th

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John Abercrombie, Adam Kolker, Detour, Jan. 6th

The E.J. Strickland Project arrived at BAM Café (Jan.7th) for an excellent set that balanced energy with control, intelligence with soul. Along with E.J. ondrums, the Project featured his twin brother Marcus(tenor and soprano saxes), Myron Walden (alto sax),Lage Lund (guitar) and Ugonna Okegwo (bass), whilejoining them on vocals was the young singer ChareneeWade. E.J.’s contemporary-flavored “Praise Song forMarcus” inspired a soulful soprano solo from Marcusover the piece’s ever-upward chord progression. Onthe group’s cover of the Ellington-Strayhorn tune“Daydream”, Wade introduced the packed audienceto her powerful and beautiful voice, which was strongwhen plunging deep and smooth when reaching high. E.J. prefaced his composition “Lydian Fantasies” byproposing that one’s “compositional flaws” - the tendency to depend on something too much - was asign that the flaw was actually integral to one’s voice.The piece’s angular and quirky melody was fittinggiven its title, with E.J. at his most animated as he propelled Marcus’ searching tenor solo. The night’ssecond cover was Stevie Wonder’s “Ribbon in theSky”, where E.J. showed great sensitivity on thedrums, picking up on the emotional crescendo ofWalden’s alto solo, spurring him on while anticipating(but not announcing) the solo’s denouement, whichgave way to a flirtatious exchange between Wade’svocals and Walden’s alto.

- Brian Lonergan

Later in the month, in front of a cramped audience at55Bar, guitarist Lage Lund moved from background toforeground to front his own quartet, featuringGeoffrey Keezer on Fender Rhodes, Matt Clohesy onbass and Ari Hoenig on drums (Jan. 17th). Contrary tothe ponderousness (albeit tongue-in-cheek)announced by a tune titled “Incredibly ProfoundSong”, each member of the quartet seemed to be having fun with Lund’s composition and its constantly changing chords and heavily accented off-beats. Lund’s good dose of reverb and Keezer’s quavering keyboard tones created a spacey feel attimes, but the group always returned at a moment’snotice to hit the accented kicks and Lund’s solo progressed from hesitant, short phrases to long cascading lines. Thelonious Monk’s “Eronel” swungwell but didn’t take off until Hoenig’s extended drumsolo elicited laughs of astonishment from audienceand band members alike.

Lund seemed most at home during an originalballad in 4/4, with a three-note theme sequencedupward and shimmering harmonies taken at measured pace. His solo relaxed into a series ofassured and assertive statements, while also findingthe most flowing groove of the set, too. The guitarist’soriginal “Vonnegut” closed the set, a two-part composition moving from anxious to serene and featuring a heated solo by Will Vinson sitting in onsoprano sax. (BL)

Ravi Coltrane got this year’s IAJE Conference off to astrong start with a rousing concert (Jan. 11th). The saxophonist came out blowing hard on Ralph Alessi’s“One Wheeler Will”, wielding his tenor with characteristic uncompromising strength, driven by E. J. Strickland’s powerful drumming. Luis Perdomo followed with a thoughtful piano solo that first contrasted and then reignited the group’s energylevel. The band segued seamlessly into the leader’s“For Zoë”, a modal piece reminiscent of JohnColtrane’s “Wise One”, featuring the impeccable intonation of Drew Gress’ arco bass and Strickland’smalleted toms laying down a soft bottom, on top ofwhich Coltrane and Perdomo played masterful solos.

Coltrane switched to soprano for his original“Coincide”, which began as a duet with Strickland,who used his cowbell to set up the Latin groove.Perdomo joined in, beginning with Jarrett-ish introspection over Gress’ prominent bassline beforeforging straight ahead. Coltrane dug in, after a Gresssolo, weaving long intricate lines out of the prettymelody, displaying a bell-like tone on the straighthorn. He switched back to tenor for Gress’ “Away”,snapping off a brisk ballad tempo that gradually builtin intensity. Perdomo laid out for most of the saxophonist’s intense solo, saving his energy for hisown impressive outing, following which Coltraneintroduced the trio to the appreciative crowd, beforeblowing a warm flowing out chorus. - Russ Musto

Young brassmen Maurice Brown and Sean Joneswent toe-to-toe in an old fashioned after hours “Nightof the Cookers” session at Sweet Rhythm (Jan. 12th),that was an exciting testament to the enduring vitalityof the hardbop idiom. Joining an allstar ensemble featuring Donald Harrison, Mulgrew Miller, NatReeves and Louis Hayes, with special guest SteveNelson, the two trumpeters traded incendiary solos inan electrifying set, the likes of which has not beenheard since the days when Art Blakey regularly heldcourt in the room. Harrison stomped off“Confirmation” to start the second show and after thealtoist and Nelson set the blistering pace, Jonesweighed in with a mature articulate solo, followed byBrown, who played with his typical exuberance.Throughout the number Miller, Reeves and Hayesrelentlessly prodded the soloists to extreme heights.

After a short ‘conference’, Miller and Nelsonplayed the opening call-and-response melody of“Moanin’” and Harrison was off to the races again,with Hayes playing the classic Blakey shuffle rhythm.The horns riffed hotly behind Nelson’s solo, beforeJones stepped out front blowing sweet and low. Brownfollowed, screaming and growling on his horn. On theset’s ballad, “Misty”, he showed that he was also capable of tastefully restrained emotion. The set endedjust after 3 am with an uptempo rendition of “Oleo”on which everyone burned through the changes on topof Hayes’ “Blues March”-ing rhythm. (RM)

ALLABOUTJAZZ-NEW YORK | February 2006 5

We buy collections of Jazz, ModernClassical, Avant-Garde - CDs &LPs !!!

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Myron Walden, E.J. Strickland, BAMCafé, Jan. 17th

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2006Jack

Vartoogian/FrontRow

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Drew Gress, Ravi Coltrane, IAJE, Jan. 11th

INTERVIEW

At 87, Gerald Wilson casts a long shadow over the historyof jazz. His new collection In My Time sizzles with powerand joy, as a New York allstar ensemble ignites his dazzling arrangements. His musical associations andfriendships catalogue some of the best musicians of the last60 years: Duke Ellington, Count Basie, Ella Fitzgerald,Jimmie Lunceford, Cab Calloway, Benny Carter, DizzyGillespie, Dinah Washington, Ray Charles, Oliver Nelson,Zubin Mehta, the list is endless. He is also a writer,arranger, composer, trumpet player and a popular teacherat UCLA.

AllAboutJazz-New York: How’s the new record?

Gerald Wilson: It’s doing good.

AAJ-NY: I see saxist Kamasi Washington’s on there.

GW: I took him with me. He didn’t make the firstrecord with us (New York, New Sound), because he wasin school here. He just graduated this year. He’s only22 years old. But I took him to New York when weplayed Birdland. I had this big thing at Birdland, so Itook Kamasi with us ... We also took him to Detroitwith us this year. We played the Detroit festival thelast two years. They had a helluva band in Detroit.Rodney Whitaker, bass player, he was the contractor.He knew all the musicians to have. He had four or fiveguys in the band that played with the Lincoln CenterJazz Orchestra. That’s who I’ll be conducting when Igo to New York. I’ll be at Lincoln Center for threedays, which is an honor. You want to play in placeslike that, if you can. I’d like to thank the peopleresponsible for that. I’m sure Wynton Marsalis wouldbe one who knows what’s going on there, so I’m surehe would have helped me, because we’re good friends.His father [Ellis] and I are good friends, in fact I knewhis father before he was born. It pays to have friends.I met his father when he was in the marines. Theywere here doing work here in Hollywood. We all did abroadcast for a jazz show they had on ABC. I had himover to my home, my wife fixed breakfast for him andwe became friends. I met all of his boys, very niceyoung men. The twilight of my career is offering methe same kind of feelings I got in my early days.

AAJ-NY: You’ve witnessed a lot of changes on bothsides of the bandstand.

GW: Jazz should get more credit for what it did forblack people. It was because of people like Duke andElla and Nat King Cole that got the door cracked for usto go in here and play in these places. Duke, Ella, Nat,Count Basie all played the Flamingo Hotel. I’m the one who played the first night a black could walkin the front door. My band was the first black bandthat could go into the casino, that could eat in the coffee shop. The NAACP had been working on that for years. In Las Vegas, I played the Dunes, the Flamingo,

but at that time you couldn’t go in the front door. Youcouldn’t go in the casino at all. Dinah Washington atthe Sahara couldn’t get dressed in the hotel, they put atrailer outside. Then, in 1955, I played with BennyCarter’s band. We opened up the first interracial hotelin Las Vegas, called the Moulin Rouge. Beautiful,brand new hotel, over in the black neighborhood.Everybody wondered what was going to happen,because Las Vegas was one prejudiced place. Firsttime I went there a black couldn’t do anything or goanywhere. They didn’t have a big black neighborhood,very small. I went into Las Vegas with Benny, weopened up, nothing happened. I stayed there threemonths, we played three months there. Finally, thehotel did close. I played the Dunes with Cab Callowaywith his quartet after the thing was over at the MoulinRouge. There was no need to be segregated anymore.The Flamingo made that deal with the NAACP andthat was 1960. Before Martin Luther King, before RosaParks, things were changing already. They’d beenworking on it, not to belittle anything, because theystill had a long way to go. It wasn’t just Las Vegas.

I played for Martin Luther King. This is after Iinaugurated integration at the Flamingo. They had oneof the biggest rallies they ever had at the Los AngelesSports Arena and they asked my band to play. I hadthe most popular black band in Los Angeles. I hadHarold Land. I had Charles Lloyd. I had Elmo Hope. Ahelluva musician, Lester Robinson. I had the cream ofthe crop. They had Herb Jeffries, Jackie Cooper, RobertCulp, Mahalia Jackson. Things were really moving. Iwas a member of the NAACP as a kid in Mississippi.

AAJ-NY: Weren’t you involved with integrating theLos Angeles musicians union?

GW: I went to a lawyer friend of mine who’s still here,he’s right downtown. I said, we’ve been trying toamalgamate these unions. We didn’t like the waythings were going. The agents were very mean to theplayers, money problems, we didn’t know what wasgoing on with the union. He said slip in on a generalmeeting. Don’t tell anyone you’re coming. Take yourgroup down there and when they say, “NewBusiness”, raise up your hand. Make a motion, ‘I movethat local 767 will have a special meeting for the specific purpose of discussing the amalgamation oflocal 767 to local 47.’ I had a guy right there to second,Percey Mack David, fine musician. After that, thingsbegan to change. We took the union over. The nextelection day, we were there. We voted one of our guysin as vice president. Fired the guy who was giving themusicians hell, fired him on the spot. Then we broughtBenny Carter in with his stature and reputation,brought him in with us. We got everything movingand it moved.

...I gotta give Detroit credit. Coming from thesouth, when I went to Detroit this was the way thingswere supposed to be. All the schools were integrated

in Detroit, Michigan. The union was integrated, theunion I belonged to, local 5. They made us join. Iplayed with a young band and we were so good weplayed in parks and in big ballrooms, they made usjoin the union. $5 and you start. Detroit gave me all Ineeded to carry me on. Because I always felt something was wrong here. What was it? I had a greatlife, my mother was a school teacher. She taughtmusic, she played music for the schools, she played forthe church. She was a college graduate. She started allof her children on piano. The day I played my firstsong on piano, my mother had taught me. I can go intothe piano here and get going and keep going. Detroitbrought back to me what it was supposed to be. Istayed in Detroit five years, there was no riot or nothing in my school. All of my teachers were whiteand they taught me well. So that’s the way I thought itwas supposed to be. K

For more information, visit www.mackaverecords.com.Wilson is at Rose Hall Feb. 23rd-25th as part of Jazz atLincoln Center’s “Los Angeles: Central AvenueBreakdown” and gives a master class at Jazz at LincolnCenter Feb. 25th. See calendar.

Recommended Listening: • Gerald Wilson Orchestra - The Complete Pacific Jazz

Recordings (Pacific Jazz-Mosaic, 1961-69)• Gerald Wilson Orchestra - Moment of Truth

(Pacific Jazz, 1962)• Gerald Wilson Orchestra - Portraits

(Pacific Jazz-Capitol, 1963)• Gerald Wilson Orchestra - The Golden Sword

(Pacific Jazz-Discovery, 1966)• Gerald Wilson - Theme For Monterey (MAMA, 1997)• Gerald Wilson - In My Time (Mack Avenue, 2005)

GeraldWilsonby Rex Butters

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6 February 2006 | ALLABOUTJAZZ-NEW YORK

ARTIST FEATURE

When Chicago percussionist Kahil El’Zabar rolls intotown this month - a nicely more common occurrence inrecent years - it will be with one of his longest standing bands. And it will occur at an unusual, buthighly appropriate, venue. Rather than the usual jazzclub date he ordinarily plays, El’Zabar will appear atS.O.B’s, the city’s largest and best known club for so-called ‘world music’.

It’s a ridiculous name for a genre, but an apt one for El’Zabar’s blend of African rhythms andjazz freedom. His stage wear, the bells on his anklesand his big drums all create the appearance of - to borrow a phrase from the Art Ensemble of Chicago, aband with whom his career has long been interlaced -the “urban bushman”. And the simple melodies, builtfrom a few tones suggested by the drums, of his EthnicHeritage Ensemble not only represent some of hisstrongest work, but his commitment to maintainingrelationships and moving forward. The band has carried on for three decades, an anniversary they’remarking this year with a 30th anniversary CD to bereleased in May on Delmark Records.

“Today it’s difficult to have bands that staytogether,” El’Zabar said in an interview last summer,when he appeared at the Lincoln Center Out of Doorsfestival with one of his newer bands, Tri-Factor, withBilly Bang and Hamiet Bluiett. “When you think aboutColtrane’s quartet or Miles’ groups, relationships arean important part of warmth in music. There’s a quality in the music that you can feel.”

Ethnic Heritage Ensemble dates back to 1976,when El’Zabar was fresh out of his education withChicago’s Association for the Advancement ofCreative Musicians. By that time, he had already spenttime apprenticing with the greats, having played withDizzy Gillespie, Gene Ammons, Eddie Harris andCannonball Adderley, among others. “I paid my duesin what people call the ‘straight ahead’ music waybefore Wynton and all of that,” he said. Still, the group- a quartet then, with saxophonists Ed Wilkerson andLight Henry Huff and Yosef ben Israel on bass -opened to mixed reviews on a European tour wherethey opened for Joanne Brackeen. Although the ArtEnsemble (at bassist Malachi Favors’ suggestion) hadalready been playing in African clothing and facepaint, overt Afro-centrism was still new in jazz. AndEthnic Heritage - even further from what most peoplethought of as ‘jazz’ than the Art Ensemble’s sound -were seen by some as pushing an agenda too far. Butthey carried on. When ben Israel left the band, theycontinued as two horns and percussion, solidifyingtheir sound as well, perhaps, as the ritualistic perception.

That instrumentation - now filled out by ErnestDawkins (leader of the New Horizons Ensemble) onsaxophone and Corey Wilkes (trumpeter in the mostrecent Art Ensemble lineup) - lasts through to today,although the S.O.B.’s appearance will include guest guitarist Fareed Haque, who played on their 1999

release Freedom Jazz Dance (Delmark).The band released its first record in 1981, the now

out-of-print Three Gentlemen from Chicago, on theGerman label Moers-Music, and put out discs on twoother European labels, Leo and Silkheart (as well asone for the American imprint CIMP), before El’Zabarestablished what has proven to be a fruitful relationship with the Chicago label Delmark. At thesame time he was leading the Ritual Trio and someless documented groups, such as Orchestra Infinity,and playing regularly with saxophonist DavidMurray. Throughout his various projects, the drumpatterns - often built from the cadence of a name orshort phrase - have propelled the projects and somethree dozen records as leader or co-leader.

Life has a way of cycling around, especially whenbands continue for decades. Ritual Trio - whichEl’Zabar has led for more than 20 years - has survivedthe loss of Favors, with Yosef ben Israel now on bass.

“Yosef goes with me all the way to the beginningsof our development and now it goes full circle,”El’Zabar said. “His approach from a solo perspectiveis different than Malachi’s, but the earthy tone is a complement to the whole sound.”

Israel appeared on the group’s most recent recordLive at the River East Art Center. The trio is rounded outby the vastly underrated saxophonist Ari Brown andfor the date included violinist Billy Bang, anotherlongtime El’Zabar collaborator. It marks a new soundfor El’Zabar, at once softer with the addition of benIsrael’s more melodious playing, and rawer; seemingly untouched, the disc comes off like a bootlegaudience recording. Like his 2004 We Is: Live at the BopShop (recorded live at a record store in Rochester, NY)it doesn’t have the best sound quality in El’Zabar’sdiscography but it does carry an exciting immediacy.

“I like the atmosphere of the last records, it’s likean old Blue Note,” he said. “You hear the audience.There is a feeling that connects with people.”

The River East show was released by Delmark asa CD and DVD and the latter is an important part ofdocumenting El’Zabar’s recent approach to producinghis concerts. The setting features sculpture, projectedvideo art and a painter creating a mural of the latecomedian Richard Pryor. Young people are moreaccustomed to dance clubs and not “chemical relativity” with live music, he said. “I didn’t want people to sit and listen like at a concert. I told peopleto interact with the music, interact with the art, besocial.”

“We have to take responsibility and reinvent presenting,” he added. “No one’s really questioningpresenting. It’s just like ‘Why are there less and lesspeople?’ [We need to] really address presenting andlook at it in a tolerant, nonbiased way, all lend ourselves collectively and deal with radio and dealwith webcasting and deal with TV. There’s a need foropening, there’s a need for connecting. That’s howwe’ll connect people and that’s what Trane was

talking about, that’s what Ayler was talking about. Allthese various transcendental gifts that go beyond thenotes to get to this, I mean, c’mon!”

But if at age 52 El’Zabar is focusing on building ayounger audience, he’s also suffering losses. Besidesthe deaths of bandmates Favors and Huff, he’s seenthe passing of some other great Chicago players. Oneof his strongest records, Sacred Love (Sound Aspects,1985) featured the late Art Ensemble trumpeter LesterBowie. In 2002, Delmark released Love Outside ofDreams, a trio with Murray and bassist Fred Hopkins,who died in 1999.

“We’re just the last people of our generation,” hesaid. “It’s been so difficult to sustain and survive.Lester Bowie was one of my best friends. MalachiFavors was like a father. Fred Hopkins I grew up with.We’re the ‘in-between cats’. We were too old to be marketed as the young lions and we were too young tobe marketed as the masters. Our time has comebecause we’ve survived.” K

For more information, visit www.kahilelzabar.com.El’Zabar is at S.O.B.’s Feb. 23rd. See calendar.

Recommended Listening:• Kahil El’Zabar - Sacred Love (Sound Aspects, 1985)• Kahil El’Zabar/David Murray -

Golden Sea (Sound Aspects, 1989)• Kahil El’Zabar’s Ritual Trio -

Renaissance of the Resistance (Delmark, 1993)• Kahil El’Zabar/Ethnic Heritage Ensemble -

Dance with The Ancestors (Chameleon-Elektra, 1993)• Kahil El’Zabar/Bright Moments -

Return of the Lost Tribe (Delmark, 1997)• Kahil El’Zabar - Live at the River East Art Center

(Delmark, 2004)

ALLABOUTJAZZ-NEW YORK | February 2006 7

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Greenleaf Musicby Brian LonerganWhen Dave Douglas and Michael Friedman first metat a recording session in New York in the mid ‘80s, theyoung trumpeter made an indelible impression on theyoung drummer. “When Dave started playing, he galvanized the band and he had a certain presence anda freshness that is unforgettable,” said Friedman, whowould go on to head Premonition Records in Chicago.Still, at the time it would have been hard for either toimagine that two decades later they’d be partners running their own independent, creative-music recordlabel.

Nevertheless, fast-forward to 2006 and Douglasand Friedman are doing just that with GreenleafMusic. Launched just a year ago, Greenleaf hasalready had an auspicious start: Douglas’ Keystone,one of four records to date in the Greenleaf catalog, isup for a Grammy this month in the category of BestContemporary Jazz Album.

“One of the things that’s most exciting to meabout Greenleaf Music is being with Dave Douglasand talking with him about the business,” saidFriedman. “He’s as creative in his business thinking ashe is in his music.”

“Well,” Friedman paused, “maybe not quite as creative.”

The name Greenleaf comes from Douglas’ ancestry on his father’s side, dating back centuriesthrough the American colonies to the Old World,

according to the trumpeter. “I also picked it because itwas kind of positive,” said Douglas. “I feel like whatwe’re trying to do is grow something new in the creative-music world.”

The duo started Greenleaf at an opportune timefor each of them - for Douglas, it was the end of hisassociation with Bluebird/RCA, for which he recordedseven albums, and for Friedman, the end ofPremonition’s term as an imprint of Blue Note. It hasalso been a time of upheaval in the record industry,with the decline of CD sales and the ascendancy of theInternet as a means of file-sharing and independentdistribution.

“We’re now in a revolutionary period of what therecord business is and what it’s going to be,” saidFriedman. “The brick-and-mortar thing is really kindof undoable in many ways. It’s really a tough equationfor labels such as ours that are doing creative musicoutside the mainstream.”

Greenleaf began its life more traditionally, with adistributor and a shelf presence in brick-and-mortarmusic stores for its first two records, includingDouglas’ Mountain Passages with his Nomad ensemble.But as 2005 progressed, Friedman sensed that onlineretail - the right to which he reserved in Greenleaf’scontract with its distributor - was increasingly the waymost effectively to reach Greenleaf’s audience. Thestrange result is that the Grammy-nominated Keystonebecame available in stores only subsequent to its nomination.

Besides Mountain Passages and Keystone, the othertwo records in the Greenleaf catalog are Kneebody’sself-titled debut and the Douglas quintet’s Live at the

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8 February 2006 | ALLABOUTJAZZ-NEW YORK

LABEL SPOTLIGHT

ABC No Rioby Kurt GottschalkThe first time saxophonist Blaise Siwula played atABC No Rio - the vaguely anarchistic quasi-legalLower East Side building where he’s run a Sundaynight improv series for the last eight years - was in1990. At the time, he recalled, it was a run-down building in a questionable neighborhood.

“They didn’t really have walls then,” he said.“There was a hole in the floor and leaks everywhere,but people would show up. It was pretty tough inthose days. Dealers would stand outside the door andshout names of drugs. Nowadays there’s restaurantsand French boutiques.”

Back then, few would have predicted the changesthe neighborhood has seen in the last few years. And ifrenovations in the building itself have been comparatively modest, even fewer might have predicted the changes the building will undergo bynext year.

Under a deal with the city, ABC No Rio - an official nonprofit organization - is expecting to buy thebuilding at 156 Rivington for $1 at the end of thismonth. This fall, they will close their doors for an estimated nine months to undergo a $600,000 restoration, according to ABC Director StevenEnglander, the sole paid staff member of the

organization.It will be the first time in close to a decade that

Silwula has had more than the occasional Sundaynight off. He has organized the open music seriesC.O.M.A. for eight years, hosting two or three acts anight for a mere $3 donation. All the money goes to themusicians (Siwula pointed out that his only paymenthas been “a few cold feet and some sniffles”) and theonly real requirement to play there is to ask.

“It’s not really meant for the indie rock scene orthe folk singer scene, but I don’t tell them ‘no’,” hesaid. “I usually let that sort itself out. I don’t want tobe the guy that says ‘No, that won’t work.’ I just say‘think about it.’ Some people don’t like what I do, they

(CONTINUED ON PAGE 38)

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During a recent conversation, Barry Harris (75) wasasked about his plans for the future. It evoked aninstantaneous explosion of laughter from him beforehe replied, “Don’t ask me that! The life I lead is the lifeI lead.” The recipient of an Honorary Doctorate fromNorthwestern University, in person Dr. Harris is aphysically unprepossessing 5’ 6½”. “Yah, put da halfin there,” he remarks, punctuating it with one of hisfrequent chuckles. Talking with this warm, diminutivegiant, legendary pianist, composer and educator isakin to being treated to a one-on-one master class.He’s devoted his life to the advancement of jazz and isa seminal living link to the origins of bebopand the music of Charlie Parker,Thelonious Monk and Bud Powell.

Harris’ career, which has extendedover more than six decades, began in hishometown, Detroit, Michigan, where hebegan playing piano at age four. He creditsthe school system there with having beenan especially nurturing force. Out of itemerged many first-rank musicians andlifelong friends such as Kenny Burrell,Tommy Flanagan and Hank, Thad andElvin Jones.

Warming to the subject of musical education, which has for decades been amajor part of his life in settings such asweekly classes at the New York City JazzWorkshop, he considers what’s mostdemanding in teaching. “Hmmm. ...Really,how to improvise. That’s the biggest challenge. I want [students] to be proficienton their instruments. ...You have to find away to teach all this kind of stuff. It’s hard....They have to have the means and themeans is the technique. You have to havethat. [I’m not] really teaching bebop orsomething like that. I’m just trying to teachhow to improvise.”

An unexpected example of improvisation whichHarris refers to is Johann Sebastian Bach. “...You gottathink, if Bach was alive and all those cats were alive,where would they be playing? They would be playingin a bar. Because symphony halls play dead people’smusic. You gotta be almost dead to be played there.”

Clearly touching on a favorite theme he continues, “Bach had gone to see this great organist, agreat cat. And it really messed him up a little. Bachcame back and he was doing stuff and the singers werehaving a fit. He ended up having to go to a saloon toplay because he was doing too much in the church.”Here Harris takes on a hilariously strangled tone in hisvoice. “The people said, ‘Bach, you’re doing too much.Bach! Don’t do so much!’”

From Harris’ point of view, he’s bringing toEurope what Americans have added to music. “...We[in the US] were a conglomerate of people. ....See,these other nations, France and England and all themplaces are just now feeling the things we wentthrough. (Chuckling) They’re just getting used to people from all over the world getting in their house.”

Along with Johann Sebastian Bach, among Harris’great mentors have been Charlie Parker, Bud Powelland Thelonious Monk. Of Monk he says, “Well, youknow that Monk was an individual. Monk was a creature who must have said one day, ‘I’m not goingto play like anyone else.’ And so he commenced to doit and his solos weren’t like anybody else and hissongs weren’t like anybody else. Now Bird and them,they incorporated some of his music into their music....We think of bebop, we include Monk, but Monk wasn’t so much a bebop man. Monk was an individual. I tell people there are very few of thosewho wake up and say, ‘I’m going to be entirely different. [He quickly adds, there] ain’t nothing wrongwith sounding like someone else until you find yourself. You’re not supposed to end up divorcing

yourself completely from your beginnings.” When Harris wanted to learn soloing, it was Bud

Powell and the recording “Web City” with Sonny Stitt,Fats Navarro and Max Roach on drums that he listened to. “I slowed that record down...It ended upwhere I started listening to him. He was the best one ofall of them as far as this music was concerned. ...CootieWilliams must have been a helluva nice leader becausehe let him, Bud Powell, solo all the way through someof his records.”

As he recalls listening to Powell’s “Iz Or Iz YouAin’t My Baby” for the first time, Harris’ enthusiasm isas ebullient as it must have been a half century ago.“...Suddenly! in the background,” and here Harris’voice grows hushed as he remembers that moment. “Icould hear this piano player playing all these minorthings and I said, ‘WHO IS THAT, SO!...’ So you see,that’s how you get turned on. You hear these cats playand you say “ummmm”. Every one of us was trying tolearn how to solo and play and it looked like we weredevout...devoted or whatever to the bebop. You know,Fats Navarro, Bird, Diz and the bebop was a lot of people. Pres, Coleman Hawkins, all of them, they werelike at the beginning of it. But then Bird came in andhe changed the rhythm of it. ...It’s the rhythm mostlythat Bird did... ...Bird was the leader.”

Asked to define bebop, Harris replies simply. “Ithink bebop was mostly syncopation. You haveto...uhhh, it’s hard. Now I am beginning to feel youhave to feel six against four. And you have to feel the‘ands’ of the beats as much as you continue with the1,2,3,4. That’s the beats, but the other half of the 1,2,3,4is one and two and three and four. The drums lost it.They don’t play 4/4. They cut the time most of them.You have to make them aware of it. They don’t eventhink four.”

Among those with whom Harris has had a longtime working partnership is drummer LeroyWilliams, with whom he will be appearing at theVillage Vanguard this month. About Williams, hesays, “In some kind of way, I feel the ‘ands’ with him.

I feel the syncopation.” For his part, Williams remembers when he first heard Harris playing withPaul Chambers over 40 years ago, before even meetinghim, and thinking of Harris’ music, “...That’s it!” OfHarris himself he says simply, “Barry goes deep youknow. A lot of piano players are good. But Barry,because of his love of music, he goes deep like thegreat ones. ...He’s a music man, Barry. A thousandpercent all the way.”

Music history comes to life as Harris recallsColeman Hawkins, with whom he played for severalyears in the ‘60s: “Oh, that was beautiful. That was a

good experience. ...Coleman Hawkinsmade Bird come down off of the pedestal Ihad put him on. Because I could see theplaying was not limited to Bird. Bird is thegreat influence when it comes to rhythm.He changed drums. He changed everything. But Coleman could play. Pres[Lester Young] could play.”

By contrast, Harris observes unhappily that too often musicians today“just like sitting around playing patterns,as if learning patterns is going to makethem learn to play.” He bemoans many ofthem sounding alike and that quality wentout the window and was replaced by quantity. “They play a lot of notes,but...just imagine someone who talkedincessantly. Then they take a big gulpingbreath and they come right back in andstart talking again. And that would be sickening to listen to!”

“See what it is,” he continues. “We’retalking. We’re pausing. These pauses aren’tnecessarily silence. These pauses are foremphasis. These cats don’t even pause.They think the more notes you play, theythink the longer you play, not only do theywant to play more notes, they want to play

forever. They can’t even write a short story, how [are]they going to write a novel? When they can’t evenmake a poem. A little short poem.”

Being a peripatetic traveling teacher, Harris hasbeen known to land in New York after a lengthy tourof Japan, look at his watch and remark, “I have time togo teach my class.” It’s being with people all over theworld as a teacher that Harris feels keeps him centeredin his life. “They’re like one big family. I have homesall over the world...”

What would he like listeners to get out of his ownmusic? “I wish I could give them the feeling that Birdgave me when I first heard him. Oh Lord!... When Iheard Bird with strings for the first time in person... Ithink he was really a spoiler, because when I go tohear somebody, I expect to get that feeling. It’s adrag.”

As a final bit of sage thought he adds, “Well thisis my conclusion, that you have to give that feeling toyourself. And then maybe you can pass it on to someone else. So some kind of way, you have to makeyourself feel this thing.” K

For more information, visit www.BarryHarris.com. Harrisis at Village Vanguard Feb. 7th-12th and is honored Feb.27th at The Pierre Hotel as part of the New School 2006Beacons Award Gala. See calendar.

Recommended Listening: • Barry Harris - At the Jazz Workshop

(Riverside-OJC, 1960)• Yusef Lateef - Eastern Sounds (Prestige-OJC, 1961)• Lee Morgan - The Sidewinder (Blue Note, 1963)• Barry Harris - Live in Tokyo (Xanadu, 1976)• (Various) - Interpretations of Monk:

Live From Soundscape Series (DIW, 1981)• Barry Harris - Live at Maybeck Recital Hall, Vol. 12

(Concord, 1990)

ON THE COVER

ALLABOUTJAZZ-NEW YORK | February 2006 9

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10 February 2006 | ALLABOUTJAZZ-NEW YORK

MEGAPHONE

VOX NEWS

The Courage to Really Play...by Matt LavellePeople have dedicated their lives, suffered and diedin pursuit of becoming one with a music that, at itscore, is a music that makes being a human being really mean something.

This music can save lives. People hold on tomoments in this music when there is nothing left tohold on to. These moments are something that you canhold right in your hand, right in your heart and onceheard, they can never be taken away. Trane’s Live atthe Village Vanguard has helped me get through difficult periods in my life and although I wasn’tthere, I’ve sat on the stage with Trane many times.

Everyone deeply involved in this music has thesemoments. A great musician once said that when you’reabout to play, you should feel like you’re about tochange someone’s life. Maybe you can open their heartand get them to ask themselves questions they havealways been afraid to ask. Maybe even better, you canhelp them through their fear. Could be any kind offear: fear of being themselves, fear of loving or fear ofbeing loved.

How many of us today are playing music to upliftothers? So many of us are afraid to really play, mostlyafraid of ourselves and what we might find inside.Many of us have no story to tell so we try to tell someones else’s story - it’s safer that way. When thepeople that are afraid to listen believe in the peopleafraid to play, we get a kind of mass denial no

different than someone thinking that Britney Spearsmight really be on to something.

There’s so much intellectual music and past recreation going on because it’s safe for the playersand the listeners. Some are at least being honest. If thefeeling ain’t there then it’s just not there. It has neverbeen more difficult to have your own sound and beyourself than in today’s jazz world. To stay on thatpath and never give up - though it may take years - isan honorable quest indeed. What’s out is when peoplewithout their own thing are celebrated at large.Another helping of adversity for today’s jazz player.

One thing that the musicians can count on is thatthe real history and the real experience of this musicbelongs to us. Listeners and writers will never knowwhat’s it’s like to have your sound filling up a roomand going right into the hearts of those presentthrough their ears. Listeners and writers will neverunderstand the countless hours of dedication to ourcraft and the eventual musical and spiritual dividendsthat follow. Ours is a perspective they see, but neverreally feel. The real history of this music belongs to thepeople making it and the people who gave their livesin pursuit of being a branch on the great tree. Listenersand writers can look at the tree and talk about whetherthey like the tree or not but they are not, or ever willbe, a part of the tree. Trees like to grow.

What we need now, more than ever is the courageto REALLY play. K

For more information, visit interjazz.com/mattlavelle.Lavelle is at Café Grumpy Feb. 4th. See calendar. His newalbum is Embracing the Tide on Utech Records.

by Tessa SouterJanuary was an interesting month - one of the highlights being fellow Brit Christine Tobin, who I’dnever seen before, at Joe’s Pub. She was fantastic, witha wonderful smoky Bonny Raitt-like voice, interestingarrangements and superb originals with amazinglyrics. Also interesting is a beautiful new CD, A Glance(LoNote Records) by Maryanne De Prophetis, whichshe recorded with her husband pianist FrankKimbrough and Ron Horton on flugelhorn. It featuresvery simple and beautiful songs - all composed andarranged by her - which perfectly suit her rather delicate, fragile voice. Pyeng Threadgill’s all-originals, kind of quirky (in a good way) CD Of the Air(Random Chance) is also perfectly suited to her vocalinstrument, which makes sense since she wrote mostof the songs. And speaking of interesting, I really wantto check out cabaret queen Barb Jungr - often called aBritish Piaf - who will be singing the songs of Elvis atJoe’s Pub (Feb. 5th).

This month promises to be just what we need tocheer up wint’ry February with three amazing vocaljazz legends - Jimmy Scott, Mark Murphy and AndyBey - performing within days of each other. Iridiumpresents Billie Holiday’s favorite singer Scott (Feb.9th-12th) followed by a favorite of Ella Fitzgerald,Verve recording artist and six-time Grammy nomineeMurphy (Feb. 16th-19th). Recent Grammy nomineeBey (who shared the stage with Sarah Vaughan andDinah Washington before he was even 18) will be partof the Tuesday night series at Sweet Rhythm to celebrate Valentine’s Day (Feb. 14th). I will definitelybe there to worship all three of them. I also want to gohear Carmen Lundy, vocalist and composer, atIridium (Feb. 23rd-26th), in support of her wonderfulnew double CD of original songs recorded live (thebest way to experience this singer) in Los Angeles, Jazzand the New Songbook: Live at the Madrid Theater(Afrasia). See you there.

