October 2005 | No. 42 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com

George Lewis • Taso Music • Saint Peter’s • Benoît Delbecq • Event Calendar

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LATE NIGHT GROOVE SERIES • 12:30AMSUNDAY JAZZ BRUNCH • 12:30&2:30PMCOMBO NUVO Oct 2

SAYURI GOTO TRIO FEAT: LONNIE PLAXICO & GENE JACKSON Oct 9

JUN MIYAKE QUARTET FEAT: REGGIE WORKMAN Oct 16

MIKI HAYAMA QUARTET Oct 23

HIRONOBU SAITO W/DOMINICK FARINACCI Oct 30

MONDAY NIGHTS • 8 & 10:30PMJOHN ELLIS Oct 3

NEW SOUND OF SOUL JAZZ SERIES JEREMIAH Oct 10

JJ SANSEVERINO Oct 17

RUDRESH MAHANTHAPPA Oct 24

NEW SOUND OF SOUL JAZZ SERIES SELAN Oct 31

CATÉ Fri Sept 30AVI BORTNICK & CORNPONE Sat Oct 1DEBORAH DAVIS SINGS STEVIE WONDER Fri Oct 7RE-IMAGINING TOM WAITS Sat Oct 8FEAT: CARLTON J. SMITHBEATBOX JAZZ feat: BABA ISRAEL,Fri Oct 14KID LUCKY,JASON LINDNER & MORE

BIG BROOKLYN RED Sat Oct 15BRIAN HAAS OF JFJO Fri Oct 21w/BENEVENTO/RUSSO DUO & FRIENDSED CHERRY Sat Oct 22 ADAM DEITCH PROJECT Fri Oct 28 JIM PAYNE BAND Sat Oct 29

MASTER CLASS • SAT OCT 8 2PM • DAFNIS PRIETO

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ALLABOUTJAZZ-NEW YORK | October 2005 3

Recent tragic events in the Gulf Coast region of the United States have demonstrated both the good and bad sides of jazz. Good because of the numerousbenefits held throughout the city in September, continuing into the comingmonths no doubt, to provide relief to the residents of the stricken area. Jazz is amusic with a long history and everyone knows New Orleans’ place in that lineage. It is heartening to see musicians of every stripe and genre take time toassist in what ways they can.

However, on a national scale, the downside to the tragedy, and this is aquibbling argument in this time of real human suffering, is what it takes for jazzas an art form and part of American history to come into the forefront of thiscountry’s consciousness. When submerged under water is when people finallybegin speaking of the legacy of New Orleans as the birthplace of jazz and theshame it is to have it be seemingly destroyed. How long will this love affair withjazz last? Not too long one imagines. Will it translate into a higher awareness andappreciation of this unique American contribution to world culture? WhetherNew Orleans ends up rebuilt and revitalized or possibly is never the same again,jazz will remain submerged under the weight of public indifference. A few specials on mainstream television with dixieland soundtracks will hardly changethe situation. Even Wynton Marsalis, New Orleans’ most famous son, must find itbittersweet that he was approached to discuss his city’s rich heritage by primetime TV news programs only after it was nearly obliterated.

But we should think of this only briefly as we continue to help. There willbe many more opportunities to go to a benefit concert and we should all considerourselves lucky we can have the double pleasure of seeing great music and helping those less fortunate than ourselves. New Yorkers know about survival.Let’s take time to return the favor the rest of the country did for us when we werethe focus of national attention.

Laurence Donohue-GreeneAndrey HenkinMichael RicciDavid Adler, Clifford Allen, Rico Cleffi, Ty Cumbie, P. Christopher Dowd, Donald Elfman, Sean Fitzell, Ken Franckling,Kurt Gottschalk, Mike Holman, Terrell Holmes,Riel Lazarus, Francis Lo Kee, Brian Lonergan,Russ Musto, Javier Antonio Quiñones Ortiz,Brandt Reiter, Joel Roberts, Andrew Rowan,Elliott Simon, Tessa Souter, Jeff Stockton, Celeste Sunderland, Andrew Veléz, Flo Wetzel Ernest Barteldes, Chris DiGirolamo, Thomas Greenland, Marcia Hillman, Ethan Iverson, George Kanzler, Mark Samuels

On the cover: DON CHERRY at Symphony Space, 06-08-1991.Photograph © 1991 Linda Vartoogian/FrontRowPhotos.

Correction: In the Jacques Coursil article, Mr. Coursil wishes to retract statementsmade about ESP Records and Marion Brown regarding an unissued session. Theopinion, thought at the time, may have been erroneously misconstrued as fact byreaders of the article and could hurt two fine gentlemen and old friends. In theAgrazing Maze CD review last issue, drummer/leader Allison Miller was not fullyidentified by name; In the Andrea Wolper CD review, Victor Lewis is not properlycredited as drummer on several tracks; In the Dave Liebman CD review, the PMwebsite should have been www.pmrecords.org.

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NEW YORK

Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director

New York@Night4Interview: George Lewisby Brian Lonergan6Artist Feature: Benoît Delbecqby Ethan Iverson7

On The Cover: Don Cherryby Clifford Allen9Megaphone VOX Newsby Mark Samuels by Tessa Souter10Encore: Noah Howardby Andrey Henkin11Lest We Forget: Ted Dunbarby Donald Elfman

FestivalReport: 13

12 Listen Up! Matt Brewer & Jason Rigby

14 CD Reviews: Pharoah Sanders, Charlie Haden, Charles Tolliver,Vinny Golia, Either/Orchestra, Roswell Rudd, Tim Berne & more

36 Event Calendar

41 Club Directory

43 Miscellany

Label Spotlight: Taso Musicby Elliott Simon8Club Profile: Saint Peter’sby Andrew Veléz

In Memoriam • Birthdays • On This Day

Charlie Parker • Tanglewood • Williamsburg

4 October 2005 | ALLABOUTJAZZ-NEW YORK

NEW YORK @ NIGHT

The Brian Blade Fellowship has a way of remindingone why music (not just jazz) matters. Gigging andrecording infrequently, the group has nonethelessmoved many with its cathartic mini-symphonies, sothis Village Vanguard engagement was hotly anticipated. With saxophonist Chris Cheek standing infor Melvin Butler, Blade’s lineup was otherwise closeto that of the 2000 classic Perceptual: Myron Walden onalto, Kurt Rosenwinkel on guitar, Christopher Thomason double bass and Jon Cowherd, who has composeda good deal of the band’s book, on piano. (Alas, therewas no pedal steel player.) The first Thursday set (Sep.1st) opened with a majestic piano intro, paving theway for involved alto/tenor/guitar orchestration andgripping solos by Walden and Rosenwinkel.Accompanying these flights, as well as Cheek’s finelycalibrated statement on the next number, Bladeseemed to read every mind on the bandstand, accenting micro and macro gestures with controlledfire. But “Evinrude-Fifty (Trembling)” and “Variationsof a Bloodline”, both from Perceptual, were the centerpieces. “Variations” began with a bass clarinet/harmonium intro, identified by Ben Ratliff in the Timesas “Alpha and Omega” - although it closely paralleled“The Sunday Boys”, an interlude that preceded“Variations” on the album. Blade changed the scenerywith subtle hand-drumming and though one couldhear a pin drop, the music could not have groovedharder. - David Adler

For five years running, the Jazz Gallery has presented“The Trumpet Shall Sound”, a series pairing RoyHargrove with a different fellow trumpeter eachnight. This September marked the Gallery’s 10th yearas a live music venue, a circumstance heralded by several marquee names. Darren Barrett, ClaudioRoditi, Tom Harrell, Nicholas Payton and MarcusBelgrave all joined Hargrove and a house rhythm section - pianist Danny Grissett, bassist ReubenRogers and drummer Greg Hutchinson. Being a NewOrleanian, Payton almost had to cancel, so his appearance (Sep. 10th) had a certain post-Katrina resonance. Hargrove nudged the band into a precipitous “Alone Together”, took the first solo and provoked alert responses from the drums. Payton followed, displaying a bit more presence and agility;his angular approach to the form’s two extra barsdrew cries of delight from the musicians in the house;His lines were no less adventurous on “Stablemates”.Payton chose for a quartet feature Donald Byrd’supbeat “Fly Little Bird Fly”, packed with chordchanges that flattered the Mulgrew-esque Grissett.Hargrove’s feature, on fluegelhorn, was “I Fall in LoveToo Easily”, played with a glowing, understated tone.The finale, a modified minor-blues original, beganwith stormy rubato swells and soon launched into ablistering 4/4 swing. In one of the set’s most engrossing turns, Hargrove took his first few choruseswith nothing but the bass behind him. (DA)

Trombonist Steve Swell and Berlin multi-reed specialist Gebhard Ullmann took to the new impressive Brecht Forum space (Sep. 16th) by bringingin the quartet from their recent CD (Desert Songs &Other Landscapes, CIMP) with drummer Barry Altschuland 3-stringed (one broke) upright bassist WilliamParker (replacing Hilliard Greene). The comfortablefirst floor, though open loft-like, space naturally reverberated the acoustic performance, the doublehorn frontline forcefully lambasting echoed runs onemoment, delicately and dynamically whispering notesoff the floors and walls the next. Forthright in theirsolos, uptempo and ballad alike - Ullmann and Swell’sthick, dynamic harmonies melded seamlessly, showing why trombone and tenor have had such alucrative relationship in jazz. For this group, Ullmann consciously and impressively showcases his flexibilityand expertise on tenor over his other “first” instrument - the bass clarinet, which he interestinglyplays very tenor-like, focusing primarily and uniquelyon the mid-range and altissimo register. He did, however, commonly switch between them, creatingsuite-like multi-movement compositions. Reminiscentof the NY Art Quartet (particularly Swell’s brassyRoswell Rudd roots and Altschul’s Milford Graves-like multi-rhythmic expertise), this quartet’s tightheads and arrangements, intertwining improvisationsaround highly structured pieces, demanded undivided attention. - Laurence Donohue-Greene

With a proliferation of weekly jazz vocal seriesthroughout the city since Chez Suzette’s demise a fewyears back, Sweet Rhythm’s Tuesday series curated byour very own Tessa Souter is second to none (withFred Hersch’s Mondays at Jazz Standard closebehind). On Sep. 6th , Kingston, NY-based vocalistTeri Roiger brought in her rhythm section of vocal-accompanying veterans (pianist Frank Kimbrough,bassist/husband John Menegon and drummer MattWilson) to the Greenwich Village club to performselections from her newly released CD (Still Life,Moki). Roiger’s selection of such material by Mingus,Dewey Redman and Abbey Lincoln is commendable and her treatment of each syllable is performed like an instrumental note progression. Caseand point was Roiger’s rendition of Lincoln’s “ThrowIt Away”, which remained in my head long thereafterher performance. Her smoky, human voice of experience versus the more common schooled -though cold - approach is a relief to hear. I dare sayRoiger is to Abbey Lincoln what Carol Sloane is to theinherited legacy of Carmen McRae and not in the imitative sense of the niche Madeleine Peyroux hascreated in recreating Billie Holiday’s delivery andstyle, but in a more genuine and even inspirationalsense. Teri Roiger’s the real item. And could a singerask for a stronger, more empathetic, flexible and creative rhythm section than the one she has inKimbrough, Menegon and Wilson?! I think not. (LDG)

Through Oct. 2: FREDDIE HUBBARD ANDTHE NEW JAZZ COMPOSERS OCTET

Oct. 5-9: PHAROAH SANDERS QUARTET

Oct. 12-16: ROY HAYNES

Oct. 19-23: DAVE WECKL BAND

Oct. 26-30: KENNY GARRETT QUARTET

EVERY WEDNESDAY:ED PALERMO BIG BAND

THE MUSIC OF FRANK ZAPPA

EVERY SUNDAY:Gospel Jazz Brunch with

BISHOP NATHANIEL TOWNSLEY, JR.AND THE GOSPEL JUBILEE

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Brian Blade at the Village Vanguard, Sep. 1st

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Gebhard Ullmann and Steve Swell at Brecht Forum, Sep. 16th

When Quest - saxophonist Dave Liebman, pianistRichie Beirach, bassist Ron McClure and drummerBilly Hart - reunited at Birdland (Sep. 15th, playingtheir first show since 1991), they were under thewatchful eye of the President of Portugal and his contingent of security guards (in town for the UNSummit). Despite such heady audience members, thequartet showed very quickly why they were such aNew York favorite a couple of decades ago. Liebmanand Beirach, conspirators since the ‘70s, have a specialconnection, Liebman’s bravado tempered by Beirach’sdelicacy. Liebman spent much of the evening on tenorsurprisingly, making the proceedings particularlyenergetic. “Softly as in a Morning Sunrise” featuredtasty punctuations to Liebman’s leads by Hart. “ForAll We Know” was one of a few opportunities to hearBeirach, who makes very few stateside appearances,play unaccompanied. “Elm”, a tribute to Beirach’s latecollaborator, Polish violinist Zbigniew Seifert, featured a classical-inspired melody and an intriguingshift into a faster tempo. The final piece of the eveningwas also its highlight. Wayne Shorter’s “Footprints”has been almost done to death as a melancholy ballad.Quest subverted its somberness by switching thetempo throughout, creating an angular tension to thepiece, often playing it in double time. It was here thatHart had an opportunity to demonstrate his incomparable technique, both solo and in duet withLiebman. - Andrey Henkin

As a precursor to the season of Jewish High Holidays,Michael Dorf organized his second annual New YorkJewish Music & Heritage Festival. The theme of theopening night concert was “Great Jewish Artists perform Great Jewish Composers”. Seven acts wereeach given about 15 minutes at the 92nd Street Y (Sep.13th) to fête a Jewish composer of their choice. TheKlezmatics on Randy Newman in a klez-meets-country affair was unconvincing as the tunes hadklezmer sections perfunctorily added. Uri Caineplayed a solo version of “Fanfare for the CommonMan” by Aaron Copland that was rollicking and gorgeous. Marc Ribot was supposed to focus on BillyJoel but he began his segment saying he would addMozart since new scholarship indicates that the composer might have been Jewish. The following medley of “I Love You Just the Way You Are” and“Don Giovanni” was fractured and almost farcical,Ribot improvising lyrics over the operatic theme. Themelodies were barely recognizable but the crowdseemed to appreciate Ribot’s tongue-in-cheekapproach. Of the performers relevant to this publication, the most successful of the evening wasPharoah’s Daughter, led by Basya Schecter, playingCarly Simon. “Haven’t Got Time for the Pain”, “You’reSo Vain” and “Let the River Run” were transformedinto middle eastern jaunts, a new sound for hippiedom. Perhaps 20 years from now, these performers will be celebrated in a similar way. (AH)

Jazz at Lincoln Center hosted a gala benefit concert atRose Hall Sep. 17th to raise funds for Higher Groundto aid the New Orleans music community devastatedby Hurricane Katrina. Crescent City favorite sonWynton Marsalis initiated the program with his septetcoming to the stage clapping their hands and stomping their feet on his “Ain’ No”. Renee Flemingand Mark O’Connor opened with “Amazing Grace”,followed by Shirley Ceasar’s spirituals medley, providing a reverent tone before Aaron and ArtNeville rocked the house with Professor Longhair’s“Go To The Mardi Gras”. Herbie Hancock relevantlyperformed his “Eye of Hurricane”.