SHORT CUTS … performing in the Sweet Rhythmvocal series this month, don’t miss Gloria Cooper(Feb. 7th), Andy Bey (Feb. 14th), vocal group MondayOff (Feb. 21st) and Christiana Drapkin (Feb. 28th),who will be introducing little-known compositions byEllington and Strayhorn as well as words by WilliamShakespeare set to Sir John Dankworth songs … JazzStandard’s “Voices and Songs” series continues everyMonday in February with Joan Crowe (Feb. 6th), IlonaKnopfler (Feb. 13th), Jay Collins (Feb. 20th) and ErinBode (Feb. 27th) ... At Blue Note, Afro-jazz soul singerSomi will be bringing in Valentine’s Day (Feb. 13th),followed by saxophonist/singer Curtis Stigers (Feb.14th-19th) and Allan Harris (Feb. 20th) with his CrossThat River Band … Manhattan Transfer-ite CherylBentyne appears at Birdland (Feb. 1st-4th) … VerveRecords has reissued all seven of Nina Simone’s recordings for Philips - Broadway - Blues - Ballads, InConcert, I Put A Spell On You, High Priestess Of Soul, LetIt All Out, Pastel Blues and Wild Is The Wind - as a commemorative boxset while Legacy Recordings hasbegun issuing Simone compilations … Judi Silvano’sWomen’s Work Quartet will be Enzo’s Jazz (Feb. 3rd)with an all-woman trio: Janice Friedman (piano),Jennifer Vincent (bass) and Bernice Brooks (drums) …So will one of my favorite live performers, guitarist-singer KJ Denhert (Feb. 8th). In fact, Enzo’s is awashwith singers this month, including Kendra Shank(Feb. 10th), Giacomo Gates (Feb. 15th), a new (to me)young singer DeeAnne Gorman and her Trio (Feb.22nd) and Barbara Sfraga & Center Search Quest (Feb.24th). California-based singer, Daria, has a new CD,Feel the Rhythm (Jazz M Up Records). K

Tessa Souter is a vocalist, journalist and author and produces the weekly Tuesday vocal series at Sweet Rhythm.Souter is at 55Bar Feb. 10th. Her debut CD, Listen Love(Nara Music), is available at CDBaby.com and at TowerRecords, Lincoln Center. For more information visitwww.tessasouter.com.

Musicians in their own words...

In Celebration of Black HistoryPanel Discussion How Collective Black Artists, Inc. managed the business of music in 1970s New York. With Reggie Workman, Cobi Nartia, Jimmy Owens, Don Moore and others.

Free and Open to the Public February 22, 8:00 p.m.

The New School Jazz Performance Space 55 West 13th Street, Fifth Floor

February at Sweet RhythmFrom Charlie Parker to Herbie Hancock —a look at the cultural contributions of African-American musicians6 Music of Charlie Parker

directed by Dave Glasser

13 An Evening of the Blues directed by Junior Mance, featuring readings by students from The New School for Drama

20 Music of Herbie Hancock directed by Peter Zak

27 Art Blakey & the Jazz Messengers Repertory directed by Charles Tolliver

SWEET RHYTHM, 88 Seventh Avenue (between Bleecker and Grove) Sets at 8:00 p.m. and 10:00 p.m.

Please visit www.jazz.newschool.edu or call 212.229.5896 x4591 for more information.

Tuesday, FEBRUARY 28, 8:00 p.m. Joe Chambers and the Outlaw Band

JOE CHAMBERS DRUMS AND VIBRAPHONE

WITH

MISHA TSYGANOFF PIANO

DWAYNE BURNO BASS

JAVON JACKSON TENOR SAXOPHONE

LOGAN RICHARDSON ALTO SAXOPHONE

WOODY SHAW III DRUMS

The New School Jazz Performance Space55 West 13th Street (btw. 5th & 6th Aves.) $10; Free for students and seniors

JAZZPresents

SPRING 2006

ALLABOUTJAZZ-NEW YORK | February 2006 11

Joe Wilderby Greg Thomas

Joe Wilder, a true living legend of thetrumpet, is at long lastgetting what fellowbrass great RoyEldridge used to call“his screen credits”.

After 60+ years of superlative support work in bigbands, Broadway pit orchestras and commercials,Wilder is finally headlining his own quartet at theVillage Vanguard.

He says in fact that it’s the first time he’s ever leda group in New York City under his own name. Along-time Harlem resident, Wilder is no stranger toplaying in town however. “I used to jam at Minton’s inthe ‘50s. And there was a club on 110th and 8thAvenue, I think called The Flame where Big NickNicholas led a group. Everyone loved him. Hot LipsPage and other great musicians from across the country would come in and jam.”

Wilder was born in Colwyn, Penn. on February22nd, 1922 into a musical family including his fatherCurtis, a bassist and bandleader in Philadelphia.Curtis Jr., Wilder’s older brother, also played bass. OnJuly 1st, 2004, as the guest of the Jazz Museum inHarlem’s Harlem Speaks series, Wilder explained thatalthough he was initially attracted to the trombone, hisfather bought a cornet for him and began to take himto some of his dance jobs. Wilder recalled overhearingthe orchestra’s first trumpeter, Fred Beckett, grumble,“Oh my God, here comes Wilder with that damn kidagain!”

His fast progress led to a regular feature on aweekly children’s radio program in Philadelphiacalled the Parisian Tailors’ Colored Kiddies of the Air. Theyoungsters were backed by bands appearing at theLincoln Theater, including Duke Ellington and CabCalloway. “I would be playing the first trumpet part ofsome popular tune - just reading it note for note. Andthese bands would be playing backgrounds for us!”Wilder had an early encounter with Louis Armstrongon one of these occasions. “He was awfully nice to me.He gave me a pass and said, ‘You come and see Louisevery day.’” Pops remembered the young trumpeterfrom the broadcast in later years: “He always encouraged me and I think he was proud of the factthat I made it in the studios,” Wilder recalls.

He studied at the Mastbaum School of Music inPhiladelphia. Early on he was drawn to classical musicbut soon realized that a career in the symphony was

not a realistic goal for a black musician coming of agein the late ‘30s. So Wilder began playing in big bands,leaving home in 1941 at 19 to join Les Hite’s band.

“I remember my mother standing there at the sideof the bus all loaded with strangers and saying: ‘Now,you behave yourself and don’t you do anything to disgrace the family!’” She had nothing to worry aboutbecause Wilder is known as one of the most dignifiedgentleman in the business. In fact, when he was withthe Lionel Hampton band in the early ‘40s, fellow bandmembers would offer him ten bucks if he wouldsimply say one profane word. He politely refused.

Wilder was one of the first thousand blacks toserve in the Marines during World War II, workingfirst in Special Weapons then gaining an assignment tothe headquarters band for which he became theAssistant Bandmaster. He played in the orchestras ofJimmie Lunceford, Herbie Fields, Sam Donahue,Lucky Millinder, Dizzy Gillespie, and Noble Sissleduring the ‘40s to the early ‘50’s.

His last big band gig was with the Count BasieOrchestra in 1953, after which his career remainedclose to home - he’s a devoted husband, father of threedaughters and a grandfather too. He started playing inhit productions such as Guys and Dolls and ColePorter’s Silk Stockings, the touring company of whichhe joined in late 1953. “They went first to Mr. Porterand asked if he had any objection to a black musicianplaying first trumpet,” Joe recalls. “All he asked was,‘Can he play my music?’ When they told him I could,he answered, ‘Well, that’s all that matters.’”

He earned a secure place in the studio scene as a‘first call’ musician and served on staff at ABC from1957 to 1974. “A lot of times you just went in and werecompletely surprised,” he recalled. “We took pride inbeing able to sight-read anything that was put beforeus and in playing any type of music as well as the people who specialized in that particular style.”

Ed Berger, staffer at the Institute of Jazz Studies atRutgers University currently working on a biographyof Wilder, says that “in addition to his busy studioschedule, Joe continued to build a reputation as ahighly original jazz soloist through his own albums for Savoy and Columbia and countless sessions as asideman with Hank Jones, Gil Evans, Tadd Dameron,Michel Legrand, Benny Goodman and many others.He also became a favorite of vocalists, such as BillieHoliday, Lena Horne, Carmen McRae, HarryBelafonte, Johnny Mathis, Tony Bennett, Helen Humesand Johnny Hartman, who found their own work to begreatly enhanced by Wilder’s sympathetic obligati.”

He went back to school in the ‘60s, earning a bachelor’s degree at the Manhattan School of Music.Wilder played on several occasions with the New YorkPhilharmonic and in 1968 he became principal trumpet

for the Symphony of the New World, which he characterized as “the first fully integrated symphonyorchestra in the United States.” He also recorded hisown album of classical trumpet pieces, fulfilling hisoriginal dream.

He’s the only surviving member of the CountBasie All-Star Orchestra seen in the classic 1959 filmThe Sound of Jazz, soloing on the tune “Fast and HappyBlues”. Then as now, Joe Wilder’s trumpet and flugelhorn playing are as elegant and sophisticated asthe man, his approach unique and soulful like the veritable sound of jazz. His rare appearance at theVanguard is not to be missed. K

Wilder is at Village Vanguard through Feb. 5th. See calendar.

Recommended Listening: • Joe Wilder - Wilder ‘N Wilder (Savoy, 1956)• Joe Wilder - The Pretty Sound (Columbia, 1958)• Joe Wilder - Jazz From “Peter Gunn”

(Columbia, 1959)• Helen Humes - Helen (Muse, 1980)• Joe Newman/Joe Wilder - Hangin’ Out

(Concord, 1984)• Joe Wilder - Along With Just My Dreams

(Evening Star, 1991)

ENCOREBack in the spotlight...

Jeanne Lee (1939-2000)by Donald ElfmanThe inventive and innovative vocals of Jeanne Leewere described as the first new approach to jazzsinging since Sarah Vaughan. She emerged from thenew music scene of the ‘60s and stayed true to her aesthetic for her entire career. She made use of the natural qualities of breath to create a style that couldgo from atonal wordlessness to the bluesiest blues andnever fail to tell a story.

Jeanne Lee was born in New York in 1939. Shestudied dance as a teenager as well as singing. In theearly ‘60s she met Ran Blake who had come out of the“third stream” in New England to create a sort of minimalist poetry of the keyboard and together the

two made the now legendary album The Newest SoundAround for RCA in 1961 and toured Europe in 1963.Jeanne moved to the West Coast in 1964 and then wentback to Europe in 1967 where she met, married andcollaborated with vibraphonist and composer GunterHampel, a mainstay of the European avant garde.They did many albums for his Birth label in the ‘60s-’70s as she came to be celebrated by new musicianseverywhere. A partial list of players she workedand/or recorded with includes Lester Bowie, CharlieHaden, Carla Bley, Sheila Jordan, Rahsaan RolandKirk, Archie Shepp, Mal Waldron and Gary Bartz.

In 1989 she reunited with Ran Blake for YouStepped out of a Cloud on the Owl label and continuedto join forces with the giants of modern music. From1976-1978 and again in 1992 she toured with the JohnCage Bicentennial Concerts and performed with the

New York Philharmonic and with the Boston,Cleveland and Chicago Symphony Orchestras. Inrecent years she concentrated on writing pieces thatcombined dance, poetry and song. The woman quitesimply had a breadth of expression and an astonishingvocal instrument.

The best place to start to explore the wonder ofJeanne Lee is with the Ran Blake collaboration that puther (and him) on the map. She is heard to great advantage on Marion Brown’s noted ECM outingAfternoon of a Georgia Faun and on Carla Bley’s monumental Escalator Over the Hill. Her 1994 Owlrecord of standards with Mal Waldron - After Hours -is stunning as is her beautiful 1979 Black Saint sessionNuba 79, with Andrew Cyrille and Jimmy Lyons.

Jeanne Lee died after an illness on October 25th,2000. K

LEST WE FORGETGone but not forgotten...

‘50s ‘90s

12 February 2006 | ALLABOUTJAZZ-NEW YORK

Jordan Perlsondrums, percussion

Perlson was born and raised inthe suburbs of Philadelphia. Hestarted taking drum lessons at 10and played in school bands,garage bands and ensemblestaught at other music schoolsaround the city. He always played

along to whatever CDs and tapes he could get hishands on (he remembers playing along to Ice-Cube,then Peter Gabriel one afternoon). Then, when he was15, he attended Berklee College of Music’s summerprogram. He was already quite interested in Berklee,but the experience there only solidified his desire tostudy there when finished with high school. Aroundthis time, he began playing with the cult progressiverock band Echolyn. He was very fortunate to learn allabout writing and make a record with them becausethey were all very, very experienced and talentedmusicians. After graduating high school, while attending Berklee, Perlson had many more wonderfuloppurtunities. He performed many styles and withincredible musicians from all around the world, aswell as with visiting artists. As a student, he had thehonor of performing with Pat Metheny, MichelCamilo, Abe Laboriel, Sr. and many others. Since moving to New York about a year and half ago, he hashad many more wonderful experiences and has grownso much as a musician since arriving in the city.

TEACHERS: Adam Issadore, Joe Morello, Ian Froman,Jon Hazilla, John Ramsay, Jamey Haddad, Hal Crook.

INFLUENCES: Jack DeJohnette, Tony Williams, PaulMotian, John Bonham, Abe Laboriel, Jr.

CURRENT PROJECTS: Daniel Kelly Group, GianTornatore Group, Matthias Lupri, East-West Quintet,Tiger Okoshi Group, Lalo, Talat, Janek Gwizdala andothers.

BY DAY: Practicing, putting up shelves (I just moved),rehearsing, playing sessions, trying to survive just likeeveryone else! I teach a little, but it isn’t something I’vebeen able to pursue in an ongoing/consistent way.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I heard the opening drum fill in “Cult of Personality”by Living Colour.

DREAM BAND: Bill Carrothers, Loren Stillman, NateRadley, Matt Pavolka and me.

DID YOU KNOW? Even though we share the exactsame last name, ex-Knitting Factory executive MarkPerlson and I are not at all related.

FOLLOW UP WITH:info@jordanperlson.comwww.jordanperlson.com

Perlson is Redd’s Feb. 2nd with East-West Quintet; JazzGallery Feb. 16th with Janex Gwizdala; The Stone Feb. 18thwith Talat; and 55Bar Feb. 21st with Bobby Avey. See calendar.

LISTEN UP!

Jacob Garchiktrombone

Originally from San Francisco,trombonist and composer JacobGarchik has been a busy freelancer in NYC for over 10years, becoming equally comfortable in a wide variety ofstyles and genres. His newly

released CD Abstracts, with Dan Weiss (drums) andJacob Sacks (piano), gives three of the busiest and mostversatile young players in New York plenty of space toexplore their creative imaginations through his intricate original compositions which are used asspringboards for improvisation and group interplay.

TEACHERS: In San Francisco my first tromboneteacher was Doug Thorley, whom I studied with everyweek for 7 years. At Manhattan School of Music, I had4 intense months with Steve Turre, then a year withDavid Finlayson of the NY Philharmonic, then 2½years with Dave Taylor, who illuminated the physicalaspects of trombone playing.

INFLUENCES: I enjoy listening to a wide variety ofmusic from all over. I actually own too much musicand I haven’t listened to it all. I’d have to say my ownplaying and group leadership is influenced by MilesDavis, John Coltrane and Joe Maneri.

CURRENT PROJECTS: I lead my own bass-less triowith Jacob Sacks (piano) and Dan Weiss (drums). I alsocontribute arrangements and compositions to the collectively-run bands 4inObjects, the Four Bags andSlavic Soul Party. And I fulfill sideman duties in abouta dozen other bands including the Lee Konitz NewNonet (which recently recorded live at Jazz Standard),the Steve Swallow/Ohad Talmor sextet, the JohnHollenbeck Large Ensemble, the Ben GersteinCollective, Judith Berkson’s East River Orchestra andFrank London’s Klezmer Brass All-Stars. I also playgigs on accordion, bass trombone, trumpet, tuba, computer and piano.

BY DAY: In addition to a desk job in a small recordcompany, I accompany preschool music classes as apianist, teach beginning piano classes at an adult college, teach a few trombone students, do occasionalFinale engraving jobs and build and maintain websitesfor friends.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I saw my brother’s middle school jazz band play anddaydreamed about playing a purple saxophone withthem.

DREAM BAND: I don’t like to fetishize the past toomuch. Therefore my dream band consists entirely ofmusicians not yet born. You can’t imagine what kindsof things they would play!

DID YOU KNOW? I envision a future in which all living creatures generate electricity by powering portable generators.They’ll pull them around all day and then swap outthe freshly charged batteries for empty ones.

FOLLOW UP WITH:www.jacobgarchik.com

Garchik is at 5C Cafe Feb. 3rd, Crossroads Café Feb. 11th,Barbès Feb 12th with Gondwanaland, Feb. 26th with theFour Bags and Tuesdays with Slavic Soul Party; and at TheKitchen Feb. 17th-18th with John Hollenbeck. See calendar.

G. MMORATTI ARTIST MMANAGEMENT

Personal MManagement ffor:Don FFriedman - PPianoSayuri GGoto - PPiano

Daniela SSchaechter - PPiano/VocalsMamiko WWatanabe - PPiano

Harvie SS - BBassMike DDiRubbo - AAlto SSax

Karolina SStrassmayer - AAlto SSaxRandy JJohnston - GGuitar

Susana DDè - VVocalsBenny PPowell - TTromboneSteve SSwell - TTromboneDrori MMondlak - DDrums

(Straight CCircle)For bbookings oof aany oof tthe aabove

musicians ccontact:

Gino MMoratti 86-220 PPark LLane SSouth

Woodhaven, NN.Y. 111421Phone 7718 8805-11078

e-mmail gginom@worldnet.att.netwww.ginomoratti.comEach month, AAJ-NY spotlights two musicians that we think you ought to know about.

To suggest someone who deserves a listen, email some information to ldgreene@allaboutjazz.com

ALLABOUTJAZZ-NEW YORK | February 2006 13

Arguably one of the most significant developments inmusic in the 20th century was the breaking down ofthe idea of musicianship; expressiveness surpassedfinesse as the reason for playing an instrument. And,arguably again, it was Derek Bailey who was a primary instigator of this evening of playing fields.

Which in a sense is to damn the British guitar phenom - who died on Christmas Day, 2005 - withhigh praise. Bailey was a remarkable talent, a dexterous player who could maintain several linearthreads of pure abstraction at a time and build a coherent, deeply personal statement. He created a language that seemed inclusive, even inviting, as if tosay, “Come along, pour your soul out on the stringslike me, you can do it.” Of course, you couldn’t, notreally, but that’s a different story. For what Bailey peddled during a career that spanned six decades wasnot technique - not the ability to play Villa-Lobos or tocompose great somethings - but to be completely inthe moment, to pull notes from his heart and the etherand to make the listener intimately there, with him.

The genre of music that most embraces that freedom in most peoples’ eyes is jazz - a form Baileystarted in and, even while playing at various timeswith the likes of Steve Lacy, Paul Motian, TonyWilliams and Pat Metheny, spent much of his careertrying to disassociate himself from. With his typical,understated grace, Bailey authored a book in 1980called simply Improvisation, for which he interviewedclassical, rock and other musicians about the role ofimprovising in their music. The point - never overtlystated - was that improvising doesn’t make one a jazzmusician and that Bailey’s music was not jazz.

“I don’t think it’s done any good for free improvisation, generally speaking, to be coupled withjazz,” Bailey told Nick Cain in 2000, in an interviewpublished in Cain’s online magazine Opprobrium. “Butmy view of jazz is that it died about 1956. It staggeredon in some quite interesting ways into the early ‘60s,and then it was resurrected in a rather ghoulish manner in the 1980s. But this is also a personal thing.It was partly to do with my own dissatisfaction with itand my decision, around the age of 23, that I was nevergoing to be Charlie Christian.”

Bailey was born in Sheffield, Yorkshire, onJanuary 29th, 1930. His uncle played guitar and, alongwith those Charlie Christian records, was an earlyinfluence to his picking up the instrument. By 1950, hewas working jazz club circuits in England, movingfrom town to town for extended pub gigs. His talent asa jazz guitarist led to bigger gigs and eventually tomeeting drummer Tony Oxley and bassist GavinBryars. In 1963, they formed the Joseph HolbrookeTrio, named by Bryars for an obscure British composer who died in 1958. Though they earned littlenotice, together they began exploring non-idiomaticimprovisation.

“We were aiming for the opposite of drivingbecause everything was like that - this was the OscarPeterson time - it was all about getting it on, as Tonyused to say,” Bailey told his biographer Ben Watson.“That’s one thing we had in common. An impatiencewith the gruesomely predictable. Another thing wewere interested in […] was that we liked silences.”

If not the very foundation, the trio was clearly oneof the bases for the free improvisation movement thatbegan to gain a commercial foothold in the ‘70s. ButBailey was never one to take credit for starting a movement. Prior to Holbrooke, he had the occasionalencounter with open improvisation and speaking toWatson remembered an earlier experience in Glasgow:“Laurie [Steel], me and another guy individuallyretuned our guitars and … played. The results? Can’tremember. We didn’t try it again. But that kind ofexploratory episode, while uncommon, happened nowand then, and my guess is that it has always happened.Nobody invented Free Improvisation.”

During the explosion of music, jazz, rock andbeyond, in the late ‘60s and early ‘70s - when corporaterecord labels had no idea what might sell - a surprising breadth of records were being released. Atthat time, Bailey participated in a few major label sessions - notably Oxley’s The Baptised Traveller (CBS,1969) and 4 Compositions for Sextet (CBS, 1970). Thenew movement was getting noticed. Drummer JohnStevens’ Spontaneous Music Ensemble (with Bailey,saxophonist Evan Parker and bassist Dave Holland)recorded for Island in 1968 and Marmalade in 1969. In1970, the fledgling German label ECM released arecord by the Music Improvisation Company, withBailey, Parker, Hugh Davies (electronics), Jamie Muir(percussion) and Christine Jeffrey (vocals). But thatsame year, CBS dropped Oxley’s third record and heapproached Bailey to start a label together. Theysecured financial backing and invited Parker to be athird partner. In a split that created a rift in the Britishimprov scene and has been the source of rumors andspeculation ever since, Oxley and Parker left the labelwithin a few years. Bailey kept the business runningfor the rest of his life and while he was featured onmany of the releases - more than 50 in all - Incus ismore than a vanity label. With his wife KarenBrookman, Bailey built one of the most importantlabels documenting free music in Britain.

But more than his place in history as an innovatorand label head, what was of course important aboutBailey was his playing. He was a remarkable solo performer, challenging the listener the way that few -perhaps only Cecil Taylor and Roscoe Mitchell - can,

with overlaid systems of logic and trains of thought.His playing can’t be analyzed, only absorbed. And yet,Bailey didn’t like giving solo concerts. From Cain’sinterview:

“To me, the way I play is the musical equipment Ibring to the event. The way I play is what I’m going towork with. But the music, for me, is brought by theother people. There isn’t any point in playing withsomebody unless they’re going to bring music. I’msometimes accused of ignoring people I play with,which has always struck me as strange, because I findother people very necessary. I don’t, for instance, likeplaying solo, and I’m not that interested in playingsolo - doing it or listening to it, or anything. Althoughmost of the gigs I get are solo. I kind of feel that whatI do is not complete unless I’m playing with somebodyelse. They do more than complete it, they provide thebasis for whatever we’re doing. It starts with the otherpeople.”

While it would be a mistake to think Baileyignored the people he played with, it’s an understandable one to make. He didn’t set out to complement his fellow players, not in the usual sense.He circled them, questioned them and sometimesstabbed at them, and made the listener hear them in avery different light. In his Derek Bailey and the Story ofFree Improvisation from 2004, Watson wrote, “Like atruly interesting conversationalist, Bailey’s guitar-playing does not flatter the musicians he plays with, orattempt to make them sound good in a facile way: heattempts to understand what they are playing by contradicting them. … The source of his ‘spikiness’ isthis interest in repartée; his negations are productivebecause they are grounded in musical comprehensionof his interlocutors’ logic.”

Bailey continued to perform and record solo upuntil motor neuron disease robbed him of the ability toplay. His final release, Carpal Tunnel - issued byTzadik just five months before his death - featured himboldly exploring his debilitating illness. The first 10-minute track features Bailey speaking about losingmuscular control in his hands as he plays. The five following tracks were recorded at three-week intervals, the suggestion being to document his deteriorating ability. Close listening does reveal a lossof finesse, but that’s easily overshadowed by the emotive quality. As ever, Bailey’s playing is arresting.It’s not so simple as to be melancholy or celebratory. It resonates at a much deeper level, transcending lyricism and suspended in time.

In 1976, the magazine Musics asked 30 musiciansto respond to the question “What happens to time-awareness during improvisation?” While someanswers stretched to more than a page of text, Baileyresponded simply “The ticks turn into tocks and thetocks turn into ticks.” Like his playing, Bailey lives on,existing outside of time. K

I N M E M O R I A M

Derek Bailey - 1930-2005 by Kurt Gottschalk

Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET

Pete Zimmer QuintetFeaturing:

Michael Rodriguez Trumpet Joel Frahm SaxophoneToru Dodo Piano David Wong Bass

Pete Zimmer Drums

Performing and Recording LIVE @:Jazz Standard

(***LIVE RECORDING for Tippin’ Records***)Tuesday, February 7th

Sets at 7:30pm and 9:30pm Tickets $20116 E 27th Street (b/w Park and Lex)

(212) 576-2232 www.jazzstandard.netwww.petezimmer.com

www.tippinrecords.comPete Zimmer is endorsed by SABIAN Cymbals www.sabian.com

14 February 2006 | ALLABOUTJAZZ-NEW YORK

Although both these CDs from top bassists containprimarily newly composed material and feature strongtenor men, Shades of Jade immerses one in a remarkablywarm and pensive musical world while Back Stabber’sBall is a coolly swingin’ twin tenor treat.

Marc Johnson is that rarefied musician who canpull together a band to portray perfectly his compositional vision. With Shades of Jade he has chosenexceedingly well and each of these works fit togetherlike an elegant puzzle. There is a gentle grace asJohnson’s bass and Joey Baron’s brush and cymbalwork instill a thoughtful atmosphere. The mood isthen just ripe for Joe Lovano’s tenor, John Scofield’sguitar or the brilliant touch of pianist Eliane Elias toengage in group discourse or soft soliloquy. Elias isthrilling, whether discreetly adding just a touch ofAsian air to the title cut, laying back a bit for Lovano’sheartfelt interpretations of her own melodic “In 30Hours” or giving an emotional rendition of lovely self-composed ballads like “Snow” or “All Yours”.“Blue Nefertiti” is a bluesy take on the Queen begunby Scofield that all others join while “Don’t Ask ofMe” is a soulful arco version of an Armenian songwith organist Alain Mallet providing the backdrop.

Neal Caine and tenorist Ned Goold are integralparts of Harry Connick Jr.’s Orchestra but this is a farcry from that. Instead, drummer Jason Marsalis andreedman Stephen Riley have joined with this duo topresent a timely take on everything from “CorporateJazz”, complete with semi-plodding beat and airytenor, to free formish interludes of “WMD” and anintriguingly mysterious portrait of “DEA”, the chordprogression not the agency. Caine is so good and so insynch with Marsalis that they draw you into the moodof most of these pieces with but a few introductoryplucks and taps. The two horns can sweetly double, as on the initial tenor/alto clarinet round of“WMD”, or strike out on their own modern solo adventures. Caine is a powerful bassist and he is up inthe mix but the tenors are equal to the challenge.

Bassists always set the pace but on each of thesereleases by two of the best, their distinctive musicalpersonas are thankfully allowed to shine.

For more information, visit www.ecmrecords.com andwww.smallsrecords.com. Johnson is at Dizzy’s Clubthrough Feb. 5th. See calendar.

Back in the ‘80s, Vinicius Cantuaria wrote the lullaby-like “Leaozinho”, which became a major hit forCaetano Veloso and prompted him to embark on a solo

career as a sophisticated pop musician. Although thegamble didn’t quite work in Brazil, here he found anaudience for his bossa-nova inflected tunes. Today,like many other of his fellow expatriate musicians(Bebel Gilberto, Flora Purim are some that come tomind), his talents are more recognized abroad than inhis native land.

On Silva, which is the most common surname inBrazil and also part of his own name, he collaborateswith legendary percussionist Arto Lindsay, who co-wrote several of the original tunes on the album,venturing even further into his bossa roots and emerging with a very personal view of the genre, looking back whilst managing to move forward at thesame time. In “The Bridge”, he claims that “Everyonesays that bossa nova is this/bossa nova is that/it justis what you want to be” and he backs that by addingelements of Northeastern Brazilian and electronicsounds into it. In “Pena de Mim”(Pity on Me), he begsan estranged lover to feel for him, for he cannot “suffer like this anymore”. The instrumentation issparse, with a string quartet and subtle percussionbacking Cantuaria’s guitar.

The only cover on the album is “A Felicidade”(Happiness), a Jobim/Moraes composition originallyfeatured in the movie Black Orpheus. Pay close attention to the English-language “Reentry”, a semi-psychedelic tune about a love affair that is over butneither part wants to call it quits. Also very interestingis “Saudades de Você” (Longing For You), in whichCantuaria reverts to the simplicity of the early days ofbossa nova, a time when almost every lyric spoke ofnothing but love, smiles and the blossoms of spring.

For more information, visit www.rykodisc.com. Cantuariais at Jazz Standard through Feb. 4th. See calendar.

If ever there was evidence of a prejudice againstEuropean jazz players, it is the fact that trombonistAlbert Mangelsdorff (1928-2005) never before had atribute album done in his honor. Even more damningis research showing that his compositions - over a hundred - have never been played without him.

Trombonist Joe Fiedler has ended this sorry streakwith a wonderful homage to an under-appreciated-in-this-country musician. The only bittersweet thingabout the disc is its recording date: November 2003.Released now it serves as reminder of a great loss forjazz rather than as an accolade to the living.

The only explanation for the dearth ofMangelsdorff in standard jazz repertoire is that he wastoo much of a unique voice. To play his tunes requiresmastery of full-bodied, warm lyrical playing and aharmonic sense exceeded by no other trombonist. So todo a tribute would be to scale an insurmountablemountain. But Fiedler is not here to recreateMangelsdorff. He is his own player with his own abilities who is paying a long-owed debt by anyone who plays the instrument.

Fiedler chooses the trio format fromMangelsdorff’s two most known albums (The WidePoint with Elvin Jones and Trilogue with JacoPastorius) with bassist John Hebert and drummerMark Ferber. The material is drawn from the ‘60s quintet to the ‘80s duo with Wolfgang Dauner. Fiedler,

while not copying Mangelsdorff, brings that amazingsonority he had; Hebert often sounds like Günter Lenzfrom Mangelsdorff’s early groups; and Ferber recallsboth Mangelsdorff’s postbop and postfusion periods.

Of course there is the solo trombone piece anddemonstrations of Mangelsdorff’s multiphonics. Butthis album is not a technical exercise. It fêtes whatmade Mangelsdorff such an enduring presence: hiscomposing. These are timeless, sparkling themes thatdeserve more than one more go around.

For more information, visit www.cleanfeed-records.com.Fiedler plays Mangelsdorff at Barbès Feb. 15th. See calendar.

Plays the Music of Albert MangelsdorffJoe Fiedler (Clean Feed)

by Andrey Henkin

SilvaVinicius Cantuaria (Hannibal-Ryko)

by Ernest Barteldes

Shades of JadeMarc Johnson

(ECM)

Back Stabber’s BallNeal Caine

(Smalls)by Elliott Simon

C D R E V I E W S

• Omer Avital - Asking No Permission: The Smalls Years Vol. One (Smalls)

• Bill Frisell - Further East/Further West(billfrisell.com)

• Sam Rivers/Ben Street/Kresten Osgood - Violet Violets (Stunt)

• Gregory Tardy - The Truth (SteepleChase)• Assif Tsahar/Cooper-Moore/Hamid Drake -

Lost Brother (Hopscotch)• Mary Lou Williams Collective -

Zodiac Suite Revisited (Mary Records)-David Adler NY@Night Columnist, AllAboutJazz.com

• Omer Avital - Asking No Permission: The Smalls Years Vol. One (Smalls)

• Ab Baars - Kinda Dukish (Wig)• Miles Davis - The Cellar Door Sessions 1970

(Columbia-Legacy)• Ras Deshen Abatte/Yitzhak Yedid -

From Ethiopian Music to Contemporary Jazz (AB)• John McNeil - East Coast Cool (OmniTone)• Stephen Riley - Inside Out (Steeplechase)-Laurence Donohue-GreeneManaging Editor, AllAboutJazz-New York

• Jeff Arnal/Nate Wooley/Reuben Radding/Seth Misterka - Transit (Clean Feed)

• Eddie Gale - Vision Festival X, NYC (s/r)• Vinny Golia - Sfumato (Clean Feed)• Manuel Mengis Gruppe 6 -

Into the Barn (Hatology)• Tisziji Munoz - Love At First Sound

(Anami Music)• Ray Russell - Goodbye Svengali (Cuneiform)-Bruce GallanterProprietor, Downtown Music Gallery

R e c o m m e n d e dN e w R e l e a s e s

ALLABOUTJAZZ-NEW YORK | February 2006 15

These three CDs by trumpeter Kenny Wheeler provide a glimpse of one of this planet’s greatest musicians; all also feature the under-appreciatedpianist John Taylor.

Certainly Song for Someone will be an exciting findfor Wheeler enthusiasts. A big band record that has aunique sound from the opening moments (withNorma Winstone’s wordless vocals in front) onlybecomes more intriguing as it progresses. Recorded in‘73, it’s fascinating to consider that Tony Oxley andguests Derek Bailey and Evan Parker would go on tobecome European free improvising icons. Wheeler’scomposition work is astonishing as it effortlesslybridges the sounds and styles of modern jazz to freeimprovisation in a way that does not sound eitherforced or naïve. Wheeler states in the brief liners: “Theidea behind this band was to try and get special musicians from and into different areas of jazz to playtogether and to try to write music especially for them.”

“The Good Doctor” is an excellent example, starting off with Parker and Bailey improvising in thestyle for which they have been known post-1973.Following soft brass chords with a spacious and gentlebass rhythm, they stop, then re-enter with a conversation between ‘free’ guys and the developingwritten music. This conversation might be comparedto Ives’ “The Unanswered Question” more than a modern jazz big band piece, even though the composition does eventually move back to a modernbig band sound. The bridge back to the avant garde isParker’s tenor solo, starting in jazz, then moving intoan explosive duet with Oxley (who, up until this point,has sounded more like Mel Lewis).

More big band jazz, an explosive trio ofOxley/Bailey/Parker, then superimposed horn chordsover the trio. Coming on this tune’s heels is the closer“Nothing Changes”, a short piece featuring the onlylyrics Winstone sings on the record, serving as a goodmusical summary of the CD’s journey. Song forSomeone is not only a revealing snapshot of a prodigious composer-band leader and his interactionwith other important musicians at a momentous timein the music’s history, it is simply vital music.

Where Do We Go From Here? is a wonderful duetrecord, revealing an attractive telepathy and serenceconfidence between Wheeler and Taylor. I would hazard a guess that most listeners are not very familiar with John Taylor, the self-taught jazz pianistthat first gained attention with fellow Brits AlanSkidmore and John Surman, the husband and wifeteam of Cleo Laine and John Dankworth and as one-third of Azimuth (with Wheeler and Winstone).When you hear his touch on “Summer Night” therecan be no doubt that he has deep roots in the traditional vocabulary and when you listen to “CanterN.1” you hear an example of more modern language. “Dance” is a very interesting track for itsuse of syncopation inside the triple meter, its somewhat exotic melodic material and its very sparse,unique and subtle use of overdubbing.

What Now? is also an attractive release, rich in

details and content. Wheeler makes it all seem so simple: beautiful melodies, rich harmonies and a greatband without a drummer to rein in the rhythms. Somany of the performances are memorable ones.Swinging and melodic, Chris Potter (tenor) starts thesoloing on the opener “Iowa City” and enjoys the rideover its chord changes. However, when Taylor solosthe creative sparks start to fly even further. His rhythmic imagination and security at the piano putshim in the same league with some of today’s best. “ForTracy” starts with an eloquent melody for piano andflugelhorn followed by the tenor melodic statementand Dave Holland’s bass, giving grounding to thissolemn ballad. Once again, Taylor’s solo is captivatingfor it’s dynamic touch and detailed voicings.

Though What Now? might receive the mostamount of attention because of its inclusion of ChrisPotter and Dave Holland and all three of these CDscontain a lot of wonderful music, don’t sleep on SongFor Someone.