Vocalists Diana Krall, Norah Jones and PeterCincotti represented the pop side of jazz while AbbeyLincoln, Jon Hendricks, McCoy Tyner, Marcus Robertsand Joe Lovano with Idris Muhammed held forth forthe mainstream. New Orleans trumpeters IrvinMayfield, Terence Blanchard, Marlon Jordan (plus siblings Kent, Rachel and Stephanie) and Wynton(with the Marsalis Family Band) demonstrated thewide range of music that emanates from their hometown. Paquito D’Rivera performed “HavanaBlues” with Arturo O’Farrill and the AfroLatinOrchestra, pointing to New Orleans’ Caribbean roots.Cassandra Wilson hauntingly sang “Come Sunday”with the LCJO before Marsalis returned to close withhis band leading the exuberant parading audiencedancing through the hall. - Russ Musto

Artists associated with the Vision Festival cametogether for a benefit for the artists of New Orleans atthe Angel Orensanz Center Sep. 20th. The first half ofthe marathon concert included performances by theLittle Huey Creative Music Orchestra, John Zorn’sMasada Quartet, Matthew Shipp’s trio plus dancerPatricia Nicholson, Bill Dixon playing solo trumpetand the ensemble of Oliver Lake, Ahmed Abdullah,Ted Daniel and Cooper-Moore with guest poet AmiriBaraka. Muhal Richard Abrams addressed the packedhouse (but declined to play the out-of-tune piano).

New Orleans avant garde godfather Kidd Jordanwas joined by Kali Z Fasteau, Clyde Kerr, HenryGrimes and Hamid Drake for a set that moved fromAylerish interplay to eastern-influenced microtonalintensity. Tri Factor (Kahil El’Zabar, Hamiet Bluiettand Billy Bang) accompanied Quincy Troupe’scadenced poetry reading and then played a powerfulinstrumental set. Jordan returned for a set with RoyCampbell, Charles Gayle, Dick Griffin and WilliamParker with Hamid Drake and Andrew Cyrille (sharing the drum kit) that prompted a standing ovation. Deborah Harry joined the Jazz Passengers foran entertaining set and the pairing of indie rockers YoLa Tengo with Other Dimensions in Music (RoyCampbell, Daniel Carter, Sabir Mateen, WilliamParker and Rashid Bakr) was surprisingly successful.The evening ended with the Passengers playing anencore with Elvis Costello. (RM)

ALLABOUTJAZZ-NEW YORK | October 2005 5

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

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Quest at Birdland, Sep. 15th

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Jazz at Lincoln Center Hurricane Katrina Benefit, Sep. 17th

INTERVIEW

After a nearly 20-year absence, trombonist George Lewishas recently returned to New York City to live and work asthe Edwin H. Case Professor of Music at ColumbiaUniversity. An active composer and improviser with a deepinterest and vast experience in computer music, Lewis hasbeen a member of the Association for the Advancement ofCreative Musicians (AACM) for more than three decadesand in 2002 was named a MacArthur Fellow. He is currently finishing a book on the history of the AACM andAAJ-NY caught up with Lewis recently in his office atColumbia.

AllAboutJazz-New York: First of all, welcome back toNew York - a little belated.

George Lewis: Oh no, not at all. I snuck in anyway. Iwas here a year before anyone noticed.

AAJ-NY: How does it feel to be back, compared to SanDiego?

GL: Well, I love San Diego. I kept my house there. I’mkind of a self-starter, I don’t need a lot of outside stimulation. And to be frank, I was afraid of cominghere because of the phenomenon of “killing the goldengoose”. So many good things happened to me in SanDiego, like the MacArthur thing…

AAJ-NY: Congrats on being recognized as a “genius”.

GL: Yes, whatever that means [laughter].

AAJ-NY: You were the music curator at The Kitchenfrom 1980 to 1982. How has the creative and improvised music scene changed in 25 years?

GL: I don’t know if I want to comment on that. I mean,I don’t know if there is a single creative and improvised music scene. It was certainly much lessdiverse then than it seems to be now… Although, if Ihad to comment on this one, my main observationwould be that, then as now, it’s a really serious struggle for survival.

AAJ-NY: Economic survival?

GL: Economically, but also just to get some attention.It’s much more difficult now to get attention. Majororgans of the press are far more corporate-controlledthan they used to be, much more aligned with largeinstitutions than they used to be… On the other hand,there’s the Internet, which didn’t exist then, there’svarious blogs that didn’t exist, there are a lot of independent publications, independent record andDVD companies and online distribution of music.Another thing I find interesting - my impression of“the scene” is that it’s much less racially stratified than it was back then. This could be my total illusion - someone will probably tell me when they read this,

“George, you just don’t know”, which may be true, butit appears to me that I see more different kinds of people. I see more women, I see more people whosefirst language is not English. I don’t see the black-white binary being as important as it was in the ‘70s…On the other hand, I don’t think we’ve reached thestate of nirvana yet in that regard.

AAJ-NY: Returning to your being a MacArthur“genius”, how did that recognition affect your career -did it allow you to focus on something you hadn’tbeen able to previously?

GL: I think it really changed my consciousness, morethan anything else. I mean there were certain projectsthat it made easier, certain ideas that it made easier tothink about. The main things were the mentalresources. That is to say, I kind of felt much freer suddenly and I’m not quite sure why. It was as if Iwere freed from a lot of things that had really beenoccupying me in unhealthy ways.

AAJ-NY: Doubts?

GL: Doubts? Well, what do I say - doubts are healthy Ithink… Suddenly, I wasn’t very worried about whatpeople thought about my work; I just felt moreempowered to go with what I was interested in. And Iguess that’s a terrible thing to say, one should go withwhat one is interested in, in any event, but in the endit made it possible for me to feel much more open tochange than I had been before. And I guess at thismoment I am, as the guy from Pulp Fiction says, “in atransitional period.” [laughter]. A lot of the things thatI was doing before the award, I don’t want to do anymore. There’s always an issue, when you become wellknown for doing something, that you feel you have tokeep reproducing that… And at a certain point, youmight want to be able to transform that “you” into atotally different you. But that’s much more scary andmuch more difficult. The idea of computers and music,of course, I retained that.

AAJ-NY: So when did your attention first turn to computers - in the ‘70s?

GL: Yes. Computers in the ‘70s were either mainframes in large institutions or people makingthem on their own, putting them together out of spareparts and I was part of the latter group. You taughtyourself how to do circuits and programming and allthat. There were not Apples or PCs!

AAJ-NY: And so you’ve grown to use computers inlive performances?

GL: Probably for close to 30 years now… I’ve beenworking for a long time basically trying to do something very simple, which is to have the computer

improvise along with the musicians. It’s simple in concept, there’s not much to it, but it’s not simple tocreate. To have the computer operate more or less inthe same space as the musicians, exchanging information… The idea is that improvisation in music,or in any domain, is a matter of exchange - exchange ofsound, exchange of personal and cultural narrative,exchange of histories and so on… Music gets excitingto me when I can empathize with people who aredoing it. That’s why I like improvisation so much,because there’s a sense of empathy and you can placeyourself inside the other person’s consciousness andyou can be part of them and try to plumb their motivations. Otherwise it just becomes a lot of coolsounds and that doesn’t interest me. And so as a composer and computer-music programmer, my job isto create environments where the computer makesmostly decisions that seem plausible and try to reducethe number of bonehead moves that it makes.

AAJ-NY: It’s interesting you speak of empathy,because I think we tend to think about computers asimpersonal and cold.

GL: Well, I don’t know about “we” but I don’t thinkabout them that way, but maybe there is a “we” thatthinks that way [laughter].

AAJ-NY: I’ll be more careful about my pronouns.

GL: No, please, it’s great to hear the “we”!

AAJ-NY: Well, when I picture a few musicians playingtogether and a laptop across from them, I think of thehumans as having more personality, warmth, empathy. (continued on page 42)

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6 October 2005 | ALLABOUTJAZZ-NEW YORK

ARTIST FEATURE

Luminous harmony, intellectual rigor, and modernistpiano technique will be on display when Frenchpianist Benoît Delbecq performs two nights early thismonth at Jazz Gallery. Although he has played improvised music festivals all over the world, thesewill be his first New York solo performances.

Delbecq dramatically sets himself apart fromother jazz pianists by preparing the piano with objectsin the John Cage tradition. “I use mostly curved bits ofdried wood and erasers from all kinds of geographicalorigins. It started when I was a kid with a set of mallets I built myself. Later, after I listened to and performed Cage’s “Sonatas and Interludes”, it felt likea door opened to research new directions at thepiano.” His solo recital Nu-Turn (Songlines) is full ofamazing prepared and unprepared sounds that marrycontemporary harmony with repetitive rhythm.

“I write tunes that include this idea of improvisedpolymetrics, where combinations of rhythms andmelodic fragments are expressed in different layers.Playing this kind of language is like sewing within aprecise pattern. It can get somewhat trance-like: in away, I’m looking for some kind of imaginary folklore.”

When it was suggested to Delbecq that there is something African in his compositions, his immediateresponse was “It is definitely African-inspired, since Iavoid a time division hierarchy. I let the fabric develop itself and change pivots of time or articulation…the fabrics of ‘In Lilac’ [the first track onNu-Turn] is centered on a 42/8 pattern, but I mightdivide it along different options of time division - saya triplet feel or a 5/8 feel, etc. which extends the cyclesconsequently. Sometimes, I suddenly shift from one toanother division and this might happen in the middleof a melodic phrase…in the end, it is quite free.”Remarkably, there was no over-dubbing and virtually no editing on Nu-Turn.

Delbecq is always eager to talk about his influences. From the classical world (in addition to,obviously, Cage) there is Gyorgy Ligeti. “When Idecided to go back to written piano music studies in‘88, my main reason was a desire to play Ligeti’s marvelous piano etudes, which are influenced by traditional Pygmy music. I then improvised off theideas of each etude and no doubt you can still hear itin my playing. Ligeti is also one of the rare contemporary music giants to express enthusiasm forjazz or Afro-Cuban music.”

And from jazz he cites Thelonious Monk, MalWaldron, Ornette Coleman, Cecil Taylor and SteveLacy. “Monk first, because my dad had many recordsof his and I’ve always heard Monk’s music at home. Iremember the day he died: there was a special abouthim on the French TV news. It was the first time I hadseen him play - such an earthquake! Later I studiedquite a lot with Mal Waldron in Paris. His playing inthe late years was more and more trance-like, just likehe had placed all the undesired elements of his playing in a locked box. His feel was so personal. I can

never forget the acoustical thrust he radiated from thepiano. He was a discreet and very funny man, and amaster chess player.”

Of course influences are there to be transcendedand Delbecq has worked hard to find his own voice.“What I think I may have understood from thosegiants is maybe 1% of their philosophy of freedom,especially in the way to organize rhythm. To obtain adialect of my own, I spent quite some time improvising from sentences from both English andFrench literature. It gave me something to improvisewith on forms that don’t indicate a time division. Sowhile my melodic statements - especially the startingor ending points - appear to be randomly placed,they’re not. They are language. This is what you findin traditional musics from different regions of theplanet - especially in Africa.”

Nu-Turn is one of three recent and excitingDelbecq releases on Songlines. Both Pursuit (1999) andPhonetics (2003) are virtuosic ensemble records featuring interesting mixes of talented improvisers.Pursuit has the dual horns of Michael Moore andFrançois Houle and another frequent Delbecq collaborator Steve Arguelles on drums and electronics(Arguelles and Delbecq have a duo called PianoBookwhere the piano is constantly processed.) It also hassome of the finest recorded work of the great bassistand longtime Steve Lacy musical associate Jean-Jacques Avenel.

The most recent disc, Phonetics, is even stronger,with Mark Turner (sax), Mark Helias (bass), Oene VanGeel (viola) and Emile Biayenda (drums). The complicated yet charismatic compositions are playedvery well, even though the band had only a couple ofdays to rehearse, perform and then record. “It was achallenge to anticipate the musical directions, since wefive have very different stories to tell. I intuited thatthere were more than merely promising connectionsbetween our approaches. I tried to fish those out andhide them at the same time. This set of 9 or 10 tunestook me the longest time to write…probably 18months or so. I could imagine the blend of tenor saxand viola pretty well and I could bet with no risk onhow Mark Helias would anchor the sound and thebreath of the band. Emile on drums was a key-point: Ihave toured with him and Jazz Mic Mac the wholeCentral African region in ‘94. As a child, he learned toplay drums in Brazzaville, Congo, learning some of EdBlackwell’s or Max Roach’s playing from records atthe same time as he was becoming a master drummerof his wonderful folklore. Prior to the recording, Emileand I rehearsed quite some time to find a nice rhythmic feel for some key ideas - no doubt it madethe whole project more comfortable!”

It is still far more difficult for a French musicianto play in New York than vice versa and BenoîtDelbecq is a forward thinking musician who deservesthis city’s attention. Let’s hope that connoisseurs andthe curious-minded alike come out to hear him live

and check out a different point of view.

For more information, visit www.delbecq.net/bd/bd.html.Delbecq is at Jazz Gallery Oct. 4th-5th. See calendar.

Recommended Listening:• François Houle/Benoît Delbecq - Nancali

(Songlines, 1996-’97)• Jorrit Dykstra/Benoît Delbecq - European Echoes

(BVHaast, 1995-’97)• Benoît Delbecq - Pursuit (Songlines, 1999)• Benoît Delbecq/François Houle - Dice Thrown

(Songlines, 2001)• Benoît Delbecq - Nu Turn (Songlines, 2001)• Benoît Delbecq - Phonetics (Songlines, 2003)

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ABOUTJAZZ-NEW YORK | October 2005 7

Taso Musicby Elliott SimonThe globalization of jazz has long been a reality andits subsequent contact with ethnically diverse folkidioms has often produced exciting and creativemusic. This special synergy is no better showcasedthan on recent offerings from Taso Music. A Germany-based label, Taso has at the heart of its releases Polishborn bassist Vitold Rek’s desire for artistic freedomand compositional innovation. In keeping with thecurrent trend of artist-owned labels, Taso has allowedRek to join with musicians of his own choosing topresent his compositions in unique and artisticallyinventive settings. Rek feels that this trend is a resultof the major labels disinterest in creativity: “...the biglabels are only looking for profit, squeezing out artistic innovation. Producing your own music is away of keeping it alive.” Through his combination ofdeep intercultural richness, classical precision and jazzstyle, Taso’s ventures have turned into soulfully satisfying sessions. It also doesn’t hurt that Rek is,quite frankly, an incredible bassist who, no matterwhat the format, amazes with his instrumental virtuosity. In the words of pianist/vibist Karl Berger,“Vitold could be a classical virtuoso if he wanted tobe.”

Rek is comfortable pumping out a danceablerhythm or matching improvisational skills with thelikes of world class reedmen John Tchicai and CharlieMariano. He adds to this a magic bow that expressesdelicate nuance or sets up wild harmonics. Tchicai isvery much aware of Rek’s special qualities: “VitoldRek and I have a telephatic connection when we playand he is my preferred doublebassist. Compared to other bassists that I know, his abilities are hard to match in terms of his musicality, his tone and the pitchaccuracy he maintains. His bowing is superb... I likehis compositions and his roots in the Polish folkloreand I think that concerning the lyricism in his musicand in my music we are very similar.”