For more information, visit www.emanemdisc.com/psi.htmland www.camjazz.com. Wheeler is at Blue Note throughFeb. 5th with Kenny Werner. See calendar.

This mix of 15 sides from the ‘50s and ‘60s is studdedwith gems, mostly from our greatest songwriters - thelikes of the Gershwins, Cole Porter, Rodgers and Hart,each offering an enduringly upbeat report from thetrenches of love. Most of the artists are now gone, butvery much worth remembering or becoming newlyacquainted with.

Among these, the only one that was actually a pophit was Gloria Lynne’s creamily chiseled, fiercely tender 1965 version of “I Wish You Love”. “Blues ForBeverly”, with that famously schmaltzy GordonJenkins sound, features a beauty of an alto sax solo byBasie alumnus Marshall Royal. Guitar virtuoso CharlieByrd manages to remain intimate on “Love SongBallad”, even amidst the awesome big band sound ofWoody Herman’s orchestra.

If it’s love you’re after, take the Jo Jones Trio and“You’re Getting To Be A Habit With Me”; Jones’ drumming is something only someone without a pulsecould resist. On “It All Depends On You” Pee WeeRussell (clarinet) and Ruby Braff (trumpet) are two ofthe spellbinders who make irresistible happy heartsounds. Showcasing the superb recording techniquesof the late ‘50s on “Embraceable You” is an allstarorchestra that includes Doc Severinsen, Urbie Green,Jimmy Chambers and an especially caressing performance by Pee Wee Irwin on trumpet.

The few vocals are exceptional. Joe Williams is inpeak form with “In The Evening”. Even when singing,“....when your baby’s not around,” Williams just couldn’t keep good cheer out of the sweet thunder ofhis voice. And the great, great Maxine Sullivan singsher one pop hit, “Loch Lomond”, a swing interpretation of a folk song which made her a star inthe ‘30s. This 1955 version still swings mightily and, aswith Django Reinhardt’s “Nuages” which closes theset, is likely to leave you craving more.

For more information, visit www.empiremusicwerks.com.Feb. 14th is Valentine’s Day.

Jazz is Love: Timeless Songs for LoversVarious Artists (Empire Musicwerks-Universal)

by Andrew Velèz

Song for Someone Kenny Wheeler (Psi)Where Do We Go From Here?

Kenny Wheeler/John Taylor (Camjazz)What Now? Kenny Wheeler (Camjazz)

by Francis Lo Kee

LIVE PERFORMANCES

AT

Some of our performances this month include:

CORNELIA STREET CAFE29 Cornelia Street

New York, NY 10014 (212) 989-9319

Between West 4th and BleeckerWest of 6th Avenue

For our full schedule check out our website

www.corneliastreetcafe.com

Thu Feb 2 CARLO DEROSA QUARTET 8:30PMMark Shim, Luis Perdomo, Derrek Phillips

Fri Feb 3 LOGAN RICHARDSON GROUP 9 & 10:30PM George Garzone, Matt Brewer, Tommy Crane

Sat Feb 4 SKYE STEELE GROUP 9PM Christopher Hoffman, Mike Effenberger, Mike Savino, John Hadfield

Wed Feb 8 NYNDK JAZZ COLLECTIVE 8:30PMChris Washburne, Ole Mathisen, Soren Moller, Tony Moreno, Francois Moutin

Thu Feb 9 GNU VOX VOCAL SERIES: TWO CD RELEASE PARTIESBEAT KAESTLI 8:30PM Joel Frahm, Uli Ceissendorfer, Marcus McLaurine, Sunny Jain MONIKA HEIDEMANN 10PMMatt Moran, Khabu Doug Young, Derek Layes, Take Toriyama

Fri Feb 10 JEREMY STEIG QUARTET 9 & 10:30PM Vic Juris, Cameron Brown, Anthony Pinciotti

Mon Feb 13 COMPOSERSCOLLABORATIVE INC. 8:30PM

Tue Feb 14 GNU VOX VALENTINE’S DAY SPECIAL: JAY CLAYTON/JACK WILKINS 8:30 & 10 PMFabulous five-course Valentine’s Diner $50

Thu Feb 16 PO’ JAZZ Golda Solomon, host 6PMKRESTEN OSGOOD GROUP 8:30PMMichael Blake, Steven Bernstein, Ben Allison

Fri Feb 17 ANAT FORT TRIO 9 & 10:30PM Gary Wang, Roland Schneider

Sat Feb 18 MALABY/SANCHEZ/RAINEY 9 & 10:30PM

Sun, Feb 19 SEBASTIAN NOELLE GROUP 8:30PM Dave Smith, Dave Ambrosio, Take Toriyama

Mon Feb 20 BIG BANG 8:30PM hosted by Katie DownsJane Rigle, Clyde Forth, Iain Machell;David Rothenberg/Jaanika Peerna

Tue Feb 21 SEAN DRISCOLL’S TRIO GRANDE 8:30PMBrad Mason, Matt Pavolka, Marko Djordjevic

Thu Feb 23 GNU VOX PRESENTS: JD WALTER 8:30PM

Sat Feb 25 MARC MOMMAAS’ GLOBAL MOTION 9 & 10:30PMNikolaj Hess, John Hebert, Tony Moreno

Sun Feb 26 KRACKEDLENZ PROJECT CD RELEASE PARTY 8:30PMStephan Kammerer, Steve Elliot, Matt Clohesy, Brian Wolfe

Tue Feb 28 DAVE ALLEN 8:30PMLoren Stillman, Drew Gress, Mark Ferber

Reuben Radding has had to take initiative to get hismusic heard before. Luminescence, a recording of duetsperformed with multi-reedist Daniel Carter wasshopped around and ultimately released by AumFidelity in 2002 and gave off a do-it-himself scent thatcarries over to Intersections, the first release on thebassist’s own Pine Ear Music label. Radding is plentybusy, performing and recording in combinations ofvarious size and styles (including wicked work withSeattle’s Wally Shoup Trio), but Pine Ear is an exampleof what jazz musicians must do these days in order toget their music heard, rather than have sessions languish in the can. Radding’s trio on this CD offerschamber-style interaction, musical delicacy and whispered intimacies.

Radding has one of the thickest tones on the double bass to be heard in jazz today and his playingrelies on notes that carry on and linger horizontally,while his compositions run the scale vertically. Thisbidirectionality infuses the music with a favorable creative tension, particularly on the hypnotic “MakingCertain it Goes On”. Oscar Noriega’s snake charmerclarinet seduces on “Siren”, a tone poem that featuresRadding’s evocative arco attack and enables MattMoran to put the ‘vibe’ in vibraphone with his resonating sustained notes. “Canal and Lafayette”picks up the tempo a bit from “Brush”, but continuesthe same mathematically precise playing by Noriegaand Moran, while on “Bellevue, Bellevue andBellevue”, Moran’s single-note strikes jump from leftto center to right, orienting you to the compositioneven as its repetitiveness locks your attention.“Marginal Way” mixes Radding’s arco and pizzicatoand alternately pairs him up with his bandmates: mirrored by Moran’s metallic vibes, in dialogue withNoriega, then back to Moran for a concluding conversation. Drum fans need not fear. Noriega,Moran and Radding create a world of melody andrhythm all their own.

For more information, visit www.reubenradding.com.Radding is at Café Grumpy Feb. 18th. See calendar.

A new pair of releases teams New York edge-cutterswith their north-of-the-border counterparts.

Toronto-based reed player Quinsin Nachoff hasone foot in jazz performance and the other in classicalcomposition. While this combination can sometimeslead to a musical no-man’s land, Nachoff manages toavoid stylistic malaise, largely by dint of the decidedly rockin’ drum work of New York’s Jim Black.

A jazz trio, featuring another New York import, thesuperb Mark Helias on bass, is spliced together with afirst-rate string quartet drawn from Toronto’s pool ofyoung classical talent.

Remove the jazz trio and you’d have a tasty littlesuite of string pieces, but not only has Nachoffbrought in drums, he’s apparently instructed Black togo more for Sonic Youth than Billy Higgins, a starkconstrast against the delicate strings. Nachoff’s ownsax work adds further textural and stylistic counterpoint. What we have in the end is not quitegumbo, but a distinctive sound that can’t yet be categorized (although, add it to the body of work JohnHollenbeck and a few others are busy creating andsoon enough we’re sure to begin hearing some newappelation - Fourth Stream? Classical Groove?).

Nachoff’s writing is, harmonically, quite sophisticated and he sets up lovely chord progressions, articulated by the strings, over which heblows with inspired technique. His idea here is muchclearer than that of pianist Chris Gestrin, who haspaired Vancouver’s Dylan van der Schyff on drumswith another New Yorker, guitarist Ben Monder, on arecording of mostly open improv with a couple original tunes: The Distance.

The lack of bass leaves Gestrin and Monder toparcel out the melodic and harmonic duties. Thoughthey occasionally seem to trip over each other, the combination mostly works. Monder’s playing seemsmost inspired and original on the improv pieces.Gestrin’s fine piano work is given distinction by a fewprepared strings that appear unexpectedly, lendingpleasantly mystifying moments. Van der Schyff’sdrumming is subtly superb - exhilarating cascades ofbrushed snare, toms and cymbals blend with microtonal piano and guitar outbursts or fall intobreathtaking silences. All three have a keen sense ofhow to build and resolve dramatic tension, though themood is exclusively murky.

For more information, visit www.songlines.com. Nachoff isat Tonic Feb. 23rd. See calendar.

Few tribute albums released these days do justice tothe music of the honoree, or the artistry of the playeracknowledging the influence of the venerated figure,on the high level that Joe Locke reaches on Rev-elation,easily one of the hardest swinging records releasedrecently. Together with the trio of Mike LeDonne, BobCranshaw and Mickey Roker that regularly accompanied vibist Milt Jackson in his final years,Locke wows an ecstatic audience at London’s RonnieScott’s with a set of bebop, ballads and blues out of theBags book, along with two new dedicatory composi-tions: LeDonne’s soulful title track, a reference to oneof Jackson’s other nicknames, “Rev(erend)” and theleader’s “Big Town”, a clever play on Roker’s baptismal name, Granville.

Right from the start of the opening track,Jackson’s “The Prophet Speaks”, Locke shows that hehas what it takes to walk the great vibraphonist’swalk, without trying too hard to fill his shoes. Therhythm section supplies the same easy going groovethat endeared it to its late leader and the hip

arrangement shines the solo spotlight on each of thefour band members. The date continues with a coupleof original arrangements by Jackson alumni - CedarWalton’s relaxed medium tempo take on “Young andFoolish” and Ray Brown’s sensitive reworking of “TheLook and Love”. The program proceeds with theaforementioned title tune, featuring LeDonne’s tastefully swinging Fender Rhodes, followed by“Opus de Funk”, Horace Silver’s early hardboppingJackson feature and the beautiful ballad “CloseEnough For Love”. Locke digs in deep on his soulful“Big Town” and shows off his chops on the closer, RayBrown’s “Used To Be Jackson”. Rev-elation is full ofsubtle nuance and unselfconscious attention to detailthat takes the music to the highest level and truly honors the man who inspired it all.

Locke figures prominently on bassist Calvin Hill’sfine endeavor I Can’t Give You Anything But Love. Thequartet date, which also features Michael Cochrane atthe piano and Yoron Israel on drums, is another sort oftribute date - this one in praise of love. Yet, despite thefact that almost all of the disc’s titles include the Lword, this is anything but a schmaltzy ballad record.The exceptional arrangements pleasingly vary tempoand meter, from the waltzing “I Fall In Love TooEasily” to the latinish “Beautiful Love” to the straightahead swinging “I Can’t Give You Anything ButLove”, imparting an agreeable variety to the program,which is uniformly excellent. Hill reveals himself to bea lyrical soloist, while judiciously sharing the spotlightwith his stellar bandmates on the nine odes toromance. A superb Valentine’s Day soundtrack.

For more information, visit www.sharpnine.com andwww.calvinhillmusic.com. Locke is at The Kitano Feb. 3rd-4th with Ben Wolfe and Feb. 24th-25th as a leader. See calendar.

16 February 2006 | ALLABOUTJAZZ-NEW YORK

USEDNEW

236 West 26 Street, Room 804New York, NY 10001

Monday-Saturday, 10:00-6:00(June, July, August-closed Saturdays)

Tel: 212-675-4480Fax: 212-675-4504

Email: jazzrecordcenter@verizon.netWeb: jazzrecordcenter.com

LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,

Postcards, T-shirts,Calendars, Ephemera

Buy, Sell, Trade

Collections bought and/or appraised

Also carrying specialist labelse.g. Fresh Sound, Criss Cross, Ayler, Silkheart, AUM Fidelity, Nagel Heyer, Eremite, Venus,

Clean Feed, Enja and many more

IntersectionsReuben Radding (Pine Ear Music)

by Jeff Stockton

Rev-elationJoe Locke

(Sharp Nine)

I Can’t Give You...Calvin Hill

(Arichi Music)by Russ Musto

Magic NumbersQuinsin Nachoff

(Songlines)

The DistanceGestrin/Monder/Schyff

(Songlines)by Ty Cumbie

Mark Murphy just gets better and better, to steal aphrase, like an elegant wine. And he is fearless; in hisdistinguished career, he’s covered it all: blues, Latin,contemporary pop, songbooks (most notably, ColePorter, Joe Williams, Cy Coleman and Dorothy Fields).And he still remains one of the foremost interpreters ofthe Great American Songbook. Once to Every Heart, hisfirst offering on Verve Records, finds him at the top ofhis art as he illuminates this ballads-only session.

He revives the wonderful “I’m Through withLove” in a reflective performance laced with sadness,restraining his impulse to use his formidable musicalprowess just for show. In the opening chorus of the“When I Fall in Love/My One and Only Love” medleyMurphy calls on this abundant technique as he isolatesand caresses each word, while never sacrificing thestory.

At this stage of his career all the hallmarks of hisstyle are on display, even in this low-key setting. Heremains one of the most surefooted singers in the jazzpantheon: his rhythmic sense is impeccable, allowinghim to sing lines and phrases that are unattainable bymost other singers; his intonation is precise yet notclinical; his melodic sensibility allows him to use asong’s harmonies to reimagine and transformmelodies; and he is fearless emotionally, unafraid todig deeply into a song’s story to mine its essence.Murphy even provides his own piano accompanimenton “Do Nothing Till You Here from Me” and isresponsible for the piano and horn arrangements.

The lesser-known songs - “Our Game”, PaulWeston’s seldom-heard gem “Once to Every Heart”and Murphy’s own “I Know You from Somewhere” -fit this brooding session perfectly. He also resurrects“Bein’ Green”, a song already given stellar performances by Ray Charles and Shirley Horn.

Murphy has chosen a strong supporting cast. NanSchwartz’ string arrangements set the songs off beautifully. Producer Till Bronner’s trumpet andflugelhorn work in low-key counterpoint with thesinger; they both work hand-in-hand with pianistFrank Chastenier and bassist Christian vonKaphengst, the sturdy, sensitive rhythm team.

Once to Every Heart, a masterful ballad recordingreplete with great songs, unfolds with grace and passion. The only question remaining is what willMark Murphy turn to for his next session?

For more information, visit www.vervemusicgroup.com.Murphy is at Iridium Feb. 16th-19th. See calendar.

Trombonist Alan Ferber, a Californian now living in

Brooklyn, creates a rich sonic palette for this little bigband. While some nonets, i.e., Lee Konitz’, MilesDavis’ Birth of the Cool band, increased sonorities withlow brass (French horn, tuba), Ferber’s strategy is toemploy a bass clarinet along with alto and tenor saxesand a horn-like guitar as well as trumpet. He alsoavoids unisons and close harmonies in favor of multiple lines from horns and guitar in tandem orcounterpoint. Along with a kaleidoscope of shifting orsprung rhythms, stop times, fanfares and rubato passages, it all makes for a dense, sometimes rococoensemble sound.

Typical of Ferber’s elaborating approach is hisintroductory choruses to the only jazz standard (six ofthe eight tracks are his own originals) on the CD, GigiGryce’s “Reunion”, a bop take on the changes of “I’llRemember April”. Before we get to Gryce’s line there’sa vamp opening with solo trombone musings and along ensemble line by Ferber before the piece resolvesinto Gryce’s melody; then it’s a straightforward stringof solos before the out melody and a brief coda. He canalso overwrite his own pieces; after beginning with apromising bass clarinet (Douglas Yates) solo line withrhythm, “Jigsaw” expands into a through-composed,multi-strain tune with brief solos seemingly strugglingup for air through the ensembles.

But at his best Ferber balances writing and solovoices with dramatic flair. “Get Sassy” conjures upimages of a Mingus Workshop band playing for astriptease dancer, as the sultry backbeat anchors afugue of solos from guitar (Bruce Saunders) joined bytrombone and then bass clarinet. That bass clarinetalso carries a fetching ostinato line on “Filin’”, a DonByron-inspired piece with distinctive ensembles and atrumpet (David Smith) solo sailing over the closingtheme.

For more information, visit www.freshsoundrecords.com.Ferber is at Barbès Feb. 2nd, Club Europa Feb. 12th withAndrew Rathbun, The Garage Feb. 21st with Russ Spiegeland Jazz Gallery Feb. 22nd with Andy Middleton. See calendar.

Superficially, these two trombone dates couldn’t bemore different, but both exhibit a startling and refreshing attention to microdetail and prodigioustechnique from all involved. Both also attest to theperpetually tasty fruits born of long-term collaboration.

Trombonist Nils Wogram and pianist SimonNabatov have a long history of playing in each others’groups and this is their third duet disc. They havefashioned a prime example of the multifarious subtlety, inflection and rhetoricized history that hascome to typify certain types of ‘free’ jazz. While muchof the material is composed, classical models - throughcomposition in particular - are invoked as much as theimprovisational gestalts usually associated with thatincreasingly problematic term ‘jazz’. What is withoutquestion here is the energy, commitment and precisionwith which both players attack the material and yes,the results can be wonderfully violent. Nothing exemplifies this better than “Fall”, a study in multilayered counterpoint and juxtaposition. It begins

languidly enough, building slowly, through composedintricacies, until a dance-like section, stereotypicallyLatin-tinged in Jelly Roll Morton style, brings delicatefrenzy to the proceedings. The same is definitely trueof the title track, an energetically driven contrast to“Ballooning”, which is as lovely a piece of Romanticmusic as one will ever hear. Nabatov is playing a beautiful and well-recorded instrument and each of“Ballooning”’s opening notes hangs suspended over adreamy void, complemented beautifully by Wogram’sbreathily ‘vocal’ utterances. It is to Wogram’s creditthat he can blow over the changes that eventuallyensue and Nabatov’s pianism is impeccable here as itis throughout.

Another longstanding partnership is celebrated inthis new Kurt Heyl/Ben Wright disc and anybodyfamiliar with Paul Rutherford’s Gentle Harm of theBourgeoisie will know what it means when it is saidthat moment-to-moment disunity is the duo’s modusoperandi. The comparison is especially apt concerningthe sections in which Heyl vocalizes, Meredith Monkor Joan La Barbara fashion, such as “GMM6” and theresults are quite effective. This monster 12-part composition might be considered a magnification orexpansion of Rutherford’s ‘70s improv. Where hemight tap a mike or play inside the bell of the horn,something in “GMM10” sounds like a huge staplerready to destroy the world and while it most likely isMr. Heyl, who really knows? Braps, squeaks, rustles,groans and slides abound, not to mention long meditative peaks and slopes, but the recorded sound isalways dry enough so that detail does not get overabsorbed. The environs throughout the disc arequite different, as it was laid down in several studiosettings, but the playing is consistently inventive;where such microtonal musings can often become routine in these days of “Been there, done that”, Heyland Wright keep things moving with a huge sonicvocabulary and many humorous moments.

One can’t help but relish the thought of a union ofthese two duos, because between them, a large andvibrant cross-section of jazz history would be coveredin fine style. Failing that, these are great additions tothe respective artists’ catalogues.

For more information, visit www.betweenthelines.de. Heylis at Downtown Music Gallery and ABC No Rio, both onFeb. 5th. See calendar.

ALLABOUTJAZZ-NEW YORK | February 2006 17

Once to Every Heart Mark Murphy (Verve)

by Andrew Rowan

Scenes from an Exit RowAlan Ferber (Fresh Sound-New Talent)

by George Kanzler

The MoveWogram/Nabatov

(Between The Lines)

Gross Motor MusicHeyl/Wright

(GMM)by Marc Medwin

On February 12th, 1964, Miles Davis played a benefitconcert at Lincoln Center to help register black votersin Louisiana and Mississippi. Davis and his luminoussidemen - George Coleman on tenor sax, Ron Carter onbass, Herbie Hancock on piano and 18-year-old TonyWilliams on drums - launched into 11 standards and,according to Davis, “We just blew the top off thatplace that night. It was a motherf*cker the way everybody played.” The concert was released as twoalbums, My Funny Valentine and “Four” and More,which have finally been joined to form an essentialtwo-CD set - The Complete Concert 1964.

The CDs are comprised of tunes from Davis’repertoire, songs he had been inhabiting and exploringfor many years, including his classics “All Blues”, “SoWhat” and “Four”. There’s also “Stella by Starlight”,“Walkin’”, “Seven Steps to Heaven”, “All of You”, “IThought About You”, “Joshua”, “There is No GreaterLove” and of course the title track, a Davis favorite.The music is uniformly sublime; at this point in hiscareer Davis was already a master, plus he’s clearlyinvigorated by his sidemen’s energy. Even after 42years the songs are completely fresh and unpredictable, with the archetypal sound of Davis’lonely trumpet weaving its way throughout.

The combination of first-rate musicians, theurgency of the Civil Rights movement, plus a backstage dispute about Davis’ decision to waive theband’s fee combusted into a night of intense, achinglybeautiful music. Davis’ work was soon to make another mercurial shift, making this concert all themore special for documenting the fruition of one ofjazz’ most important small groups.

Speaking of Valentines, Fred Lonberg-Holm’snew trio album Other Valentines is a rich feast of music,an eclectic mix of songs including compositions bySun Ra, Gil Scott-Heron, Wilco and Cat Power. Thetrio - Lonberg-Holm on cello, Jason Roebke on bassand Frank Rosaly on drums - plays with style andverve, their graceful energy opening up the songs in unexpected ways.

The cello is a rich instrument, blessed with adeep-bodied, sonorous voice as well as a capacity forflight. Lonberg-Holm has a wonderful feel for theinstrument, bringing its natural poignancy to bloomwhile also working its playful side. On Sun Ra’s “Eastof Uz” Lonberg-Holm has a light, swinging touch reminiscent of Stephane Grappelli and he also divesinto some delightfully fractured improv. Another gemis “Fool”, where Lonberg-Holm digs into the bluesy,self-mocking melody line. Lonberg-Holm is also a gifted composer and the CD features three tunes byhim, including “Almost Mid-day”, a heartbreakingmeditation featuring his open-hearted cello.

Part of the CD’s success certainly lies with Roebkeand Rosaly. Roebke’s strings weave seamlessly intoLonberg-Holm’s, grounding the songs in a deepgroove. Rosaly does a terrific job as well, with his cymbal work in particular adding dimension to themusic. Altogether Other Valentines is a memorable CD,with rich layers that merit repeated listening.

For more information, visit www.legacyrecordings.com andwww.atavistic.com. Feb. 14th is Valentine’s Day.

On her fifth album, In A Word, Nicole Pasternakexplores the importance of lyrics in vocal music.Curiously, what stand out most are Pasternak’s confident, straightforward scat solos - especially on“Four”, where the dialogue with her band of accomplished jazz instrumentalists is a purely musicalone. But when it comes to words, Pasternak has chosensome of the best.

A veteran of the Great American Songbook,Pasternak draws on material from both inside and outside the traditional jazz repertoire to support thetheme of the record. In one moment she moves playfully through Frank Loesser’s “Inchworm” (originally from the movie Hans Christian Andersen butimmortalized by John Coltrane as an instrumental);later she delves sensitively into Bob Merrill/JuleStyne’s “People”, Barbra Streisand’s pop hit fromFunny Girl. And Pasternak’s clever medley of JohnnyMercer’s “Dream” with Antonio Carlos Jobim’s“Dreamer” demonstrates how a single word can provide the impetus for a musical idea.

Behind the words is solid musicianship. On piano,Don Friedman solos or comps with equal dexterityand bassist Dennis Irwin wastes not a note nor agroove. Vanguard Jazz Orchestra member RalphLalama appears as a special guest on the recording; histenor sax solo composition “Me” follows Pasternak’sversion of the Harold Adamson/Walter Donaldsontune “You”, in keeping with the back-and-forth, conversational tone of the record.

In the liner notes Pasternak discusses her relationship with her partner, Ralph Lalama, who performs with saxophonist/composer Joe Lovano’sGrammy-winning nonet. Pasternak and Lalamaacknowledge the influence each has had on the other’smusical development; in their innovative duet on“Inchworm”, Pasternak’s reedy voice and Lalama’sclear horn evoke a comfortable familiarity.

The musical family represented on the discextends to include Pasternak’s brother, Vincent, whosegentle composition “Wonderful” describes the joy oftime shared with a loved one. After spending an hourwith them, it’s easy to imagine that Pasternak simplygathered her talented friends and family for somequality time and the result was In A Word.

For more information, visit www.garagistamusic.com.Pasternak is at The Garage Feb. 1st. See calendar.

The second book of Masada tunes - 300 compositionsZorn penned in 2004 - is only revelatory for the mostdiehard of fans. What’s more exciting over a decade

into the Masada story is that new life has beenbreathed into the project. Following Book Two releases by Jamie Saft and the Masada String Trio,Malphas is a set of 11 of those compositions interpreted by pianist Sylvie Courvoisier and violinistMark Feldman, a duo which has been one of the mostexciting of the many performers of Masada music.

Where other groups focus on the jazz or theupbeat groove of the songbook, Courvoisier andFeldman bring a classicism to the project, closer to theString Trio (Feldman with bassist Greg Cohen and cellist Erik Friedlander). Their delicate playing is gorgeous, even moreso than on their Masada Recitalfrom 2004. It’s an airy yet poignant record, catchingthe best of what Zorn creates in the compositions.

The packaging, likewise, is simple and attractive:a maroon digipack with a stylized Star of David cutfrom the front. Occasionally the pieces are referential,quoting Mozart or the six-note ballpark “charge”theme, an approach Zorn has long worked into hiscompositions. He quoted “Für Elise” in his pivotal1993 work Kristallnacht and used cartoon sounds in thestring-quartet-with-turntable piece “Cat o’ NineTails”. There, however, the quotations referred tosomething about the context of the piece. Here theyjust seem to refer to Zorn’s use of reference and serveas a distraction. Those moments, however, are few in awarm and beautifully recorded album.

For more information, visit www.tzadik.com. Feldman is atThe Stone Feb. 1st with Masada String Trio and Feb. 2ndwith Courvoisier. See calendar.

18 February 2006 | ALLABOUTJAZZ-NEW YORK

Jazz Tuesdays In The John BirksGillespie Auditorium

Feb. 28thVibraphonist MarkSherman Quintet

Feb. 7th Jeff Siegal groupFeb 14th AngelaDeNiro with Ron

Aprea groupFeb 21st

pianist/composer Cecilia Coleman

The NYC Baha’i Center53 E. 11 St (between University Pl.

and B’way)Shows: 8:00 & 9:30Gen. Adm. $15.00Students $10.00212 222 5159

http://bahainyc.org/jazz.html

WWoorrlldd CCllaassss JJaazzzzAAtt AAff ffoorrddaabbllee PPrriicceess!!

Malphas: Book of Angels, Vol. 3Mark Feldman/Syvlie Courvoisier (Tzadik)

by Kurt Gottschalk

In A WordNicole Pasternak (Garagista Music)

by Suzanne Lorge

The Complete Concert...Miles Davis

(Columbia Legacy)

Other ValentinesFred Lonberg Holm

(Atavistic)by Florence Wetzel

40 years after this session was recorded for Danishradio, the never-distributed, never-expected recordpops up ghostlike with 64-bit remastered sound.

Is this time capsule an outstanding session? No,but that’s okay. It’s only 48 minutes of history, liveDexter plus Donald Byrd on an ‘on’ date, but a worthy listen for both neophyte fans and collectors. As laid-back as this CD is, it’s goal-oriented jazz. You canfeel the quintet heading somewhere, but oddly enoughit never gets there because the last cut falls off a cliff atthe four-minute mark during the development of aGordon solo. Who knows what secrets the broken tapeheld? So much for history.

Ladybird offers a sense of time and place, the timebeing midbop and the place being a small club mikedwith extraordinary presence with the listener plunkedsquare in front of the bandstand. That seat showsGordon towering over you, dominating your auralfield. That dominance is clear from the beginning ofthe first and title number, with Gordon jumping rightinto a six-minute solo. That also prepares the listenerfor some unconventional arrangements for the two-man front line and subordinated rhythm section.

Miles’ “So What” begins with a neat little reveriefrom bassist Niels-Henning Ørsted Pedersen as asetup for the many voices of Gordon’s tenor and hislittle game of quoting from “Fascinatin’ Rhythm”,“Rhapsody in Blue”, “Blue Skies” and “Take Five”…just for starters. There are many more, so listenerscan play their own little game to see how many tunesthey can identify from snippets. Gordon ultimatelygives over the stage to Byrd who plays a deliberatesolo with notes distinct and unblended, albeit a bitsloppy. His own quoting game includes “I Wish IWere in Love Again”. And speaking of sloppy, thebass and drums are way in front of Byrd in this production. It couldn’t have sounded like that in person unless Byrd had been blowing in another room.Not to be ungrateful for having this resurrection to listen to, but couldn’t the 21st-century engineer haveadjusted the imbalance so the production wouldn’tstep on its own toes?

“Who Can I Turn To” is best when it strays fromthe overdone theme, but Gordon employs his cleartone to beautify that theme, showing mastery withhow much can be done with minimal embellishment.He also slows the tempo to good effect when speedingit up would be the default choice to improvise on whatoriginated as a slow waltz. Another Miles classic,“Blues by Five”, opens with Kenny Drew’s prettypianism, some early Byrd and some very togetherensemble work. This is the only piece that allowsDrew to shine and get in some kicks. Otherwise, he,Pedersen and drummer Axel Riel are there as supporting players, never missing a beat but nevershowboating.

Ladybird is a too-compact compact disc, leavingthe listener thirsting to hear what the group can dowhen it lets loose over the course of a long set.Recorded in 1965, 25 years into Gordon’s career, it stillshows the tenorman to be ahead of his time.

For more information, visit www.steeplechase.dk. A DexterGordon Birthday Tribute led by Javon Jackson is atBirdland Feb. 22nd-25th. See calendar.

This is a very pleasing offering that came as a resultof Gloria Cooper’s editing of the Second Floor Musicpublication Sing Jazz. Many of the songs covered in thepublication she was not familiar with, prompting herto record a new CD featuring some of this material.

A large number these songs started out their livesas instrumentals with lyrics added much later.Because of this, it seems quite appropriate thatCooper’s voice is treated as an instrument, rather thanwith an out-in-front-of-the-band vocal approach. Sinceher voice has a soft quality, this is a successful formula, Rudy Van Gelder’s engineering talents capturing it to perfection.

Instrumentally, the personnel consists of Cooper(piano), Don Sickler (trumpet/flugelhorn), WayneEscoffery (tenor and soprano saxophones), FreddieBryant (guitar), Tim Givens (bass) and Vince Cherico(drums). Sickler handled all the arrangements with theexception of “Dedicated To You” and “Come Rain OrCome Shine” which were done by Cooper. Cooper’sone original is “Reveling In The Beat “ with lyrics byjazz journalist Ira Gitler. This is a track on whichBryant’s guitar work shines.

The tunes all have a fine ensemble feel with goodsolos. Cooper’s piano work is of the “less is more”school and is very tasty throughout but it is her voicethat makes the chosen material.

For more information, visit www.origin-records.com.Cooper is at Sweet Rhythm Feb. 7th and Enzo’s Jazz Feb.15th with Giacomo Gates. See calendar.

The dictionary describes “persiflage” as “light bantering talk” or “a frivolous style of treating a subject.” Composer and saxophonist/flutist MattSteckler demonstrates that his compositional style canseem slangy and almost casual, but repeated listensreveal a depth of color, a true sense of shape and abrilliant mix of the improvisational and the written.

For Persiflage Steckler has found players whoknow how to stretch the tradition as well as go beyondit. Jazz Passengers trombonist Curtis Fowlkes headsthe front line with Steckler and their sinewy and twisting lines never seem showy for novelty’s sake.Instead, with the solid-yet-ever-adventurous rhythmicpulse of more-than-rhythm players Michael Cain,Lonnie Plaxico and Pheeroan akLaff, the band playsthemes that are both logical and completely surprising. The tunes - all by Steckler - have the feel ofthe best George Russell ensembles and take the modern jazz vocabulary and context for a much-needed ride. The opening track “March Nor’easter”

for example is jaunty and playful but digs into agroove that keeps the tune in the pulse. Stecklersquawks on alto and Fowlkes bellows and brays - allover rich sounds from Cain and a powerful akLaff -but the tune keeps you snapping your fingers even asyou can’t quite figure out where it’s going to go.

Later the group does a nutty take on a Latingroove - “Episodio pa’ Osmany” - and spins it out intosome other world, one where the digging is down anddeep but also into new territory. All the tunes are of afeel that we’ve come to know from listening to jazzrecords but none of them feels tired or rehashed.

For more information, visit innova.mu. Steckler andPersiflage is at Sweet Rhythm Feb. 15th. See calendar.

ALLABOUTJAZZ-NEW YORK | February 2006 19

vocalistvocalist Yoon Sun Choipianist Jacob Sacks

present:

www.yoonsunchoi.com www.jacobsacks.com www.5CCC.com

THE RESTLESS SPIRIT SERIES

the first Friday of every month w/ special guests:

Feb. 3 Jacob Garchik trombone

Mar. 3 Mike McGinnis reeds

5C Cultural Center & Café68 Avenue C (at SE corner of 5th street)

7 pm-9 pm $8 admission

NEW FROMPACIFIC COAST JAZZ

BRADLEY LEIGHTONBack to the Funk

Pacific Coast Jazz

SHERRI ROBERTSThe Sky Could Send YouHer latest recording produced

and arranged by Harvie S withspecial guests, legendary

saxophonist Phil Woods andtrumpet virtuoso Lew Soloff.

In Stores February 7Blue House Recordings/

Pacific Coast JazzDISTRUBUTED EXCLUSIVELY BY

AVAILABLE AT

www.pacificcoastjazz.com

For more information on the artists of Pacific Coast Jazz visit us online at

Jazz/pop flute stylist, recording artist and clinician Bradley Leighton’s third solo release combines groove with soul thatwill take you back to the funk.

In Stores January 17

Ladybird Dexter Gordon (SteepleChase)

by Joel Levin

Dedicated to YouGloria Cooper (Origin)

by Marcia Hillman

Persiflage Matt Steckler (Innova)

by Donald Elfman

20 February 2006 | ALLABOUTJAZZ-NEW YORK

The liner notes to bassist/composer Ben Wolfe’s MyKinda Beautiful refer to the record’s “cinematic scape”and the handiness of describing its music “in images”.Many of the 19 tracks do sound remarkably like theycould accompany scenes from films, though they’renot linked by a reference to a single dramatic arc. Theresult is a suite of less-than-satisfying filmic vignettes,each evoking the world that it will for an individuallistener, but not connected and supporting each otherin an integral whole. The album occupies the strangespace of being incidental music without a drama to beincidental to.

My Kinda Beautiful is full of skilled arrangementsfor horns and strings, much as a film scorer makes useof a full orchestral palette to vary mood and atmosphere. Some of the conjured moods are fast-paced and urban, as in “Americano”. “Throughand Through” evokes in this reviewer’s mind an anxious nocturnal chase while “The Doctor inDecember”, the strongest piece on the album, is reflective and perhaps nostalgic.

Wolfe’s full ensemble is 16 pieces - eight jazz andeight classical players - and he is adept at arrangingfor the entire group or smaller units. “String Quartet”is just that, with a very 20th-century feel, searching,dark and jagged. Trombonist Jeff Uusitalo stands outamong the soloists for his effort on the otherwiseindistinct “Wild West”.