Somewhat ironically, at the same time that manybaby-boomer musicians in this country rediscoveredtheir Eastern European musical roots, a move toGermany from his native Poland cultivated Rek’sappreciation for his own Polish musical heritage. WithThe Polish Folk Explosion that features the folk ensemble Kapela Resoviana with Mariano, Tchicai, thelate trombonist Albert Mangelsdorff and drummerGilbert Matthews, Rek effectively melds the musicaldiversity of Southeastern Poland with world jazz.

Duets are the order of the day on 2 X 2 as Rek ispaired with Tchicai or Karl Berger. Portrayed as aseries of conversations, Rek alternately chats withTchicai’s bass clarinet and tenor sax or Karl Berger’spiano and vibraphone. Rek has chosen his musicalcohorts carefully and in his words “They are all

musicians who respect me as a musical partner thus providing a platform for understanding on the stageand in the studio.” Berger, a seminal avant gardistwho co-founded the Creative Music School withOrnette Coleman, is stunning in combination withRek. Their mastery of time and tone is evident on theunhurried classically driven “Gabissimo” and the funup-tempo “Imaginary Drums”. Berger greatly enjoyedthe duet format: “I love playing duets because of the conversational situation: responding to one impulse ata time, a real give and take, just like a great conversation on a theme that leads to some results,something new.”

While seeking out musicians who respect him as acolleague, Rek also appreciates their uniqueness, “The artists must have their own musical personality andlanguage... For me Tchicai has an unorthodox way ofplaying and composing which is always very fresh andinspiring. Mariano always interprets my music perfectly without any explanations and brings themusic to a higher level on his depth of experience. Iadmire Berger’s open and free interpretation of written music and his going into unexplored musicalregions.” Rek’s bass and sense of folkloric compositional style can also be a powerful quartet centerpiece as evidenced by Opus Absolutum. CharlieMariano’s alto and flute are combined with MartinFrance’s drums and Vladislav’s Sendetzki’s piano toproduce a structured and commanding sound.

To truly experience Taso in the purest sense,Rek’s Bassfiddle alla Polacca is required listening. Areflection of polyglot southeast Poland and its music,it brings together Polish, Romany and Yiddish influences into a single instrumental triumph.Through varied tempo and touch while alternatingplucking and bowing Rek is able to be true to both theethnic base of his writing and at the same time produce modern jazz. (continued on page 42)

8 October 2005 | ALLABOUTJAZZ-NEW YORK

LABEL SPOTLIGHT

Saint Peter’sby Andrew VelézIf some of his parishioners may have considered jazzto be “the devil’s music”, the late Reverend JohnGarcia Gensel, a fervent jazz lover and then-pastor ofAdvent Lutheran Church at 93rd Street and Broadway,thought otherwise. “Well then, why let the devil haveall the good music?” was his response. It was atAdvent, more than 40 years ago, that he held the firstjazz vespers. It is that occasion which will be commemorated there with the opening of the first-everweek-long “All Nite Soul Jazz Festival”.

The service that first evening will also be a special tribute to the late Ruth Ellington, sister of DukeEllington. Through her, Gensel and her brother developed a close friendship that grew to Ellingtonconsulting with him about sacred music. She alsoplayed a major role in helping Gensel to establish jazzvespers as well as in supporting his efforts when hebrought The Jazz Ministry downtown to Saint Peter’sLutheran Church at 54th Street and Lexington Avenue,in the Citicorp Building. There it continues to thrive 35years later.

In a gala fundraising week, set for October 2nd-9th, to support the church’s many jazz programs, SaintPeter’s “All Night Soul Jazz Festival 2005” is celebrating the first 40 years of its Jazz Ministry withlive performances by jazz greats, documentary filmsincluding Shepherd of the Night Flock (which is aboutRev. Gensel), artwork and photography by jazz musicians such as Jeremy Steig and Joe Wilder, tributes to women jazz legends and newly

commissioned works of sacred music. Clark Terry,now 84, who led the first “All Nite Soul” with his bigband in 1970, will be returning this year to do it again.

Having a week-long celebration of jazz vesperswas the idea of Reverend Dale Lind, Assistant Pastorto the Jazz Community, who is co-chair of the eventwith producer, musicians’ manager and CUNY professor Andrew Rowan. Lind, a soft-spokenMaryland County native, sometime bartender and aformer partner in the legendary club The Bitter End,has been associated with Saint Peter’s since he wasfresh out of seminary in 1964. Lind helped Gensel tostart the Jazz Ministry, which Lind says “...was reallybased on John’s personal relationship with jazz musicians and their being able to call on him any hourof the night or day. They gradually seemed to regardhim as their minister.”

A jazz vespers worship service is conducted everySunday at 5 pm. The music is jazz, sometimes originalmusic and sometimes standards on a theme of the dayconnected to the lessons, with different musiciansplaying each week. “Musicians seem to love to playhere,” says Lind. “They’re delighted to have theirmusic being played in a church.” He doesn’t make adistinction between secular and religious music, saying simply, “Some vocalists think they have to sing‘Come Sunday’. To me, ‘Stormy Monday’ is just as religious as ‘Come Sunday’.”

The Assistant Music Director for Jazz Ministry,Ike Sturm, himself a composer and bassist, is alwayslooking for younger musicians and fresh faces to bring“an array of different music” for the vesper services.Among the notables he mentions as performing at theOctober 4th concert of sacred music and spirituals he’sproducing are John Patitucci and possibly Nicholas

Payton. The entire proceeds of that evening will benefit musicians in New Orleans.

Over the years another tradition which hasevolved at Saint Peter’s is to conduct musicians’memorial services. Among those celebrated have beenmany great sidemen who died in obscurity as well asJohn Coltrane, Miles Davis, Phyllis Hyman, BillyStrayhorn, Tommy Flanagan, Mary Lou Williams andGerry Mulligan. For Mulligan, Lind recalls that ironically, the man who had a famous piano-less quartet was celebrated by “three of the greatestpianists ever, George Shearing, John Lewis and DaveBrubeck.”

It’s always a busy schedule at Saint Peter’s. Forthe past 22 years on every Wednesday there’s beenmidday jazz in the church’s “living room”. Cabaretstar Ronny Whyte co-ordinates this series. That seasonwas recently kicked off by Barbara Carroll, (with JayLeonhart), as she has done for many years. It’s also

(continued on page 42)

CLUB PROFILE

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Born November 18th, 1936 near Oklahoma City, DonCherry began playing the trumpet at age 14 while living in the Watts neighborhood of Los Angeles andlistening intently to Fats Navarro’s work. In fact,Cherry is quoted in the liner notes to OrnetteColeman’s Tomorrow is the Question (Contemporary,1959) as saying Navarro was “the only trumpet playerI cared to copy my phrases from” (consideringNavarro’s penchant for fast smeared soundmasses,that is a logical comparison). Cherry worked regularlywith revered Los Angeles tenorman George Newmanduring the mid ‘50s and also played piano in a groupwith bassist Charlie Haden and drummer LennieMcBrowne (unfortunately, this group is not known tohave recorded). Cherry and drummer Billy Higginswere rehearsing with altoist Ornette Coleman (as wereHaden and drummer Ed Blackwell) who had been trying unsuccessfully to get gigs in the area - inOrnette’s experience “Don was the only trumpeter atthe time able to play [this] music.” Ornette, Cherry,Haden and Higgins worked in Los Angeles at theHillcrest Club with Paul Bley, the tapes of whichbecame The Fabulous Paul Bley Quintet (America, 1972)and Coleman Classics (IAI, 1974). Shortly thereafter, thequartet attended the Lenox School of Jazz inMassachusetts under the direction of GuntherSchuller, where they came to the attention of AtlanticRecords producers Nesuhi and Ahmet Ertegun - a relationship which lasted through enough material fornine and a half records. Recording The Shape of Jazz toCome in 1959, in fact, paid for the quartet’s trip eastand a subsequent three-month engagement at the FiveSpot somewhat fulfilled that promise.

By 1961, however, the quartet had disbanded,with Cherry and Higgins going to work briefly inSonny Rollins’ quartet. In the few years that followedthe dissolution of the Coleman group, Cherry underwent the difficulties that face a sideman in anoted, working ensemble striking out on his own as aleader - namely, keeping a group together as well astrying to find one’s creative way. After an abortive session as a leader for Savoy, Cherry joined the NewYork Contemporary Five in Fall 1963, replacing trumpeter Bill Dixon (suffering from embouchure difficulties, Dixon remained the group’s chiefarranger). This group, with reedmen Tchicai andArchie Shepp, bassist Don Moore and drummer JCMoses, had a successful run in Copenhagen, recordingtwo sessions for Sonet and two for Fontana (one sansCherry) and featuring a number of compositions fromOrnette’s book as well as Cherry’s own “Cisum” and“Consequences”.

The Five disbanded in early 1964, with Shepp andMoses staying on in Scandinavia for a few monthswhile Cherry returned to New York, where he beganto work off and on with tenorman Albert Ayler anddrummer Sunny Murray in their respective (and combined) groups. In a way this was perhaps morefruitful than the New York Contemporary Five hadbeen, for not only was Ayler’s music as rooted in thefolk tradition as Ornette’s had been, Ayler was drawing his thematic references from traditional songshe heard while living in Scandinavia, bringing theminto a free improvisational context and as he has said,“we play folk from all over the world” (quoted in theliner notes to Love Cry, Impulse!, 1967). This sounds alot like what Don Cherry’s approach was soon tobecome - these perfect bedfellows probably influencedone another a great deal more than their few recordings together attest to.

When Cherry left the US for Paris in 1965, it didnot take long for him to assemble a new workinggroup, one that joined five itinerant musicians together for over a year (though the group’s onlyrecordings as a unit have appeared as bootlegs sinceits disbanding). In Paris, he met Heidelberg-bornvibraphonist and pianist Karl Berger and the youngFrench bassist Jean-Francois Jenny-Clarke; Cherry had

brought drummer Aldo Romano and Argentina-borntenorman Leandro “Gato” Barbieri with him fromRome.

Berger paints a picture of Cherry as one who functioned on a level completely beyond most othermusicians; he carried a pocket-sized transistor radiowith him wherever he went, listening to music fromthe world over, practicing tunes from Turkish folk

music to the Beatles constantly and incorporatingthem into his suites. Often, Cherry would show up toconcerts and rehearsals playing his wood flutes andwith a slew of newly-found songs committed to memory, leading the affably game ensemble throughan hour-long suite, the themes of which may or maynot have been known beforehand.

While Berger and Barbieri eventually becameensconced in the New York scene, the former going onto form the Creative Music Studio at Woodstock in1968, Cherry split his time between Scandinavia (hekept a home in Sweden with his wife Mocqui and twochildren, Lanoo and Neneh) and the United States,convening orchestras and small groups, includingthose at the Baden-Baden New Jazz Meeting of 1968(Eternal Rhythm, MPS) and in 1971 at the Berlin JazzDays (“Humus”, with the New Eternal RhythmOrchestra, on Actions, Philips), and a trio he led withbassist Johnny Dyani and Turkish drummer OkayTemiz. Cherry’s music, while it had incorporated non-Western scales, began now to incorporate dronesmore regularly - seemingly static rhythms and makingexplicit use of instruments like the tamboura. Cherry,a collector of various wooden and metal flutes fromAsia, also began using the doussn’gouni, a Turkishstringed instrument he was given while inScandinavia. Ironically, some of the most interestingand effective uses of non-Western instruments werepurely by kismet - MPS Producer Joachim E. Berendthad gamelans brought to Baden-Baden without tellingCherry and insisted that they be used in the recording.Berger, Cherry and Swiss drummer Jaques Thollotwere thus given the task of figuring out a way to incorporate them musically without proper understanding of how they are played or even without proper mallets with which to play them. The

high-pitched metallic tone that characterizes theirsound on Eternal Rhythm is more greatly a result of“making do” than sonic intent. In the hands of another ensemble, one has to wonder whether itwould have come off at all.

For sure, Cherry’s integration of Indian, Arabic,Chinese, European and African musics into a whole ofwhich jazz was only a small fraction could have comeat no more proper a time - the interest amongAmerican and European audiences in non-Westernmusic was fairly high and consequently Cherry’smusic gained great recognition. In the ‘70s, he recorded for Atlantic and A&M and had a minor hitwith “Brown Rice” as well as worked in small andlarge groups with South African pianist-composerAbdullah Ibrahim, often featuring altoist Carlos Ward.Nu, though not recorded to advantage, was one ofCherry’s most fully integrated projects of the ‘80s, onethat featured Ward, bassist Mark Helias and percussionist Nana Vasconcelos as an extension ofboth jazz and non-Western improvisational principlesalong folk lines, swinging decidedly to the left ofeither Old and New Dreams (the cooperative bandwith tenorman Dewey Redman, Haden and Blackwellthat revisited the Ornette songbook) or his various traditional music projects often heralded under the‘multi-kulti’ banner, rather than as investigation ofimprovisational art along worldwide folk principles,often set simultaneously.

Cherry often spoke of the idea of "selflessness"and of being "aboriginal", a concept which percussionist Adam Rudolph, curator of this month’sseries of Don Cherry performances at The Stone and alongtime collaborator of Cherry from 1978 until hisdeath in 1995, has taken to heart and mind. Cherry, ofcourse, never stayed in one place completely, spending time principally in Sweden, New York andCalifornia during the last two decades of his life, butmusically his practice took him everywhere.Percussionist Bengt Berger, who played with Cherryfrequently in Sweden, noted how Cherry’s curiosityled him to teach Turkish drummer Okay Temiz andtrumpeter Maffay Falay the fundamental principles ofTurkish folk music by asking them to teach him theirmusical culture (something that they had subsumed intheir jazz studies, perhaps). But rather than learning toplay the music of another region or culture by rote wascertainly far from Cherry’s mind; part of this “aboriginalness” was an effort to gain a clearer window into oneself and one’s own creative possibilities, that one can become more fully attunedto one’s artistic personality by incorporating aspects ofother musics into the palette. In some ways, it reflectsthe age-old adage that one has to get as far away fromoneself as possible in order to fully understand whereone lies creatively and humanistically - an aesthetic walkabout, in other words. Don Cherry’s walkabouttook him to Brooklyn, Scandinavia, Turkey, LosAngeles, Paris, India and places in-between, but as anartist, it brought him home.

For a more in-depth profile, visit www.allaboutjazz.com. ADon Cherry Celebration (DCC) featuring Adam Rudolph,Bob Stewart, Dewey Redman, Henry Grimes, Bill Dixon,Mark Helias, Karl Berger and others is being held at TheStone Oct. 1st-23rd. See calendar.

Recommended Listening: • Ornette Coleman - The Shape of Jazz to Come

(Atlantic, 1959)• Don Cherry - Complete Communion (Blue Note, 1965)• Don Cherry - Symphony for Improvisers

(Blue Note, 1966)• Don Cherry - Eternal Rhythm (MPS, 1968)• Don Cherry (with Ed Blackwell) -

“Mu” First Part/Second Part (BYG-Actuel, 1969)• Don Cherry - Brown Rice (A&M, 1975)

ON THE COVER

ALLABOUTJAZZ-NEW YORK | October 2005 9

Photograph © 1990 Jack Vartoogian/FrontRowPhotos.