For more information, visit www.planetarts.org. Wolfe is atThe Kitano Feb. 3rd-4th. See calendar.

The words scattered throughout Pink Martini’s albumHang On Little Tomato conjure the most delectable delicacies in their quaintest forms. The group’s namealone is incredibly precious. Take that most classic ofall cocktails, with all it represents and add pink, withall it represents and every single one of us becomes anirretrievably tipsy, candy-lipped starlet, woozy in aworld rife with nostalgic aura, where “stars fall awaylike diamonds.”

Sentiments gain or lose magnitude in life, butemotions exist at heart-swelling peaks throughout all14 tracks on this disc. Love’s eternal quality, the contagious characteristics of happiness and the enormity of a crushed heart are woven through each ofThomas Lauderdale’s piano promenades and eachinflection of China Forbes’ sophisticated vocals, bothof whom wrote most of the music. But the album isnever overbearingly serious, or cheesy, ever.

With a personnel list comprising 15 individualsand one orchestra, from a variety of musical and

cultural backgrounds, the album contains a potentconcoction of ingredients and ideas. One pervadingelement stands out - an aura of daydream kitsch thatenvelops each tune. Lyrics evoking images of mysterious elegance conjure scenes from a DavidLynch film. “Black is the night/Black as my heart,”sings Robert Taylor on “Veronique”. His own long,sad, gorgeous trumpet solos follow.

Several songs don an added allure nuzzled in themystique of a foreign tongue. Forbes sings the epic “UPlavu Zoru” in Croatian. Pansy Chang opens the trackwith her deeply emotive cello. Her long, etherealswipes of the bow plunge into earthy minimalist patterns that mingle with celebratory percussion anddangerous trumpet by Gavin Bondy. The lush swellsof the Harvey Rosencrantz Orchestra overwhelm, giving way to Dan Faehnle’s brisk guitars. “KikuchiyoTo Mohshimasu”, with its haunting melody and lyricstranslated into English in the CD booklet, is sung byTimothy Nishimoto in Japanese. The poetically charming “Una Notte A Napoli” combines tender sadness with the overwhelming power of seduction.Italian star Alba Clemente narrates huskily, whileForbes loses herself to the swirls of percussion, harp,strings and horns.

Spanish and French vocals also find their placesamong the enchanting lexis on this album. And mixedwith an amalgam of Latin, Cuban, European andAfrican rhythms, Hang On Little Tomato resonates witha deliciously international flavor.

For more information, visit www.pinkmartini.com. PinkMartini is at Town Hall Feb. 15th. See calendar.

The trio of instruments on Keynote Speakers is quiteunconventional, with keyboardists Larry Goldingsand Kevin Hays bookending Bill Stewart’s drums. Onthe opening tune, “Good Goat”, Goldings sprints onthe Hammond and Hays grooves on the electric pianowithout stepping on each other’s notes. Goldingspaints with soulful colors on the bluesy “How Long IsJazz?” with Hays comping admirably on piano andStewart keeping pace on drums. Stewart’s cymbalflourishes frame Hays’ haunting intro on “Chorale”,and when Goldings falls in he and Hays complementeach other beautifully. “Divine’s Intervention” isanother solid blues, with Goldings’ organ taking onthe role of the bass in a conventional jazz trio as Hayssolos. Stewart’s faux military march solo opens“Squid”, leading into Hays’ hot groove on electric and acoustic pianos. On “Ballad of Kae” Haysplays with a tenderness that evokes Bill Evans andGoldings’ spare organ augments the aura of mystery.

Goldings’ electric piano recalls Joe Zawinul on“Wayne Cooler”, a tune which references WeatherReport. The song moves between fusion cooking andstraight ahead cuisine, with Hays laying down a solidgroove around the voice samplings. “Florgan” features both men on organ and the overall effect is ofthe carousel at the devil’s playground.

Keyboard master Larry Goldings leads his quartetthrough various musical avenues on the simply titledQuartet. In addition to a few originals, the groupexplores the works of composers as diverse as W.C.

Handy, Thelonious Monk and Björk. But in spite of thedisc’s promise, the end result is mixed.

“Singsong”, starts off with Ben Allison’s gradually building bass line, then Goldings joins inwith a Jarrett-like moodiness on piano. John Sneideradds his plaintive wail on trumpet as Matt Wilsondrives the proceedings on drums. Goldings’ piano soloon “Valsinha” is full-bodied and rich with ideas. “TheWedding” is so somber that the tune almost couldhave been entitled “The Funeral”. Goldings’ B3 solo, atonce bluesy and reverent, saves the day.

Madeleine Peyroux lends her Holiday-inflectedvocals to the band’s take on Handy’s “HesitationBlues”. Goldings swings on harmonium and organand Sneider’s light tone on the trumpet fits the tunelike a glove. “Dario and Bario” is a waltz that soundslike it was lifted directly from a Fellini film. Goldings,ever the keyboard sojourner, doubles again, this timeon harmonium and accordion. “A Dream About JakiByard” features Sneider’s best moment on the disc, aplungered and unfettered cornet solo.

But one wishes that Sneider’s tone throughout thedisc were stronger. He sounds like he runs out ofbreath during Björk’s “Cocoon”, a tune that, even withcompelling keyboard effects by Goldings, is somnolent. “Hidalgo” seems like a sketch of a songmore than a fully realized composition. Denouement”,with Goldings on organ, is another short work, thisone resonanting with Ornette Coleman’s “PrettyWoman”, but which also sounds more like note-takingthan songwriting. So while Quartet has an interestingbeginning, it loses steam considerably at the end.

For more information, visit cdbaby.com/cd/billstewarttrio andwww.palmetto-records.com. Stewart is at Jazz Gallery Feb.18th; Goldings is at Zankel Hall Feb. 8th with Matt Wilsonand Jazz Standard Feb. 9th-12th as a leader. See calendar.

WATCH OUT! IT’S COMING!! MARCH 2006!

CDM Records Double Disc SetTHE VAMPIRE’S REVENGEfeaturing... Dom Minasi-guitars, Ken Filiano-bass/electronics, Jackson Krall-drums

With Guest Artists:Perry Robinson-clarinet Joe Giardullo-soprano saxJason Kao Hwang-violin Tomas Ulrich-celloJoe McPhee- tenor sax Sabir Mateen- tenor saxJohn Gunther-reeds Ras Moshe-reedsBlaise Siwula-alto sax Mark Whitecage-alto saxPaul Smoker- flugelhorn Herb Robertson-trumpetSteve Swell-trombone Francois Grillot-bass 2Borah Bergman-piano Matthew Shipp-pianoCarol Mennie-voice Peter Ratray- recitative

Byron Olson-conductor

“A landmark recording... Minasi’s Music is compelling, intelligent, exciting...” - Russ Musto

CDM 1006

Distribution: North CountryLabel contact: jazzpromo@earthlink.net

www.domminasi.com

My Kinda BeautifulBen Wolfe (Planet Arts)

by Brian Lonergan

Hang on Little TomatoPink Martini (Heinz)

by Celeste Sunderland

Keynote SpeakersBill Stewart

(Bill Stewart Music)

QuartetLarry Goldings

(Palmetto)by Terrell Holmes

Years ago, they pioneered the art of jazz /

But many signed unfair contracts and got taken

for everything they were worth / They are our

elderly jazz musicians / Today, many of them live

in shelters or are homeless because they can’t afford

to pay rent / We help these talented people find

affordable housing, and work to help pay for it /

But we need you to help us do it / After all they’ve

given us, it’s time to give them something back:

their dignity / To learn more or to make a donation,

call 1-800-JFA-JAMS or visit www.jazzfoundation.org

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Crystal-clear guitar is center stage on these tworeleases that feature experienced craftsmen artfullyexposing the country and classical feel inherent innylon strings. Ken Hatfield’s String Theory is a classical gas dosed with sweet Appalachian honeywhile Rolf Sturm’s Shawangunk is a deft chordal/melodic encounter that reveals its spirit like a brilliantHudson Valley morn.

Whether it is the Dead’s “Ripple”, played at arelaxed leisurely pace, an intriguingly swinging version of Herbie Hancock’s classic “WatermelonMan” or personal compositions that speak of people,places and events, Sturm strums and picks with justthe right touch. Comfortable in multiple milieus, inaddition to fronting his own modern country group,Sturm has played with the Knitting Factory/Tzadikcrew and been part of klezmer, tango and bluegrassprojects. For Shawangunk, he has hopped on thethruway and headed north to the Catskills for some‘country’ re-inspiration to present a varied hour ofnew takes on wellknown tunes and sweet fresh material, all featuring the pure as mountain snowsound of his nylon strings. “Egberto” pays tribute toBrazilian instrumentalist Egberto Gismonti with apretty melody and the Latin-tinged “O Galo” does thesame for pianist Michel Camilo while guitarist JimHall’s “Down From Antigua” is recast as “Down Fromthe Hallway” with a breezy picked melody. Sturm’s personal reflections like the haltingly beautiful “KantStrasse”, innocently lovely “Green Arches” and touchingly composed “Oh Father”, “Margie”,“Alexander” and “Earl Jean” are standouts as his crystalline chord voicings intermesh with enchantingmelodies.

While Sturm may have gone North for his muse,Hatfield reaches down South to Appalachia to gatherhis. All four pieces that comprise String Theory featurean immaculate, beautifully captured, acoustically resonant sound. Hatfield accompanies himself ondobro to give the introductory “Gospel According toSam” its down-home character. The folksy expressionsof the guitarist’s father gave rise to this three-partopener whose initial section, “The Word”, begins witha decidedly country edge as dobro and guitar sweetlyduet. “Redemption” is more soulfully Spanish and thisselection’s closer has the “Prodigal Son” returninghome but with a decidedly classical bent. “SnowhillVariations”, inspired by the 18th century harmonictheory of Pennsylvania clergyman Johann Beissel,presents 12 solo variations on an initial theme. Eachvariation successively reworks the classical melody byvarying ornamentation, harmony and rhythm, endingup with a softly swinging samba. “Borges and I” is aneffecive presentation of seven musical miniatures,each inspired by a separate short story penned byArgentinian author Jorge Luis Borges while the titlecut dovetails mandolin and guitar for a whimsical lookat science and art. Hatfield effortlessly make hisBuscarino guitar ring like a bell as he conveys the fascinating stories behind these multi-part selections.

For more information, visit www.waterstreetmusic.org andwww.kenhatfield.com. Sturm is at Barbès Feb. 15th.Hatfield is at Fetch Tuesdays. See calendar.

Denominators is a new band formed by three highlycompetent musicians who try to look outside the boxin their approach to jazz, allowing classical, funky andtropical elements into their sound without being tooeclectic. On Red Balloon they work exclusively throughoriginal compositions (mostly by flutist MichelGentile), taking advantage of the quantity of openspaces that their setup provides.

On the opening track “Bari” there are a lot ofpolyrhythms with a clear Latin influence, the kind ofstuff that makes bass players crazy - which might beone of the reasons why they don’t have one in the firstplace. The song, which is played in 6/8 time, is dominated mostly by the percussion, with cleverlyplaced guitar insertions. The flute gives the tune a certain bossa nova undertone without sounding necessarily Brazilian. On “Vulnerable”, they take amore avant garde direction, where guitarist NateRadley plays odd chords throughout while drummerRoland Schneider fills in with percussive effects, giving it a certain mystic feel. Radley’s talents areshowcased on his “When The World Was Ruled ByFishes”, a highlight at their Jan. 14th appearance atThe Brooklyn Conservatory of Music.

At the concert, the band played songs from thealbum and some new material. One of the new tuneswas the Debussy-esque “Empty Sky”, which had achord progression remiscent of The Beatles’“Because”. Radley showed a lot of creativity on it,using each moment to insert something new.“Decomposition” took the band in a more funky direction, the guitar serving as a bass most of the time,resulting in little wiggle room either for Radley orSchneider to be too creative, leaving most of the hardwork for Gentile. On stage, the group seemed to beextremely structured, neither Radley nor Gentile tooktheir eyes off the sheet music during the entire gig andthe feel was more of a classical music event than of ajazz concert. There were a lot of empty spaces to filland live they were a bit unable to do that. Asked whythey don’t have a bass player, Schneider just said thatthey began playing together and felt comfortable withthe sound - “this is the band,” he told us.

Denominators is a very talented group whichcould certainly benefit with the contribution of a bassplayer who would elevate a very good band into evengreater heights.

For more information, visit www.cdbaby.com/cd/denominators

With his second release as a leader (and first forFresh Sound), violinist Sam Bardfeld presents an

album full of modern Jewish intellectual reflection aspracticed by such diverse artists as Saul Bellow andWoody Allen, but couched in terms owing more of adebt to Frank Zappa’s Joe’s Garage.

But given those two foundations, this album isneither Radical Jewish culture à la Tzadik or progressive rock. It is instead another fine entry intothe seemingly endless pool of releases by young New York composers/conceptualists.

Bardfeld plays the “Central Scrutinizer” role here,narrating the tale of main character Saul as he pursueshis dream to play medieval krummhorn (a curved wooden horn which does not make an appearance onthe album). The quirky narrations (seven in total)introduce songs and ‘suites’ of songs (all but one originals by Bardfeld) and should be appreciated fortheir literary merit rather than read as linear explanatory notes.

A concept album though is only as strong as themusic that it rests on. Bardfeld, along with a quintetthat includes trumpet (Ron Horton), vibes and slidewhistle (Tom Beckham), bass (Sean Conly) and drums(Satoshi Takeishi), has written music that exists simultaneously in the realms of the accessible andpostmodern. There is a romantic quality to the pieces,not surprising given the sonorities and texturesBardfeld as a violinist is used to working with, butthere is also a dramatic flair and unity that is absolutely crucial if the disc is to hold together asmore than a collection of tunes by a guy played with aband. At the end of the disc, a listener still might notknow who Saul is or what he represents but he can bethanked for his inspiration to Bardfeld.

For more information, visit www.freshsoundrecords.com.Bardfeld and this group are at Tonic Feb. 8th. See calendar.

22 February 2006 | ALLABOUTJAZZ-NEW YORK

Thu, Feb 2 MISHA PIATIGORSKYFri & Sat, Feb 3 & 4

EDDIE HENDERSON QUARTET

Larry Willis (p), Ed Howard (b), Billy Drummond (dr)

Thu, Feb 9 JIM ROTONDI QUINTETFri & Sat, Feb 10 & 11

MASTERS OF GROOVE

Bernard “Pretty” Purdie (ds)Grant Green Jr. (g)

Reuben Wilson (org)

Thu, Feb 16 DAVID GIBSON QUARTETFri & Sat, Feb 17 & 18

JIMMY COBB’S MOBPeter Bernstein (g)Richard Wyands (p)

JohnWebber (b)

Thu, Feb 23 MIKE LEDONNE TRIO WITH RON CARTER

Fri & Sat, Feb 24 & 25DAVID HA ZELTINE QUINTET

WITH ERIC ALEX ANDER

Sundays: Latin Jazz w/ Syotos BandMondays: Jam Session w/

John Farnsworth QuintetTuesdays: B3 Organ Grooves w/

Eric Alexander, Mike LeDonne, Peter Bernstein

Wednesdays: B3 Organ Grooves w/ Jerry Weldon

Tuesday & Wednesdays: Vocalist Series 6:30- 9 pmThursdays: Early Jam 6:30- 9 pm

Periodic Trespasses (The Saul Cycle) Sam Bardfeld (Fresh Sound-New Talent)

by Andrey Henkin

Red BalloonDenominators (Denominators)

by Ernest Barteldes

ShawangunkRolf Sturm

(Water Street Music)

String TheoryKen Hatfield

(Arthur Circle Music)by Elliott Simon

Saxophonist Michael Attias has played a bunch ofgigs as a sideman with some well known musiciansover the years, but recently he has started to releasehis music as a leader. Credo - recorded in 1999 and onlycoming out now - is finally seeing the light of day andis a singular effort.

The music has a joyous positive energy to it fromthe beginning of the CD and its title track. The writtenmaterial is intelligent and sophisticated without beingbloated and pretentious. Mark Taylor (French horn)solos first and leads it back perfectly to more writtenmaterial and a tempo change. Attias’ solo on alto sax isburning from note one with Igal Foni (drums) andChris Lightcap (bass) urging him on, leading intosome skillful yet gutsy call and response writing. ReutRegev (trombone) also turns in a great solo (where isthis great musician now?). Yet another tempo andgroove change leads into Sam Bardfeld’s violin solo, agood one though perhaps riddled with a few too many‘hot licks’ (clichés) but still on the same page with theother soloists and written material. The title track isconcise, an element which adds to its overall power;how many people know how to balance writing andimprovisation? Not many. Attias is one of them.

“Dream That Darn” starts out like some twistedfootball fight song, then moves quickly to a slow, sultry swing - then double-time. Intelligent but notclever to the point of annoyance, the written materialleads into another first-rate trombone solo by Ms.Regev and another wonderful solo by the leader, againon alto. On the short-ish “Labat”, Attias switches fromalto to baritone. It’s a welcome change in orchestrationand he certainly uses the full range of the instrument.

It’s interesting that though this is an Attias-ledCD, he has the confidence to share the music’s solospace. It’s the total sound and collective focus that isthe greatest strength of the music on Credo, one ofClean Feed’s strong, original releases which goes toshow you it’s not always the big names that make thebest music. Credo. Amen.

For more information, visit www.cleanfeed-records.com.Attias is at Issue Project Room Feb. 16th solo and withRenku and Feb. 19th with Jim Pugliese; and at Kavehaz Feb.23rd. See calendar.

For a saxophone trio to get itself noticed these days, itneeds a gimmick, a hook, something special to set itssound apart. The trio on Lost Brother has three.Saxophonist Assif Tsahar improves with every outingand wisely varies his attack by playing as much bassclarinet on this disc as tenor. Drummer par excellence

Hamid Drake is as fluent as ever on the drum kit,Indian tabla and African frame drum. And Cooper-Moore, best known for the piano, confineshimself to his usual array of unusual instruments -twanger, diddley-bow and ashimba (an Africanmarimba) - to startling effect.

Cooper-Moore dominates “Breaking the Water”with the amplified rumblings of his twanger, whichsounds like an otherworldly combination of a fretlessbass and a Theremin, or like a Harley engine, asTsahar blows into and around the vibrations. WhenCooper-Moore switches to the ashimba, Tsaharchanges to bass clarinet and Drake’s accompanimenton tabla or frame drum contributes to the heavySaharan vibe and warm, natural, woody sound. Ondiddley-bow, Cooper-Moore’s tone is deep to thepoint of distraction, but it’s a bracing instrument, particularly on “Departure”, where Drake locks intofunky rock groove. On “Seeking the Punto Fijo”,Drake’s rhythm suggests his work with KenVandermark’s Sun Ra/Funkadelic tribute bandSpaceways Inc.

A few years ago, Drake cut a duet session with hisusual compadre bassist William Parker called Piercingthe Veil, Vol. 1 (Aum Fidelity). Volume Two has yet tomaterialize, but the rhythmically enchanting musicCooper-Moore makes here with Drake is close. Andgive Tsahar credit. He’s like the golfer who isn’t interested in playing with inferior opponents or evenplayers of equal skill. He’s only interested in playingwith his betters, in order to better himself. On LostBrother, these three musicians are in top form.

For more information, visit www.hopscotchrecords.com.Tsahar and Cooper-Moore are at Vision Club Feb. 5th,Zebulon Feb. 19th and Tea Lounge Feb. 23rd. Drake is atWhitney Museum Feb. 24th. See calendar.

Tasty melodies, strong arrangements and capableblowing are the main traits to be found on this recording of Christian Pincock’s quintet. Pincock leadsa young but seasoned-sounding group with solidvalve trombone work and a book of pleasant modernjazz tunes that range from gently crooning ballads toslow boiling jams.

Pincock is known by many as a sonically wise-cracking synth player in various improv settings,so it was a pleasant surprise to learn of his prowess inthe traditional jazz arena. He blows a mean trombone,handling tricky melodic lines without a hitch anddelivering sometimes fiery, liberated solos. There’sonly one cover - Monk’s ubiquitous “‘RoundMidnight”, arranged quite uniquely - though none areneeded, as Pincock’s compositions stand up just fineon their own. The music is mostly sedate and straight,but goes out enough to stay interesting.

Hopefully this self-published disc is just the firstof many to come from Pincock. He clearly shows allthe signs of being a seeker of those elusive, ineffablethings that keep some of us coming back again andagain to that good old place we call jazz.

For more information, visit www.christianpincock.net.Pincock is at Stain Bar Feb. 4th and Café Grumpy Feb.11th. See calendar.

Widely acknowledged as one of the most importantand influential pianist/composers in jazz today, CedarWalton’s Underground Memoirs is only this master’sfourth solitary outing (the first since 1992’s memorableLive At Maybeck Recital Hall). A singular stylist, with anexuberantly bluesy, yet harmonically advancedapproach, Walton’s sound is instantly recognizable inthe context of a group, but here, alone at the piano, heplays in an exceptionally introspective manner, one inwhich his identity is not as quickly revealed.

Walton combines his uniquely personal phraseology, with surprising variations in tempo anddynamics, to offer new perspectives on the familiarcompositions he’s chosen - selections from the Miles,Duke, Nat King Cole and Great American songbooks,as well as the beautiful original title track. The pianist approaches the material with subtlety, sophisticationand sensitivity, leaning more towards Ellingtonianelegance than Tatum-esque ornamentation, makingthis his most romantic disc to date. There is an honestintimacy to the music, the feeling of one man at homewith his piano or, at times, more specifically, Waltonhimself, sitting in Bradley’s, playing Paul Desmond’sold Baldwin, into the wee hours.

On the opening “Milestones” (the first version,not the later, more popular title track of the classicMiles record), Walton approaches the music (particularly the bridge) with reflective cautiousness.On “Lost Paradise”, he’s settled in. His overture to“Someday My Prince Will Come” is a superb introduction to the waltzing melody and his rhythmicinterpretation of “Con Alma” is delightfully original.Renditions of the standards “Skylark”, “Every TimeWe Say Goodbye”, “Green Dolphin Street” and “IWant To Talk About You” demonstrate a clear masteryof the idiom, just as his reading of “SophisticatedLady” displays an analogous ability as an interpreterof Ellingtonia. The lyrical melancholic “UndergroundMemoirs” proves Walton to be a composer of melodiesworthy of sharing company with the other classics onthis truly excellent effort.

For more information, visit www.jazzdepot.com. The Musicof Walton is at Dizzy’s Club Feb. 21st-26th. See calendar.

ALLABOUTJAZZ-NEW YORK | February 2006 23

Reflections of the CityChristian Pincock (s/r)

by Ty Cumbie

CredoMichael Attias (Clean Feed)

by Francis Lo Kee

Lost BrotherTsahar/Cooper-Moore/Drake (Hopscotch)

by Jeff Stockton

Underground MemoirsCedar Walton (HighNote)

by Russ Musto

exploding customerlive at tamperejazz happening

www.ayler.comlive music with spiritDistribution: Verge (CA), NorthCountry(US)

(ayl

cd-0

31)

martin küchen (as,ts) - tomas hallonsten (tp)benjamin quigley (b), kjell nordeson (dr)

24 February 2006 | ALLABOUTJAZZ-NEW YORK

This album, the singer’s paean to the France she’sspent much of her adult life in, is one of the three nominated for a jazz vocal Grammy that could bechapters in a jazz version of Remembrance of Things Past- the others are Dianne Reeves’ dreamy version of thejazz/pop ‘50s Good Night and Good Luck and NnennaFreelon’s Blueprint of a Lady - Sketches of Billie Holiday.This is an evocation of the sophisticated café jazz ofpre-discotheque Paris and of such chanteuses asJosephine Baker, Edith Piaf and Eartha Kitt. It’s alsothe first jazz vocal Grammy nomination sung predominantly in French.

Bridgewater - who also produced the album - hascreated a sonic environment redolent of Parisian cafesand bistros where jazz and tango and Gypsy musicwaft through the air like thick Gitanes smoke.Percussionist Minino Garay from Argentina spices uphis rhythms with tango and Afro-Latin accents; accordionist Marc Berthuomieux could be channelinghis haunting tones from a Piaf record; guitarist LouisWinsberg, when not plugged in, is firmly in theDjango tradition and bassist Ira Coleman anchors themusic with deep jazz panache. Presiding over it all isthe vocal artistry of Bridgewater, with her nuancedcommand of tone, dynamics and dramatic colors. Shemay be singing in French, but the emotional meaningand resonance is never lost, even without translation.

Bridgewater does do English choruses, after theFrench, on four of the 11 tracks, bringing addeddimensions to the narratives of “La Mer (Beyond theSea)”, “Mon Homme (My Man)” and “Dansez Sur Moi(Girl Talk)”. Most indelible is the CD’s longest track,the 10 minute-plus “La Belle Vie (The Good Life)”,begun in French at a tempo slow enough to pleaseShirley Horn fans, Bridgewater stretching out thephrases with longing melancholy, then returning inEnglish, after an instrumental interlude, to carry thesong magnificently upward in a slow, smoldering arcto an emotional climax.

For more information, visit www.sovereignartists.com.Bridgewater is at Rose Hall Feb. 14th. See calendar.

Sandy Sasso’s voice is as rich as the brown eyes smiling on the cover of her new CD All My Men. TheCD’s title and photo suggest a mere flirtation, butSasso delivers serious music with her smiles. In herliner notes she dedicates the album and her originalcomposition, the title cut, to the musicians with whomshe works. On this CD it is a venerable bunch, with thelikes of Grady Tate on guest vocals and Onaje AllanGumbs on piano. Marcus McLaurine (bass), Harry

Allen (tenor sax), Bob DeVos (guitar), Desi Norman(vibes) and Joe Ascione (drums) complete Sasso’s complement of top-notch session players.

Sasso, a hands-on singer, doesn’t rest on the considerable talents of her cohorts; She contributesarrangements, additional lyrics and two originals tothe disc. Aside from the originals - the aforementioned“All My Men” and a whimsical, moderate swing tune“Just Whistlin’ Along” - Sasso prefers an inventivetake on standards. She includes “Love For Sale” as abossa, a traditional bluesy “Black Coffee” and a snappy “Saturday Night Fish Fry”. One surprise:Sasso’s luscious version of “Tin Man”, the 1974 pop hitby the band America, which lends itself effortlessly tothe jazz ballad idiom.

A regular performer at the 55Bar, Sasso enjoys anactive performance schedule, touring the NortheasternUS primarily and fronting all types of bands, fromsmall combos to jazz orchestras. In her decades-longcareer Sasso has worked with several iconic bandleaders like Benny Goodman, Jimmy Dorsey andNelson Riddle (under the direction of Riddle’s son,Christopher, the Nelson Riddle Orchestra played onher first CD, Mixed Grill). She also counts heads ofstate among her esteemed listeners (Sasso performedfor the late President Reagan at his second inauguration). Despite such stellar credentials, Sasso’sappeal is to the everyman (and everywoman). Thealbum closes with Sasso whistling into a fade,“just…digging life’s tune,” as her lyrics go. With herlatest offering, Sasso urges us to do the same.

For more information, visit www.sandysasso.com. Sasso isat 55Bar Feb. 18th. See calendar.

The Omer Avital Group was a mainstay at Smalls inthe mid ‘90s. An unfortunate turn of events withrecord companies suppressed the bassist/composer’smajor-label debut and in recent years Avital has spentmore time working and studying in his native Israel.But with the release of Asking No Permission: The SmallsYears, Volume One and a recent series of GreenwichVillage gigs, including a near-magical set at the FatCat in mid January, New York’s jazz scene is onceagain abuzz with Avital’s name.

The first of four planned releases of recordingsfrom the Smalls years, Asking No Permission containsample evidence of why the group was so well regarded. Avital’s compositions, such as “Devil Head”and “Kentucky Girl”, at once contain instantly attractive melodies, wide-open spaces for improvisation and boisterous group interplay. Theperformances are unrushed, extending to 12, 14 and 15minutes, perhaps a reflection of the environmentSmalls provides for experimentation and the maturation of ideas.

Avital’s classic sextet featured a lineup of threetenor saxophonists - Charles Owens, Gregory Tardyand Mark Turner, with Turner doubling on flute - plusMyron Walden on alto and Ali Jackson on drums. Thefour-reed front line is showcased on “Ballad”, a gorgeous, brief piece full of colorful and subtly shifting harmonies among the horns and bass.

At Fat Cat on January 14th, Avital’s new allstargroup - Jason Lindner (piano), Joel Frahm (tenor and

soprano sax), Avishai Cohen (trumpet) and EricMcPherson (drums) - was on fire, crackling with energy. Though the set started nearly an hour past theadvertised time, Lindner, Frahm and Cohen (sitting inon drums) warmed up the audience with a light, playful “Moonlight Sonata” jam.

Avital’s “Song for Amos” led off the set proper,with Cohen delivering the first of many blisteringsolos, spilling out long ideas one after another and thegroup blowing full force at the end. Among the othertunes were a rapid bebop number and a down-tempodark blues waltz, but the standout of the set wasAvital’s “Song of Praise”. An overwhelmingly joyoussong with an affirming melody over basic, descendingchords, it had Avital swaying, bouncing and grinningear-to-ear as things unfolded.

For more information, visit www.smallsrecords.com. Avitalis at Smalls Feb. 2nd with Gilad Hekselman and JazzGallery Feb. 3rd-4th with Avishai Cohen. See calendar.

Bassist Gregg August’s pedigree is hardbop and histrademark compositions whose heads examine everyharmonic and melodic possibility and are almost stories unto themselves. His sextet recently played alively set in the rec room that is the jazz space at FatCat and a few of the tunes they played are featured onAugust’s new album, the somewhat self-titled LateAugust.

“Sweet Maladie” opens with a hardbop head,then shifts into a robust Latin groove. Donny McCaslintakes a strong solo on tenor, as does the leader onplucked bass. Guest stars Wilson “Chembo” Cornielon shekere and the peerless conguero Ray Barrettosupply the percussive drive. The arrangement of“Four Two K” takes a tad long to get to the point, butMcCaslin’s soul-searching, crisp tenor solo and JohnBailey soaring trumpet make it worth the wait. On“M’s Blues” pianist Alon Yavnai plays with a clarityand melodic style that owes a lot to McCoy Tyner. Altosax man Myron Walden stole the show at Fat Cat withan extended a capella passage where he squeezed theguts out of each note. On this tune he’s not nearly asstrident but still plays with inventiveness and muscularity.

On “Melody in Black and Grey”, another Latin-influenced tune with a Trane-ish tension in the head.Walden and Yavnai have a nice dialogue, thenMcCaslin and Bailey pick up the conversation.August’s amplified yet dolorous solo arco on the luminous “Eulogy” feels as though it belongs in amedieval church. August reduces the group from asextet to a quartet for “Deceptions”, featuring JohnHart on guitar, Quincy Davis on drums and the fabulous Frank Wess on tenor sax. Wess’ solo is playful and joyous and Hart displays blistering chopson the ax. The core group returns to end this rock soliddisc with “Work In Progress”, a tune in an Ellington-meets-Blakey vein.

For more information, visit www.greggaugust.com. Augustis at The Bacchus Room Feb. 15th and 22nd. See calendar.

All My MenSandy Sasso (Charlie Boy)

by Suzanne Lorge

J’ai Deux AmoursDee Dee Bridgewater (Sovereign Artists)

by George Kanzler

Asking No PermissionOmer Avital (Smalls)

by Brian Lonergan

Late AugustGregg August (Iacuessa)

by Terrell Holmes

http://www.umbriajazz.com/

26 February 2006 | ALLABOUTJAZZ-NEW YORK

Three solo piano discs showcase the instrument’s versatility through the unique concepts of its players.

Bill Carrothers has become known for his restyling of songs closely linked with American historical periods. Civil War Diaries, recorded before alive audience, takes wellknown tunes such as “Tentingon the Old Campground”, “The Yellow Rose ofTexas”, “7th Calvary March” and even “Dixie” andexplores them anew from a deep jazzman’s awareness.The endeavor magically maintains the time period’s feeling while opening up melodies in a new way thatreveals their original strength. For “Tenting”,Carrothers expands on the piece’s ethereal mood andslowly intersperses melodic variations that lay barethe image of “dying on the old campground”.Followed by an equally haunting version of HenryTucker’s 1862 ode from a soldier to his lover,“Weeping Sad and Lonely”, things relax a bit, with avery bluesy “Yellow Rose of Texas” and the Celticunderpinnings of the fife and drum classic “7thCavalry March” used as a springboard to a jazzy lookbackward. Likewise the inherent balladry of “CarryMe Back to Old Virginia” is beautifully exposed as arethe many faces of “Dixie” that seem to include rag,blues, swing and a nod to Art Tatum.

Beginning and ending with two lusciously bluetakes on “Summer Theatre”, Robert Silverman’s Lighton Water, with the exception of a rousing version ofProfessor Longhair’s “Mardi Gras Blues”, is all original music. The selections are compositionallystrong with a heavy dose of the blues. “Fragments ofthe Self” and “From A Dream” are artfully touchingballads, while the two improvisations “Light onWater” and “Contemplation” each commence in delicate unhurried fashion before the former buildsthrough several tension filled exercises and the latterintrospectively reflects on its inner soul. “SummerTheme In Blue” has Silverman playing the pauses aswell as the notes, an approach that makes his programa clinic in the beauty of phrasing, tempo and mood.

Israeli-born Yitzhak Yedid’s Full Moon Fantasy isan emotive blend of Middle Eastern modes within a classically inspired jazz framework. The six pieces aremovements of a greater symphony that draws onYedid’s heritage and influences. A heartrending kaddish for those “Remembering Yitzhak Rabin” hasYedid’s right hand crying tears for the assassinatedleader while his left hand consoles. North Indian composer Nashad Ali’s “Mohe Bhool GayeSanwariya” finds the piano improvising over murmuring chords that trail out before the “PessimistOptimist” gorgeously tries to look forward with hope.The title cut resonates with lyricism and lovely tonalcolor in celebration of its subject before the enveloping bleakness of “From Imagination to Reality” gives wayto the identity reaffirming “Le’emor”. No pyrotechnicshere but sounds straight from the heart.

For more information, visit www.carrothers.com,www.robertsilverman.net and www.yitzhakyedid.com.Silverman is at Interchurch Center Feb. 1st. Yedid is at aLincoln Center Katrina Benefit Feb. 11th. See calendar.

On September 17th, 2005 Jazz at Lincoln Centerbrought together an ensemble of musicians responding to Wynton Marsalis’ call to stage a benefitfor victims of the Hurricane Katrina disaster. The document of that event is this CD, in which well-known mainstream stars shared the stage with moreobscure names, performing modern and traditionaljazz, folk, gospel, zydeco and other genres - a mix thatpretty much embodies the spirit of the city thatMarsalis calls “the true American melting pot” on theinsert, a reprint of a piece he wrote for Time Magazine.

The album opens with “This Joy of Mine”, a traditional spiritual performed with amazing soul byShirley Caesar and Eric Reed and followed by someamazing performances: Diana Krall’s on-the-moneyrendition of Spencer Williams’ “Basin Street Blues”and James Taylor’s own “Never Die Young” accompanied solely by his acoustic guitar. The lyrics,which speak of seeking a higher ground, suited theoccasion, as did Norah Jones’ heartfelt piano-and-vocals take on Randy Newman’s “I Think It’s GoingTo Rain Today”.

Another highlight is Jelly Roll Morton’s “NewOrleans Blues” played by the Marcus Roberts trio,who gave the tune a boogie-like treatment. Also memorable is Aaron and Art Neville’s playful take on“Go To The Mardi Gras” (a track that marks WyntonMarsalis’ first appearance on the disc), inviting everyone to go down south and enjoy the decadence ofThe Big Easy in the four days of madness that precedeLent.

For some reason, every time this country is hit bytragedy, someone performs “The House That I LiveIn”. Although I heard no fault in Dianne Reeves’ takeon the song, it gave me an uneasy feeling to hear it, forit praises democracy and freedom at a time when thosein power are doing so much to curb those rights.Another odd moment was Leiber/Stoller’s “Is That AllThere Is”, a tune in which the Lincoln Center JazzOrchestra backs Bette Midler, who delivers a jadedvocal which sounded as if she wasn’t too happy to bethere. But maybe she was just translating the ambiguous feelings that the lyrics speak about.