AA BBoowwll ffuull ll ooffDDoonn CChheerrrryy

by Clifford Allen

10 October 2005 | ALLABOUTJAZZ-NEW YORK

MEGAPHONE

VOX NEWS

Basin Street In and Out of New Orleansby Mark Samuels, Pres., Basin Street Records(from New Orleans in spirit, but temporarily physically inAustin, TX)

When I was invited to have one of our many artistswrite for AAJ-NY’s Megaphone column, I envisionedsitting down on the phone with one of them and typing as they talked. What has happened in the twoor three weeks since has been amazing and has kept usfrom having the time to do such a thing. So I write thiswith the hope that although I have not asked any oneartist to write it, that it will do a service to them and tothis column.

If you don’t know, our label is located on CanalStreet in the mid-city section of New Orleans. We hadabout two feet of water in our offices and lost a significant amount of inventory and computer equipment that was stored there. However, our product is distributed by RED and is in warehouselocations around the country, so we weren’t completely devastated. What we did lose was our staffbeing able to sit in one office. We are scattered around.Our artists: singer/songwriter/vocalist TheresaAndersson, Los Hombres Calientes: Irvin Mayfieldand Bill Summers, trumpeter/vocalist Kermit Ruffins,clarinetist Dr. Michael White, drummer Jason Marsalisand pianist/vocalists Henry Butler and Jon Clearyhave all been scattered around too and many of ushave lost our homes.

Irvin Mayfield and Ronald Markham (CEO of theNew Orleans Jazz Orchestra) have relocated to BatonRouge with their families; Andersson and her drummer-husband Arthur Mintz (World LeaderPretend) have relocated to Austin; Cleary is on theroad with Bonnie Raitt; Bill Summers, Leon Brown,Steve Walker and David Pulphus from Los HombresCalientes are all in Atlanta; Victor Atkins from LosHombres is in Birmingham and Jamal Batiste is inBaton Rouge. Ruffins and his band are calling Houstontheir temporary home and so is Dr. Michael White.Butler has been touring, but looks like he will set uptemporarily in Austin and Jason Marsalis has been inJapan recording with pianist Marcus Roberts.

My three children, my parents and I are in Austinand my children have made friends and quickly adapted to this city. I am sure that our artists are being

welcomed everywhere they are, as I feel we have beenhere.

Over the past few weeks, our artists and I havegiven interviews to everyone from People Magazine tothe New York Times and from Good Morning America toLarry King Live. They have been invited to participatein tremendous benefit concerts: Dr. Michael White atthe Higher Ground Benefit at Jazz at Lincoln Center;Theresa Andersson and Dr. White at “6th Street forBourbon Street” here in Austin; Kermit Ruffins atMadison Square Garden’s “Big Apple to the Big Easy”on a live pay per view event available to 80 millionpeople; and to Irvin Mayfield performing “Americathe Beautiful” on Monday Night Football.

Our artists have continued to perform at theirscheduled gigs also: Jon Cleary the weekend after thehurricane at Bumpershoot in Washington, LosHombres Calientes at North Carolina State University,Henry Butler at Telluride’s Blues and Brews Festivaland Kermit Ruffins at Austin City Limits Festival.New opportunities have popped up such as a “regu-lar” gig for Kermit Ruffins at Sammy’s in Houston onThursday nights and “regular” performances by ourartists in Austin at Cedar Street Courtyard.

Last night, I witnessed first hand the power of themusic and the amazing feelings that our artists andother musicians create for people. About a third of theaudience at the “6th Street for Bourbon Street” eventhere in Austin was from New Orleans. Both TheresaAndersson and Dr. Michael White performed therealong with Cyril Neville, Marcia Ball, DelbertMcClinton, Jerry Jeff Walker and others. A 60+ person“second line” parade wove through the crowd and asense of “all things are good right now” was prevalent.Musicians who hadn’t seen each other since theirhomes were destroyed had an opportunity to see oneother, play with one another and make their audiencefeel like they were at home.

We have received literally hundreds of emails perday from well-wishers around the world and we feelfortunate that our business can still run from anywhere we need to be. People can still buy ourmusic from their favorite retailer, from their favoritewebsite or from several digital downloading sites.Although we have been slowed down a bit, we cancontinue to book our bands, manufacture product,promote our artists and do the things a label needs todo. Not everyone in business is so lucky.

Over the next years while we rebuild NewOrleans and create what will be a greater city than

ever before, please continue to support these artists bybooking them for your festivals or in your clubs, buying their music and covering their stories. Theyhave always deserved it, but now they need it morethan ever.

For more information, visit www.basinstreetrecords.com

by Tessa SouterThe past month has been a hard one for many - notleast Shirley Horn, who at the time of writing was ina nursing home instead of touring in support of hernew CD But Beautiful: The Best of Shirley Horn (Verve).It truly delivers all the title promises - the “best” - including three recent live recordings from the nowdefunct Au Bar - “Jelly, Jelly”, “Loads of Love” andher miraculous rendition of “Here”s to Life”. If youwant to make your own personal tribute, flowers andcards may be sent to Shirley Horn, Gladys SpellmanSpecialty Hospital and Nursing Center, 2900 MercyLane, Cheverly, MD 20785.

Honoring another of the great jazz singers of ourera, Kendra Shank (whose first CD was actually produced by Shirley Horn) has just finished mixingher new project, a very personal interpretation ofAbbey Lincoln compositions. “It’s 11 of my favoritesongs by Abbey, who is one of my favorite songwritersof all time,” says Kendra. “Her songs speak to me insuch a personal way...”

One of my very favorite singers, Rhiannon, willbe performing at Jazz Standard (Oct. 31st) in

celebration of her latest CD, the aptly entitled In MyPrime (Rhiannonmusic). Bobby McFerrin guests ontwo a cappella vocal duets with Rhiannon, but the realgems are the compositions that have evolved out ofpast on-the-spot improvisations. Rhiannon is theembodiment of what Charlie Parker once said: “Musicis your own experience, your own thoughts, your wisdom. If you don’t live it, it won’t come out of yourhorn.” If you missed her last time she was here, I highly recommend you don’t let it happen again. Evenif she weren’t also an incredible teacher (doing her workshop is like being let out of a cage), hearing hersing is an education in itself.

This month my hero, the Brazilian singer andcomposer Milton Nascimento, whose CD NativeDancer (Columbia) with Wayne Shorter was my introduction to vocal jazz, appears at the Blue Note(Oct. 25th- 28th). This will be the first time I’ve seenhim in a small space...wild horses won’t keep me outof that room on the first night. See you there!

I can’t finish this column without referring to therecent disaster in New Orleans, the birthplace of jazz.Check out www.jazzfoundation.org/new_orleans.phpfor specific ways to help New Orleans jazz musicians.

SHORT CUTS … Catch the last night of MarkMurphy’s four-night run at Birdland (Oct. 1st) …Afro-soul singer Somi will be at Joe’s Pub (Oct. 3rd) …Jazz Standard’s “Voices and Songs” series continuesevery Monday with Cheryl Bentyne of ManhattanTransfer (Oct. 3rd), Paulette McWilliams (Oct. 10th),Julia Dollison (Oct. 17th), Chiara Civello (Oct. 24th)and Rhiannon (Oct. 31st) … At the Sweet RhythmVocal Series this month Marilyn (Oct. 4th), Sofia Laiti(Oct. 11th), Amy London (Oct. 18th) and Lil Phillips(Oct. 25th) … San Francisco-based jazz singer PaulaWest returns to the Algonquin for a five week runwith a rotating roster of musicians: The Eric Reed Trio(Oct. 11th - 15th), The Xavier Davis Trio (Oct. 18th to22nd) and The Bruce Barth Trio (Oct. 25th - November5th) ... Melody Breyer-Grell will be doing the early setat Iridium (Oct. 8th).

Tessa Souter is a vocalist, journalist and author and produces the weekly Tuesday vocal series at Sweet Rhythm.Souter is at 55Bar Oct. 14th. Her debut CD, Listen Love(Nara Music), is available at CDBaby.com and at TowerRecords, Lincoln Center. For more information visitwww.tessasouter.com

Musicians on music...

THANK YOU FOR YOUR SUPPORT

DURING OUR DIFFICULT TIMES

Theresa Andersson Henry Butler Jon Cleary

Los Hombres Calientes Irvin Mayfield

Jason Marsalis Kermit Ruffins

Dr. Michael White the Headhunters

the Staff at Basin Street Records

Mark Samuels President Basin Street Records New Orleans, LA (in spirit) www.BasinStreetRecords.com

Download some of our music online at http://music.msn.com/give and help Hurricane Katrina victims at the same time.

www.BasinStreetRecords.com

ALLABOUTJAZZ-NEW YORK | October 2005 11

Noah Howardby Andrey Henkin

A move to Europe canoften take a successfulmusician out of thetight focus of American listeners. Though thecross-pollination ofEurope and America isnow well established,

ex-pat Americans often give up their native renownfor the increased work and appreciation to be foundacross the pond.

Though Noah Howard, once one of the youngdarlings of the new music scene in ‘60s New York,plays the city quite rarely, he has maintained a successful tridential career as a saxophonist, recordlabel executive and, most recently, jazz club proprietorin the seat of the European Union: Brussels, Belgium.A resident of that city since 1982, the alto saxophonisthas carved out a comfortable niche for himself withinthe region he was first exposed to during the GoldenEra of avant garde ex patriotism. “When I first came toEurope it was 1969 and I came to play in a big festivaland after that we had a lot of concerts,” recallsHoward. “Then we left and we came back to theStates, I was based in New York at that time. About sixmonths later, we had some more concerts, we cameback and this went on for years, going back and forthand back and forth and back and forth... I decided thatinstead of going back and forth all the time, it wasmore advantageous for me to stay over here and liveand work.” Howard made the official move to Paris in1972 after having spent much time there with musicians like Anthony Braxton and groups like theArt Ensemble of Chicago.

Having moved to Europe and then Brussels in thelast quarter of the 20th century, Howard has been ableto benefit from the rise of the European EconomicCommunity, today’s European Union. “It’s totallychanged the landscape of the city [Brussels]. The city isvery very international and because you have all ofthese young people, young professionals working inthe city in governmental positions.”

The pull of Europe has always been strong forAmericans of all generations (from Dexter Gordon andSteve Lacy to the whole Chicago contingent). Howard,who was part of the nascent New Music movement inNew York, found a lot of similarities. “I think thedynamism was very similar,” he theorizes. “It was avery strange thing though we knew what was goingon. We were not as acutely aware of it as I am todaylooking back in retrospect. But here I was in Paris andI would say at least 55-60% of the people that were inthe new music or improvisational music or avantgarde jazz music or whatever you want to call it were

actually living and working and based in Paris. Therewas this colony of Americans that were working in aforeign country in France. It was kind of a spontaneous thing. I don’t think anybody planned it.”

The early time spent in Europe, though intenselycreative, did provide some lessons that would serveHoward well in the future in regard to working withsome rather shady record companies: “I think all of uswho recorded during that period have the same feeling… [But] had we not did those recordings theywouldn’t be around for history as they are now. Andthe artists wouldn’t have been able to assemble themusicians they did assemble to help them create thekind of music and the kind of compositions that theyassembled at that time. So it’s a mixed bag.” Howardis especially qualified to discuss this topic having beenthe receiving end of similar treatment by the mostfamous, or notorious, of avant garde record labels:ESP. “…ESP is the monster of deception... I am awareof ESP’s adventures...they continue to make money offthe artists and they refuse to pay any royalties.”

These kind of experiences led Howard to foundone of the first musician-run labels, his own AltsaxRecords, going strong since 1968. It has released hisown work over the years as well as albums by some ofHoward’s colleagues. “I could have more control overwhat I recorded and produced and put into the marketplace and it was an alternative to going to thesetype of companies that were not treating these artistsfairly or me personally fairly enough,” he explains.

New projects for Altsax will include tasty treatsfrom Howard’s own archives including historicalrecordings of arguably one of Howard’s, and jazz’,most exciting groups: the Frank Wright/NoahHoward Quartet. “It was a very powerful group, andvery dynamic and very creative musicians,” recollectsHoward. “It was unusual because we didn’t have abass player in the original group. It was just two saxophones, alto and tenor saxophone, the greatpianist Bobby Few and Muhammed Ali, Rashied Ali’sbrother, on drums. In fact, at that time in Europe, forthe American groups, there was only two groups thatwere really outstanding and that was that group andthe Art Ensemble.”

When Howard comes to New York this month, hewill be appearing with frequent collaborator spokenword artist Eve Packer. Howard feels a special affinitytowards this format: “You say spoken word but anytime you say a verse in poetry, it’s melody anyway. When somebody is talking, when you’re amusician, just normally talking, we all sing. We don’tknow that we’re singing maybe but to a musician’sear, it’s melody. So if it’s melody with meaning, I cantake that and work with it and bring something to it.”

Though quite comfortable in Europe, where hisnew jazz club has just started, trips backs to NewYork, his first musical home, elicit special feelingsfrom the 62-year old. “I love New York. New York ismy adopted city in the United States... New York is

just one of the most unique places on the planet andit’s always great to play in New York.”

For more information, visit www.noahhoward.com. Howardis at Cornelia Street Café Oct. 10th. See calendar.

Recommended Listening: • Noah Howard - At Judson Hall (ESP, 1966)• Noah Howard - The Black Ark (Polydor, 1969)• Frank Wright - Uhuru Na Umoja

(America-Universal Music, 1970)• Noah Howard - Berlin Concert (FMP, 1975)• Noah Howard - Patterns/Message to South Africa

(Eremite, 1971/1979)• Noah Howard/Bobby Kapp -

Between Two Eternities (Cadence Jazz, 1999)

ENCOREBack in the spotlight...

Ted Dunbar 1937-1998by Donald ElfmanThis time out in our remembrances of importantdeparted jazz musicians, we go to a more recent pastto discover - or re-discover as the case may be - a player who was on scores of recordings, played withmany contemporary greats and jazz masters and isunfortunately little known except by cognoscentiand/or by his students: Ted Dunbar.

Dunbar was born in 1937. An essentially self-taught musician, he played trumpet and guitar atTexas Southern University in the mid and late ‘50s

while getting a pharmacy degree! (He kept his pharmacy license until his death.) While in Texas heworked with some of that state’s jazz legends, including saxophonists Arnett Cobb and DonWilkerson and with Joe Turner. In the ‘60s he studiedwith David Baker in Indiana where he met and sometimes filled in for Wes Montgomery, who in ways- with his unique chording and beautiful melodic lines- was Dunbar’s primary influence.

Moving to NYC in the ‘60s, Dunbar landed gigswith Gil Evans and came to record with the composer/arranger and bandleader. In ‘72, he hadjoined the faculty of Livingston College becoming thefirst jazz professor at Rutgers University, where his

students included Kevin Eubanks and Rodney Jones.In the ‘70s, another significant job he acquired wasplaying in Tony Williams’ Lifetime with whom theguitarist did several recordings. Dunbar made scoresof recordings in the ‘70s and ‘80s in an amazing variety of settings, working with McCoy Tyner,Charles Mingus, Sam Rivers, Kenny Barron, Gil Evansand with singers Janis Siegel, Susannah McCorkle andJoe Williams. He played in the jazz tradition with asolid footing in blues and melody and was accomplished as both a soloist and ensemble playerand was an influential and beloved teacher during hiscareer, having written several books on jazz harmony.Dunbar passed away in 1998 at age 61.

LEST WE FORGETGone but not forgotten...