One of the greatest moments in the album is theJordan Family’s rendition of “Here’s To Life”, a # 1 hitfor the late Shirley Horn. The meaning of the song hasan added poignancy by the fact that Marlon Jordanwas rescued from the flood after a three-day rooftoptrial. Also pay attention to “Dippermouth Blues”, a ragperformed by The Wynton Marsalis Hot Seven. Thetune immediately makes you move just as the spiritual “Just A Closer Walk With Thee” by IrvinMayfield almost brings you to tears.

The album closes with Duke Ellington’s “ComeSunday”, which features the husky-voiced CassandraWilson (backed by The Lincoln Center Jazz Orchestra),who delivers it it with a sincerity that makes it soundas if it were her own composition.

Higher Ground is an album that deserves a special place in anyone’s collection. Also, the proceedsfrom the sale of the CD will go to the Higher GroundHurricane Relief Fund, which benefits individualsimpacted by Hurricane Katrina.

For more information, visit www.bluenote.com

Higher Ground: Hurricane Relief Benefit ConcertVarious Artists (Blue Note)

by Ernest BarteldesCivil War Diaries Bill Carrothers (Illusions)Light on Water Robert Silverman (Pudding Bench)

Full Moon Fantasy Yitzhak Yedid (Musa)by Elliott Simon

The vibraphone is a relatively new instrument, introduced to the US in 1916 as the “steel marimba”.Red Norvo, one of the very first musicians to play it,came to the vibes after playing a lot of xylophone andmarimba. Vibraphonists Lionel Hampton, MiltJackson, Bobby Hutcherson and Gary Burton all madeimportant contributions to the development and musical vocabulary of jazz besides being recognized asvirtuoso players. Khan Jamal’s Black Awareness andLalo’s Half Moon present two more approaches to theinstrument; different from their formidable predecessors and very different from one another.

“One Comes First” is the opening tune on BlackAwareness and it’s an attractive melody. The solos arefine, if a little low on energy, especially consideringwhat follows. Trombonist Grachan Moncur III’s “RiffRaff” is also a swinger but his composition “Believe”,which sounds like a cross between the standard“When I Fall in Love” and a spiritual, is gorgeous,Moncur and Byard Lancaster (alto) weaving singinglines in between one another. “Black Awareness” is asoaring performance from start to finish and shouldhave been the CD’s first track. Lancaster’s solo surehas energy to spare, but also has an awareness (no punintended) of melody, harmony and pacing that is missing from a lot of the music on this label. Moncur’ssolo follows and again it’s a pleasure to hear someonereally play musical trombone. Jamal’s solo is veryinteresting; not like a Milt Jackson or Hutcherson solowhich would have had a more linear, bebop quality.Here (and in other places on this recording) Jamalplays the vibraphone more like its predecessor, theAfrican balaphone. In fact the next track, “NubianQueen”, uses that approach to full effect on a striking,totally solo vibraphone performance, displayingJamal’s truly unique approach to the instrument. On“Bloom” (which is listed as “Blown” in the producer’snotes, indeed, a Freudian slip if ever there was one),again the melody is original but accessible. Moncursolos first and is swinging, melodic and thoughtful.Lancaster’s solo follows and is very dynamic goingfrom a whisper to a scream and back. Next Jamal solosand after hearing “Nubian Queen” (as well as hisalbums on SteepleChase) you really wish this CD hadbeen recorded differently. The energy of the drums(Dwight James) drives the piece, but the volume of thefills almost buries the sound of the vibes. Then, if thatwasn’t enough to make you scream, “Sonny’s BackPt.1 & Pt.2”, a blues in C, features Moncur recitingsomething in the beginning of the piece, which, for allintents and purposes, is inaudible. The engineer saysthat this was an “intentional part of the music and nota defect of the recording process.” Weapons of massdestruction anybody? Though I have strong reservations about the way it’s recorded - and then‘explained’ in the liner notes and manifesto, whichcould be changed to Semper (Low) Fi, Do or Die - thesession is well worth your ears.

Lalo’s Half Moon suffers from the opposite problem. Instead of a barely produced session of rooted jazz, Lalo’s session is slickly produced, sonically pristine and devoid of much jazz content.The compositions (all by vibist Lalo) are skillfullyorchestrated and there is some very good playing by a

big cast of musicians. In the liner notes she says, “Wedecided it [the tune, “Seductive Grace”] should beused on the soundtrack to a horror flick” and indeed,all the pieces could be good for soundtracks…forrolling credits, for various product commercials, etc.As of right now, Lalo probably wouldn’t be mentionedalongside Norvo, Milt Jackson or Hutcherson, butthat’s not to say Half Moon doesn’t have worth.

For more information, visit www.cadencebuilding.com andwww.lalovibe.com

There was a reason Dolphy, Ayler, et al gravitated toScandinavia to practice their art; Norwegians, Finnsand Swedes seem to love our music. ExplodingCustomer, a pianoless quartet from Sweden recordedlive at a gig in Finland, is reminiscent of the EricDolphy/Booker Little partnership at the Five Spot,without being derivative. And when composer andleader Martin Küchen switches from alto to tenor, heand trumpeter Tomas Hallonsten approach the brotherly communication of Albert and Donald Ayler.This jazz is joyful, brimming with life. “Mr. BP (D)”gets things off to a rousing start, like a sabre dance, asif guys were throwing knives across the stage to eachother. Küchen’s tone is raggedly intense and contrastsnicely with drummer Kjell Nordeson, who swingswith the loose rhythm of the late Ed Blackwell. All ofthe tools come together on the disc’s centerpiece “TheCrying Whip”, as the drums come in waves,Hallonsten plays with a Latin flourish and bassistBenjamin Quigley drives the tune behind Küchen: it’sa visceral thrill.

Badland, a trio comprised of Simon Rose on altosaxophone, Simon H. Fell on double bass and SteveNoble on percussion, has been conceived in a way thatRose lays out in his impressionistic liner notes. Roseoffers a dead serious manifesto that defines the band’smission: to subvert tradition; to develop and extendthe language of collective improvisation; to examinethe limitations of their instruments. If the musicianshappen to touch on some of the qualities a listenermay expect from jazz music, so be it. But since “Fileunder: Free Improvisation” is printed on the tray card,Badland is going after a niche market. All of this maysound more militant than the music actually is.Badland often tends toward silence, in the style ofearly Wadada Leo Smith, as in the relatively brief andlow-key “Kittiwake” and “Elka”. However, in the twopart improv that gives the disc its title and in the combustible “MIA”, Badland burns.

For more information, visit www.ayler.com andwww.emanemdisc.com

ALLABOUTJAZZ-NEW YORK | February 2006 27

Black AwarenessKhan Jamal

(CIMP)

Half MoonLalo

(Kadooga Music)by Francis Lo Kee

Live at Tampere Jazz...Exploding Customer

(Ayler)

The Society of the...Badland

(Emanem)by Jeff Stockton

28 February 2006 | ALLABOUTJAZZ-NEW YORK

Jazz artists who adhere strictly to a free improvisingagenda are generally doomed to sacrifice wider recognition. Here are two perfect examples: EllenChristi is among the finest jazz vocalists in New York.She’s made a lovely, intimate duo recording with GaryHassay, a saxophonist who has all the technique of hisbest contemporaries, plus a creative sensibility thatsets him apart as an artist worth noting.

On these improvised pieces at times the connection between the two is so tight as to imply pre-arrangement, horn and voice moving together inunison and harmony. The recording is unadorned andChristi’s voice is served up close and raw. It takesenormous confidence and skill for a singer to do whatChristi has done here. Save for an occasional wildburst of exotic, spine-tingling ululation - apparentlyincited by Hassay’s more kinetic passages - Christisings with gentle grace and deep-reaching creativity.

Hassay puts his instrument down occasionallyand vocalizes himself and these are the disc’s mosteerily hypnotic pieces. His playing is dexterous andexpert, but it is his highly refined sensitivity and clearly heard sympathy with his partner that lifts thisperformance beyond the ordinary.

The time will hopefully come when improvisersof this stature will receive the recognition theydeserve. Until then, be among the relative few in onthe secret and give an ear to these exemplary artists.

For more information, visit www.drimala.com. Christi is atVision Collaboration Feb. 24th. See calendar.

Violinist Billy Bang has reissued two of his earlieralbums on CD for the first time - Sweet Space, a livealbum from 1979 and Untitled Gift, a 1982 studio set.Both discs have lineups including luminaries such asFrank Lowe and Don Cherry. The free structure andembrace of atonality give this music its kick.

The tune that opens Sweet Space, “A Pebble is aSmall Rock”, has a structure reminiscent of “India” or“Africa”, starting with the plucked bass intro byWilber Morris. Drummer Steve McCall and pianistCurtis Clark add their voices, then Bang, LutherThomas and Frank Lowe fall in to state the frenetic,spiraling theme on violin, alto sax and tenor sax. Thetitle tune, classical in its conception and execution, is aplayful landscape that sounds like insects buzzing.Wilber’s younger brother Butch Morris adds his cornetto the mix and he joins Bang for a quaint pas de deuxuntil the other horns state the carnival-like theme.

McCall takes the lead on “Loweski for Frank(T.F.R)” with a strong drum solo. “Music For the Love

Of It” moves on a four-note holding pattern repeatedby the band as Bang introduces the members to theaudience. The alternate takes on Sweet Space consist ofa second set with the same songs, played in a slightlydifferent style and pace.

Untitled Gift features Bang leading a quartet featuring the late Don Cherry on trumpet and flute.“Echovamp” opens with a typically atonal overture byBang and Cherry, then drummer Denis Charles andbassist Morris engage in a spirited African-tongueddialogue. On “Night Sequence” Bang spirals aroundMorris’ brisk plucking, then Cherry and Bang chaseeach other around the melody like rabbits.

Bang plays some nimble pizzicato as well asstraight ahead arco on “The Kora Song”. Cherry muteshis trumpet on this tune, which might lead some listeners to wonder how Miles would’ve fared in thefree jazz milieu. Charles’ rhythmically challengingstatement opens “Maat” before it moves into an uptempo blues. “Levitation for Santana” is a definitivefree-form throwdown and “Focus On Sanity” is a pagetorn gleefully from the Ornette songbook.

Now that the audience has (almost) caught up tothe artists, the reissue of these inventive recordingswill enhance Bang’s stature as one of the most vitaland original voices on the scene today.

Bang is at Vision Collaboration Feb. 26th. See calendar.

Almost 15 years after the death of tenor saxophonistStanley Gayetzky, aka Stan Getz, the sheer breadth ofhis musical accomplishments still boggles the mind.Thus it was with some skepticism to listen to Speakingof Stan, tenorman Mark Colby’s tribute to the manabout whom Trane said, “Let’s face it. We would allplay like him, if we could.” Colby however succeedsmasterfully in capturing a good bit of the essence ofGetz, due in no small part to his own superb tone, providing an intimate take on his friend and mentor.

Over 20 other musicians aid Colby in presenting his paean. He has chosen well andalthough a sax/guitar pairing akin to Getz’ famouscollaborations is lacking, much else is here. “Blue GetzBlues” is an awesomely cooking big band reprise of aswinger from Getz’ early days with Woody Herman(Early Autumn, Capitol, 1949) and the string arrangements of Focus (Verve, 1961) are tenderly reminisced through the newly penned compositions“When It Matters” and “Give and Take”. Former Getzpianist Jim McNeely appears on four cuts, soulfullydueting with Colby on a stunningly sincere renderingof a tender “Goodbye”, coolly swinging on “HowDeep is the Ocean” and “Sometime Ago” and, yes,adding to the bop festivities of Colby’s own “What is aBuddha?”. Vibist Dick Sisto aids Colby in bringingbossa/samba to the fore with a breezy interpretationof Benny Carter’s “Only Trust Your Heart” and a hot construction of Chick Corea’s “Sea Journey” by way ofthe Eric Hochberg’s bass and Bob Rummage’s drumswhile Gary Burton’s “Out of Focus” inserts a moremodern edge to the proceedings. Colby’s spoken outroadds a finishing touch to this highly personal portrait.

For more information, visit www.hallwayrecords.com. Getzwould have been 79 years old Feb. 2nd.

Sweet Space/Untitled Gift Billy Bang (8th Harmonic Breakdown)

by Terrell Holmes

Tribute to Paradise Ellen Christi/Gary Hassay (Drimala)

by Ty Cumbie

Speaking of StanMark Colby (Hallway)

by Elliott Simon

DiscoverDiscover

The New Solo Releasefrom Ken HatfieldThe New Solo Releasefrom Ken Hatfield

String Theory

For Information on Ken’s Music Visit www.KenHatfield.com

Acoustic Jazz Tuesdays inFebruary with Ken HatfieldLive at Fetch:

“The nylon string guitar has no morepowerful advocate on the current jazzscene than Ken Hatfield...”– Rick Anderson, All Music.com

1649 Third Avenue, NYC212-289-2700

February 7, 8:30 pm - MidnightKen Hatfield and Hans Glawischnig, guitar and bass duo

February 14, 8:30 pm - MidnightKen Hatfield and Hans Glawischnig, guitar and bass duo

February 21, 8:30 pm - MidnightKen Hatfield and Hans Glawischnig, guitar and bass duo

February 28, 8:30 pm - MidnightKen Hatfield and Gene Torres, guitar and bass duo

30 February 2006 | ALLABOUTJAZZ-NEW YORK

John Coltrane and Elvin Jones are probably theunknowing progenitors of these two CDs (and manymore like them). At a certain point in performances ofthe Coltrane quartet, McCoy Tyner and JimmyGarrison dropped out - avoiding superfluousness -because Trane and Elvin had so much to say. A fewyears later (1967) Coltrane recorded the pivotalsax/drum duo Interstellar Space with drummerRashied Ali and following that recording, the percussion/sax duo has become an almost standardinstrumental combination.

In fact, both of these CDs start with intensesax/drum duets (Peter Brötzmann on alto, with asound so thick it almost sounds like it was a tenor), asif they were consciously channeling those versions of“Impressions” or “Leo”. Marc Edwards is known as afree drummer who’s worked with Cecil Taylor, butNasheet Waits is known more for his gigs withAndrew Hill, Jason Moran and Antonio Hart, so it’sinteresting to hear this drummer play in this freer context (with one of the icons of European freeimprovisation, no less).

On Kaivalya Volume 1 saxophonist Paul Flahertyand drummer Edwards continue in the spirit ofInterstellar Space but add a few twists and turns of theirown. “Dark Desert” starts off with intense energy,both musicians with impressive control not only intheir physical approach on their respective instruments but also in their sonic focus. Ideas are followed through on, as these musicians are definitelyon the same page. On “Amrita (Soma)”, Edwards setsup a kind of bolero/rhumba feel and Flaherty changeshis approach. So many times when a drummer sets upa groove and a musician (say a saxophonist) playsover the groove in such a way, you get the impressionthat he (or she) is doing the exact same thing he woulddo without the groove - in other words not really listening to the drummer. It’s clear that Flahertyrespects Edwards and they are musically communicating to bring the listener on a journey; theresultant sound is to the point, not just ego-tripping orphysically exercising, but great spontaneous composition.

The Brötzmann/Waits duo was recorded live atChicago’s Empty Bottle in front of what sounds like avery appreciative audience. Like Kaivalya, this duostarts with intense energy. “Nr. 2” however starts offvery soft with Brötzmann on clarinet and paradoxically these moments dramatically stand out.It’s a risk to play really soft when you are known forbeing an energetic fireball. The risk pays off. Waits issurprising in the intensity and commitment of his freeplaying, but when he does hit a groove Brötzmann is alittle less capable of playing ball in Waits’ court. It’s asmall criticism; Brötzmann does give space to Waitsand his use of clarinet and tarogato make this CD sonically rich in texture.

Both recordings are excellent, but I favor theunderdogs, Flaherty and Edwards because of recording quality and conceptual focus.

For more information, visit www.cadencebuilding.com andwww.eremite.com

The young Olivier Messiaen famously composed andpremiered “Quartet for the End of Time” in 1940-41 asa prisoner of the Nazis during World War II. One canapply just about as much meaningful drama to thisstory as one wants. It has even been suggested thatMessiaen defeated the Nazis, in spirit at least, withthis work of art before the physical act could beaccomplished by the Allied Powers. In any case, thework is widely worshipped. Alex Ross, in The NewYorker, recently called it, “The most ethereally beautiful music of the twentieth century” and it wouldbe difficult to find a significant critical voice thatwould deny its status as a major modern masterpiece and a milestone in the history of music,indeed of art.

And so it’s natural that the composer and hisworks - especially this work - have had many admirersand no shortage of musicians eager to take on the challenge of playing it. A band called Spooky Actionshas issued their take, “arranged for jazz quintet”.

This attempt lacks everything but heart. Nonoticeable traits of jazz are heard, save the instrumentation (soprano saxophone, guitar, piano,bass and drums). While the piece is executed more orless as it was written, the altered instrumentation robsit of its intended effect and the unimaginative interpretation doesn’t compensate for this loss withany fresh ideas. Although John Gunther’s soprano saxalmost suitably substitutes for clarinet, he falls farshort of the subtle expressivity of violin. David Philipsquixotically attempts to stand in for cello with bowedbass. And so forth.

By approaching the music straightforwardly,Spooky Actions sets itself up for comparison with thebetter classical recordings of the piece and by thisstandard comes off poorly to say the least. If a jazzband wants to play classical music, it’d better be goodat it and then it wouldn’t be likely to be a very goodjazz band, would it? It’s too bad Spooky Actions didn’t realize this and either try to make Messiaenswing or simply try another idea.

For more information, visit www.muse-eek.com

Olivier Messiaen: Quartet for the End of TimeSpooky Actions (Muse Eek)

by Ty Cumbie

Kaivalya Volume I Flaherty/Edwards

(Cadence Jazz)

Live at the Bottle Fest... Brötzmann/Waits

(Eremite)by Francis Lo Kee

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largest law firms specializing in U.S.Immigration Law. Visit Vince on the web at

www.Vincentector.comfor current performances in the area.cD is aVailable at all major retailers.

ALLABOUTJAZZ-NEW YORK | February 2006 31

Kinetic HuesAri Hoenig (Smalls)by Ernest Barteldes

With the advent of easily available digital technology, ithas become easier for anyone to make semi-professionalvideos. Nowadays, practically anyone with a digital cameraand a computer can produce and release, say, a music DVD- even if the quality of the images isn’t exactly that great.

Recorded live at Greenwich Village’s Fat Cat, the music isunquestionably fine, but the video is sometimes hard towatch. The cameras do close-ups at the wrong times -

during a hot piano solo by Jean-Michel Pilc, the camera zeroes in on Hoenigand during one scene saxophonist Jaques Schwarz-Bart is seen fumbling withwhat appears to be a cellphone while a cameraman crawls around the stage.

As far as the set itself goes, the video is quite enjoyable. The group takesGeorge Gershwin’s “Summertime” to a very personal place - Hoenig plays hisdrums subtly during most of the song, surprising us with some tom-tom workand, as you can see on the video, he seems like he can feel the music he is playing in every part of his body. On Coltrane’s “Giant Steps”, they surprisethe audience with a false ending, when Pilc takes the song to a different beatfor a moment, quickly returning to the original groove and finally coming tothe real ending.

The piano becomes a percussive instrument on “Invitation” - during MattPenman’s bass solo, Pilc reaches inside the piano and blocks one of the key’shammers while pushing it with his right hand, effectively transforming theinstrument. Later on the set they take on Dizzy’s “Con Alma” and pay tributeto Monk by making his “I Mean You” sound as if it were their own song.

This DVD is for music fans who want to experience a set as ‘real’ as it gets.There are no clever visual effects or special editing - just four musicians on asparsely decorated stage doing what they do best on a New York night.

For more information, visit www.smallsrecords.com. Hoenig is at Fat Cat Feb. 14th,21st and 28th and at Smalls Mondays. See calendar.

With BillieBy Julia Blackburn(Pantheon)by Joel Roberts

The story behind this portrait of Billie Holiday is a compelling and tragic one. More than 30 years ago, awoman named Linda Kuehl set out to write a biography ofHoliday. She conducted over 150 interviews with friendsand acquaintances of the singer, but despite years of toil andfrustration, she was unable to complete a publishable book.In 1979, after leaving a Count Basie concert in Washington,

DC, Kuehl committed suicide by jumping out a hotel window.Years later, author Julia Blackburn was given access to Kuehl’s tapes and

notes and used them as the main source for this intriguing new look at BillieHoliday. The result is more than a simple retelling of what is already one of thebest known and most bittersweet lives in jazz.

It’s a literary documentary that artfully weaves together reminiscences bydozens of those who knew her to provide an intimate picture of Holiday theartist as well as Holiday the person.

What’s most refreshing and revealing here is that alongside anecdotes frommusicians like Jimmy Rowles, Bobby Tucker and Melba Liston are remembrances by a motley collection of people outside the jazz world - childhood friends from Baltimore, neighbors from New York, fellow junkies,even a police officer who arrested Holiday on a narcotics rap in 1947.

It’s their recollections of this brave and determined, if deeply troubled,woman that make this book such a valuable contribution to the Billie Holidayliterature. It’s a shame that Linda Kuehl is not around to see that all her hardwork finally paid off.

For more information, visit www.randomhouse.com/pantheon

IN PRINT ON DVD

Wednesday, February 1Masada String Trio: Mark Feldman, Erik Friedlander, Greg Cohen

The Stone 8, 10 pm $20Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez, Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash

Village Vanguard 9, 11 pm $30Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias, Joey Baron Dizzy’s Club 7:30, 9:30 pm $30

• Nathalied and Family with Marc Cary, Antonio Dangerfield, Matt Rybicki, Sean Kelly Dizzy’s Club 11 pm $10Vinicius Cantuaria with Michael Leonhart, Paul Socolow, Paulo Braga Jazz Standard 7:30, 9:30 pm $20

• Cheryl Bentyne with Corey Allen, Christian Fabian, Klaus Suonsaari Birdland 9, 11 pm $30

• Savion Glover B.B. King’s 8 pm $45• Gabriel Alegria Sextet Tonic 8 pm

Bobby Previte, Zeena Parkins, Jamie SaftTonic 10 pm

Mike DiRubbo Quartet with Harold Mabern, Dwayne Burno, Tony Reedus The Kitano 8, 9:45 pm Night of the Ravished Limbs: Dee Pop; Sam Newsome’s Black Gypsy with Carlo DeRosa, Bruce Cox

Barbès 8, 10 pm $8• Grant Stewart Quartet Enzo’s Jazz 8:30, 10:30 pm $15• Harry Allen/Joe Cohn Quartet

Bacchus Room 8, 9:30, 11 pm $5Matana Roberts’ Solo In Sacred Space

Blue Stockings 7 pm• Elizabeth Dotson-Westphalen with the Hot and Silver with

Dan Schlessinger, Apostolos Sideris, Adam Sorensen55Bar 7 pm

• Mike Stern 55Bar 10 pm• Clif Jackson’s with Eric Biondo, Tony Barba, Vinnie Loccisano,

Kevin Raczka Kavehaz 6 pm• Adam Niewood’s Rabble Rousers with Jesse Lewis, Matt Brewer,

Rohin Khemani Kavehaz 9:30 pmSedric Choukroun Trio with Keith Ganz, Paul Beaudry

Chez Oskar 8 pm• Fat Little Bastard: Andrew Stern, Noah Jarrett, Eric Platz

Tea Lounge 9, 10:30 pm• Nick Lyons; Adam Caine The Pourhouse 9, 10:30 pm $5• Jair Cohelo Puppets Jazz Bar 8 pm• Leonardo Cioglia Band Zinc Bar 9, 11 pm 12:30 am $5

Nicole Pasternak with Ralph Lalama, Don Friedman, Dennis Irwin The Garage 8 pm

• Ellen Starr, Paul Beaudry, Alvester GarnettSaint Peter’s 1 pm $5

• Robert Silverman Interchurch Center 12:05 pmThursday, February 2

Dr. Lonnie Smith Trio Iridium 8, 10 pm $25David Krakauer’s Klezmer Madness!

Allen Room 8 pmMalphas: Mark Feldman/Sylvie Courvoisier; Astaroth: Jamie Saft, Greg Cohen, Ben Perowsky

The Stone 8, 10 pm $10• Dion Parson Sweet Rhythm 8, 10 pm $15

Briggan Krauss Quartet with Brandon Seabrook, John Hebert, Andrew Drury Tea Lounge 9, 10:30 pmKenny Werner Cosmocentric with Kenny Wheeler, David Sanchez, Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash

Village Vanguard 9, 11 pm $30Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias, Joey Baron Dizzy’s Club 7:30, 9:30 pm $30

• Nathalied and Family with Marc Cary, Antonio Dangerfield, Matt Rybicki, Sean Kelly Dizzy’s Club 11 pm $10Vinicius Cantuaria with Michael Leonhart, Paul Socolow, Paulo Braga Jazz Standard 7:30, 9:30 pm $20

• Cheryl Bentyne with Corey Allen, Christian Fabian, Klaus Suonsaari Birdland 9, 11 pm $30Alan Ferber Nonet with Russ Johnson, Douglas Yates, Will Vinson, Dan Pratt, Bruce Saunders, Bryn Roberts, Alexis Cuadrado, Mark Ferber

Barbès 8 pm• Dana Leong Jazz Gallery 9, 10:30 pm $12• Joe Farnsworth Trio Bacchus Room 8, 9:30, 11 pm $5

Mike DiRubbo Quartet with Harold Mabern, Dwayne Burno, Tony Reedus The Kitano 8, 9:45 pm

• Misha Piatigorsky Trio Smoke 9, 11 pm 12:30 amCarlo DeRosa Quartet with Mark Shim, Luis Perdomo, Derrek Phillips Cornelia Street Café 8:30 pm

• Andrew Barker Tonic 8 pm• MSM Jazz Orchestra Manhattan School of Music 8 pm• Elisabeth Lohninger 55Bar 7 pm

Francois Moutin Quartet with Jim Ridl, Joel Frahm, Ari Hoenig55Bar 10 pm

• Gilad Hekselman Trio with Omer Avital, Jonathan BlakeSmalls 10 pm $10

Leslie Pintchik Trio with Scott Hardy, Mark DodgeKavehaz 6 pm

• Sean Wayland Quartet with Matt Penman, Jochen Rueckert, Kris Bauman Kavehaz 9:30 pm

• Leonardo Cioglia Band Zinc Bar 9, 11 pm 12:30 am $5• Nate Radley, Tyler Wood, Ziv Ravitz

Bar 4 8:30 pm• Trudy Silver 5C Café 5 pm• East West Quintet: Dylan Heaney, Simon Kafka, Mike Cassedy,

Ben Campbell, Jordan PerlsonRedd’s 9 pm

• Gil Gutierrez, Pedro Cartas, Tuey Connell, Stefan SchatzNight and Day 9 pm

• Todd Herbert Trio Cleopatra’s Needle 8 pmBill Ware Puppets Jazz Bar 8 pm

• John Chin The Garage 8 pmFriday, February 3

Andrea Centazzo Rubin Museum 7 pm $25• Monty Alexander Trio Rose Center 6, 7:30 pm

Dr. Lonnie Smith Trio Iridium 8, 10, 11:30 pm $25Eddie Henderson Quartet with Larry Willis, Ed Howard, Billy Drummond Smoke 9, 11 pm 12:30 am $25TK Blue with Benny Powell, Onaje Allen Gumbs, Gavin Fallow, Kevin Jones Lenox Lounge 8, 10, 11:30 pm $20

32 February 2006 | ALLABOUTJAZZ-NEW YORK

CALENDAR

FebruaryTo be listed, please contact Andrey Henkin at ahenkin@allaboutjazz.com no later than

the third Saturday of the preceding month.

ALL LISTINGS SUBJECT TO CHANGE. = Recommended shows

Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez, Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash

Village Vanguard 9, 11 pm $30Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias, Joey Baron Dizzy’s Club 7:30, 9:30 pm $30Steve Cardenas Group with Ben Allison, Matt Wilson

55Bar 9:30 pm• Jason Marshall and Overt Negritude

Sweet Rhythm 8, 10 pm• Jim Rotondi Quartet Bacchus Room 8, 9:30, 11 pm $5• James Carney Group with Chris Lightcap, Mark Ferber

Bar 4 8 pm $5• Francina Connors Group Saint Peter’s 5 pm• James Phillips Memorial Saint Peter’s 7 pm

Kurt Heyl/Ravi PadmanabhaDowntown Music Gallery 6 pm

Julianne Carney/Adam Matta; Jed Shahar/John Clair; Kurt Heyl/ Ravi Padmanabha ABC No Rio 8 pm $3Cooper-Moore, Nioka Workman, Matt Motel; Cooper-Moore, Assif Tsahar, Chad Taylor Vision Club 1:30, 3 pm $10

• Mike Pride StandDards Duo with Charlie LookerCity Crab 1 pm

• African Drumming and Percussion EnsembleThe Jazz Spot 3 pm $10

• Hayes Greenfield’s Jazz-A-Ma-TazzBowery Poetry Club 12 pm $8

• Jan Findlay The Garage 12 pmKate McGarry with Keith Ganz

North Square Lounge 12:30, 2 pmBrian Lynch with Alex Hoffman, Heath Walton, Micah Burgess, Alex Minasian, Rick Bugel, Jeff Neuberber

Blue Note 12:30, 2:30 pm $19.50Monday, February 6

Bucky and Martin PizzarelliBirdland 7 pm $30

• Hendrik Meurkens/Helio Alves DuoAC Pianocraft Workshop 8 pm $20

• Jay Collins with Dred Scott, Chris Tarry, Diego Voglino, Moses Patrou Blue Note 8, 10:30 pm $10

• Bill Mobley Big Band Smith’s Bar 8 pm• Upstarts!: Julliard Jazz Ensemble

Dizzy’s Club 7:30, 9:30 pm $15• New School Presents: Dave Glasser Charlie Parker Ensemble

Sweet Rhythm 8, 10 pm $10• Mike Stern 55Bar 10 pm• Steve Coleman Presents Jazz Gallery 9 pm $15• James Chirillo Trio Bacchus Room 8, 9:30, 11 pm $5• Voices and Songs: Joan Crowe with Dave Epstein, Kelly Friesen,

Quintin Gallemore, James ShippJazz Standard 7:30, 9:30 pm $15

• Mike Pride’s Ixtlan with Chris Welcome, Shayna Dulberger; Gato Loco: Mike Gamble, Stefan Zeniuk, Joe Exley, Grego Stare

Bar 4 8 pm• Sachal Vasandani Trio Bar Next Door 8 pm $5• Skitch Henderson Memorial by the New York Pops

Isaac Stern Auditorium 4 pmTuesday, February 7

Barry Harris Trio with Earl May, Leroy WilliamsVillage Vanguard 9, 11 pm $30

Cecil Taylor +2 with Jackson Krall, Albey BalgochianBlue Note 8, 10:30 pm $35

The Music of Joe Henderson: Renee Rosnes Quintet with Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash

Dizzy’s Club 7:30, 9:30 pm $30Alex Cuadrado Quartet with Brad Shepik, Loren Stillman, Mark Ferber Dizzy’s Club 11 pm $10Pete Zimmer Quintet with Joel Frahm, Michael Rodriguez, Toru Dodo, David Wong Jazz Standard 7:30, 9:30 pm $20Gloria Cooper with Jay Brandford, Ben Cassorla, Vince Cherico, Tim Givens, Don Sickler Sweet Rhythm 8, 10 pm $15

• Barbara Sfraga & Center Search Quest with Christopher Dean Sullivan, Michael TA Thompson

55Bar 7 pmDavid Binney’s Balance with Craig Taborn, Thomas Morgan, Dan Weiss 55Bar 10 pm

• Jeff Siegal Group NYC Baha’i Center 8, 10 pm $15• Burnt Sugar Zebulon 10 pm• Tim Ragusis Trio Bacchus Room 8, 9:30, 11 pm $5

Ken Hatfield/Hans GlawischnigFetch 8:30 pm

• Rebecca Moore; Basya Schechter EnsembleThe Stone 8, 10 pm $10

• Deanna Witkowski Quartet with Peter Brainin, Dave Ambrosio, Scott Latzky Makor 9:30 pm $12

• Maine Relocated; Ryan Blotnick Quartet; Robert Stillman’s Horses Bowery Poetry Club 10 pm $8

• Evans Thompson 5C Café 5 pm• Manny Duran Lucille’s at B.B. King’s 8 pm• Jaime Aff Trio Puppets Jazz Bar 8 pm• Russ Spiegel Big Band The Garage 8 pm

Oscar Noriega, Chris Speed, Anthony BurrBarbès 7 pm

Mark Dresser with Rudresh Mahanthappa, Gerry HemingwayBarbès 8 pm $10

Ben Wolfe Quartet with Joe Locke, Renee Rosnes, Carl AllenThe Kitano 8, 9:45 pm $20

Avishai Cohen with Mark Turner, Jason Lindner, Omer Avital, Greg Hutchinson Jazz Gallery 9, 10:30 pm $15Logan Richardson Group with George Garzone, Matt Brewer, Tommy Crane Cornelia Street Café 9, 10:30 pmKenny Werner Cosmocentric with Kenny Wheeler, David Sanchez, Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash

Village Vanguard 9, 11 pm $35Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias, Joey Baron Dizzy’s Club 7:30, 9:30, 1:30 pm $30

• Nathalied and Family with Marc Cary, Antonio Dangerfield, Matt Rybicki, Sean Kelly Dizzy’s Club 1 am $10Vinicius Cantuaria with Michael Leonhart, Paul Socolow, Paulo Braga Jazz Standard 7:30, 9:30, 11:30 pm $25

• Cheryl Bentyne with Corey Allen, Christian Fabian, Klaus Suonsaari Birdland 9, 11 pm $30

• Judi Silvano Women’s Work Quartet with Janice Friedman, Jennifer Vincent, Bernice Brooks

Enzo’s Jazz 8:30, 10:30 pm $15• Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5

Victor Lin Trio Flushing Town Hall 10 pm $35• Greta Gertler and the Extroverts with Matt Moran, Ron Caswell,

Pete Galub, Michael Gomez; Marie McAuliffeThe Stone 8, 10 pm $10

• Bryn Roberts Trio Bar Next Door 9 pm Yoon Sun Choi/Jacob Sacks and guest Jacob Garchik

5C Café 7 pmGretchen Parlato with Lionel Loueke, Alan Hampton

55Bar 6 pm• James Silberstein Quartet with Harvie S, Jill McCarron,

Vince Cherico Kavehaz 6 pmDerrek Phillips’ Translation with Liberty Ellman, Ben Stivers, Seamus Blake Kavehaz 9:30 pm

• The Pattons play Big John PattonThe West End 10 pm $5

• Black Orchid; Jon De Lucia Group with Nir Felder, Garth Stevenson, Steve Lyman

Vox Pop Coffee Shop 8 pm • Joe Giglio/Ron McClure 107West 10 pm• Gilad Hekselman Trio with Dave Robaire, Alex Wyatt

Tea Lounge 9, 10:30 pm• Kristjan Randalu with Sebastian Noelle, Pascal Niggenkemper,

Bodek Janke Estonian House 9 pm• Irini Res Quartet Cleopatra’s Needle 8 pm• Jay Collins Trio Bistro Jules 9:30, 11 pm• Jaime Aff Trio Puppets Jazz Bar 9 pm• Mark Capon Trio The Garage 5:45 pm

Saturday, February 4Dr. Lonnie Smith Trio Iridium 8, 10, 11:30 pm $27.50Eddie Henderson Quartet with Larry Willis, Ed Howard, Billy Drummond Smoke 9, 11 pm 12:30 am $25TK Blue with Benny Powell, Onaje Allen Gumbs, Gavin Fallow, Kevin Jones Lenox Lounge 8, 10, 11:30 pm $20Ben Wolfe Quartet with Joe Locke, Renee Rosnes, Carl Allen

The Kitano 8, 9:45 pm $20Avishai Cohen with Mark Turner, Jason Lindner, Omer Avital, Greg Hutchinson Jazz Gallery 9, 10:30 pm $15Kenny Werner Cosmocentric with Kenny Wheeler, David Sanchez,Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30Joe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash

Village Vanguard 9, 11 pm 12:30 am $35Shades of Jade: Marc Johnson, Joe Lovano, Eliane Elias, Joey Baron Dizzy’s Club 7:30, 9:30, 11:30 pm $30

• Nathalied and Family with Marc Cary, Antonio Dangerfield, Matt Rybicki, Sean Kelly Dizzy’s Club 1 am $10Vinicius Cantuaria with Michael Leonhart, Paul Socolow, Paulo Braga Jazz Standard 7:30, 9:30, 11:30 pm $25

• Cheryl Bentyne with Corey Allen, Christian Fabian, Klaus Suonsaari Birdland 9, 11 pm $30Will Holshouser Trio with Ron Horton, David Phillips

BAMCafé 9 pm• Michael Camacho and Joe Farnsworth Trio

Bacchus Room 8, 9:30, 11 pm $5• William Hooker/Roger Miller

Pianos 10:30 pm• Julliard Jazz Ensemble York College 7 pm

Free Zone: Eye Contact: Matt Lavelle, Matt Heyner, Ryan Sawyer; Kali Z. Fasteau with Abdoulaye Alhassane, Ron McBee

Café Grumpy 9, 10 pm $5• Theremin Summit: Dalit Warshaw, Pamelia Kursten,

Dorit Chrysler, Michael Evans, Anthony Ptak, David Simons, Armen Ra Issue Project Room 8 pm $10

• Synergy: Amir Bey, Saco Yasuma, Sabir Mateen, Ras Moshe, Jackson Krall, Francois Grillot

Bowery Poetry Club 6 pm $12• Skye Steele Group with Christopher Hoffman, Mike Effenberger,

Mike Savino, John HadfieldCornelia Street Café 9 pm $10

• Yale Strom and Hot Pstromi Norbert Stachel, Peter Stan, Sprocket, Elizabeth Schwartz and guest David Licht

Barbès 8 pm $10• Atiba Kwabena Sistas’ Place 9, 10:30 pm $20• Joe Martin Trio Bar Next Door 9 pm $8• Laura Cromwell and Friends; Elysian Fields: Jennifer Charles,

Oren Bloedow, Thomas BartletThe Stone 8, 10 pm $10

• David Bond Group with Sumi Toonoka, Ed and George SchullerKavehaz 6 pm

Tom Beckham with Henry Hey, John Hebert, Diego Voglino and guest Chris Cheek Kavehaz 9:30 pm

• Nikhil Yerawadekar 5C Café 7 pmAyana Lowe, Bob Cunningham, Michael Howell, Michael TA Thompson 55Bar 6 pm

• Nate Birkey Quartet with Mark Soskin, Steve Varner, Marko Marcinko The Triad 9:30 pm

• Christian Pincock Quintet with Jesse Stacken, Jeremey Noller, Moppa Elliott, Ed Renz Stain Bar 8 pm

• Doug Munroe Quartet Cleopatra’s Needle 8 pmBill Ware Puppets Jazz Bar 9 pmRay Mantilla with Edy Martinez, Cucho Martinez, Bill Elder, Willie Williams, Guido Gonzales, Enrique Fernandez

Tower Records Lincoln Center 1 pm• Larry Newcomb Trio The Garage 12 pm• Bruce McKinnon The Garage 5:45 pm

Sunday, February 5Daphna Mor/Nina Stern; Miya Masaoka, Okkyung Lee, Sylvie Courvoisier The Stone 8, 10 pm $10Mike DiRubbo Quartet Europa Club 7:30 pm $10Dr. Lonnie Smith Trio Iridium 8, 10 pm $27.50

To order: See us at cdbaby.com or send check or money order for $15.00 to mPub-AJP.O. Box 1234 Stamford, CT 06904-1234 USA - All checks/money orders in U.S. dollarsCT residents add 6% sales tax - Foreign orders add $5.00 shipping/handlingCD distributed by North Country Distributors - northcountry@cadencebuilding.com

composed by bill mccormick performed by jon damian ken hatfieldpete smith craig wagner special guest percussionist steven kroon

music for guitar

Jimmy Scott Iridium 8, 10 pm $32.50• Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason

Blue Note 8, 10:30 pm $55Larry Goldings Quartet with Ben Allison, John Sneider, Matt Wilson Jazz Standard 7:30, 9:30 pm $20Barry Harris Trio with Earl May, Leroy Williams

Village Vanguard 9, 11 pm $30• Enrico Granafei Group Saint Peter’s 5 pm• Steve Marcus Tribute with Buddy Rich Alumni Band; Steve Smith

and Buddy’s Buddies Saint Peter’s 8 pm• Erik Charleston, Christopher Lamb, Mark Soskin, Harvie S with

guest Duo Ello Manhattan School of Music 7:30 pm• Valery Ponomarev and the VIP Jazz Band with Hilary Gardner

Birdland 6 pm $10• Jason Marshall and Overt Negritude

Sweet Rhythm 8, 10 pm• Jim Rotondi Quartet Bacchus Room 8, 9:30, 11 pm $5• Jim Campilongo’s Electric Band with Tim Luntzel, Dan Rieser

55Bar 9:30 pm• Gondwanaland: Nicholas Cudahy, Jacob Garchik, Ben Holmes,

Brandon Seabrook, Karen Waltuch, Michael Winograd, Timothy Quigley Barbès 8 pm

• Jerome Jones and Mo Beasley5C Café 7 pm

• Todd Merrell, Lou Rossi, Casey Block; Travis Just, Matt Richelson, Quentin Tolimieri

ABC No Rio 8 pm $3• Improvised and Otherwise experimental Jazz Benefit

The Backroom 2 pm• Youth Improv Orchestra Bowery Poetry Club 3 pm• Ayana Lowe, James Weidman, Michael TA Thompson

Bowne Street Church 3 pm• Joni Paladin The Garage 12 pm• Michelle Walker with Sheryl Bailey

North Square Lounge 12:30, 2 pm• Marta Gomez Blue Note 12:30, 2:30 pm $19.50

Monday, February 13• Upstarts!: Duquesne University Jazz Ensemble with Sean Jones

Dizzy’s Club 7:30, 9:30 $15• New School Presents: Junior Mance Blues Ensemble

Sweet Rhythm 8, 10 pm $10• Mike Stern 55Bar 10 pm• Steve Coleman Presents Jazz Gallery 9 pm $15• James Chirillo Trio Bacchus Room 8, 9:30, 11 pm $5• Voices and Songs: Ilona Knopfler with Jay Ashby, Allan Mallet,

Francois Moutin, Marko MarcinkoJazz Standard 7:30, 9:30 pm $15

• Composers Collaborative Inc.Cornelia Street Café 8 pm $20

• Fay Victor Ensemble The Backroom 9:30 pm• Vinny Valentino Smith’s Bar 8 pm

Todd Neufeld Trio with Thomas Morgan, Dan Weiss; Smolter: Mike Gamble, Pete Robbins, Dan Weiss

Bar 4 8 pm• Carolyn Leonhart Trio Bar Next Door 8 pm $5

Tuesday, February 14Dee Dee Bridgewater Rose Hall 8 pm $30-130Andy Bey/Paul Meyers Sweet Rhythm 8, 10 pm $20Gnu Vox: Jay Clayton with Jack Wilkins

Cornelia Street Café 8:30 pm $10• Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III

Dizzy’s Club 7:30, 9:30 pm $30Pete Malinverni Trio Dizzy’s Club 11 pm $10Freddy Cole Quartet with Jerry Byrd, Curtis Boyd, Zachary Pride

Jazz Standard 7:30, 9:30 pm $25Bill McHenry Quartet with Ben Monder, Reid Anderson, Paul Motian Village Vanguard 9, 11 pm $30

• Curtis Stigers Blue Note 8, 10:30 pm $25• Rachelle Garniez Experimental Valentines Show

The Stone 8, 10 pm $10Katie Bull with Dave Phelps, Ben Allison, Harvey Sorgen

55Bar 7 pm• Leni Stern 55Bar 10 pm• Tim Ragusis Trio Bacchus Room 8, 9:30, 11 pm $5• Ari Hoenig Group Fat Cat 10 pm $10• Jenny Scheinman Barbès 7 pm• Mercedes Hall Danny’s Skylight Room 9:15 pm $20• Angela DeNiro and Ron Aprea Group

NYC Baha’i Center 8, 10 pm $15Ken Hatfield/Hans Glawischnig

Fetch 8:30 pm• Khabu and Friends; OK/OK: Kyoko Kitamura, Mike McGinnis,

Khabu + 12 Angry Men Bowery Poetry Club 10 pm $8• Leif Arntzen Quartet; Marjorie Eliot Quintet with

Sedric Choukroun Symphony Space 8 pmThe Lascivious Biddies Makor 7:30 pm $15

• Sabor Brasil Lucille’s at B.B. King’s 8 pm• Kenneth “Kamal” Scott with Richard Harper

Mile’s Bistro 9 pm $10• Jaime Aff Trio Puppets Jazz Bar 8 pm• David Coss Trio The Garage 8 pm

ALLABOUTJAZZ-NEW YORK | February 2006 33

Jeremy Steig Quartet with Vic Juris, Cameron Brown, Anthony Pinciotti Cornelia Street Café 9, 10:30 pm $12Jimmy Scott Iridium 8, 10, 11:30 pm $32.50Masters of Groove: Bernard “Pretty” Purdie, Grant Green Jr., Rueben Wilson Smoke 9, 11 pm 12:30 am $30

• Dr. John B.B. King’s 8, 10:30 pm $35• Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason

Blue Note 8, 10:30 pm $55Larry Goldings Quartet with Ben Allison, John Sneider, Matt Wilson Jazz Standard 7:30, 9:30, 11:30 pm $25Adam Makowicz Trio with George Mraz, Al Foster

Birdland 9, 11 pm $30Barry Harris Trio with Earl May, Leroy Williams

Village Vanguard 9, 11 pm $35The Music of Joe Henderson: Renee Rosnes Quintet with Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash

Dizzy’s Club 7:30, 9:30, 11:30 pm $30Alex Cuadrado Quartet with Brad Shepik, Loren Stillman, Mark Ferber Dizzy’s Club 1 am $10Paloma Recio: Tony Malaby, Michael Rodriguez, Ben Monder, Eivind Opsvik, Nasheet Waits

Barbès 8, 10 pm $8• Music For A Winter’s Evening: Aimua Eghobamien;

Elizabeth Thorne; Monk for President Trio: Glafkos Kontemeniotis, Edward Kollar, Vince “Kazi” McCoy; guests Priscilla Owens, Sylvester Scott, Daniel Olivo

Hunter College 7 pm $10Adam Rogers Group with Scott Colley, Antonio Sanchez

Jazz Gallery 9, 10:30 pm $15Kendra Shank Quartet with Frank Kimbrough, Francois Moutin, Tony Moreno Enzo’s Jazz 8:30, 10:30 pm $15

• Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5• Joe Giglio/Carl Barry 107West 10 pm• Brooks Qawwali Party: Tony Barba, John Savage, Jesse Neuman,

Ryan Keberle, Noah Jarrett, Mike Gamble, Kris Davis, Shawn Trail, Robert DiPietro, Brook Martinez, Jen Timmer

Tea Lounge 9, 10:30 pmTessa Souter/John Hart 55Bar 6 pmBallin’ the Jack 55Bar 10 pm

• David White with Matt Garrison, Michael Jake, Dylan Johnson, Ryan Cavan Kavehaz 6 pmLumination: Curtis Fowlkes, Alex Harding, Lucian Ban, Jeff Carney, Derrek Phillips

Kavehaz 9:30 pmAlex Blake Puppets Jazz Bar 9 pmJerome Sabbagh Trio Bar Next Door 9 pm $8

• Gilad Hekselman Trio with Joe Martin, Ari Hoenig Fat Cat 10 pm $10

• Clint Smith 5C Café 7 pm• Kristjan Randalu with Thomas Morgan

Estonian House 9 pm• Craig Magmano Quartet Cleopatra’s Needle 8 pm• Jay Collins Trio Bistro Jules 9:30, 11 pm• Vinson Valega Trio The Garage 5:45 pm• Daniel Kelly The Garage 10:15 pm

Saturday, February 11Warren Smith’s Composers Workshop Ensemble

Brecht Forum 9, 10 pm $10Houston Person Quartet Lenox Lounge 8, 10, 11:30 pm $20Tom Harrell Quartet with Michael Cochrane, Dwayne Burno, Jonathan Blake The Kitano 8, 9:45 pm $20Brooklyn Big Band: Craig Bailey, Mark Gross, Tim Armacost, Keith Loftis, Charlie Evans, Jason Jackson, Dion Tucker, Tim Albright, Johannes Pfannkuch, Jamal Monteilh, James Zollar, Matt Shulman, Kelvin Shollar, Phil Palombi, Lieven Venken

Sweet Rhythm 8, 10 pm 12 am $20Jimmy Scott Iridium 8, 10, 11:30 pm $35Masters of Groove: Bernard “Pretty” Purdie, Grant Green Jr., Rueben Wilson Smoke 9, 11 pm 12:30 am $30

• Dr. John B.B. King’s 8, 10:30 pm $35• Fourplay: Bob James, Nathan East, Larry Carlton, Harvey Mason

Blue Note 8, 10:30 pm $55Larry Goldings Quartet with Ben Allison, John Sneider, Matt Wilson Jazz Standard 7:30, 9:30, 11:30 pm $25Adam Makowicz Trio with George Mraz, Al Foster

Birdland 9, 11 pm $30Barry Harris Trio with Earl May, Leroy Williams

Village Vanguard 9, 11 pm 12:30 am $35The Music of Joe Henderson: Renee Rosnes Quintet with Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash

Dizzy’s Club 7:30, 9:30, 11:30 pm $30Alex Cuadrado Quartet with Brad Shepik, Loren Stillman, Mark Ferber Dizzy’s Club 1 am $10

• Black History Month Concert 2006 Charity Concert for KatrinaAlice Tully Hall 8 pm $40-100

• Adam Rogers Group with Scott Colley, Antonio SanchezJazz Gallery 9, 10:30 pm $15

• Billy Martin, Ikue Mori, DJ Olive, Okkyung LeeTonic 10 pm $15

• Michael Camacho and Joe Farnsworth TrioBacchus Room 8, 9:30, 11 pm $5

The Beat Circus: Brian Carpenter, Alec K Redfearn, Kathe Hostetter, Ron Caswell, Jim Hobbs, Brandon Seabrook, Matt McLaren BAMCafé 9 pm

• Harel Shachal’s Anistar with Skye Steele, Christopher Hoffman, Harvey Valdez, Uri Sharlin, Alon Carmelly, Tomer Tzur, E.J. Fry

The Stone 8, 10 pm $10Hazmat Modine Joe’s Pub 7:30 pm $12Kate McGarry 55Bar 6 pmYoon Sun Choi, Jacob Garchik, Thomas Morgan, Jacob Sacks

Crossroads Café 8 pm• Bruce Harris with Mark Nikirk, Drew Pierson, Yasushi Nakumara,

Pete Polinski Kavehaz 6 pm• Bruce Williams Quartet with Don Palmer, Vince Ector

Kavehaz 9:30 pmAlex Blake Puppets Jazz Bar 9 pm

• Free Zone: Christian Pincock Group; Brian Moran, Justin Simon, Matt Hannafin Café Grumpy 9, 10 pm $5

• Eric Frazier Group Sistas’ Place 9, 10:30 pm $20• Ben Monder Trio Bar Next Door 9 pm $8• Gilad Hekselman Trio with Joe Martin, Ari Hoenig

Fat Cat 10 pm $10• TJ Usiyan 5C Café 7 pm• Roland Barber Quartet with Jennifer Vincent, Gordon Webster,

Lee Pearsons Cleopatra’s Needle 8 pmOnaje Allen Gumbs Tower Records Lincoln Center 1 pm

• Nick Moran The Garage 12 pm• Hide Tanaka The Garage 5:45 pm• Jonathan Batiste The Garage 10:15 pm

Sunday, February 12Oliver Lake/Kresten Osgood

Downtown Music Gallery 6 pmUri Caine; Ben Perowsky’s Camp Songs with Uri Caine

The Stone 8, 10 pm $10Andrew Rathbun BigBand Europa Club 7:30 pm $10

Wednesday, February 8Matt Wilson’s Arts and Crafts with Terell Stafford, Larry Goldings, Dennis Irwin Zankel Hall 8:30 pm $42Night of the Ravished Limbs: Mark Helias’ Open Loose with Tony Malaby, Tom Rainey Barbès 8, 10 pm $8Sam Bardfeld with Ron Horton, Tom Beckham, Sean Conly, Satoshi Takeishi Tonic 8 pm

• Tremolo of Joy: Kato Hideki, Marco Cappelli, Briggan Krauss, Anton Fier Tonic 10 pmTYFT: Andrew D’Angelo, Jim Black, Hilmar Jensson

Tea Lounge 9, 10:30 pmAdam Makowicz Trio with George Mraz, Al Foster

Birdland 9, 11 pm $30Barry Harris Trio with Earl May, Leroy Williams

Village Vanguard 9, 11 pm $30Cecil Taylor +2 with Jackson Krall, Albey Balgochian

Blue Note 8, 10:30 pm $35The Music of Joe Henderson: Renee Rosnes Quintet with Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash

Dizzy’s Club 7:30, 9:30 pm $30Alex Cuadrado Quartet with Brad Shepik, Loren Stillman, Mark Ferber Dizzy’s Club 11 pm $10The Mahavishnu Project: Glenn Alexander, Adam Holzman, Rob Thomas, David Johnsen, Gregg Bendian

Iridium 8, 10 pm $25Jeb Patton Trio with David Wong, Pete Van Nostrand

The Kitano 8, 9:45 pm• Glauco Sagebin Sweet Rhythm 8, 10 pm $15

Lucian Ban with Jorge Sylvester, Brad Jones, Derrek Phillips; Alex Harding with Lucian Ban, Brad Jones, Nasheet Waits, Andrew Daniels Jazz Standard 7:30, 9:30 pm $20

• Harry Allen/Joe Cohn QuartetBacchus Room 8, 9:30, 11 pm $5

• NYNDK Jazz Collective: Chris Washburne, Ole Mathisen, Soren Moller, Tony Moreno, Francois Moutin

Cornelia Street Café 8:30 pm $7• Dave Soldier’s The Spinozas; Smadar Levi, Uri Sharlin,

Harel Shachal, Seido Salifosky, Hagar, Megan WeederThe Stone 8, 10 pm $10

• Ellen Starr with Joel Frahm, Paul Beaudry, Alvester Garnett55Bar 7 pm

• Mike Stern 55Bar 10 pm• Martin Urbach Group with James Westfall, Phil Rowan and guest

Kavehaz 6 pm• Julien Augier, Dimitri Mikelis, Alexandre Terrier, Lionel Loueke,

Nathan Peck Kavehaz 9:30 pmSedric Choukroun Trio with Keith Ganz, Paul Beaudry

Chez Oskar 8 pm• Nora McCarthy Collective Night and Day 9 pm• Top Dror Jazz Band Makor 9:30 pm $12• Lezlie Harrison ParlorJazz 9, 10:30 pm $20

Aaron Ali Shaik Group The Pourhouse 9, 10:30 pm $5• Christiana Drapkin/Stephanie Greig

The Backroom 9:30 pm• Jair Cohelo Puppets Jazz Bar 8 pm• Manhattan Vibes The Garage 8 pm

Warren Chiasson Saint Peter’s 1 pm $5Thursday, February 9

Highlights in Jazz 33rd Anniversary Concert: Bill Charlap Trio with Kenny Washington, Peter Washington; Slide Hampton, Jimmy Heath, Frank WessTribeca Perf. Arts Ctr. 8 pm $30

• Cotangent: Marc Mommaas, Bill Gerhardt, Mike Holstein, Tim Horner Sweet Rhythm 8, 10 pm $15Jimmy Scott Iridium 8, 10 pm $30

• Fourplay: Bob James, Nathan East, Larry Carlton, Harvey MasonBlue Note 8, 10:30 pm $55

Larry Goldings Quartet with Ben Allison, John Sneider, Matt Wilson Jazz Standard 7:30, 9:30 pm $20Mark Helias’ Open Loose with Tony Malaby, Tom Rainey

Tea Lounge 9, 10:30 pmAdam Makowicz Trio with George Mraz, Al Foster

Birdland 9, 11 pm $30Barry Harris Trio with Earl May, Leroy Williams

Village Vanguard 9, 11 pm $30The Music of Joe Henderson: Renee Rosnes Quintet with Jimmy Greene, Eddie Henderson, Peter Washington, Lewis Nash

Dizzy’s Club 7:30, 9:30 pm $30Alex Cuadrado Quartet with Brad Shepik, Loren Stillman, Mark Ferber Dizzy’s Club 11 pm $10

• Lage Lund with Seamus Blake, Aaron Parks, Orlando Le Fleming, Kendrick Scott Jazz Gallery 9, 10:30 pm $12

• Joe Farnsworth Trio Bacchus Room 8, 9:30, 11 pm $5Matt Pavolka Quartet with Ben Monder, Pete Rende, Ted Poor

Barbès 8 pmHarlem Speaks: Howard Johnson

Jazz Museum in Harlem 6:30 pmRalph Alessi, Tim Berne, Shane Endsley; Sonic Liberation Front

Jimmy’s Restaurant 8, 10 pm• In the Country and guest Marc Ribot

Tonic 8 pmGnu Vox: Beat Kaestli with Joel Frahm, Uli Ceissendorfer, Marcus McLaurine, Sunny Jain; Monika Heidemann with Matt Moran, Khabu Doug Young, Derek Layes, Take Toriyama

Cornelia Street Café 8:30, 10 pm $10• Ayako Shirasaki Trio with Marco Panascia, Gregory Hutchinson

The Kitano 8, 9:45 pm• Michal Cohen, Amy Cervini, Oded Lev-Ari, Ben Zwerin;

Shelley Hirsch The Stone 8, 10 pm $10• Nobuki Takamen Group with Hitoshi Kanda, Toshiyuki Tanahashi,

Makoto Kikuchi Kavehaz 6 pm• Erik Torrente Quartet with Mike Moreno, Vincente Archer,

Jamier Williams Kavehaz 9:30 pmAvi Rothbard Organ Trio Jesse’s Place 8 pm

• Liz Childs with Tim Harrison, Tom Hubbard, Todd Isler55Bar 7 pm

• Garth Stevenson/Ziv RavitzBar 4 8:30 pm

• Geoff Clapp Trio Cleopatra’s Needle 8 pmBill Ware Puppets Jazz Bar 8 pm

• Yardena The Garage 8 pmFriday, February 10

Houston Person Quartet Lenox Lounge 8, 10, 11:30 pm $20Tom Harrell Quartet with Michael Cochrane, Dwayne Burno, Jonathan Blake The Kitano 8, 9:45 pm $20Brooklyn Big Band: Craig Bailey, Mark Gross, Tim Armacost, Keith Loftis, Charlie Evans, Jason Jackson, Dion Tucker, Tim Albright, Johannes Pfannkuch, Jamal Monteilh, James Zollar, Matt Shulman, Kelvin Shollar, Phil Palombi, Lieven Venken

Sweet Rhythm 8, 10 pm 12 am $20Rosa Passos Zankel Hall 8:30 pm $30-42Meg Okura’s PanAsian Ensemble with Jennifer Vincent, YukariMegumi Yonezawa, Satoshi Takeishi and guest Suzanne Shu; Cardamon Quartet: Uri Sharlin, Harel Shachal, Jennifer Vincent, Dan Aron The Stone 8, 10 pm $10

34 February 2006 | ALLABOUTJAZZ-NEW YORK

Assif Tsahar, Cooper-Moore, Chad TaylorZebulon 10 pm

Alex Harding/Walt Szymanski EnsembleEuropa Club 7:30 pm $10

Charlie Hunter Trio with John Ellis, Derrek PhillipsJazz Standard 7:30, 9:30 pm $20

Mark Murphy Iridium 8, 10 pm $30• Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III

Dizzy’s Club 7:30, 9:30 pm $30• Curtis Stigers Blue Note 8, 10:30 pm $25

Bill McHenry Quartet with Ben Monder, Reid Anderson, Paul Motian Village Vanguard 9, 11 pm $30Ben Perowsky Quartet with Chris Speed, Ted Reichman, Drew Gress Barbès 7 pm

• Sebastian Noelle Group with Dave Smith, Dave Ambrosio, Take Toriyama Cornelia Street Café 8:30 pmSway Machinery: Jeremiah Lockwood, Tomer Tzur; Amanda Monaco 4 with Jason Gillenwater, Michael Bates, Jeff Davis The Stone 8, 10 pm $10

• Valery Ponomarev and the VIP Jazz Band with Hilary GardnerBirdland 6 pm $10

• Jim Rotondi Quartet Bacchus Room 8, 9:30, 11 pm $5• John Batiste Sweet Rhythm 8, 10 pm $15• Gabriela Anders 55Bar 7 pm• Will Vinson Group with Lage Lund, Mike Moreno,

Johannes Weidenmueller, Ari Hoenig55Bar 9:30 pm

Louie Belogenis/Shanir BlumenkranzDowntown Music Gallery 6 pm

Blaise Siwula Birthday Celebration with Dom Minasi, Chris Welcome, Shayna Dulberger, Robyn Siwula, Ray Sage, Bonnie Kane, Adam Lane, Frank Keeley and others

ABC No Rio 8 pm $3• Robbi Kumalo and Friends

Saint Peter’s 5 pm• Dan Loomis Quartet with Jared Schonig, Brian VanArsdale,

Nathan Heleine Village Bistro 7:30 pm • Mari Toussaint The Jazz Spot 3 pm $10• Joni Paladin The Garage 12 pm• Roz Corral/Gene Bertoncini Duo

North Square Lounge 12:30, 2 pm• Ellen O’Brien with Dave Rosengard, Conrad Korsh

Blue Note 12:30, 2:30 pm $19.50Monday, February 20

• Allan Harris’ Cross That River BandBlue Note 8, 10:30 pm $10

• Upstarts!: Juilliard Jazz Ensemble; Weseda University High Society Jazz Band Dizzy’s Club 7:30, 9:30 pm $15

• New School Presents: Peter Zak Herbie Hancock EnsembleSweet Rhythm 8, 10 pm $10

• Jon Lundbom/Bryan Murray Quartet with Moppa Elliott, Danny Fischer 55Bar 7 pm

• Mike Stern 55Bar 10 pm• Steve Coleman Presents Jazz Gallery 9 pm $15• James Chirillo Trio Bacchus Room 8, 9:30, 11 pm $5• Voices and Songs: Jay Collins with Dred Scott, Chris Tarry,

Diego Voglino, Moses PatrouJazz Standard 7:30, 9:30 pm $15

• Big Bang: Jane Rigle, Clyde Forth, Iain Machell; David Rothenberg/Jaanika Peerna

Cornelia Street Café 8:30, 9:45 pm $10• Natasha Drootin Danny’s Skylight Room 9:15 pm $15• Heather Bennett Quintet Smith’s Bar 8 pm

Todd Neufeld Trio with Geoff Kraly, Vinnie Sperrazza; The Inbetweens: Mike Gamble, Noah Jarrett, Conor Elmes

Bar 4 8 pm• Sanni Orasmaa Trio Bar Next Door 8 pm $5

Wednesday, February 15George Coleman Quartet with Anthony Wonsey, Jerome Derro, Joe Farnsworth Birdland 9, 11 pm $30Pink Martini and guests Town Hall 8 pm $25-35Cyro Baptista’s Anthropo-Fagia with Tim Keiper, Shanir Blumenkranz, Brian Marsella and guest Adam Weinberg

Tonic 8, 10 pmNight of the Ravished Limbs: Rolf Sturm solo; Joe Fiedler Trio with John Hebert, Mike Sarin

Barbès 8, 10 pm $8• Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones III

Dizzy’s Club 7:30, 9:30 pm $30Pete Malinverni Trio Dizzy’s Club 11 pm $10Freddy Cole Quartet with Jerry Byrd, Curtis Boyd, Zachary Pride

Jazz Standard 7:30, 9:30 pm $25Bill McHenry Quartet with Ben Monder, Reid Anderson, Paul Motian Village Vanguard 9, 11 pm $30

• Curtis Stigers Blue Note 8, 10:30 pm $25The Mahavishnu Project: Glenn Alexander, Adam Holzman, Rob Thomas, David Johnsen, Gregg Bendian

Iridium 8, 10 pm $25Giacomo Gates with Gloria Cooper, Cameron Brown, Tim Horner

Enzo’s Jazz 8:30, 10:30 pm $15• Gregg August Sextet Bacchus Room 8, 9:30, 11 pm $5• Matt Steckler’s Persiflage Sweet Rhythm 8, 10 pm $15• Turtle Island String Quartet

Baruch College 6 pmToru Dodo Trio with Joseph Lepore, Rodney Green

The Kitano 8, 9:45 pm• Zev Feldman; Peter Rushefsky

The Stone 8, 10 pm $10• Brenda Earle with Joel Frahm, Joe Martin, Bill Campbell

55Bar 7 pm• Mike Stern 55Bar 10 pm• Russell Branca Quartet with Tom Beckham, Heather Bennett,

Anthony Pinciotti Kavehaz 6 pm• Noah Haidu Quartet with Marcus McClaurine, Steve Johns,

Peter Brainin Kavehaz 9:30 pm• Old School Freight Train; Margot Leverett and the

Klezmer Mountain Boys Makor 8 pm $15• Masahiro Yamamoto Quartet with Mike Effenberger,

Chris Tordini, Alex Wyatt Tea Lounge 9, 10:30 pm• Brian Prunka and the Near East River Ensemble;

The Howling Makams Galapagos 7 pm• Lily Maase’s Hall of Mirrors with Rob Mosher, Evan Smith,

Matt Wigton, Fred Kennedy; UBUNTU: Evan Mazunik, Alex Foote, Rick Stone, J. Frederick, Jay Foote

Lucky Cat Lounge 8 pm• Violet; Ben Lee Group The Pourhouse 9, 10:30 pm $5• Jair Cohelo Puppets Jazz Bar 8 pm• Steve Husted Quartet The Garage 8 pm• Carol Fredette, Andy Ezrin, David Finck

Saint Peter’s 1 pm $5Thursday, February 16

Pittsburgh: From the Heart of Steeltown: Lincoln Center Jazz Orchestra with Wynton Marsalis and guests Jeff “Tain” Watts, Steve Nelson Rose Hall 8 pm $30-130Music of the Masters - Stanley Turrentine: Eric Alexander, Robert Stewart, Gene Ludwig, Grady Tate, Dave Stryker

Allen Room 7:30 pm $40-130Mark Murphy Iridium 8, 10 pm $27.50Jackalope: John Abercrombie, Loren Stillman, Bob Meyer

Jimmy’s Restaurant 8, 10 pm• Po’Jazz hosted by Golda Solomon with Rosemary George,

Robert DeGaetano Cornelia Street Café 6 pm $20Kresten Osgood Group with Michael Blake, Steven Bernstein, Ben Allison Cornelia Street Café 8:30 pm $10Michael Attias solo; Renku: Michael Attias, John Hebert, Satoshi Takeishi Issue Project Room 8 pm $10Anat Cohen Quartet with Jason Lindner, Joe Martin, Jonathan Blake Jazz Standard 7:30, 9:30 pm $20

• AfroCuban Jazz Orchestra directed by Bobby SanabriaManhattan School of Music 8 pm

George Coleman Quartet with Anthony Wonsey, Jerome Derro, Joe Farnsworth Birdland 9, 11 pm $30

• Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones IIIDizzy’s Club 7:30, 9:30 pm $30

Pete Malinverni Trio Dizzy’s Club 11 pm $10Bill McHenry Quartet with Ben Monder, Reid Anderson, Paul Motian Village Vanguard 9, 11 pm $30

• Curtis Stigers Blue Note 8, 10:30 pm $25• Good Morning Scelsi: Marc Ribot and Ensemble Dissonanzen

with Marco Cappelli, Ciro Longobardi, Claudio Lugo, Tommaso Rossi Tonic 8 pm $12Metropolis Ensemble; Daniel Neer; Marty Ehrlich, Mark Helias, Mike Sarin Angel Orensanz Center 8 pm $15-25

• Ikue Mori’s Bhima Swarga; Sylvie Courvoisier/Ben Perowsky DuoThe Stone 8, 10 pm $10

• Janek Gwizdala Project with Tim Miller, Elliot Mason, Jordan Perlson Jazz Gallery 9, 10:30 pm $12

• Joe Farnsworth Trio Bacchus Room 8, 9:30, 11 pm $5Dave Gibson Quartet Smoke 9, 11 pm 12:30 am

• Max Wild Band with Jesse Lewis, Soren Moller, Fraser Hollins, Obed Calvaire Kavehaz 6 pm

• Dave Allen with Seamus Blake, Carlo DeRosa, Take ToriyamaKavehaz 9:30 pm

Kris Davis Group with Chris Speed, Eivind Opsvik, Jeff DavisTea Lounge 9, 10:30 pm

Leslie Pintchik Trio with Scott Hardy, Mark DodgeThe Kitano 8, 9:45 pm

• Judith Berkson Barbès 8 pm• Sean Nowell Group with Travis Sullivan, Art Hirahara,

Danny Zanker, Joe Abbatantuono55Bar 7 pm

• Shift: Bryan Baker, Bryan Ladd, Ziv RavitzBar 4 8:30 pm

Bill Ware Puppets Jazz Bar 8 pm• Dan Furman Trio Cleopatra’s Needle 8 pm• John Chin Trio The Garage 8 pm

Friday, February 17 Sonny Fortune Quartet Sweet Rhythm 8, 10 pm 12 am $20Jimmy Cobb’s Mob with Peter Bernstein, Richard Wyands, John Webber Smoke 9, 11 pm 12:30 am $25John Hollenbeck’s Large Ensemble with Ben Kono, Chris Speed, Charles Pillow, Dan Willis, Bohdan, Rob Hudson, Kurtis Pivert, Jacob Garchik, Mike Christianson, Tony Kadleck, James De La Garza, Dave Ballou, Shane Endsley, Kermit Driscoll, Kris Davis, Matt Moran, Theo Bleckmann, JC Sanford

The Kitchen 8 pm $10Cecil Payne Sextet with Harold Mabern, Jim Rotondi, Steve Davis,Todd Coolman The Kitano 8, 9:45 pm $20Charlie Hunter Trio with John Ellis, Derrek Phillips

Jazz Standard 7:30, 9:30 pm $25John Ellis Quartet Jazz Standard 11:30 pm $20

• Danny Mixon Trio Lenox Lounge 8, 10, 11:30 pm $20Anat Fort Trio with Gary Wang, Roland Schneider

Cornelia Street Café 9, 10:30 pmPittsburgh: From the Heart of Steeltown: Lincoln Center Jazz Orchestra with Wynton Marsalis and guests Jeff “Tain” Watts, Steve Nelson Rose Hall 8 pm $30-130Music of the Masters - Stanley Turrentine: Eric Alexander, Robert Stewart, Gene Ludwig, Grady Tate, Dave Stryker

Allen Room 7:30 pm $40-130George Coleman Quartet with Anthony Wonsey, Jerome Derro, Joe Farnsworth Birdland 9, 11 pm $30Mark Murphy Iridium 8, 10, 11:30 pm $30

• Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones IIIDizzy’s Club 7:30, 9:30, 11:30 pm $30

Pete Malinverni Trio Dizzy’s Club 1 am $10Bill McHenry Quartet with Ben Monder, Reid Anderson, Paul Motian Village Vanguard 9, 11 pm $35

• Curtis Stigers Blue Note 8, 10:30 pm $25Bill Ware’s Vibes Blue Note 12:30 am $8

• Marcus Gilmore Quintet with Gregoire Maret, Dayna Stephens, David Bryant Jazz Gallery 9, 10:30 pm $15

• Larry Newcomb Trio with Mike Camoia, David ShaichEnzo’s Jazz 8:30, 10:30 pm $15

• Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5• Eric Plaks Quintet with Justin Rothberg, David Walker,

Ariel de la Portilla, Jon PanikkarKavehaz 6 pm

Loren Stillman Quartet with Nate Radley, Carlo Derosa, Take Toriyama Kavehaz 9:30 pm