1968 2003

12 October 2005 | ALLABOUTJAZZ-NEW YORK

Jason Rigbysaxophone, reedsJason Rigby’s soon-to-be-releasedrecording Translucent Space (FreshSound) will be his first as a leaderand features Cameron Brown,Mike Holober and Mark Ferber.The project is a documentation of original music with the priority on

improvisation and group interplay. Originally fromCleveland, OH Rigby has worked with the VillageVanguard Jazz Orchestra and Aretha Franklin, as wellas with a number of improvisation-based smallgroups. He has recorded with David Liebman, TonyMalaby, Russ Johnson and Tim Horner and hasappeared on records for the Fresh Sound, Soul Note,Koch Jazz and NuJazz City labels.

TEACHERS: My first teacher’s name was TomTweedle - cool name for a saxophonist - and I studieda bit with Cleveland saxophonist Ernie Krivda duringhigh school. I went to Youngstown State Universityand had some amazing teachers - the late TonyLeonardi was an incredible jazz mentor; James Umblewas an incredible saxophone mentor and I studiedimprovisation and clarinet with Kent Engelhardt. Oneof my most impacting teachers was Dick Oatts - suchan amazing person, musician, improviser. I’ve alsostudied with Mike Abene and Rich Perry.

INFLUENCES: I’ve always been deeply into JoeHenderson, John Coltrane, Joe Lovano and SonnyRollins; also Ornette Coleman, Elvin Jones, Mel Lewis,Monk, Billie Holiday, Miles Davis, Joe Farrell, DonaldByrd, Wayne Shorter and Charlie Parker. Other bigsources of inspiration have been the Beatles, AlbanBerg, the Police, Joni Mitchell, Led Zeppelin, Mahler,Shostakovich, Frank Lloyd Wright and Hemingway.

CURRENT PROJECTS: I just finished recording myfirst leader project for Fresh Sound. I hope to have itreleased in a few months. I’ve also been doing somevery rewarding sideman duties with Cameron Brown,guitarist Scott Dubois, pianist/composer Kris Davisand with composer Anita Brown’s Jazz Orchestra. I co-lead a trio with bassist Eivind Opsvik and drummerJeff Davis called Trio Colossus and am involved in sortof a collective group, Sidecar, with drummer BrianGriffin, guitarist Aaron Jennings and Eivind Opsvik.

BY DAY: Lots of practicing and writing and thinking.One of the great things about NY is that so many greatplayers are into playing sessions, of which I do a fairamount. I very much enjoy teaching music, which I doa few days a week. Have subbed on Broadway shows,though it’s been awhile.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I heard the famous recording of Coleman Hawkinsplaying “Body and Soul” on the radio one night inCleveland - I guess I must have been about 9 years old.

DREAM BAND: To have played trio with Elvin Jonesand Reggie Workman; or to have played duo with MelLewis, Ed Blackwell and/or Billy Higgins.

DID YOU KNOW? My grandmother went to gradeschool with Shirley Temple and my grandfather was aWWII submarine vet.

FOLLOW UP WITH:www.jasonrigby.net

Rigby is at 55Bar Oct. 2nd with Scott Dubois and TheStone Oct. 13th with Cameron Brown. See calendar.

LISTEN UP!

Matt BrewerbassBrewer’s music can be heard as across between certain aspects ofjazz, along with clasical music anda bit of traditional West Africanmusic. Born in 1983 in OklahomaCity, he spent most of his youth inthe Southwest (Albuquerque,

NM). Both his father and grandfather were jazz musicians as he grew up. He started gigging professionally by the age of 12 and soon would be winning awards from top university jazz festivals,twice winning the Outstanding Jazz Performer awardwhich had never before previously been awarded to amiddle school student. Brewer later attended the firstever Juilliard Jazz Program. He has since worked withsuch artists as Greg Osby, Greg Tardy, Chris Cheek,Jeff “Tain” Watts and many others, extensively touringthe US, Europe, Canada and Japan.

TEACHERS: Since my father is a musician, I grew uplistening to music. Even before I was born my parentswould put headphones on my mother’s stomach andplay albums like A Love Supreme, Kind of Blue and alsomany classical pieces. I attribute this experience as myfirst real education and have both of my parents tothank for it. I have studied classical bass withLawrence Hurst and Winston Budrow and jazz fromRodney Whitaker and Ben Wolfe. I also studied for aweek with John Clayton. He really turned my wholething around and gave me invaluble information.

INFLUENCES: John Coltrane, J.S. Bach, IgorStravinsky, traditional Cameroon pygmy music, ToruTakemitsu, Paul Chambers and a great young composer named Ayaka Nishina. Nature and the greatoutdoors is also a big inspiration. Also great food!

CURRENT PROJECTS: For about the past two-and-a-half years, I’ve been playing with Greg Osby. I’m nowtrying to start leading my own ensembles and writemore music as well.

BY DAY: I feel very fortunate that I don’t have a dayjob. Mostly I just practice, read, watch movies, hangwith people, study Japanese, eat tamales.

I KNEW I WANTED TO BE A MUSICIAN WHEN...I can’t even remember. I was two when I picked up myfirst instrument (the drums). I guess while I was inmiddle school I realized that I wanted to do this professionally. I must have been about 14 or so.

DREAM BAND: Of guys that are still around I’d haveto say the Keith Jarrett Trio, with me. I’ve learned somuch listening to those guys I would love to be able toplay with them. Also the group that I assembled for arecent gig at Fat Cat: Mark Turner (tenor), RodneyGreen (drums) and Frank Locrasto (piano). Of pastgenerations, I would have loved playing with LesterYoung, Chick Webb and Art Tatum.

DID YOU KNOW? I was one of six musicians whowere the first to play on the Grammy Awards withoutbeing nominated for a Grammy. I’m also related toPocahontas.

FOLLOW UP WITH:matthewcbrewer@yahoo.comwww.mattbrewerbass.com

Brewer is at Niagra Oct. 18th with Jackson Moore andCleopatra’s Needle Oct. 28th with Daisuke Abe. See calendar.

G. MMORATTI ARTIST MMANAGEMENT

Personal MManagement ffor:

Don FFriedman - PPianoBenny PPowell - TTrombone

Steve SSwell - TTromboneRandy JJohnston - GGuitar

Harvie SS - BBassKarolina SStrassmayer - AAlto/Sop SSax

(Klaro)Drori MMondlak - DDrums

(Straight CCircle)Mike DDiRubbo - AAlto SSax

Daniela SSchächter - PPiano/VocalsSayuri GGoto - PPiano

For bbookings oof aany oof tthe aabovemusicians 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

Charlie Parker Festivalby Ernest BarteldesA sunny day welcomed the audience to Harlem’sMarcus Garvey Park and the first of the two day annual Charlie Parker Festival (Aug. 27th-28th).Young pianist Hiromi took to the stage first with hertrio and, despite the fact that she’d just flown in froma performance in Israel, she delivered an impressive,energetic set. On “If”, bassist Tony Grey showcased anecho-drenched solo, while Hiromi seemed to puteverything she had into the tune - seemingly feedingfrom the audience response.

Hiromi was followed by Brit hiphop bebop manSoweto Kinch, who came to the stage with an innovative approach towards blending the hard-driven jazz style with the oft-controversial urban beat.Unfortunately, due to “lip problems”, the saxophonewas “off-limits”. He compensated by showcasing hispiano skills in “Adrian” and rapping about an utopianreality in which jazz was the dominant musical styleon TV and radio, driving pop artists and DJs to “sitand complain”.

Odean Pope’s Sax Choir - the only band to playon both days - featured Louis Taylor (on alto) andElliott Levin (tenor) and was comprised in total of 3altos, 4 tenors and baritone sax, along with piano, bassand drums. Blending original compositions with tunesby John Coltrane and others, he opened with“Epitome” featuring a long acapella solo later joinedby the rest of the group. “Iris”, taken at a slow tempo,was an original tune dedicated to the bandleader’swife and featured subtle-sounding drums and a heartfelt solo by the leader. The Sax Choir closed witha beat-driven bari solo soon joined by the group as thetune progressed. The tempo shifted to a Latin beat, the saxophonists getting up and walking into the audience(only done in Harlem - the stage in The East Villagedid not allow for that kind of stunt), individually improvising as they went along, thenreturning to the stage for the band’s grand finale.

Alto saxophonist Bobby Watson closed theevening with more moody selections: “In ASentimental Mood” was quickly recognized andapplauded, and “Limoncello” was a funky, easy goingsong about the cocktail made from “a little bit of limeand about a gallon of moonshine”.

The following day took the Charlie ParkerFestival to the Lower East Side’s Tompkins SquarePark (the acoustics at the Marcus Garvey Parkamphitheater contributed for a better overall listeningexperience). Jazz fans, ignoring the forecast of rain,crowded the downtown locale. Cindy Blackman’squartet opened, blending hardbop jazz tendencieswith influences culled from heavy metal rock. Theband was well received, and the energetic Blackmandemonstrated a lot of musicality on the drums.

The John Hicks Trio, joined by saxophonist David“Fathead” Newman, followed with a more traditionalset. Starting with a Latin/bossa groove, they movedon to more moody and hardbop turf featuring

Newman’s clear, inspired playing. The band’s strongLatin-inspired percussive element was surely a plus,and was audibly appreciated by the crowd.

The evening closed with pianist Geri Allen,charming everyone with her sensual, cool style.Though the sky was overcast most of the afternoon,the clouds broke, giving way to sunshine as soon asher set started. One of her highlights was “LoverMan”, a song popularized by Billie Holiday. In herhands, the song was taken away from its usual jaded,depressed mode and taken to a more pleasant, comfortable place. Allen delivered a magical set andwas given a cheerful ovation.

For more information, visit www.cityparksfoundation.org

Tanglewood Festivalby Ken FrancklingThe Berkshire Hills come alive with the sound of jazzover Labor Day weekend, as the Tanglewood JazzFestival has become a summer’s end arts and culture fixture for western Massachusetts.

While it doesn’t fit the format of what many of usconsider a jazz festival, along the lines of Newport orSaratoga, with hours and hours of music on one day-long program, it has a formula that works: A fullweekend of separate admission concerts featuring oneor two acts. Producer Fred Taylor fleshed it out a bitthis year with an interesting yet under-attended seriesof Jazz Cafe pre-concerts each afternoon and eveningfeaturing younger emerging acts, including bands ledby bassist Esparanza Spalding, pianist Andy Ezrin,vocalist/cuatro player Marta Topferova and trumpeter Dominick Farinacci.

Sonny Rollins, three days shy of his 75th birthday, proved to be the weekend highlight. HisSunday matinee performance featured Rollins’ customary quintet plus one added member, Chicagoguitarist Bobby Broom. Rollins was at his best with astart-to-finish solo, with spare accompaniment on“Falling in Love With Love” - including a few brief, slyquotes from other pop love songs that enhanced his 20-minutes-plus journey.

He ended his planned show with “Without aSong” after urging the audience members to find happiness “in some way every day” in their individuallives. But it wasn’t the end. A foot-stomping, clapping,demand for an encore brought Rollins and Co. back tothe Ozawa Hall stage for “In a Sentimental Mood” - anencore that captured everyone’s.

Tony Bennett was the Saturday night headliner ina program that featured the Count Basie Orchestra asthe opener and as Bennett’s backing band, above andbeyond his normal quartet. Many were expectingmusical fireworks with that combined band, but weredisappointed when Bennett rarely acknowledged theorchestra and only had it play on a couple of tunesduring his set. A golden opportunity missed.However, he did give tremendous solo space to his

guitarist Gray Sargent. Marian McPartland recorded another installment

of her award-winning public radio show, “Piano Jazz”with singer-guitarist Madeleine Peyroux, trading solotunes and mixing it up on songs stretching in chronology from the Bessie Smith to Peyroux songbooks.

Particularly interesting were their versions of“Careless Love” and Leonard Cohen’s “Dance Me ToThe End of Love”. Tragedy made “Do You Know WhatIt Means to Miss New Orleans?” even more poignant.Tanglewood Jazz reserves its Friday night opener for aLatin program, which provides the perfect energy anda spirit that can carry through the weekend. TheCaribbean Jazz Project with singer Diane Schuuropened. Hot Latinized versions of Oliver Nelson’s“Stolen Moments” and “Poinciana” were highlights. Itseemed it would be a relatively screech-free evening,but Schuur made up for it on their finale “So In Love”.

Many of those who came to hear Schuur missedout on some great music if they left before the quartetthat followed: Toots Thielemans, Kenny Werner,Oscar Castro-Neves and Airto Moreira. There wasnothing more intimate that weekend than the Werner-Thielemans duo version on Michel LeGrand’s “TheWindmills of Your Mind”. Werner’s sparing yet exquisite synthesizer playing was a splendid additionto his acoustic piano, particularly on “All The Way”.The set ended with an unusual arrangement of “GodBless America”, with Werner doubling on the openingmelody and refrain by whistling. “What a WonderfulWorld” capped the evening as the encore.

For more information, visit www.bso.org

Williamsburg Festivalby Ernest BarteldesFor the third time, listeners took the hipster (and rapidly gentrifying) neighborhood by storm with aselection of jazz artists mostly culled from the localNew York City scene. It was a casual atmosphere thatreigned at this four-day event (Aug. 8th-11th) thatshowcased some up-and-coming jazz talent at the cozyLaila Lounge and at the larger, hipper Galapagos. AtLaila, the audience seemed relaxed but more focusedon the music. At Galapagos, on the other hand, therewere a few people actually paying attention to themusic, while the crowd seated at the tables and at thebar were more interested in nursing their cold beersand chatting up with friends.

The festival’s lineup this year ranged from traditional to experimental with everything else inbetween, such as Travis Sullivan’s Björkestra, whichdedicates new arrangements for orchestra and vocalsto the often strange catalogue of Icelandicsinger/songwriter Björk or innovative downtown trumpeter Dave Douglas.

(continued on page 42)

ALLABOUTJAZZ-NEW YORK | October 2005 13

FESTIVAL REPORT

Odean Pope at Tompkins Square Park

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Sonny Rollins at Tanglewood

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Chris Tarry at Laila Lounge

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14 October 2005 | ALLABOUTJAZZ-NEW YORK

C D R E V I E W S

Saxophonist Pharoah Sanders came to New York fromSan Francisco in 1962 and spent much of this early period scuffling, often homeless and barely workingas a musician. His first break came as part of an earlyDon Cherry band in 1963, a quintet that recorded several pieces for Savoy that have never been issued, aband that also featured pianist Joe Scianni and stalwart Ornette bassist David Izenzon. By 1964,Pharoah was working in a cooperative group withpianist-composer Carla Bley and percussionist CharlesMoffett, as well as in various Cherry aggregations and,in September of that year, brought a quintet into JerryNewman’s studio to record ESP 1003, Pharaoh (laterretitled Pharoah’s First - his name taking on the alteredspelling somewhere in this period). Joining the tenorman on two side-long blowing numbers weredrummer Marvin Patillo, who would record withSonny Simmons (Staying on the Watch, ESP), pianistJane Getz (a Mingus alum who would later record folkblues for Verve-Forecast), trumpeter Stan Foster andbassist William Bennett. One might half expectPharoah to have brought with him some of his regularassociates at the time - Moffett, Henry Grimes, altoistByron Allen - but in many ways, his compatriots hereare a blessing, if a mainstream hardbop ensemble.

“Seven By Seven” would not have sounded out ofplace on Giant Steps, even the opening chorus ofPharoah’s lilting tenor, which sounds for all the worldlike one of Trane’s earlier workouts until it is summarily given a tug of war between those keeninghallmark Trane phrases and grotesque honks and multiphonics that, if not the bandsaw-on-sheet metalthat would be a hallmark of solos on “Om”, for example, certainly belie an allegiance to another worldof sound that is as much the “Holy Ghost” as it is the“Father”. Pharoah’s heel-digging buzzes and screamsare made ever more stark in their presence by therhythm section, Getz’ piano comping seeminglyunsure of its job and summarily distracted whileBennett’s rock and Patillo’s Philly Joe licks seem to bethe most respondent (and, in a way, unwavering) withPharoah’s whims. Foster contributes a pinched, nasaltrumpet solo that, while certainly not exactly hardbop,is unsure of exactly how to follow the tenor, even asPatillo builds a rising tide of percussion thermals tospur on the proceedings. Getz takes a thoughtful, well-constructed Tyner/Evans-esque solo that is surreally out of place with its preceding context,before Pharoah, Foster and the pianist enter into a collective improvisation to take the piece out.

“Bethera” has a head that might have beencopped from an earlier Trane blues, its theme even lessa springboard for free improvisation, but Pharoah somehow finds a slight descending chord on which toharp his guttural yelps, even as much of this lengthysolo takes on a tonal aesthetic that is decidedlyAtlantic-era Trane. Despite these tonal affinities, and itis something that is more noticeable in a “‘straighter”number such as this, Pharoah seems to be utilizingphrase-based free association (á la Newk or Cherry),rather than necessarily moving through and wringingout chords and modes as Trane had. This is a crucialdifference between these two reedmen, and as much asyoung Pharoah was beholden to Trane - of course, itwould not be long before he joined Trane’s quintet - he

is decidedly into something uniquely his even at thisearly stage. Getz and Foster sound noticeably more athome here and Patillo and Bennett seem comfortableeasing up. Nevertheless, this would be the last time fora number of years that Pharoah would utilize a more“mainstream” band for his work.

For more information, visit www.espdisk.com. Sanders is atIridium Oct. 5th-9th. See calendar.

Gilles Laheurte is one of the more unusual membersof the New York City jazz scene. Almost 60, he spentmost of his life working as an architect and planner,but was always devoted to music, his own as well asothers’. He calls himself an amateur jazz musician, butthere’s nothing amateurish about his release Dreams,which is full of beautifully evocative music.

The CD is a tribute to the late Steve Lacy, whowas a friend of Laheurte’s. 10 of the CD’s 12 cuts feature Laheurte on soprano sax, an instrument heplays with deep passion. The highlights are two longsuites where Laheurte improvises over drums. Thefirst, “The Sparrow’s Reverie”, features Laheurte withMark Sanders. The suite showcases the many sides ofLaheurte’s playing, sometimes spare and elegant,sometimes middle eastern in flavor and sometimescooking. Sanders provides a creative, always shiftingbackground, perfect for Laheurte’s flights of sound.“Koyasan Forest Walk” teams Laheurte with MasahikoTogashi, with Laheurte’s sax running the gamut fromfat and bluesy to sweet and flute-like.

One of the surprises is two cuts where Laheurtesolos on percussion and cymbals. It’s a different sideof his talent and explains why he solos so well overdrums - he understands both sides of the equation. Hispercussion work is inventive and multi-faceted, particularly on “Kyoto on My Mind”, a spacious songthat evokes the majesty of the ancient Japanese city. Itwould be great to hear a Laheurte CD composed purely of percussion solos.

Experiencing Laheurte is a pleasure: his soundevokes masters Lacy and Coltrane, but he imbues theinstrument with his own distinctive intelligence andheart. Dreams is a warm tribute and it’s also a comingout celebration of a hidden talent who surely hasmuch more to share.

For more information, visit www.gilleslaheurte.com. ASteve Lacy Tribute is at Merkin Hall Oct. 6th. See calendar.

It is gratifying to read A.B. Spelling’s original linernotes for Don Cherry’s 1966 recording Symphony for

Improvisers, the first sentence of which begins “TheNew Music is no longer new” and goes on to point outthe developments over the preceding 10 years. Freejazz is still a powerful draw for musicians and stillinspires indifference at best from most listeners.Perhaps this newly remastered CD from a high pointof the genre’s history will reel in a few new converts.

The recording quality is, as you’d expect, impeccable and in addtiion to Spellman’s originalnotes we have further enlightenment from Rudy VanGelder, who provides valuable insight into the musicitself. The title is a bit misleading, suggesting muchmore intricate music played by a much larger groupthan is the case. It’s really a small (though top notch)band mostly blowing free over rudimentary forms.The biggest marvel about it, aside from some of theinspired playing, is its seamless movement from onepiece to the next and how lightly, yet sometimesemphatically, the composed music coexists with theimprovised.

Cherry’s writing here is still redolent of the influence of Ornette Coleman, but otherwise hestepped out of the big man’s shadow and assumed themantle of leader with confidence and strength, assembling a strong group that includes PharoahSanders, Gato Barbieri, Henry Grimes, Karl Berger,Jean-François Jenny-Clark, and the titanic EdBlackwell, who gives the sometimes raucous music therhythmic underpinnings found in all great jazz.Cherry’s trumpet playing is also at it’s best - loose,lyrical and hair-raising at times.

For more information, visit www.bluenote.com. A DonCherry Tribute Festival is at The Stone Oct. 1st-23rd. Seecalendar for performers.

• Michaël Attias - Renku (Playscape)• Ray Barretto - Time Was-Time Is (O Plus Music)• Billy Childs - Lyric (Lunacy)• Gerry Hemingway - Double Blues Crossing

(Between the Lines)• Jenny Scheinman - 12 Songs

(Cryptogramophone)• Bebo Valdés - Bebo de Cuba (Calle 54)-David Adler NY@Night Columnist, AllAboutJazz.com

• Either/Orchestra - Ethiopiques 20: Live in Addis(Buda Musique)

• Prince Lasha/Odean Pope Trio - The Mystery of Prince Lasha (CIMP)

• Jean-Michel Pilc - Live at Iridium, New York (Dreyfus)

• Bebo Valdés - Bebo de Cuba (Calle 54)• James Jabbo Ware/The Me We & Them

Orchestra - Vignettes in the Spirit of Ellington (Y’All)

• Gerald Wilson Orchestra - In My Time (Mack Avenue)

-Laurence Donohue-GreeneManaging Editor, AllAboutJazz-New York

• Claudia Quintet - Semi-Formal (Cuneiform)• Satoko Fujii Four - Live in Japan 2004 (Natsat)• Paal Nilssen-Love -

Townorchestrahouse (Clean Feed)• Evan Parker Electro-Acoustic Ensemble -

The Eleventh Hour (ECM)• Herb Robertson NY Downtown Allstars -

Elaboration (Clean Feed)• The Vandermark 5 -

The Color of Memory (Atavistic)-Bruce GallanterProprietor, Downtown Mu\sic Gallery

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

Pharoah’s FirstPharoah Sanders (ESP)

by Clifford Allen

Dreams (A Humble Tribute to Steve Lacy)Gilles Laheurte (Self-Gratifying Prod.)

by Florence Wetzel

Symphony for ImprovisersDon Cherry (Blue Note-RVG)

by Ty Cumbie

ALLABOUTJAZZ-NEW YORK | September 2005 15

Cooper-Moore doesn’t limit himself to the usualrange of instruments. When he hears a sound in hishead, he invents a device to reproduce it, surroundinghimself with a mysterious aura, a shamanistic charisma that creates the sense that he’s tapped into aseparate world of undiscovered sound. Who can tellwhat he’s playing at any given moment? He’s a oneman band. But the music on Tells Untold is made bytwo men: Cooper-Moore’s involving rhythms from anassortment of homemade stringed instruments andpercussion and Assif Tsahar’s lovely melodies frombass clarinet, tenor and guitar. The last time these twogot together (America, 2003), the music had a sense ofurgency and tension that’s been massaged away formuch of this session. They use the studio’s tools tolayer the instrumentation with overdubs so that twoplayers sound like six and add electronic effects thatexpands the tonal palette, most startlingly on“Deviations”, a track that could be the work of aSpanish-guitar playing turntablist.

Assif Tsahar explores an entirely different side ofhis art on Fragments, the second recording by his self-conducted, string-dominated Underground Orchestra.Tsahar’s previous large band projects have come fromthe brass/reeds-centric Brass Reeds Ensemble andZoanthropic Orchestra and, in this case, the leader’stenor is missed. Not just fragments but fragmentary,the relatively short 16 pieces of this whole sound likeincomplete ideas, with long middles and no ends.Paranoid violin scratching, slow string pulls, repeatedmotifs and sustained notes that build in intensity thenrecede are occasionally interrupted by violent cacophonous orchestral blasts, which all add up to anunnerving emotional and psychological experience, asif Schoenberg were to score Hitchcock. Only on“Sixth”, a brief Charles Waters clarinet feature and“Seventh”, with its gypsy fiddle and cello flourishes,does Fragments approach the inviting organic warmthof Tsahar’s collaborations with Cooper-Moore.

For more information, visit www.hopscotchrecords.com.Tsahar and Cooper-Moore are at Zebulon Oct. 17th and TeaLounge Oct. 20th. Tsahar is at Tonic Oct. 11th. Cooper-Moore is at Tonic Oct. 3rd. See calendar.

Bassist Charlie Haden and pianist Carla Bley, two ofthe more eclectic and versatile people in jazz, make agreat team as musical conceptualists as a they draw ona shared vision and Bley’s knack for sometimes off-kilter large ensemble arranging.

It has been 37 years since Charlie Haden and

Carla Bley formed the first edition of Haden’sLiberation Music Orchestra at the height of theVietnam War. This edition launched an internationaltour in 2004 that began with a stunning performance atthe Montreal International Jazz Festival and wasrecorded in Rome three weeks later during theEuropean tour leg.

Haden explained the project’s purpose in his briefliner notes: “We want the world to know that the devastation that this administration is wreaking is notin our name. It’s not in the name of many people inthis country… Our opposition to the inhumane treatment of this universe remains.”

While there are brief, cohesive solos scatteredthroughout the work by most if not all of the members,it is the ensemble nature of the work that makes it special. While not every tune is an “anthem” per se,each of them gets a sweeping anthemic treatment andfeel. Haden and Bley each wrote one tune (the titletrack and “Blue Anthem” respectively) and drew theother material from composers ranging from SamuelBarber and Antonin Dvorák to Bill Frisell, OrnetteColeman (“Skies of America”), Gary McFarland andPat Metheny, among others.

The title track’s chanson allusions and the way inwhich the Americana-referenced and musically visualPat Metheny-Lyle Mays-David Bowie composition“This Is Not America” segues right into reggae beatbring an international feel to a musical/political statement that indeed is international. “Blue Anthem”begins as a soulful dirge, a feeling that Haden enriches with his mid-point bass solo leading intouplifting guitar, brass and piano counterpoint.

The centerpiece is an “America the Beautiful”medley that begins with a spirited reinterpretation ofthe Samuel Ward original, segues into McFarland’sreworking of the same tune, while the African-American spiritual “Lift Every Voice and Sing” endsit. “Skies of America” - opening with a strong drumsolo and propelled by the always-creative Matt Wilson- and the traditional “Amazing Grace” are also naturalfits here, as is the elegiac chamber arrangement of“Adagio” from Samuel Barber’s “Adagio for Strings”which ends the CD.

Whether you agree or disagree with the politics ofBley and Haden, it is hard not to appreciate the depthand breadth of their musicality, and how the LMObrings it all to life. If there were six stars in the ratings,this would get it.

For more information, visit www.vervemusicgroup.com.Haden is at Blue Note Oct. 4th-9th. See calendar.

The Frank & Joe Show’s second CD finds the groupexpanded to a sextet, as lead guitarist Frank Vignolaand percussionist Joe Ascione add rhythm guitaristKen Smith, bassist Gary Mazzaroppi and percussionists Chuck Ferruggia and Rich Zukor to theroster (the CD also includes one vocal apiece by JaneMonheit and Janis Siegel).

The “show” opens with Rodgers &Hammerstein’s standard “It Might As Well Be Spring”done with a samba-like beat. Vignola plays themelody, then goes off into a gentle guitar solo, asAscione provides the rhythmic sway. “My Prayer”, the

next track, features a tasty Vignola solo. JaneMonheit’s straightforwardly pleasant vocal onRodgers & Hart’s “Manhattan” is done to a Latin beat,starting off with voice and Ascione’s drums, Vignolacoming in on the bridge and another solo, thenMonheit returning for the last verse. The Latin classic“Quizas” finds Vignola sliding from single melodiclines into chords and back again with ease. And“Sway” is done as a merengue at breakneck speed -lightning quick solos by Vignola and Ascione.“Hungarian Dance No. 5” finds the guys followingeach other easily through changing time signatures and complicated chord progressions.

The three originals on this CD are consecutive:starting with “After Hours” - a driving blues byVignola; the raga-like melody of “Let It Happen” prettily interpreted by Vignola’s solo; and the sophisticated and smooth “City Samba” (written byVignola and Ascione). The time sensitive “Do YouKnow What It Means To Miss New Orleans?” is donesimply and with sensitivity. Bach’s “Partita No. 2” combined with Mozart’s “Rondo”, recorded live, isplayed very fast by Vignola with drum punctuation byAscione. “That’s All” is done as a ballad with Vignolajust playing the song. And the last track, “GlowWorm”, features Janis Siegel’s swinging vocal withsome nifty multi-tracking to become a vocal group.

Frank Vignola and Joe Ascione, a pair of talentedmusicians, work well and happily with each other toinvent interesting approaches to a wonderfully eclecticcollection of material. This offering follows in the besttradition of making an audience feel good.

For more information, visit www.hyenarecords.com.Ascione is at The Lighthouse Oct. 26th with Derek Smith.See calendar.

Sat, Oct 1LOUIS HAYES TRIO

Javon Jackson (ts)Reuben Rogers (b)

Fri & Sat, Oct 7 - 8JOE FARNSWORTH’S

WORLD RHYTHM OCTET

Thu - Sat, Oct 13 - 15DR. LONNIE SMITH TRIO

Peter Bernstein (g)Allison Miller (ds)

Wed, Oct 20 JUDY BARNETT

Fri & Sat, Oct 21 & 22RAY BARRETTO SEXTET

Joe Magnarelli (tr), Myron Walden (as)

Ricardo Rodriguez (b), Robert Rodriguez (p)Vince Cherico (ds)

Wed, Oct 27 SPIKE WILNER QUARTET

Fri & Sat, Oct 28 & 29TBA

please call club

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

John Farnsworth QuintetTuesdays: B3 Organ Grooves w/

Eric Alexander, Mike LeDonne, Peter Bernstein

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

Frank & Joe Show: 66 2/3Frank Vignola/Joe Ascione (Hyena)

by Marcia Hillman

Not in Our NameCharlie Haden/Liberation Music Orchestra (Verve)

by Ken Franckling

Tells UntoldCooper-Moore/

Assif Tsahar (Hopscotch)

FragmentsNew York UndergroundOrchestra (Hopscotch)

by Jeff Stockton

Gene Ess’ third effort as a leader is a noteworthydeparture from his sophomore release (Sunrise Falling,Amp Records 2003) in significant ways: while the earlier work straddled rock and fusion-jazz sensibilities, Sandbox and Sanctum is leaner, cleanerand fully straight ahead, underscoring the guitarist’simpeccable tone and taste; more importantly, it represents Ess, for the first time, in complete control(compositions, arrangements, recording, mixing/mastering and production) - with admirable results.