• Raz Mesinai Project; Halle GaforiThe Stone 8, 10 pm $10

Avi Rothbard Quartet Fat Cat 10 pm• Chris Parello Trio Bar Next Door 9 pm $8• Don Peretz Group with Loren Stillman, Oz Noy, Chris Lightcap

55Bar 7 pm• Sten Hosfalt solo The Backroom 9:30 pm• Jon De Lucia Group with Nir Felder, Mike Oien, Ziv Ravitz

Vox Pop Coffee Shop 8 pm• Joe Giglio/Jonny Johannsen

107West 10 pm• Debbie Deane Band Tea Lounge 9, 10:30 pm• Joni Paladin Quartet Cleopatra’s Needle 8 pm• Jay Collins Trio Bistro Jules 9:30, 11 pm

Bill Ware Puppets Jazz Bar 9 pm• Champion Fulton The Garage 5:45 pm

Virginia Mayhew Quartet The Garage 10:15 pmSaturday, February 18

Dave Douglas’ Keystone with Marcus Strickland, Adam Benjamin, Brad Jones, Gene Lake, DJ Olive

Zankel Hall 8:30 pm $42Spanish Fly: Steven Bernstein, David Tronzo, Marcus Rojas, Ben Perowsky Bowery Poetry Club 8 pmBill Stewart Group Jazz Gallery 9, 10:30 pm $15Susie Ibarra/Roberto Rodriguez

Joe’s Pub 9:30 pm $15Sonny Fortune Quartet Sweet Rhythm 8, 10 pm 12 am $20Jimmy Cobb’s Mob with Peter Bernstein, Richard Wyands, John Webber Smoke 9, 11 pm 12:30 am $25John Hollenbeck’s Large Ensemble with Ben Kono, Chris Speed, Charles Pillow, Dan Willis, Bohdan, Rob Hudson, Kurtis Pivert, Jacob Garchik, Mike Christianson, Tony Kadleck, James De La Garza, Dave Ballou, Shane Endsley, Kermit Driscoll, Kris Davis, Matt Moran, Theo Bleckmann, JC Sanford

The Kitchen 8 pm $10Cecil Payne Sextet with Harold Mabern, Jim Rotondi, Steve Davis,Todd Coolman The Kitano 8, 9:45 pm $20Charlie Hunter Trio with John Ellis, Derrek Phillips

Jazz Standard 7:30, 9:30 pm $25John Ellis Quartet Jazz Standard 11:30 pm $20

• Danny Mixon Trio Lenox Lounge 8, 10, 11:30 pm $20Tony Malaby, Angelica Sanchez, Tom Rainey

Cornelia Street Café 9, 10:30 pm $10Pittsburgh: From the Heart of Steeltown: Lincoln Center Jazz Orchestra with Wynton Marsalis and guests Jeff “Tain” Watts, Steve Nelson Rose Hall 8 pm $30-130Music of the Masters - Stanley Turrentine: Eric Alexander, Robert Stewart, Gene Ludwig, Grady Tate, Dave Stryker

Allen Room 7:30 pm $40-130Mark Murphy Iridium 8, 10, 11:30 pm $32.50George Coleman Quartet with Anthony Wonsey, Jerome Derro, Joe Farnsworth Birdland 9, 11 pm $30

• Cyrus Chestnut, Eric Reed, Gerald Cannon, Willie Jones IIIDizzy’s Club 7:30, 9:30, 11:30 pm $30

Pete Malinverni Trio Dizzy’s Club 1 am $10Bill McHenry Quartet with Ben Monder, Reid Anderson, Paul Motian Village Vanguard 9, 11 pm 12:30 am $35

• Curtis Stigers Blue Note 8, 10:30 pm $25Ayelet Rose Gottlieb Ensemble; Alon Nechushtan’s Talat Ensemble with Marc Mommaas, Matt Pavolka, Jordan Perlson

The Stone 8, 10 pm $10Jim Pugliese’s Phase III with Christine Bard, Michael Attias, Kato Hideki, Marco Cappelli and guests Marc Ribot, Kusun Ensemble: Nii Tettey Tetteh, Samuel “Otu” Kodjo, Emmanuel A. Anang, Robert “Obuobi” Ashong, Nelson Glover Yao, Addotei Bruice, Enest Borketey, Odai Moses

Issue Project Room 8 pm• Michael Camacho and Joe Farnsworth Trio

Bacchus Room 8, 9:30, 11 pm $5Avi Rothbard Quartet Fat Cat 10 pm

• Chris Carroll Quartet with Art Hirahara, Nate Radley, Thomson Kneeland Kavehaz 6 pmRuss Nolan Quartet with John Cowherd, Sean Conly, Vinnie Sperrazza Kavehaz 9:30 pmSandy Sasso with Gladstone Trott, Desi Norman, Rick Crane

55Bar 7 pmFree Zone: Robert Dick, Reuben Radding, Lukas Ligeti; Jim Kost Group Café Grumpy 9, 10 pm $5Andy Statman Barbès 8 pm $8

• Brian Smith Group Sistas’ Place 9, 10:30 pm $20• Grant Stewart Trio Bar Next Door 9 pm $8• Dan Dechellis 5C Café 7 pm• Dynamite Club: Mike Pride, Kentaro Saito, Jesse Krakow

BPM 11 pm• Hiroshi Yamazaki Quartet Cleopatra’s Needle 8 pm• Jaime Aff Trio Puppets Jazz Bar 9 pm

Roy Campbell and TAZZ Tower Records Lincoln Center 1 pm• JazzSabrosan Quartet Dizzy’s Club 1 pm• Larry Newcomb Trio The Garage 12 pm• Hide Tanaka Trio The Garage 5:45 pm• Chris Bergson The Garage 10:15 pm

Sunday, February 19 Marcus Rojas solo; David Tronzo solo; FlyMob: Steven Bernstein, David Tronzo, Marcus Rojas, Briggan Kraus, Kenny Wollesen and Tony Scherr Bowery Poetry Club 9 pm

• Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz, Marco Bermudez, Willie Torres, Maximo Rodriguez, Pablo “Chino” Nunez, George Delgado, Jorge Gonzalez, Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh, Mitch Frohman Blue Note 8, 10:30 pm $30Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer, Eric McPherson Village Vanguard 9, 11 pm 12:30 am $35Marc Mommaas’ Global Motion with Nikolaj Hess, John Hebert, Tony Moreno Cornelia Street Café 9, 10:30 pm $10David Gibson Quartet with Jeremy Manasia, Barak Mori, Willard Dyson Kavehaz 6 pmLucian Ban’s Assymetry with Jorge Sylvester, Brad Jones

Kavehaz 9:30 pmFree Zone: The Color Now: Daniel Carter, Ty Cumbie, Adam Lane, Lukas Ligeti Café Grumpy 9, 10 pm $5

• Amiri and Amina Baraka’s Blue ArkSistas’ Place 9, 10:30 pm $20

• Duke Ellington Society Concert with Eric ComstockSaint Peter’s 8 pm

• Paul Meyers Trio Bar Next Door 9 pm $8• Michelle Walker 55Bar 6 pm• Michael Camacho and Joe Farnsworth Trio

Bacchus Room 8, 9:30, 11 pm $5• Medina and Friends with Neal Haiduck, Alex Bellegarde

Camaradas 10 pm• Lily Maase’s Hall of Mirrors with Rob Mosher, Evan Smith,

Matt Wigton, Fred KennedyTillie’s 10 pm

• Yutaka Uchida Quartet Cleopatra’s Needle 8 pmBill Ware Puppets Jazz Bar 9 pmSteve Swell Tower Records Lincoln Center 1 pm

• Alejandro Aviles Quartet Dizzy’s Club 1 pmMaster Class: Gerald Wilson

Irene Diamond Education Center 2 pm• Joni Paladin The Garage 12 pm• Mark Capon The Garage 5:45 pm

Sunday, February 26Anat Fort Trio with Gary Wang, Roland Schneider; Jenny Lin, Cornelius Dufallo, Dorothy Lawson

The Stone 8, 10 pm $10Vijay Iyer Quartet with Rudresh Mahanthappa, Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $20

• Jesse Selengut New Orleans BandEuropa Club 7:30 pm $10

Vision Collaboration: Yin Mei Project; Dance Words Speak Peace: K.J. Holmes, Yoshiko Chuma, Patricia Nicholson, Billy Bang, William Parker; Julian Barnett; Sonia Portugal/Rob Brown

Vision Club 5 pm $20• Carmen Lundy Iridium 8, 10 pm $30

Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford, Gerald Cannon, Willie Jones III and guests Stefon Harris, Wycliffe Gordon Dizzy’s Club 7:30, 9:30 pm $30

• Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz, Marco Bermudez, Willie Torres, Maximo Rodriguez, Pablo “Chino” Nunez, George Delgado, Jorge Gonzalez, Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh, Mitch Frohman Blue Note 8, 10:30 pm $30Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer, Eric McPherson Village Vanguard 9, 11 pm $30

• Jim Rotondi Quartet Bacchus Room 8, 9:30, 11 pm $5Michael Blake’s Free Association, Steven Bernstein, Ben Allison, Kresten Osgood 55Bar 9:30 pmThe Four Bags: Bryan Drye, Jakob Garchik, Mike McGinnis, Sean Moran Barbès 7 pmMichael Bates Downtown Music Gallery 6 pm

• Valery Ponomarev and the VIP Jazz Band with Hilary GardnerBirdland 6 pm $10

• John Batiste Sweet Rhythm 8, 10 pm $15• Krackedlenz Project: Stephan Kammerer, Steve Elliot,

Matt Clohesy, Brian WolfeCornelia Street Café 8:30 pm $8• Kathleen Keogh with Ed Chang, Motoko Shimizu; Carsten Radtke

ABC No Rio 8 pm $3• Neal Haiduck Quartet with David Heckdendorn, Alex Bellegarde,

Rob Garcia Saint Peter’s 5 pm• Natasha Drootin Danny’s Skylight Room 9:15 pm $15• Danielle Cohen with Tim Collins, Thomas Morgan

Mile’s Bistro 9 pm $10• Joel Forrester and People Like Us

Bowery Poetry Club 11 amArt Baron and Friends Bowery Poetry Club 4 pm

• Ed Stoute and the Brooklyn AllstarsThe Jazz Spot 3 pm $10

• Mark Harvey Trio Middle Collegiate Church 3 pm• Jan Findlay The Garage 12 pm• Roz Corral with Paul Meyers, Santi Debriano

North Square Lounge 12:30, 2 pm• Gretchen Parlato Blue Note 12:30, 2:30 pm $19.50

ALLABOUTJAZZ-NEW YORK | February 2006 35

Tuesday, February 21Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford, Gerald Cannon, Willie Jones III and guests Stefon Harris, Wycliffe Gordon Dizzy’s Club 7:30, 9:30 pm $30Dan Nimmer Trio with David Wong, Peter Van Nostrand

Dizzy’s Club 11 pm $10• Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,

Marco Bermudez, Willie Torres, Maximo Rodriguez, Pablo “Chino” Nunez, George Delgado, Jorge Gonzalez, Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh, Mitch Frohman Blue Note 8, 10:30 pm $30

• Joey Calderazzo Trio Jazz Standard 7:30, 9:30 pm $20Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer, Eric McPherson Village Vanguard 9, 11 pm $30Kneebody: Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood Zebulon 10 pm

• Tim Ragusis Trio Bacchus Room 8, 9:30, 11 pm $5• Ari Hoenig Group with Jean-Michel Pilc, Francois Moutin

Fat Cat 10 pm $10• SUNY Jazz: Bobby Avey Quartet with Pana Andreou,

Donny McCaslin, Jordan Perlson55Bar 7 pm

David Binney’s Balance with Craig Taborn, Thomas Morgan, Dan Weiss 55Bar 10 pmCecilia Coleman NYC Baha’i Center 8, 10 pm $15

• Monday Off: Raymond Sage, Hilary Gardner, Amy Cervini, Richard Roland Sweet Rhythm 8, 10 pm $15Ken Hatfield/Hans Glawischnig

Fetch 8:30 pm• Christina Courtin’s Running Kicks with Mathias Kunzli,

Kyle Sanna; Michelle Casillas’ Ursa Minor with Robert DiPietro, Rob Jost The Stone 8, 10 pm $10

• Joris Teepe Lucille’s at B.B. King’s 8 pm• Pete Robbins’ Centric Bowery Poetry Club 10 pm $8• Jessica Lurie Barbès 7 pm• Sean Driscoll’s Trio Grande with Brad Mason, Matt Pavolka,

Marko Djordjevic Cornelia Street Café 8:30 pm $8• Evans Thompson 5C Café 5 pm• Jaime Aff Trio Puppets Jazz Bar 8 pm• Benson-Scott Big Band The Garage 8 pm

Wednesday, February 22Dexter Gordon Birthday Celebration: Javon Jackson Quartet with George Cables, Rufus Reid, Jimmy Cobb

Birdland 9, 11 pm $30Night of the Ravished Limbs: The Pavones: Jessica Pavone, Matt Bauder, Amy Cimini, Peter Evans, Matana Roberts, Aaron Siegel; Taylor Ho Bynum Sextet with Matt Bauder, Mary Halvorson, Evan O’Reilly, Jessica Pavone, Tomas Fujiwara

Barbès 8, 10 pm $12• Anthony Coleman; Yoel Ben-Simhon Sultana Ensemble with

Bassam Saba, Hicham Chami, Emmanuel Mann, Tomer Tzur, Osama Faruk, Dorit Konig, Jay Rodriguez, Rachid Halihal, Yousif Sheronick, Smadar Levi, Leanne Darling, Harel Shachal, Daphna Mor, Liron Peled, Ramzi Edlibi, Carlos Revollar

The Stone 8, 10 pm $10• Chip White Sweet Rhythm 8, 10 pm $15

Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford, Gerald Cannon, Willie Jones III and guests Stefon Harris, Wycliffe Gordon Dizzy’s Club 7:30, 9:30 pm $30Dan Nimmer Trio with David Wong, Peter Van Nostrand

Dizzy’s Club 11 pm $10• Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,

Marco Bermudez, Willie Torres, Maximo Rodriguez, Pablo “Chino” Nunez, George Delgado, Jorge Gonzalez, Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh, Mitch Frohman Blue Note 8, 10:30 pm $30

• Joey Calderazzo Trio Jazz Standard 7:30, 9:30 pm $20Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer, Eric McPherson Village Vanguard 9, 11 pm $30The Mahavishnu Project: Glenn Alexander, Adam Holzman, Rob Thomas, David Johnsen, Gregg Bendian

Iridium 8, 10 pm $25• Andy Middleton with Sheila Cooper, Jim O’Connor, Alan Ferber,

Darcy Hepner, Henry Hey, John Hebert, Owen HowardJazz Gallery 9, 10:30 pm $12

• Yuri Bashmet, Igor ButmanRose Hall 8 pm

• DeeAnne Gorman and Trio with Jack Glottman, Paul Beaudry, Adam Jackson Enzo’s Jazz 8:30, 10:30 pm $15

• Gregg August Sextet Bacchus Room 8, 9:30, 11 pm $5• Gil Pritchett; Sam Ben-Meir

Cobi’s Place 7, 10 pm• Floriculture: Chris Mannigan, Carl Maguire, Trevor Dunn,

Dan Weiss Tonic 8 pm • Adam Birnbaum Trio with Ben Wolfe, Rodney Green

The Kitano 8, 9:45 pm• MSM Concert Jazz Band Manhattan School of Music 8 pm• Joel Frahm Trio Arthur’s I/P 6 pm• George Dulin’s Disband with Sal Rosselli, Danny Zanker,

Take Toriyama 55Bar 7 pm• Mike Stern 55Bar 10 pm• Actual Trio: Pete Smith, Dave Ambrosio, Matt Garrity

Kavehaz 6 pm• Jon Notar Group The Pourhouse 9, 10:30 pm $5• Jair Cohelo Puppets Jazz Bar 8 pm• Manhattan Vibes The Garage 8 pm• Art Lillard, Steve Blum, Nick Cudhay

Saint Peter’s 1 pm $5• LaGuardia High School Jazz Orchestra

Saint Peter’s 7:30 pmThursday, February 23

Kahil El’Zabar’s Ethnic Heritage Ensemble with Ernest Dawkins, Corey Wilkes and guest Fareed Haque

S.O.B.’s 8 pmVision Collaboration: Marlies Yearby/Nioka Workman; Felicia Norton with Leroy Jenkins; Nancy Zendora with Daniel Carter, Marilyn Sontag; Gus Solomons, Jr. with Todd Nicholson, Kidd Jordan/William Parker

Vision Club 8 pm $20Los Angeles: Central Avenue Breakdown: Lincoln Center Jazz Orchestra with Wynton Marsalis and guests Gerald Wilson, Plas Johnson Rose Hall 8 pm $30-130Mike LeDonne Trio with Ron Carter

Smoke 9, 11 pm 12:30 am $25• Carmen Lundy Iridium 8, 10 pm $27.50

Tim Berne’s Paraphrase with Drew Gress, Tom RaineyJimmy’s Restaurant 8, 10 pm

Assif Tsahar, Cooper-Moore, Chad TaylorTea Lounge 9, 10:30 pm

Quinsin Nachoff, Mark Helias, Jim BlackTonic 8 pm

George Garzone, Garth Stevenson, Ziv Ravitz Bar 4 8:30 pm

• Eyal Maoz; Rashanim: Jon Madof, Shanir Blumenkranz, Mathias Kunzli The Stone 8, 10 pm $10Dexter Gordon Birthday Celebration: Javon Jackson Quartet with George Cables, Rufus Reid, Jimmy Cobb

Birdland 9, 11 pm $30Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford, Gerald Cannon, Willie Jones III and guests Stefon Harris, Wycliffe Gordon Dizzy’s Club 7:30, 9:30 pm $30Dan Nimmer Trio with David Wong, Peter Van Nostrand

Dizzy’s Club 11 pm $10• Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,

Marco Bermudez, Willie Torres, Maximo Rodriguez, Pablo “Chino” Nunez, George Delgado, Jorge Gonzalez, Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh, Mitch Frohman Blue Note 8, 10:30 pm $30

• Joey Calderazzo Trio Jazz Standard 7:30, 9:30 pm $20Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer, Eric McPherson Village Vanguard 9, 11 pm $30Action Trio: Michael Attias, Sean Conly, Take Toriyama

Kavehaz 9:30 pm• Ben Monder Barbès 10 pm $5

Lenore Raphael Trio with Hill Greene, Montez ColemanThe Kitano 8, 9:45 pm

Virginia Mayhew Sweet Rhythm 8, 10 pm $15• Patrick Cornelius Quartet with Aaron Parks, Alan Hampton,

Kendrick Scott and guests Nick Vagenas, Gretchen ParlatoJazz Gallery 9, 10:30 pm $12

• Joe Farnsworth Trio Bacchus Room 8, 9:30, 11 pm $5• Interpretations: Wandelweiser Composers Ensemble;

Gamelan Son of Lion Merkin Hall 8 pm $10• Harlem Speaks: Paul Robeson Jr.

Jazz Museum in Harlem 6:30 pm• Havana Carbo with Dario Eskenazi, Nilson Matta

55Bar 7 pm• Marcus Persian Trio Cleopatra’s Needle 8 pm

Bill Ware Puppets Jazz Bar 8 pm• Yardena The Garage 8 pm

Friday, February 24Whitney Live: Hamid Drake/Michael Zerang

Whitney Museum 7 pmCarlos Garnett Quartet Lenox Lounge 8, 10, 11:30 pm $20Vijay Iyer Quartet with Rudresh Mahanthappa, Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30, 11:30 pm $25Joe Locke Quartet with Phil Markowitz, Ed Howard, Terreon Gully

The Kitano 8, 9:45 pm $20Ben Goldberg Ensemble The Stone 8, 10 pm $10Vision Collaboration: Gloria McLean with Ellen Christi, Kazuko Miyamoto; Maria Mitchell; Marlies Yearby with Nioka Workman; Elaine Shippman, Gabriel Zaragosa; Kidd Jordan, Joe McPhee, Nioka Workman, Jackson Krall

Vision Club 8 pm $20Los Angeles: Central Avenue Breakdown: Lincoln Center Jazz Orchestra with Wynton Marsalis and guests Gerald Wilson, Plas Johnson Rose Hall 8 pm $30-130David Hazeltine Quintet with Eric Alexander

Smoke 9, 11 pm 12:30 am $25• Jaleel Shaw Quartet with Danny Grissett, Derrick Hodge,

Johnathan Blake Jazz Gallery 9, 10:30 pm $15• Barbara Sfraga and Center Search Quest with

Christopher Dean Sullivan, Michael TA Thompson, Eri YamamotoEnzo’s Jazz 8:30, 10:30 pm $15

• Sasha Dobson Quartet Bacchus Room 8, 9:30, 11 pm $5• Neal Haiduck with Alex Bellegarde, Nathan Bloom, Rob Garcia

Detour 9 pm• Joe Giglio/Paul Bollenback

107West 10 pm• Carmen Lundy Iridium 8, 10, 11:30 pm $30

Dexter Gordon Birthday Celebration: Javon Jackson Quartet with George Cables, Rufus Reid, Jimmy Cobb

Birdland 9, 11 pm $30Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford, Gerald Cannon, Willie Jones III and guests Stefon Harris, Wycliffe Gordon Dizzy’s Club 7:30, 9:30, 11;30 pm $30Dan Nimmer Trio with David Wong, Peter Van Nostrand

Dizzy’s Club 1 am $10• Spanish Harlem Orchestra: Oscar Hernandez, Ray De La Paz,

Marco Bermudez, Willie Torres, Maximo Rodriguez, Pablo “Chino” Nunez, George Delgado, Jorge Gonzalez, Jimmy Bosch, Dan Reagan, Pete Nater, John Walsh, Mitch Frohman Blue Note 8, 10:30 pm $30Jeremy Pelt Quintet with Frank Locrasto, Vicente Archer, Eric McPherson Village Vanguard 9, 11 pm $35Kendra Shank with Ben Monder, Tony Moreno

55Bar 7 pm• Poul Weis Sextet Kavehaz 6 pm

Ace Collective: Jorge Sylvester, Nora McCarthy, Donald Nicks, Dafnis Prieto Kavehaz 9:30 pm

• Jeremy Udden Quartet Tea Lounge 9, 10:30 pm• John Chin Trio Bar Next Door 9 pm $8• Disassembled Quintet: Sam Kulik, Diana Wayburn, Eric Eigner

François Grillot 5C Café 7 pm• Kristjan Randalu Quartet Estonian House 9 pm• Simona Premazzi Quartet Cleopatra’s Needle 8 pm• Jay Collins Trio Bistro Jules 9:30, 11 pm• Jaime Aff Trio Puppets Jazz Bar 9 pm• Nick Moran Trio The Garage 5:45 pm• Gerald Hayes The Garage 10:15 pm

Saturday, February 25 Carlos Garnett Quartet Lenox Lounge 8, 10, 11:30 pm $20Vijay Iyer Quartet with Rudresh Mahanthappa, Stephan Crump, Marcus Gilmore Jazz Standard 7:30, 9:30, 11:30 pm $25Joe Locke Quartet with Phil Markowitz, Ed Howard, Terreon Gully

The Kitano 8, 9:45 pm $20Ben Goldberg Ensemble The Stone 8, 10 pm $10Vision Collaboration: Yin Mei Project; Kevin Bachman, Jason Jordan; K.J. Holmes/Roy Campbell; Sonia Portugal/Rob Brown; Kidd Jordan, Roy Campbell, William Parker, Alvin Fielder Vision Club 8 pm $20Los Angeles: Central Avenue Breakdown: Lincoln Center Jazz Orchestra with Wynton Marsalis and guests Gerald Wilson, Plas Johnson Rose Hall 8 pm $30-130David Hazeltine Quintet with Eric Alexander

Smoke 9, 11 pm 12:30 am $25• Carmen Lundy Iridium 8, 10, 11:30 pm $30

Dexter Gordon Birthday Celebration: Javon Jackson Quartet with George Cables, Rufus Reid, Jimmy Cobb

Birdland 9, 11 pm $30Music Of Cedar Walton: Eric Reed Quartet with Terell Stafford, Gerald Cannon, Willie Jones III and guests Stefon Harris, Wycliffe Gordon Dizzy’s Club 7:30, 9:30, 11:30 pm $30Dan Nimmer Trio with David Wong, Peter Van Nostrand

Dizzy’s Club 1 am $10Ralph Alessi Quartet with Andy Milne, Drew Gress, Mark Ferber and guests Jazz Gallery 9, 10:30 pm $15

Solo Acoustic Guitar

“...a distinct and compelling acoustic voice...Rolf is also a master of scrumptious chord

motion...Shawangunk is the pureexpression of his nylon artistry.”

- Tony Trischka, banjo virtuoso

www.rolfsturm.orgwww.waterstreetmusic.org

Monday, February 27 2006 Beacons Award Gala honoring Ed Bradley, Barry Harris, Roy Haynes, Jon Hendricks with Bill Cosby, Chico Hamilton, Charles McPherson, George Wein, Joe Chambers, Al Jarreau, Earl May, Peter Mihelich, Neal Miner, Andy Watson, Randy Weston, Leroy Williams, Reggie Workman and others

The Pierre 6:30 pm $500• Mordy Ferber Blue Note 8, 10:30 pm $10• Upstarts!: Akiko Grace Dizzy’s Club 7:30, 9:30 pm $15

New School Presents: Charles Tolliver Art Blakey EnsembleSweet Rhythm 8, 10 pm $10

• Justin Mullens Group with Peter Hess, Jacob Sacks, Bob Bowen, Take Toriyama 55Bar 7 pm

• Mike Stern 55Bar 10 pm• Steve Coleman Presents Jazz Gallery 9 pm $15• James Chirillo Trio Bacchus Room 8, 9:30, 11 pm $5• Voices and Songs: Erin Bode

Jazz Standard 7:30, 9:30 pm $15• Diana Perez Quartet Smith’s Bar 8 pm• Tony Barba Trio; MHG 3: Mike Gamble, Noah Jarrett,

Matt Vorzimer Bar 4 8 pm• Gretchen Parlato Trio Bar Next Door 8 pm $5• Susan Singer Danny’s Skylight Room 7 pm $12

Tuesday, February 28Joe Chambers and the Outlaw Band with Javon Jackson, Logan Richardson, Misha Tsyganoff, Dwayne Burno, Woody Shaw III New School 8 pmCachao Blue Note 8, 10:30 pm $45Fred Hersch solo Village Vanguard 9, 11 pm $30Cyrus Chestnut Quintet featuring Mark Whitfield

Dizzy’s Club 7:30, 9:30 pm $30Helen Sung Trio Dizzy’s Club 11 pm $10

• Wolfgang Schalk with Dave Kikoski, Andy McKee, Ian FromanJazz Standard 7:30, 9:30 pm $15

Frank London; Shanir Blumenkranz EnsembleThe Stone 8, 10 pm $10

• Mark Sherman Quintet NYC Baha’i Center 8, 10 pm $15Dave Allen with Loren Stillman, Drew Gress, Mark Ferber

Cornelia Street Café 8:30 pm $10• Christiana Drapkin Sweet Rhythm 8, 10 pm $15• Tim Ragusis Trio Bacchus Room 8, 9:30, 11 pm $5• Ari Hoenig Group Fat Cat 10 pm $10

Eric Frazier Quintet with Danny Mixon, Todd Isler, Donald Lee Jones, Quent Franklin; Patience Higgins and The Sugar Hill Quartet with Andy Mc Cloud III, Marcus Persiani, Dave Gibson Nuyorican Poets Cafe 7 pm $15Ken Hatfield/Hans Glawischnig

Fetch 8:30 pm• Steve Hudson with Peter Van Huffel, J. O. Begin, Mike Noordzy,

David Freeman 55Bar 7 pm• Leni Stern 55Bar 10 pm• Phil Palombie Scott LaFaro Workshop

David Gage Bass Shop 7:15 pm $20• Leo Blanco Ensemble Lucille’s at B.B. King’s 8 pm• TreZure with Courtney Bryan

Mile’s Bistro 9 pm $10• NYU Jazz Orchestra The Garage 8 pm• Jaime Aff Trio Puppets Jazz Bar 12 pm

36 February 2006 | ALLABOUTJAZZ-NEW YORK

Regular EngagementsMONDAYS• Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am• Dave Allen Group Push Café 8 pm• Gene Bertoncini La Madeleine 7:30 pm (ALSO SUNDAYS)• Rick Bogart Trio Seppi’s 8:30 pm (ALSO WED, THURS, SUN)• Jim Campilongo The Living Room 11 pm• Joe Cohn/Harry Allen Quartet Zuni 8 pm free• Patrick Cornelius/Lou Garrett Quartet Mona Lounge 9 pm• Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $75• Kevin Dorn Collective The Cajun 8 pm• Jam Session with NAMA Band NAMA 7:30 pm• JJA Jazz Jam Local 802 7 pm• John Farnsworth Jazz Jam Smoke 9:30 pm• Jeanne Geis Carnegie Club 9 pm• Patience Higgins Lenox Lounge 9:30 pm $5• Ari Hoenig Trio Small’s 10 pm $10• Jason Lindner Big Band Fat Cat 10 pm $10• Nathan Lucas Trio Perk’s Restaurant 8 pm• Les Paul Iridium 8:30, 10:30 pm• Vanguard Jazz Orchestra Village Vanguard 9:30, 11:30 pm• Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm• Howard Williams Orchestra The Garage 8 pm• Scott Whitfield Jazz Orchestra Birdland 5:30 pm• Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pmTUESDAYS• Duke Ellington Orchestra Birdland 9, 11 pm• Dekel Bor Trio CharleyO’s 8 pm $7• Mike Cassedy, Dylan Heaney, Ben Campbell Williamsburgh Café 7 pm• Sedric Choukroun Seppi’s 8:30 pm• Seleno Clarke Trio Perk’s Restaurant 8 pm• Anat Cohen and Friends Bistro Jules 8:30 pm• Espriens Café Charbon 10 pm - 1 am free• Joel Frahm Bar Next Door 8 pm $5• Hammond B3 Organ Grooves Smoke 9, 11 pm, 12:30 am• Ken Hatfield Duo Fetch 8:30 pm• Laurent Medelgi/Stefan Held Duo Ara Wine Bar 8:30 pm• Mingus Big Band Iridium 8, 10:30 pm $25• Karin Okada Anyway Café Brooklyn 9 pm• Iris Ornig Duo La Locanda 6 pm• David Ostwald’s Centennial Band Birdland 5:30 pm• Stan Rubin Swing Era Big Band Charley O’s Times Square Grill 8:30 pm• Dred Scott Trio Rockwood Music Hall 12 am• Rich Siegel Stonewall Bistro 7:30 pm• Slavic Soul Party Barbès 7 pm• Grant Stewart/Joe Cohn Quintet Small’s 10 pm $10• Julius Tolentino Jam Cleopatra’s Needle 8 pm• Jimmy Vass University of the Streets 8 pm• Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm• Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pmWEDNESDAYS• Hui Cox Group Creole 9 pm• Eddie Davis and his New Orleans Jazz Band The Cajun 8 pm• Stacy Dillard cPhyve No Malice Palace 9 pm• Eric Frazier Trio JRG Fashion Café 6 pm• Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm• Aaron Goldberg Small’s 10 pm $10• Jonathan Kreisberg Bar Next Door 8 pm $5• Nathan & Max Lucas Organ Trio Lenox Lounge 6 pm• Ryan Meagher Jam Marc’s Lounge 10 pm $5• Laurent Medelgi Due Amici 8pm • Jacob Melchior Philip Marie 7 pm• New School New Faces in Jazz Le Figaro Café 8 - 11 pm free• Arturo O’Farrill Night and Day 8 pm• Valery Ponomarev Big Band Swing 46 8 pm• Ray Vega Kavehaz 8:30 pm• Myron Walden/Darren Barrett Group Fat Cat 10, 11:30 pm $10• Open Mic with Jon Weiss Duo Giovanni’s Atrium 6 pm• Jerry Weldon Trio Showman’s 8:30, 10, 11:30 pm• Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pmTHURSDAYS• Sedric Choukroun Brasserie Jullien 7:30 pm• Duane Eubanks Late Night Session Sweet Rhythm 11:30 pm $10• Erik Frazier Band Club 243 7 pm $10• Lucy Galliher/Don Moore Open Mic Perk’s Restaurant 8 pm• Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm• Jazz Vocal Coalition Jam Session Creole 9 pm• Justin Lees Guitar Duo Mr. Babbington’s 7 pm• Wayne Krantz 55Bar 9:30 pm• Manhattan Ragtime Orchestra The Cajun 8 pm• Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm• Karin Okada Quartet Ciao Stella 7:30, 10pm• Barbara Rosene Times Square Brewery 8 pm• Lorenzo Sanguedolce’s Sweetblood Trio and Jam I.C.U. Bar 10 pm free• Thos Shipley New Leaf Café 7: 30, 9:30 pm free• Tammy Shoji Open Jam Cleopatra’s Needle 12 am• Andy Statman Greenwich Village Synagogue 8 pm $10• Will Vinson Bar Next Door 8 pm $5• Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI & SAT)• Lonnie Youngblood Frank’s Cocktail LoungeFRIDAYS• Lew Anderson’s All-American Big Band Birdland 5:30 pm• Andy Brown/Petra Jensen Osterua Del Sole 1 pm• Yoni Halevy’s Sienna Quartet Louis 649 7:30 pm• Canal Street Dixieland Jazz and Blues Band The Cajun 8:30 pm• Sedric Choukroun Brasserie Jullien 8:30 pm• Mike Davis Quintet St. Nick’s Pub 10 pm• Jesse Elder Trio Perk’s Restaurant 8 pm• Kelly Friesen Quartet Shelly’s 8:30 pm• Jan Leder Trio La Prima Donna 8:30 pm (ALSO SAT)• Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm• Brady Miller Trio Bleu Evolution 10 pm (ALSO SAT)• Poma-Swank Io Lounge 7 pm• Donald Smith St. Nick’s Pub 10 pm• Society Giants MOTO 8 pm• Terry Waldo La Belle Epoque 5:30 pmSATURDAYS• Andy Brown/Petra Jensen Osterua Del Sole 1 pm• Sedric Choukroun Brasserie Jullien 8:30 pm• Alex Donner Big Band Café Carlyle 5:30 pm $45• Jazz Jam with Michael Vitali Group ICU Bar 4 pm• Whitney Moulton/Brian Cashwell Perk’s Restaurant 7 pm• Annie Ross Danny’s Skylight Room 7 pm $25• Red Onion Jazz Band The Cajun 8 pmSUNDAYS• William Ash Bao 7:30 pm• Kevin Blancq’s Crescent City Trio The Cajun 7:30 pm• David Coss and Trio The Garage 7 pm• Tedd Dolhon Trio Gramercy 24 11:30 am• Choro Ensemble Bistro Jules• Sedric Choukroun Seppi’s 11:30 am• Charles Davis The Zipper Theater 9 pm• Toru Dodo Jam Cleopatra’s Needle 4 pm• Marjorie Eliot, Rudell Drears, Sedric Choukroun ParlorJazz 4 pm• Lafayette Harris Trio Lenox Lounge 7 pm• Grassroots Effort Grassroots Tavern 7:30 pm• Michael Howell/Andy McCloud Village Restaurant 12:30 pm• Jazz Standard Youth Orchestra Jazz Standard 2 pm $5• Bob Kindred, John Hart, Steve LaSpina Café Loup 12:30 pm• Peter Leitch Walker’s 8 pm• The Jazz Spot with Mike Magilligan Detour 9:30 pm• Peter Mazza Bar Next Door 8 pm $5• Iris Ornig Trio Café Del Mar 6 pm• Carol Sudhalter The Cajun 12 pm• Bob Ward/Kelly Friesen One91 12 pm• Chris Washburne’s SYOTOS Band Smoke 9, 11 pm, 12:30 am

ALLABOUTJAZZ-NEW YORK | February 2006 37

• 92nd Street Y Lexington Avenue at 92nd Street (212-415-5500) Subway: 6 to 96th Street www.92ndstreety.com

• 107West 2787 Broadway (212-864-1555) Subway: 1 to 110th Street• ABC No Rio 156 Rivington Street

(212-254-3697) Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org

• AC Pianocraft Workshop 333 West 52nd Street (bet. 8th and 9th Avenues) Subway: C, E to 50th Street

• Algonquin Oak Room 59 W. 44th Street between 5th and 6th Avenues (212-840-6800) Subway: B, D, F, V to 42nd Street

• Allen Room 33 West 60th Street, 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org

• Alice Tully Hall (at Lincoln Center) 1941 Broadway at 65th Street (212-875-5050) Subway: 1, 2 to 66th Street- Lincoln Center www.lincolncenter.org

• Angel Orsensanz Center for the Arts 172 Norfolk Street (between Houston & Stanton) Subway: F, V to Second Avenue

• Anyway Café Brooklyn 1602 Gravesend Neck Road (718-934-5988) Subway: Q to Neck Road

• Arthur’s I/P 13 East 13th Street (bet. 5th Avenue & University)(212-807-6502) Subway: 6, N, R to 14th Street-Union Square

• Arthur’s Tavern 57 Grove Street(212-675-6879) Subway: 1 to Christopher Streetwww.arthurstavernnyc.com

• Bacchus Room at Bonafides 60 Second Avenue(212-777-2840) Subway: F to Second Avenue

• The Backroom 485 Dean Street at Sixth Avenue, Brooklyn (718-622-7035) www.freddysbackroom.com

• BAMCafé 30 Lafayette Ave at Ashland Place, Brooklyn (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org

• Bao 111 Avenue C (between 7th and 8th Streets)• B.B. King’s Blues Bar 237 W. 42nd Street

(212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com

• Bar 4 15th Street and 7th Avenue, Brooklyn(718-832-9800) Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue www.bar4.net

• Bar Next Door 129 MacDougal Street(212-529-5945) Subway: A, C, E, F, V to W. 4th Street

• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com

• Baruch College 17 Lexington Avenue at 23rd Street (646-312-3924) Subway: 6 to 23rd Street

• Birdland 315 W. 44th Street between 8th and 9th Avenues (212-581-3080) Subway: A, C, E, F, V to 42nd Street-Port Authority www.birdlandjazz.com

• Bistro Jules 60 St Marks Place(212-477-5560) Subway: 6 to Astor Place

• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F, V to W. 4th Street www.bluenotejazz.com

• Blue Stockings 172 Allen Street Subway: F to Second Avenue• Bowery Poetry Club 308 Bowery (between 1st and

Bleeker Streets) (212-614-0505) Subway: F to Second Avenue; 6 to Bleecker Street www.bowerypoetry.com

• Bowne Street Church 14311 Roosevelt Ave, Flushing• BPM 237 Kent Avenue Subway: L to Bedford Avenue • Brecht Forum 451 West Street (between Bank & Bethune)

(212-242-4201) Subway: A, C, E, L, 1, 2, 3 to 14th Streetwww.brechtforum.org

• Café Bar 247 Eldridge Street (212-607-7835) Subway: F to Second Avenue

• Café Carlyle 35 E. 76th Street (212-570-7189) Subway: 6 to 77th Street

• Café Charbon 168 Orchard Street Subway: F train to 2nd Avenue• Café del Mar 89 MacDougal

(212-777-7521) Subway: A, B, C, D, E, F, V to W. 4th Street • Café Grumpy Corner of Meserole Avenue and Diamond Street,

Brooklyn Subway: G to Nassau or Greenpoint Avenues • Café St. Bart’s 50th Street and Park Avenue

(212-888-2664) Subway: 6 to 51st Street• Cajun Restaurant 129 8th Avenue

(212-691-6174) Subway: A, C, E to 14th Street• Camaradas First Avenue at 115th Street• Cargo Café 120 Bay Street, Staten Island (718-876-0539)• Carnegie Club 156 W. 56th Street (212-957-9676)

Subway: N, Q, R, W to 57th-Seventh Avenue• Carnegie Hall 881 Seventh Avenue

(212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org

• Chez Oskar 211 DeKalb Avenue at Adelphie Street, Brooklyn(718-852-6250) Subway: D,M,N,R, Q to DeKalb Ave, C to Lafayette Avenue www.chezoskar.com

• Ciao Stella 206 Sullivan Street(212-505-8530) Subway: A,B,C,D,E,F,V to West 4th Street

• City Crab Park Avenue South at 19th Street• Cleopatra’s Needle 2485 Broadway between 92nd and

93rd (212-769-6969) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com

• Cobi’s Place 158 West 48th Street between 6th and 7th Avenues (516-922-2010) Subway: 1,2 to 50th Street

• Cornelia Street Café 29 Cornelia Street (212-989-9319) Subway: A, B, E, B, D, F, Q to W. 4th Street www.corneliastreetcafé.com

• Creole 2167 3rd Avenue at 118th Street(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com

• Crossroads Café 1241 Prospect Avenue, Brooklyn(718-972-1852) Subway: F to Prospect Park

• Danny’s Skylight Room 346-348 West 46th Street (212-265-8130) Subway: A, C, E, N, R to 42nd Street www.dannysgrandseapalace.com

• David Gage Bass Shop 36 Walker Street (212-274-1322) Subway: A to Chambers Street www.davidgage.com

• Detour 349 E. 13th Street at First Avenue(212-533-6212) Subway: L to First Avenue www.jazzatdetour.com

• Dizzy’s Club Coca Cola Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org

• Downtown Music Gallery 342 Bowery(212-473-0043) Subway: 6 to Astor Place; F, V to Second Avenue www.downtownmusicgallery.com

• The Duplex 61 Christopher Street(212-255-5438) Subway: 1 to Christopher Street

• Enzo’s Jazz 22 East 38th Street Subway: 4, 5, 6, 7 to 42nd Street-Grand Central

• Estonian House 243 East 34th Street at Second Avenue(212-684-0336) Subway: 6 to 34th Street

• Europa Club 98-104 Meserole Avenue, Brooklyn(646) 322-4051 Subway: G Train to Nassau Avenuewww.europaclub.com

• Fat Cat 75 Christopher Street at 7th Avenue(212-675-7369) Subway: 1, 9 to Christopher Street/Sheridan Square www.fatcatjazz.com

• 5C Café 68 Avenue C (212-477-5993) Subway: F, V to Second Avenue www.5ccc.com

• Fetch 1649 Third Avenue between 92nd and 93rd Streets(212-289-2700) Subway: 6 to 96th Street

• 55Bar 55 Christopher Street between Waverly Place and Seventh Avenue South (212-929-9883) Subway: 1, 2 to Christopher Street www.55bar.com

• Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org

• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (718-625-9339) Subway: G to Fulton Street

• Galapagos 70 North 6th Street, Brooklyn (718-782-5188) Subway: L to Bedford Avenuewww.galapagosartspace.com

• The Garage 99 7th Avenue South(212-645-0600) Subway: 1 to Christopher Street

• Greenwich Village Bistro 13 Carmine Street (212-206-9777) Subway: A,C,E,F,V to W. 4th Street

• Greenwich Village Synagogue 53 Charles Street at W. 4th Street (212-242-6425) Subway: 1 train to Christopher Street-Sheridan Square

• Hunter College 695 Park Avenue at 68th Street (212-772-5207) Subway: 6 to 68th Street

• I.C.U. Bar 765 Washington Street at W. 12th Street• Il Campanello Restaurant 136 West 31st Street

(212-695-6111) Subway: A, C, E to 34th Street• Interchurch Center 475 Riverside Drive at 120th Street• Irene Diamond Education Center Broadway at 60th Street

(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org

• Iridium 1650 Broadway at 51st Street(212-582-2121) Subway: 1,2 to 50th Street www.iridiumjazzclub.com

• Isaac Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org

• Issue Project Room 400 Carroll Street, Brooklyn Subway: F, G to Carroll Street www.issueprojectroom.org

• JRG Fashion Café 177 Flatbush Avenue, Brooklyn (718-399-7079)• Jazz 966 966 Fulton Street (718-638-6910)

www.illbrew.com/Jazz966.htm• Jazz Gallery 290 Hudson Street between Dominick

and Spring Streets (212-242-1063) Subway: C, E, to Spring Street; 1, 2 to Houston Street www.jazzgallery.org

• Jazz Museum in Harlem 104 E.126th Street between Park & Lexington Avenues (212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org

• The Jazz Spot 375 Kosciuszko Street (718-453-7825) Subway: J to Kosciuszko Street thejazz.8m.com

• Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net

• Jesse’s Place 812 W. 181st Street (212-795-4168) Subway: A to 181st Street

• Jimmy’s Restaurant 43 E. 7th Street (basement) 212-982-3006 Subway: 6 to Astor Place

• Joe’s Pub at the Public Theater 425 Lafayette Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com

• Kavehaz 37 West 26th Steet between Broadway and Sixth Avenue (212-343-0612) Subway: 1 to 23rd Street www.kavehaz.com

• The Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: 6 to 33rd Street

• The Kitchen 512 W. 19th Street (212-255-5793) Subway: A, C, E to 23rd Street www.thekitchen.org

• Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490) Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com

• Knitting Factory; Knitting Factory Tap Bar; Old Office 74 Leonard Street between Broadway and Church Street (212-219-3055) Subway: 1,2 to Franklin Streetwww.knittingfactory.com

• La Locanda 737 Ninth Ave between 49th and 50th Streets(212-258-2900) Subway: 1 to 50th Street, C, E to 50th Street

• La Prima Donna 163 W. 47th Street (between 6th & 7th Avenues) (212-398-3400) Subway: B, D, N, R, W train to W 47th Street www.laprimadonnany.com

• Laila Lounge 113 N. 7th Street (between Wythe and Berry) (718-486-6791) Subway: L to Bedford Avenue www.lailalounge.com

• Le Madeleine 403 W. 43rd Street (212-346-2993)Subway: A, C, E, 1, 2, 3 to 42nd Street-Times Square

• Le Figaro Café 184 Bleecker Street(212-677-1100) Subway: 6 to Bleecker Street

• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com

• The Living Room 154 Ludlow Street(between Stanton and Rivington) (212-533-7237)Subway: F, V to Second Avenue www.livingroomny.com

• Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-245-4802) Subway: C to 50th Street

• Location One 20-26 Greene Street (212-334-3347) Subway: A, C, E to Canal Street www.location1.org

• Lotus Arts 109 West 27th Street, 8th Floor Subway: 1, 9 to 28th Street www.lotusarts.com

• Louis 649 649 9th Street at Avenue C (212-673-1190)Subway: L to 1st Avenue www.louis649.com

• Lucky Cat Lounge 245 Grand Street between Driggs and Roebling Streets (718-782-0437) www.theluckycat.com

• Makor 35. W. 67th Street at Columbus Avenue(212-601-1000) Subway: 1, 2 to 66th Street-Lincoln Center www.makor.org

• Manhattan School of Music 120 Claremont Avenue (212-749-2802) Subway: 1 to 116th Street www.msmnyc.edu

• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam (212-501-3330) Subway: 1 to 66th Street-Lincoln Center www.kaufman-center.org

• Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street (212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org

• Middle Collegiate Church Second Avenue at 7th Street (212-477-0666) Subway: F to Second Avenue

• Mile’s Bistro 228 West 72nd Street between Broadway and West End Ave (212) 864-1829 Subway: 1, 2, 3 to 72nd Street

• Miller Theater 2960 Broadway and 116th Street (212-854-7799) Subway: 1 to 116th Street www.millertheater.com

• Miss Elle’s & Co. 226 West 79th Street between Broadway and Amsterdam (212-864-1829) Subway: 1 to 79th Street

• Mo Pitkins 34 Avenue A (bet. 2nd and 3rd Streets)(212-777-5660) Subway: F to Second Avenue www.mopitkins.com

• New School 55 West 13th St., 5th floor (212-229-5896) Subway: F, V to 14th Street www.jazz.newschool.edu

• NYC Baha’i Center Gillespie Auditorium53 E.11th Street (212-222-5159) Subway: 4, 5, 6 to 14th Street-Union Square www.bahainyc.org

• Night and Day 230 5th Avenuue, Brooklyn (718-399-2161)www.nightanddayrestaurant.com

• North Square Lounge 103 Waverly Place at McDougal Street (212-254-1200) Subway: A, B, C, E, F, V to West 4th Street www.northsquarejazz.com

• Orbit 2257 1st Avenue at 116th Street (212-348-7818)Subway: 6 to 116th Street www.orbiteastharlem.com

• ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981) Subway: G to Clinton-Washington www.parlorjazz.com

• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and 160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com

• Perk’s Restaurant 553 Manhattan Avenue (at 123rd Street)Subway: A, C, D to 125th Street

• Pianos 158 Ludlow Street Subway: F, V to Second Avenue• Pierre Hotel Fifth Avenue at 61st Street

(212-940-9109) Subway: 4, 5, 6 to 59th Street• Pourhouse Metropolitan Avenue at Humboldt Street,

Brooklyn (917-776-6950) Subway: L to Graham Avenuewww.thepourhouse.com

• Primi dell Classe 228 W. 72nd Street (212-875-0115)Subway: 1, 2, 3 to 72nd Street

• Puppets Jazz Bar 294 5th Avenue, Brooklyn (718-499-2627) www.puppetsjazz.com

• Push 294 Third Avenue between 22nd and 23rd Streets• Redd’s 511 Grand Street, Brooklyn (718-218-9429)• Rockwood Music Hall 196 Allen Street

(212-477-4155) Subway: F, V to Second Avenuewww.rockwoodmusichall.com

• Rose Center (at the American Museum of Natural History) 81st Street between Central Park West and Columbus Avenue (212-769-5100) Subway: B, C to 81st Street-MNH www.amnh.org/rose

• Rose Hall 33 West 60th Street, 11th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org

• Rubin Museum 150 West 17th Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org

• Ruth’s Chris Steakhouse 148 W. 51st Street• St. Marks Church 2nd Avenue and 10th Street (212- 674-6377)

Subway: 6 to Astor Place• St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street

(212-283-9728) Subway: A, C, B, D to 145th Street• St. Peter’s Church 346 West 20th Street (212-563-5124)

Subway: A, C, E to 23rd Street www.matafestival.org• Saint Peter’s Church 619 Lexington Avenue at 54th

Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org

• Seppi’s 123 W. 56th Street (212-708-7444)• Shelly’s 104 W. 57th Street at 6th Avenue

(212-245-2422) Subway: E,V to Fifth Avenue• Showman’s 375 West 125th Street at Morningside)

(212-864-8941) Subway: 1 to 125th Street• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue,

Brooklyn (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org

• Smalls 183 W 10th Street at Seventh Avenue (212-929-7565) Subway: 1,2,3,9 to 14th Streetwww.fatcatjazz.com

• Smith’s Bar 708 Eight Avenue (212-246-3268) Subway: A, C, E, N, R to 42nd Street

• Smoke 2751 Broadway between 105th and 106th Streets (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com

• S.O.B.’s 204 Varick Street (212-243-4940) Subway: 1, 9 to Varick Street www.sobs.com

• Spoken Words Cafe 226 4th Avenue between Union and President(718-596-3923) Subway: N, R trains to Union Street

• Stain Bar 766 Grand Street, Brooklyn(718-387-7840) Subway: L to Grand Street www.stainbar.com

• The Stone Avenue C and 2nd Street Subway: F, V to Second Avenue www.thestonenyc.com

• Sugar Bar 254 W. 72 St between Broadway and West End Avenue (212-579-0222) Subway: 1, 2, 3 to 72nd Street

• Sweet Rhythm 88 Seventh Avenue South between Bleecker and Grove Streets (212-255-3626) Subway: 1 to Christopher Street/Sheridan Square www.sweetrhythmny.com

• Swing 46 349 W. 46th Street (646-322-4051) Subway: A, C, E to 42nd Street www.swing46.com

• Symphony Space 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org

• Tea Lounge 837 Union Street, Brooklyn(718-789-2762) Subway: M, R to Union Streetwww.tealoungeNY.com

• Tillies 248 DeKalb Avenue (718-783-6140) Subway: B, D, F, Q, N to DeKalb

• Tonic 107 Norfolk Street between Delancey and Rivington Streets (212-358-7503) Subway: F to Delancey Street; J, M, Z to Delancey-Essex Streets www.tonicnyc.com

• Tower Records Lincoln Center 1961 Broadway (at 66th Street) (212-799-2500) Subway: 1, 9 to 66th Street

• Town Hall 123 W. 43rd Street (212-997-1003) Subway: 1, 2, 3, 7 to 42nd Street-Times Square

• Triad 158 West 72nd Street, 2nd floor (212-787-7921) Subway: B, C to 72nd Street www.triadnyc.com

• Tribeca PAC 199 Chambers Street (212-346-8510) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org

• Tribes Gallery 285 E. 3rd Street (212-674-8262) Subway: F, V to Second Avenuewww.tribes.org

• Velvet Lounge 223 Mulberry Street between Prince and Spring Streets (212-965-0439) Subway: 6 to Prince Street

• Via Della Pace 48 East 7th Street and Second Avenue(212-253-5803) Subway: 6 to Astor Place

• Village Restaurant 62 West 9th Street (212-505-3355)• Village Vanguard 178 Seventh Avenue South at 11th

Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com

• Vision Club 107 Suffolk Street www.visionfestival.org• Vox Pop Coffee Shop 1022 Cortelyou Road, Brooklyn

www.voxpopnet.net• Walkers 16 North Moore Street (212-941-0142)• The West End 2911 Broadway between 113th & 114th Street

(212-662-8830) Subway: 1 to 116th Street• Williamsburg Café 170 Wythe Avenue, Brooklyn

(718-387-5855) Subway: L to Bedford Avenue• York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens

Subway: E train to last stop www.york.cuny.edu• Zankel Hall 881 Seventh Avenue at 57th Street

(212-247-7800) Subway: N, Q, R, W to 57th Streetwww.carnegiehall.org

• Zebulon 258 Wythe Avenue between Metropolitan and North 3rd Street (718-218-6934) Subway: L to Bedford Avenue www.zebuloncafeconcert.com

• Zinc Bar 90 West Houston Street (212-477-8337) Subway: A, C, E, F, V, to W. 4th Street www.zincbar.com

• The Zipper Theater 336 W. 37th Street (212-563-0480) • Zuni 598 Ninth Avenue at 43rd Street (212-765-7626)

Subway: A, C, E to 42nd Street

CLUB DIRECTORY

(GREENLEAF CONTINUED FROM PAGE 8)

Bimhuis, from its 2002 European tour. The latter is thefirst in Greenleaf’s Paperback Series, which, Douglassaid, “involves recordings that ought to be out therebut that would very rarely get a chance to see the lightof day, because of marketing and promotion constraints.” The Paperbacks are professionallyrecorded, but feature minimalist packaging and aresold only online and at a reduced price ($9 for one set,or $15 for both sets of Live at the Bimhuis).

In addition to the Paperback Series, Greenleafoffers fans several different subscription options,where a prepaid contribution entitles them to CDs andmonthly digital downloads not available anywhereelse. “It’s just this special thing for people who chooseto help us out and subscribe,” said Douglas. “And wetrust them not to make copies for all their friends,” headded. “I think a lot of listeners realize that you’re supporting a community of people trying to makemusic in a difficult environment.”

The sense of a community of listeners supportingartists is tangible to Douglas now. “It’s just been athrill”, he said. “We’re not selling as many records asI sold when I was with RCA and we didn’t expect to,but the thrill is that I feel each sale is a real personal connection with a listener who wants to hear it. Now Ifeel like I’m really part of something that counts at avery basic level.”

One of Douglas’ goals as Greenleaf’s ArtisticDirector is to do more records with different artists inthe years to come. “You know me, I like all kinds ofmusic and I’d like to do a whole slew of recordings,but I feel that what’s the point of doing that if we can’thelp the artist reach his or her listeners,” he said. “Wehave to grow slowly.”

In February, Douglas’ Keystone ensemble makesits New York premiere at Carnegie’s Zankel Hall. Healso enters the studio for a new quintet recording thismonth and Greenleaf plans a Paperback Series forKneebody in 2006 as well.

And, just maybe, in the future a digital file mightappear on Greenleaf’s Web site, featuring a 20-something Dave Douglas and a 20-something MikeFriedman playing together at the recording sessionwhere they met two decades ago. K

For more information, visit www.greenleafmusic.com.Douglas is at Zankel Hall Feb. 18th. See calendar.

(ABC NO RIO CONTINUED FROM PAGE 8)

hate that I let anyone do anything. But I don’t want itto be just a free jazz night. I really do like all kinds ofmusic.

“It’s really about taste, how someone does improvised music,” he added. “You can have two people with alligator clips and one does somethinginteresting and the other person is just making noiseand thinks they’re doing something interesting. That’skind of what creative music is about, doing somethingnew.”

Despite the open-door policy, the small audiencesare less likely to see singer-songwriters or indie rockers than they are to see free jazz and free noiseimprovisers, from the quiet to the very loud.Saxophonist Jack Wright, guitarist Ed Chang, percussionist Michael Evans and pianist Ursel Schlichtare all recurring performers there. Traveling musicians such as German violinist Christoph Irmer,west coast percussionist Gino Robair and Georgia-based violist LaDonna Smith have all found gigs at thespace, when New York bookings can otherwise betough to come by for people from other places. Thelate Peter Kowald, Kevin Norton, Joe McPhee andBorah Bergman have all played there, and, of course,Silwula - himself a strong improvisor - generally playsa part in the open jams that follows the scheduled sets.

The open sessions are a central part of theC.O.M.A. ideology, Siwula said, as well as being hisfavorite part of the nights. The approach was carriedover from the Bunker Annex series that he helped tocurate at the Knitting Factory. After leaving that, hewas approached by people at ABC to start an improvseries there. He agreed, selecting an acronym for thename before deciding what it would stand for. Initiallyit was the Creative Out Music Association, but “itsparked too many things in people’s minds, the word‘out’,” he said. He changed it to the CitizenOntological Music Agenda, a mouthful of a name thatsuggests the open invites and the tenor of the space.While much of what goes on at ABC No Rio is run collectively - the building is also home to a weeklypunk series, a computer center, a darkroom, a printshop and a library, all open to the public - Siwula saidhe chose to oversee C.O.M.A. alone and keep the bookings open to anyone.

“I decided to not have it be a committee because Ihate committees,” he said. “I just have to keep reminding myself ‘benign indifference’ and not get tocharged up. It’s kind of like a zen thing.”

While there’s no strict political affiliation to thespace, it’s hard to miss the feel. The walls are oftenpainted with murals calling current politicians toquestion and they recently participated in an international exhibition of work made by Arab andIsraeli artists.

“I think it’s really independent, in that they’re concerned about the future of the world,” Siwula said of the space. “They’re definitely left but they’re kind

of free-floating left. They’re more concerned about ‘oh,people in prison don’t have books, let’s send thembooks.’ But I don’t think you’re going to find theDaughters of the American Revolution meeting there.”

On Feb. 19th, Siwula will mark his 56th birthdaywith a special C.O.M.A. night, featuring himself in avariety of duos and trios. In the spring - as he doesevery year - he will organize a building-wide benefit,this year raising funds needed more than ever. Andonce a renovation schedule is set, he will organize aspecial last concert before the room goes dark until2007. When it resumes, it will be in an all-new ABC NoRio.

“Assuming that I’m back there,” he said, “I’m hoping just to continue what I’ve been doing in a nicerroom, which I’m ready for, frankly - an even floor andhopefully some chairs that don’t break.” K

For more information, visit www.abcnorio.org. Performersthis month include Julianne Carney/Adam Matta; JedShahar/John Clair; Kurt Heyl/Ravi Padmanabha; ToddMerrell, Lou Rossi, Casey Block; Travis Just, MattRichelson, Quentin Tolimieri; Blaise Siwula with DomMinasi, Chris Welcome, Shayna Dulberger, Robyn Siwula,Ray Sage, Bonnie Kane, Adam Lane, Frank Keeley;Kathleen Keogh with Ed Chang; Motoko Shimizu; andCarsten Radtke. See calendar.

38 February 2006 | ALLABOUTJAZZ-NEW YORK

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ALLABOUTJAZZ-NEW YORK | February 2006 39

ON THIS DAY

The late Bill Perkins (tenor) co-ledthis date with the also departed JohnLewis (piano). Added to the mix isthe wonderful ‘rhythm section’ ofguitarist Jim Hall, bassist Percy Heathand drummer Chico Hamilton.Concurrent relationships abound onthis date - Lewis and Heath in theModern Jazz Quartet and Hamiltonand Hall in the drummer’s quintet.Perkins, a prototypical West Coastplayer, makes this date special, a program of standards and “TwoDegrees East, Three Degrees West”by Lewis, the album’s alternate title.

After two discs as a leader on ESPand one collaborative effort withPrince Lasha, Simmons (solely on altosax) recorded this album for a labelnot previously known for jazz (orindeed after either). Simmons isjoined by an obscure trio, the mostnotable musician his former wifeBarbara Donald on trumpet. Thematerial for this post-New Thingalbum is all Simmons originals -“Coltrane in Paradise”, “The Prober”,the title track, the oddly titled “SevenDance of Salami” and “Visions”, allenergetic music typical of the time.

Despite the predominant style ofwhatever era guitarist Pat Martinohas played in, he never stops sounding like himself - a faster, darker-toned heir to the tradition ofWes Montgomery. By this album,Martino had mixed his Philly soulroots with post-Fusion leanings, ablysupported by pianist Gil Goldstein,bassist Richard Davis (who playedwith Martino on his landmarkBaiyina) and drummer Billy Hart.This album is also notable for beingone of the few in Martino’s cataloguewith more covers than originals.

David Liebman was the most suitedsaxophonist to play with Elvin Jonesafter his major influence and Jones’former employer Coltrane. The twohad played together for 10 years bythe time of this out-of-print recording.This comfortable pairing is spiced upby a trio of unique international musicians: Japan’s Terumasa Hino oncornet, America’s Kenny Kirkland onpiano and Czech bassist GeorgeMraz. The tunes are split evenlybetween drummer and hornplayer,with “Never Let Me Go” added forgood measure.

Gerry Hemingway is much more aconceptualist than your typical backline timekeeper. The album wasrecorded in Bussum, Holland, a mixture of sessions with and withoutan audience. A five-part suite, allwritten by the leader and acting as amusical fairy tale, The Marmalade Kingfeatures an astonishingly virtuosiclineup: reedman Michael Moore,trombonist Wolter Wierbos, cellistErnst Reijseger (a native of Bussum asit happened) and bassist MarkDresser. All of Hemingway’s cerebraltalents are on display here.

by Andrey Henkin

Grand EncounterLewis/Perkins (Pacific Jazz)

February 10, 1956

Manhattan EgosSonny Simmons (Arhoolie)

February 10, 1969

ExitPat Martino (Muse)February 10, 1976

Earth JonesElvin Jones (Palo Alto-Quicksilver)

February 10, 1982

The Marmalade KingGerry Hemingway (hatART)

February 10, 1994

BIRTHDAYSFebruary 1†James P.Johnson

1894-1955†Tricky Sam Nanton

1904-46Sadao Watanabe b.1933February 2†Andrew Brown 1900-60†Emanual Paul 1904-88†Joe Mondragon 1920-87†Sonny Stitt 1924-82Mimi Perrin b.1926†Stan Getz 1927-91James Blood Ulmer

b.1942February 3†Lil Hardin Armstrong

1898-1971†Dolly Dawn 1919-2002Snooky Young b.1919†Chico Alvarez 1920-92John Handy b.1933Leroy Williams b.1937Bob Stewart b.1945February 4†Manny Klein 1908-96†Artie Bernstein 1909-64†Harold “Duke” DeJean

1909-2002†Jutta Hipp 1925-2003†Wally Cirillo 1927-77†Tony Fruscella 1927-69†Wade Legge 1934-63†John Stubblefield

1945-2005February 4†Roxelle Claxton 1913-95†Gene Schroeder 1915-75Bill Mays b.1944

February 6†George Brunis 1902-74†Ernie Royal 1921-83†Conrad Gozzo 1922-64Sammy Nestico b.1924†Bernie Glow 1926-82†Don Fagerquist 1927-74Tom McIntosh b.1927Nelson Boyd b.1928February 7†Eubie Blake 1883-1983†Wilbur Sweatman

1892-1961†Ray Crawford 1924-97†Ray Alexander

1925-2002†King Curtis 1934-71February 8†Lonnie Johnson

1889-1970Buddy Morrow b.1919†Pony Poindexter 1926-88Eddie Locke b.1930February 9†Walter Page 1900-57†Peanuts Holland 1910-79Joe Dodge b.1922February 10†Walter “Foots” Thomas

1907-81†Chick Webb 1909-39†Larry Adler 1914-2001†Sir Roland Hanna

1932-2002†Walter Perkins

1932-2004Rahn Burton b.1934Rufus Reid b.1944“Butch” Morris b.1947

February 11†Claude Jones 1901-62†Bob Casey 1909-86†Matt Dennis 1914-2002Martin Drew b.1944February 12†Paul Bascomb 1912-86†Tex Beneke 1914-2000†Ernst Landl 1914-83Leroy Harris b.1916†Bernie Privin 1919-99†Hans Koller 1921-2003†Art Mardigan 1923-77†Mel Powell 1923-98February 13†Wingy Manone 1900-82†Les Hite 1903-62†Lennie Hayton 1908-71†Wardell Gray 1921-55Ron Jefferson b.1926Keith Nichols b.1945February 14†Perry Bradford

1893-1970Jack Lesberg b.1920Elliot Lawrence b.1925February 15†Harold Arlen 1905-86†Walter Fuller 1910-2003Nathan Davis b.1937Henry Threadgill b.1944Kirk Lightsey b.1937†Edward Vesala 1945-99February 16†Machito 1912-84†Bill Doggett 1916-96†Charlie Fowlkes 1916-80Howard Riley b.1943

February 17†Wallace Bishop 1906-86†Charlie Spivak 1906-82†Harry Dial 1907-1987†Alec Wilder 1907-80Buddy DeFranco b.1923Buddy Jones b.1924February 18†Emil Barnes 1892-1970†De De Pierce 1904-73Hazy Osterwald b.1922†Frank Butler 1928-84†Billy Butler 1928-91February 19†Johnny Dunn 1897-1937Fred Van Hove b.1937Ron Mathewson b.1944David Murray b.1955February 20†Jimmy Yancey 1894-1951†Fred Robinson 1901-84†Oscar Aleman 1909-80Frank Isola b.1925†Bobby Jaspar 1926-63Nancy Wilson b.1937Lew Soloff b.1944Anthony Davis b.1951Leroy Jones b.1958Iain Ballamy b.1964February 21†Al Sears 1910-90†Tommy Stevenson

1914-44†Tadd Dameron 1917-65Eddie Higgins b.1932†Nina Simone 1933-2003Graham Collier b.1937Herb Robertson b.1951Warren Vache b.1951

February 22†James Reese Europe

1881-1919†Bob Ysaguirre 1897-1982†Joe Tarto 1902-86†Rex Stewart 1907-67†Claude “Fiddler”

Williams 1908-2004†Buddy Tate 1914-2001Joe Wilder b.1922Dave Bailey b.1926Whitey Mitchell b.1932Roman Dylag b.1938Marc Charig b.1944Harvey Mason b.1947Joe La Barbera b.1948February 23†Cie Frazier 1904-85†Sterling Bose 1906-58†John Benson Brooks

1917-99†Money Johnson 1918-78†Harry Lim 1919-90†Hall Overton 1920-72†Johnny Carisi 1922-92†Richard Boone 1930-99Les Condon b.1930February 24†Jimmy Bertrand 1900-60†Johnny Miller 1915-88Eddie Chamblee b.1920†Ralph Pena 1927-69Andrzej Kurylewicz

b.1932Michel Legrand b.1932David “Fathead”

Newman b.1933Steve Berrios b.1945Vladimir Chekasin b.1947Bob Magnusson b.1947Maggie Nicols b.1948

February 25†Ida Cox 1896-1967†Tiny Parham 1900-43†Ray Perry 1915-50Fred Katz b.1919†Rene Thomas 1927-75†Sandy Brown 1929-75Tommy Newsom b.1929†Ake Persson 1932-75February 26†Chauncey Haughton

1909-89Dave Pell b.1925Chris Anderson b.1926†Hagood Hardy 1937-97Trevor Watts b.1939Yosuke Yamashita b.1942Mike Richmond b.1948February 27†Leo Watson 1898-1950†Mildred Bailey 1907-51†Abe Most 1920-2002†Dexter Gordon 1923-90†Chuck Wayne 1923-97Harold Jones b.1940John B. Williams b.1941February 28Edmund Cohanier b.1905†Louis Metcalf 1905-81†Lee Castle 1915-90Svend Asmussen b.1916†Bill Douglass 1923-94Marty Grosz b.1930†Donald Garrett 1932-89†Willie Bobo 1934-83Pierre Dørge b.1946Leap Year Babies†Jimmy Dorsey 1904-56Paul Rutherford b.1940

KIRK LIGHTSEYFebruary 15, 1937

Best known as an accompanist, the pianistrecorded with Sonny Stittin the early ‘60s after moving to the West Coastfrom Detroit by way ofNew York. He workedwith Chet Baker and laterjoined Dexter Gordon’sband. As a member of theLeaders and with his owntrio, Lightsey proves to bea charismatic soloist andleader in his own right.

- CS

Separated at Birth?Pianist Eubie Blake (l.)Mahatma Ghan di (r.)

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Jackie ArmstrongProfessional at age 15, thetrombonist soon found himselfin the Ted Heath Orchestra as afrequent soloist and comicentertainer on stage. One of theUK’s top trombonists, he diedJuly 16th aged 85.

Bill DeArangoBird’s “Anthropology”, andDizzy Gillespie’s “Night InTunisia” feature his guitar. Afixture on 52nd Street until1948 when he returned toCleveland and embracedjazz/rock fusion, DeArangowas 85 when he died Dec. 26th.

Phil ElwoodWith a devotion to jazzsparked at age 13 by CountBasie, the critic brought anappreciation of the music toCalif. radio listeners in the ‘50s.After 40 years at the SFExaminer and Chronicle, he diedJan 10th at age 79.

Bob EnevoldsenBest known as a valve trombonist, the arranger andorchestrator also played tenorsax and bass with the likes ofGerry Mulligan, Bill Holmanand Henry Mancini before hisdeath Nov. 19th at age 85.

Harry GoldA 1919 Original Dixieland Jazzshow solidified his desire to bea musician. The bass saxophonist who eventuallystarted his own Dixieland styleband, Pieces of Eight, diedNov. 13th. He was 98.

Jamie HodgsonA shot of Dizzy Gillespie playing chess backstage at aLondon nightclub hung in acollection of jazz photos at theNational Theatre last month.The photographer who tookthem in the ‘50s and ‘60s diedJan 8th. He was 76.

Ken MackintoshThe British bandleader and saxplayer formed his own bigband in 1948 at the AstoriaBallroom, Nottingham andsparked a dance craze in 1953with “The Creep”. At age 86Mackintosh died Nov. 22nd.

Homer MenschThe revered bassist/educatorplayed with NBC’s Symphonyand the NY Philharmonic;recorded with Jaco Pastoriusand Nina Simone; and taughtat Julliard, Mannes and theManhattan School of Music.He died Dec. 9th aged 91.

Mike MikellWhitney Houston got her startat his Upper West Side club. Ajazz, R&B and literary hub inthe ‘70s and ‘80s, Letterman’sPaul Shaffer once called thespot “Soul Heaven”. Mikellpassed away Nov. 18th at 80.

Low RawlsThe Chicago born, GrammyAward winning singer startedin gospel with childhood palSam Cooke. He opened for theBeatles in 1966 and topped thecharts with “You’ll Never FindAnother Love Like Mine”. Hewas 72 when he died Jan 6th.

Simon SalzThe jazz guitarist, called “thefinest in South Florida”, founded the Gold Coast Jazz Society Band and taught musicat many universities andcamps. He died at 50 in Nov.

Bob WeinstockIn 1949 at age 20 he releasedLennie Tristano recordings onhis label New Jazz, which soonbecame Prestige. During twodecades at the helm he recorded Miles Davis, JohnColtrane, Sonny Rollins andEric Dolphy. Weinstock diedaged 77, Jan. 14th.

In Memoriam by Celeste Sunderland

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