Complemented by Donny McCaslin (tenor andsoprano saxes), Harvie S (bass) and Gene Jackson(drums), the album is a programmatic song cyclebased on the mythic quest of a hero. Following a briefsampled soundwash and sparse snare drum chatter,Ess’ guitar commences with a note of hesitancy, as ifour hero were pondering the magnitude of his epictask. Soon it’s down to business as guitar and tenorprobe the harmonic contours of “Free 2 Fast” withangular abandon. “Ryo”, a gentle bossa featuringMcCaslin’s lyricism and Ess’ woody mid-range, is followed by “Baptisma Pyros”, a bop-tism by fireshowcasing a series of spontaneous combustions fromguitar, tenor and bass. “Ballad for a Swordsman”reveals the somber reality of a warrior’s life throughsensitive classical guitar sonorities and thoughtful,melancholic solos, until the group amps up for “Askthe Guru”, a composition with trim unison lines, call-and-response sectioning and featuring McCaslin’sswelling chromatic contours and Ess’ refreshinglynon-guitaristic melodic conception. “Noh Country”,an allusion to the traditional theater of Japan - and perhaps the rootlessness of a heroic wayfarer? - recallsthe melodies of Gagaku royal court music, renderedhere in pentatonic quintuplets over a loping jazzwaltz. “Sun Matsuri” is even more adventurous, therhythm section comping 5/4 time under the tenor’sseven-beat phrasing, everyone eventually synching upat the 4/4 outro figure. The mythical journey dénouements with “Kerama Processional”, kicked offby Harvey S’ Jaco-esque latin-calypso vamp, punctuated by stop-and-go phrasing from guitar andsoprano as the combo marches off towards the horizonline, ambiguously overshadowed by a brief reprise ofthe opening industrial montage.

For more information, visit www.jazzgenemusic.com. Ess isat Europa Club Oct. 10th and Kavehaz Oct. 21st. See calendar.

Milt “Bags” Jackson gained international notoriety as

the vibist and co-leader of the Modern Jazz Quartet, inwhich setting his rich and warm sense of the blues, hissolid swing and his mastery of technique on his instrument provided a somewhat more animated complement to the slightly more delicate and etherealplaying of pianist John Lewis (though it must be saidthat Lewis could swing and dig into the blues with thebest of them!). These qualities enabled Jackson to workin many different settings and two of his most successful recorded outings (for Riverside) have nowbeen re-issued in Fantasy’s great 20-Bit series.

Blues is certainly the foundation on both of theserecordings, as can be heard immediately on Things AreGetting Better. Bags’ “Blues Oriental” is a 5-minuteblues with colors suggested by its name. Jackson isfirst up and delivers a short and sweet lesson in theelegance and eloquence of the form. And what arhythm section - with the tasteful and swingingWynton Kelly (with whom Cannonball Adderley wasto play in the Miles Davis Prestige group), MJQ bassistPercy Heath and the ubiquitous Art Blakey who couldbrighten any session. Cannonball and Bags, thoughboth strong and individual leaders, never step on eachother’s toes. And as a bonus, Orrin Keepnews (producer of the original LP and subsequent re-issues)has included several alternate takes.

Bags’ pairing with Wes Montgomery is anothermatch made in heaven. Wes essentially recreated thejazz guitar with his unique lines and chording. Andagain, when you have Milt Jackson what you get isthat wonderful no nonsense sound, steeped in theblues and all about simple uncluttered expression.Here is Wynton Kelly again showing why he was thepianist of choice for so many. Sam Jones (bass) andPhilly Joe Jones (drums) complete what was essentially the Riverside house rhythm section.

Jackson and Montgomery contributed originalsand the band also tackles Benny Golson’s celebrated“Stablemates” and the standards “Delilah” (by VictorYoung) and “Stairway to the Stars”. Both of the leaders/soloists are beautifully communicative on thesensitive, slow ballads and then also on the moreuptempo numbers. “Delilah” is altogether as alluringand beautiful as she was in the famous CliffordBrown-Max Roach version, brought into the light hereby the exquisite string bass work of Sam Jones.

Again there are alternate take bonus tracks, offering fascinating glimpses into the recordingprocess and the role of the producer. And note must bemade on both of these incredible recordings of theincredible re-mastering. Never have these instrumentssounded so clean and beautiful, allowing even furthertestament to the artists’ expressive capabilities.

For more information, visit www.fantasyjazz.com. A MiltJackson Tribute Band led by Joe Locke is at The Kitano Oct.7th-8th. See calendar.

16 September 2005 | ALLABOUTJAZZ-NEW YORK

and

Inquiry – 212-885-7119www.Kitano.com

email: jazz@Kitano.com66 Park Avenue @ 38th St.

presentLIVE JAZZ EVERY

WEDNESDAY - SATURDAYNO COVER - $10 minimum/set

unless indicated

2 sets – 8pm and 9:45pm

THURSDAY, OCTOBER 13ADAM BIRNBAUM TRIO

WEDNESDAY, OCTOBER 5ASSEN DOYKIN TRIO

FRIDAY & SATURDAY, OCTOBER 7 & 8MILT JACKSON TRIBUTE BAND featuring

JOE LOCKEJoe Locke, Mike LeDonne, Bob Cranshaw, Mickey Roker

$20 cover + $10 minimum

THURSDAY, OCTOBER 6HARUKO NARA TRIO

Haruko Nara, Paul Beaudry

THURSDAY, OCTOBER 20BEN WALTZER TRIO

Ben Waltzer, Matt Penman, Gerald Cleaver

FRIDAY, OCTOBER 21EARLY SHOW -- 6 pm - 8:30 pm

DAISUKE ABE QUINTETDaisuke Abe, Rodney Green, Matt Brewer, Aaron Parks

FRIDAY & SATURDAY, OCTOBER 14 & 15DON FRIEDMAN TRIO

Don FriedmanMartin WindTony Jefferson

$20 cover + $10 minimum

WEDNESDAY, OCTOBER 19TOMMY CAMPBELL TRIO

THURSDAY, OCTOBER 27JOHN DIMARTINO TRIO

FRIDAY & SATURDAY, NOVEMBER 4 & 5JOE CHAMBERS TRIO

Joe Chambers, Dwayne Burno, Misha Tysyganoff$15 cover + $10 minimum

FRIDAY & SATURDAY, OCTOBER 28 & 29RYAN KISOR QUINTET

Ryan Kisor, Grant Stewart, Peter Zak, John Webber, Jason Brown

$20 cover + $10 minimum

FRIDAY & SATURDAY, OCTOBER 21 & 22CECIL PAYNE SEXTET

Cecil Payne, Harold Mabern, John Farnsworth (10/21 only), Steve Davis (10/22 only), Jim Rotondi, John Webber,

Joe Farnsworth$20 cover + $10 minimum

WEDNESDAY, OCTOBER 26EDMAR CASTANEDA QUARTET

WEDNESDAY, OCTOBER 12VINCENT GARDNER QUINTETVincent Gardner, Walter Blanding, Marc Cary,

Greg Williams, Quincy Davis

FR IDAY, SEPTEMBER 30 & SATURDAY, OCTOBER 1

INGRID JENSEN QUINTETIngrid Jensen, George Garzone, Danny Grissett,

Matt Clohsey, Jon Wilkan$15 cover + $10 minimum

Don Friedman VIP TrioTimeless

FFO-29

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

Things Are Getting BetterAdderley/Jackson

(Riverside-Fantasy)

Bags Meets WesJackson/Montgomery(Riverside-Fantasy)

by Donald Elfman

Sandbox and SanctumGene Ess (SIMP)

by Thomas Greenland

Together these three reissues demonstrate thatalthough each of Blakey’s bands maintained a similarsound they also possessed their own individual identities. Drum Suite is a unique entry in the Blakeydiscography. Originally comprised of two sessions -one debuting Blakey’s first percussion ensemble, theother with the unit featuring Bill Hardman, JackieMcLean, Sam Dockery and Spanky DeBrest - this reissue appends a third date including two rare tracksand a previously unissued alternate take by the short-lived group with Donald Byrd, Ira Sullivan, KennyDrew and Wilbur Ware. Although both of the quintetsoffer some typically swinging Messenger material, it isthe percussion ensemble that makes this disc worthpicking up. Papa Jo Jones, Specs Wright, SabuMartinez, Candido, Ray Bryant and Oscar Pettifordjoin Blakey for three loosely interwoven pieces. Thework begins with the leader’s “The Sacrifice”, whichopens with Wright’s tympani and Sabu’s Swahili chantand progresses into a rumba that includes a previously excised Ray Bryant piano solo. Bryant’s“Cubano Chant” is dramatized by a group vocal and aseries of exciting percussion solos and Pettiford’s“Oscalypso” features the composer on cello for one ofthe finest solo outings in all of jazz on that instrument.

The Big Beat was the first Messenger date featuring Wayne Shorter to be issued on Blue Note andit paradoxically illustrates both how the band maintained its signature sound while changing withthe inauguration of each talented new member.Shorter succeeded Benny Golson in the classic Moanin’quintet that also featured Lee Morgan, BobbyTimmons and Jymie Merritt and his harder edged,Trane influenced tone and burgeoning harmonicallydaring approach to the tenor gave the group a morefiery and modern temperament. Yet, the soulfulness ofMorgan and Timmons still dominated the group’scharacter, even on the saxophonist’s own tunes. While this edition of the Messengers is oftenoverlooked in favor of the ones that came before and

after it, this date proves it to be one of the most satisfying groupings, fully evoking the toe tappingjoyous simplicity of its predecessor on Timmons’ “DatDere” and Bill Hardman’s “Politely”, while forecasting the sophistication and inventiveness of thenext incarnation of the group with Shorter’s “LesterLeft Town” and “The Chess Players”.

That next incarnation, arguably the greatestgroup of Jazz Messengers, is heard on Caravan. Theband featuring Shorter, Freddie Hubbard and CurtisFuller in the frontline with Cedar Walton and ReggieWorkman joining Blakey in the rhythm section wouldproduce some of the finest original jazz in the music’shistory. The date features Shorter’s sadly overlookedgem “This Is For Albert” and two takes each of the saxophonist’s eastern tinged “Sweet and Sour” andHubbard’s incendiary “Thermo”, as well as creativelycrafted arrangements of the Ellington-Tizol title trackand the standards “Wee Small Hours” and “Skylark”.On all three discs Blakey’s drumming, both as anaccompanist and soloist is simply stunning.

For more information, visit www.sony.com,www.bluenote.com and www.fantasyjazz.com.

Achim Kaufmann’s first solo piano disc is a study inatonal expressionism and sonic adventurism, drapedin dark mysteries. Recorded mainly at the Bimhuis, inthe pianist’s home city of Amsterdam, Knives consistsof 18 fairly short pieces that showcase Kaufmann’stechnical excellence, his aptitude for instant orchestration, his imaginative use of “mixed techniques” (i.e. prepared piano) and his firm yet idiosyncratic grasp of jazz piano tradition. One cannotbut admire the discipline of his left-hand bass lines on“a dreg of red” and “marche b2” or his elliptical use oftonality on “more than a simple shoreline” and theclosing 30 seconds of “sheets surfacing like an ocean”.Only six of the pieces entail mixed techniques, buttheir aural and emotive range is broad - from themuted percussivism of “dips and proclivities” to thewhooshing and scraping of “heavy lace”, the Zen-likecalm of “space usually given over to knives” and thepinging, Eastern-tinged high notes of “sand melody”.In his liner notes, Greg Buium lists some ofKaufmann’s tools: a plastic ruler, fingers, a sander anda piano-tuning wedge, among other things.

There is a rich contrast and a good deal of overlap between Kaufmann’s abstract sound art andhis more “traditional” pieces. One hears it in the jumpfrom “her hair a dark river…”, with its crescendoingknocks and groans, to the stately yet obscure harmonies of “no trace of food, or grief” and “foursmall rooms”. But the most striking departure is aseven-minute reading of “2300 Skidoo” by HerbieNichols. Beginning with staccato jabs and harsh clusters, Kaufmann eases into the swinging melodygradually, using tempo as one dramatic device amongmany. His right-hand tremolos and neo-stride reference points make clear that this “out” player canaccess “in” at any moment.

For more information, visit www.leorecords.com.Kaufmann is at the Don Cherry Tribute at The Stone Oct.6th with Harris Eisenstadt. See calendar.

ALLABOUTJAZZ-NEW YORK | October 2005 17

JAZZ IMPROVISATIONCONNIE CROTHERS

All instruments, singers—all levels(Except for pianists, all musicians must know their instruments)

Individual approach enables the musician to create the music spontaneously,

based on hearing and feeling.Integrated study includes ear-training,

harmony, melody, rhythm, form,instrumental expressive ability,history of the music’s evolution.

Studio located in the Williamsburg section of BrooklynTelephone: (718) 302-4377

e-mail: conniecrothers@aol.com

KnivesAchim Kaufmann (Leo)

by David Adler

Drum Suite (Columbia-Legacy)The Big Beat (Blue Note-RVG)Caravan (Riverside-Fantasy)

Art Blakeyby Russ Musto

As a musician, Charles Tolliver almost has it all. Hehas gained international respect from critics and peers,as well as a grateful and patient sliver of the marketthat purchases his scant recordings as a leader andattends his infrequent presentations. Thus Tolliver,because of his unprolific discography and absencefrom the market as a performer, is a minor transitional figure in the history of jazz trumpet playing, notwithstanding his actual or eventual legacyas a label owner, musician, composer and teacher. Afigure, however, by any other name is, well, a figurenonetheless! Therefore, Tolliver is now the subject of aMosaic Select three-disc set in what might be, according to Michael Cuscuna, “the first in a line of co-ventures between Mosaic and [Tolliver and pianistStanley Cowell’s] Strata-East” label.

Previously released material that has seen variouseditions encompasses most of these live early ‘70sdates. The first disc, recorded in 1970, is Live at Slugs,the second, from 1973, is Live in Tokyo and the third,perhaps the most important one, features six previously unreleased performances from the aforementioned, three from each.

Tolliver’s two versions of Music Inc. featured hereperform superior hardcore hardbop material withsympathies toward structured-yet-freer jazz stylistictendencies. Indeed, plenty of gritted heart characterizes the writing and performing of this musical link between the last gasps of bop glory in the‘60s and the Young Lions period. “Felicite” and“Truth”, for example, are forcefully melodic andendowed with just the right touch from all concerned.Swinging changes, as well as ethnic seasonings, framethe leader’s fast runs and precise flutters in“Orientale”. The latter’s sinuously mysterious archedbass solo is met on brighter musical terms on “Effi”.“‘Round Midnight” is all about deeply gutted feelingand it sounds good. A previously unreleased 20+minute version of “Our Second Father (Dedicated tothe Memory of John Coltrane)”, from the Tokyo date,is now available. It’s rewarding to compare the respective hefty chops displayed by both editions ofMusic Inc. as they interpret it, as well as “Drought”.

For more information, visit www.mosaicrecords.com.Tolliver is at Jazz Standard Oct. 19th-22nd. See calendar.

It was late July 1957 and I was at the end of the bar atthe original Five Spot, on Bowery, during the firstweek of what would be a extended run by the new

Thelonious Monk Quartet with John Coltrane. Duringintermission, Monk took up a position next to me,bourbon in one hand, a rum and coke in the other,staring straight ahead.

Coltrane came up to him and, rather nervously,said: “Monk, I’m trying, I’m trying, but that tune isreally hard.”

Hardly turning toward Trane, Monk declared: “F-k the trying; do it, do it.”

Judging from the indelible music on At CarnegieHall, recorded that Nov. 29th, Coltrane did indeedtake Monk’s advice. The (courtesy of Voice of Americaarchives) recording, of two short sets during a multi-jazz star, 2-show event, is the definitive auraldocument of this classic quartet at its most togethermoment, after over four months of work together atthe Five Spot.

Except for the 9-and-a-half minute “Sweet andLovely” (the only non-Monk tune on the Carnegie HallCD) the other tracks are all in the 4 to 8 minute range- shorter than was the norm at the Five Spot. But thegroup had a scant half-hour on stage each time andMonk was obviously making the most of it. So he didn’t dance and, obviously reveling in having a concert Steinway at his disposal, he played a whole lotmore piano than what he usually did at the Five Spot.So what we have is an almost effusive Monk, plus aColtrane completely versed in the intricacies of theMonk repertoire and, to top it off, a rhythm section(bassist Ahmed Abdul-Malik and drummer ShadowWilson) completely attuned to Monk’s demanding regimen of tempo and time - hence, a perfect MonkQuartet.

Across Manhattan, in the far West Village, eightyears later in the Spring of 1965, another iconic quartet, Coltrane’s, was captured by another radiobroadcast, issued on One Down, One Up, at a timewhen it was way beyond together; in fact it was starting to unravel. That was when a Coltrane Quartetset (sets were 40-45 minutes in those days) could consist of one tune. The album’s title tune comes close,clocking in at almost 25 minutes.

On the title tune, the highlight of the album if youdon’t mind hearing Trane repeat and elaborate onphrases over and over again like a painter adding layers and layers on a canvas, Tyner and Garrison sitout much of the time, making it a duet between tenorsax and drums. “Song of Praise”, on the second CD, isthe best quartet performance, but on the title tune andthe two (incomplete) tracks featuring soprano sax, youcan hear Coltrane chomping at the bit, trying to breakfree of the quartet conventions. As he soon would do.

For more information, visit www.bluenote.com andwww.vervemusicgroup.com

Jazz is a conversation between musicians and, when itcomes down to it, there is its inherent structure.Musicians should have something to say and drummer/composer/leader Harris Eisenstadt withouta doubt does. This new release by Eisenstadt is indubitably about expression of composition. With thedynamics of a five o’clock traffic jam, the music stillmakes sense and takes in even the veteran listener. Though its compositional style may not be for

everyone, Eisenstadt does get his musical pointsacross.

The opening piece, “The Evidence of Absence isNot Necessarily the Absence of Evidence”, is an introduction of what is to come. With a Sun Ra-likereminder and clearly a brilliant new composer at thehelm, we have one of the most interesting recordingsto come in some time. Jason Mears, on alto saxophoneand b-flat clarinet, takes the listener to a higher placewith a style and approach that reminds one of thegreat Sam Rivers. Guitarist Jeff Parker takes on andmasters the roll of playing the six-string in a very disjointed compositional style, though at times evenhe seems to get lost in the structure of the style itself.Jeb Bishop (trombone), known for his work with KenVandermark, along with Jason Adasiewicz (vibes) andJason Roebke (acoustic bass) round out the 6-memberensemble.

“Posauno Y Schlagwerk > Between a Rock”thrives and without a doubt represents a jazz composition that is not too often sought. “Kola” andthe follow-up “Seed (for Gorecki)” paint a picture thatis borderline free jazz meets uncertainty. The musicianship is here, though at points you ask whatthey are trying to put across to the listener. The session’s strengths are in its first four (of seven) selections and the closing piece - “And a Hard Place” -where once again Eisenstadt is spotlighted both as afantastic drummer and composer. You may have ahard time understanding what he and his associatesare striving to achieve, but warranted repeated listensmay serve enlightening.

For more information, visit www.482music.com. Eisenstadtis at the Don Cherry Tribute at The Stone Oct. 4th with IraCohen and leading his own group Oct. 6th. See calendar.

18 October 2005 | ALLABOUTJAZZ-NEW YORK

The Soul and GoneHarris Eisenstadt (482 Music)

by Chris DiGirolamo

Mosaic Select 20Charles Tolliver (Mosaic)

by Javier Antonio Quiñones Ortiz

At Carnegie HallThelonious Monk

(with John Coltrane)(Blue Note)

One Down, One Up: Live at the Half Note

John Coltrane(Verve)

by George Kanzler

http://www.bluetoucanmusic.com

The opener on Manhattan Dialogues, most of which iscomposed by David Liebman, is his own “Teacher ofOur Child”. It’s a comfortably melancholy rumination,yet more suggestive of the early hours of a morningafter than of a kindergarten. By contrast, “7” only fleetingly lands on traditional melodic structure. HereLiebman (soprano and tenor saxophone) and PhilMarkowitz (piano), who have been collaborating invarious settings since the early ‘90s, trade musicalfragments. Markowitz jumps around on the keys,occasionally giving out with cheerfully melodic outbursts that are punctuated by droll tweaks andsqeaks and lowdown moans from Liebman.

“Sno Peas”, a 1979 Liebman tune, may previouslybe best remembered from Bill Evans and TootsThieleman’s Affinity. Here it’s an opportunity forMarkowitz’ lengthy and lush phrases suddenly to turnmeditative. It’s in those darker moments thatLiebman’s warm sax lends sympathetic partnering.

Two classics, “The Night Has a Thousand Eyes”and “‘Round Midnight”, close the set with renditionsthat explore a complete harmonic range. Most notableis a solo with which Liebman opens the latter. As anintro to Dizzy Gillespie’s melody, it’s of a beauty whole and complete unto itself.

Recorded in a live session at New York’sManhattan School of Music, this duo plays outside oftraditional categories such as jazz or classical. AsMarkowitz has observed, what they’re up for is music“...with no esthetic or restrictive barriers.”

For more information, visit www.zohomusic.com. Liebmanis at Merkin Hall Oct. 6th at the Steve Lacy Tribute and at55Bar Oct. 14th-15th. See calendar.

“There’s something in our live set that doesn’t comethrough on a studio recording,” Sutton said during aphone interview about her recently released album Í’mWith The Band, which was captured live at Birdlandlast spring, “so we decided, ‘why not do a liverecord?’”

The album contains several classic tunes from theAmerican songbook - some of which were speciallyselected and arranged for the album, such as TedKoehler/Harold Arlen’s “Between The Devil and TheDeep Blue Sea”, Cole Porter’s “I Get A Kick Out OfYou” and Henry Mancini’s “Two For The Road”.“Those were songs that we played that people alwaysasked about,” she said, “but that we had never committed to a record.”

Sutton’s crystal-clear voice sounds completely

integrated with the musicians in the band; her improvscats throughout are like an additional instrument - aresult of a 12-year relationship she has had with themusicians with whom she performs. “The band is verycohesive and everyone has strung their lot wheneverwe play,” Sutton says. “The album’s title is a statementI wanted to make about our unity and it also is a funnypun.”

At the CD release show at Birdland, she prettymuch reproduced the songs on the CD, adding songssuch as Willie Nelson’s “Crazy” and others. Her confidence on stage went through into the audience,which got her sense of humor as she joked betweensongs, pushing them to purchase the CD. The band, asshe described, is indeed completely integrated in itssound.

On her own Live At Birdland album, vocalistKelley Johnson relies on standards but gives them acertain personal touch. She practically owns theCarmichael/Washington tune “The Nearness of You”(which was included on her performance at JazzStandard Sep. 12th) and the oft-recorded “What ALittle Moonlight Can Do For You” (which Sutton alsocovered in her album) sounds fresh and energetic.

Although Johnson does not exude the same sexiness that Sutton does on stage, she has an engaging stage presence and a charming personalitythat is quickly captivating. She also has a very confident voice and takes on a cacophony of sounds inher arrangement to the Bacharach/David composition“What The World Needs Now” with extreme ease. Thesame thing goes for Ornette Coleman’s “Turnaround”on the CD, where she scats Ella-like, trading jabs withtrumpeter Ingrid Jensen throughout the song’s almost10 minute duration, which also features great work bypianist John Hansen.

For more information, visit www.telarc.com and www.jazzconnect.com

After having been rescued from the back rows of theorchestra by ‘60s jazz, the bass clarinet has foundmany homes. Today it is no longer rare but hasbecome the province almost solely of the less composed spheres of the genre. This is a shame reallybecause the bass clarinet can be one of the mostexpressive instruments around, pleasing yet subversive with a remarkable tonal range in the righthands. Edmund Welles, a San Francisco-based bassclarinet quartet, has created a symphonic repertoirethat mixes the best elements of chamber music, jazz,heavy metal and “religious” music.

The group, led by composer Cornelius Boots,must have quite a following, evidenced by the remarkable turnout at a late August performance atThe Stone. There the group played material fromAgrippa’s 3 Books as well as some older original material and covers. The album is a four-part suite(not including pre- and postlude) inspired by the 16thcentury philosophical treatises of the German intellectual. The music is simply remarkable. Boots hasthe ability to write compelling melodies and mix themwith fascinating counterpoints, all while fully utilizingevery black laquered inch of the instrument.Stylistically, the pieces owe more to the realm of Black

Sabbath than Eric Dolphy but are still firmly based inthe new music tradition.

The rest of the album is filled out by covers -Sabbath, Sepultura, Spinal Tap - which somewhat diffuse the seriousness of what preceded them. Onalbum, they come at the end as a respite. In performance, they came first, acting as an initiationbefore the more difficult works. And difficult they are.Never before has the instrument been written for sowell and most listeners might not be prepared for somuch of this sound. And with a remarkable recording,no detail is missed. A stunning document.

For more information, visit www.edmundwelles.com

20 October 2005 | ALLABOUTJAZZ-NEW YORK

Agrippa’s 3 BooksEdmund Welles (s/r)by Andrey Henkin

Manhattan DialoguesDave Liebman/Phil Markowitz (Zoho)

by Andrew Veléz

I’m With the BandTierney Sutton

(Telarc)

Live at BirdlandKelley Johnson(Jazz Connect)

by Ernest Barteldes

ALLABOUTJAZZ-NEW YORK | October 2005 21

This is a sonically gorgeous recording. James JabboWare beautifully orchestrates, exploiting the colors ofthe various instruments to their fullest and he framesthe great soloists in different ways from solo spot tosolo spot.

There is a narrative element to much of the musichere. “Strange Land” starts with a mallets on tom-toms groove but soon breaks down into stringtremolos that might suggest visual images of thestrange land. Then a totally different groove beginsafter the tremolos fade to silence…perhaps the visitorto the strange land begins to get his or her bearingsand starts exploring the land again. Listen and youwill come up with your own images.

On “And Here We Go Again”, JD Parran is featured with an amazing orchestration behind him.JD has a great sound and great chops on the clarinet;the solo here stands out with excitement. Eddie Allenfollows on trumpet: a perfectly balanced solo withshades of fleet bebop lines, growls from the BubberMiley vocabulary and everything in between. EddieAllen is accomplished; Indeed, he’s obviously done alot of homework and yet he is very much in possessionof his own voice.

“Saint Louis Train” is a blast. Eventually usingthe “Night Train” riff, this piece really integrates thestrings, the marimba, the grooving rhythm section andthe piano with great orchestral skill, but perhaps morestriking is the overall effect is one of fun, missing froma lot of modern jazz.

It should be noted that Warren Smith’s greatdrumming drives and swings the orchestra and reallyevokes the spirit of Ellington’s drummer SamWoodyard on tracks like “In the Spirit Of”. BassistsLeon Dorsey and David Moore, pianist Hilton Ruizand percussionist Thurman Barker also make verystrong contributions to the entire feel and sound ofthis wonderful CD as supporting players.

This CD was recorded live at the New YorkSociety for Ethical Culture on July 14th, 2001 and thesound quality again is excellent.

For more information, visit www.yallnewyork.org. Ware’sMe We & Them Orchestra is at Saint Peter’s Oct. 21st. Seecalendar.

The third chapter in pianist Armen Donelian’s GrandIdeas trilogy, Full Moon Music stands alone in its ability to allow the listener to bond with the artist on amost personal level. Consisting of 14 freely improvised solo piano portraits, the program masterfully tip-toes, walks and runs along the thinnest

of lines separating jazz and classical performance.Donelian is intimately familiar with the subtle nuancesof his gorgeously warm 19th Century reconditionedSteinway and it serves as the vehicle for his extemporaneous expositions.

The lovely flowing lines of the introductory“Preamble” that beautifully segue into “A Call to theSpirits” hook you in until you are slightly jarred by thesomewhat discordant “Witch’s Cauldron”. Each piece,save for the eclectic yet compelling excursion “On theDark Side of the Moon” with its rag-like middle andthe multi-hued “Blues Montage”, is a brief mood piecethat reflects Donelian’s inner-self expressed throughhis flawless touch. “Nostalgia” evokes the requisitelonging without being too schmaltzy while “BeerDrinker’s Anthem” is a comical paean to the amber liquid. “Springtime in the Rose Garden” is quicklymoving and uncovers the bustling behind the beautyas opposed to evoking pastoral scenes just as “YoungAsses at Play” literally gallops through a spiritedpianistic romp.

Where Donelian truly excels is in his use of subtlety, be it through time or sustain, to involve thelistener in his own musings. I found myself listeningto a piece and letting the music take my mind where itwould and then checking the title to ascertain if ourjourneys matched. At times they did and at times theydidn’t, but either way this is the type of album that isbest experienced by closing your eyes with no otherdistractions and allowing the music to lead the way.

For more information, visit www.sunnysidezone.com.Donelian is at InHouse Oct. 14th. See calendar.

A horn lover’s paradise exists and it is Addis Ababa.At least, the Ethiopian capital was for one night inJanuary 2004, when the American Either/Orchestra(E/O), a proponent of “Ethio-jazz”, played a rousingconcert at the city’s third annual music festival.

The fortunate result of that night, the two-CD Livein Addis, is the 20th volume of Éthiopiques, a series ofalbums dedicated to preserving and promotingEthiopia’s rich musical heritage. The music on Live inAddis is so energizing and beautiful that by the end ofthe second disc, one only wants to hear more.

Tenor and soprano saxophonist Russ Gershon,E/O’s leader, writes in his articulate and entertainingliner notes, “hovering over [the visit] was the questionof how Ethiopians would respond to a group ofAmericans taking extreme liberties with their inheritance.”

The answer can only be exuberantly. The 10-pieceE/O (saxes, trombone, trumpets, flute and rhythm section) interprets Ethiopian numbers with colorful,winding horn arrangements and driving percussion,to which the audience responds with immense enthusiasm. Elder statesmen of Ethiopian music joinin, including Mulatu Astatké (whose classic compositions anchored the soundtrack of JimJarmusch’s Broken Flowers this summer), saxophonistGétatchèw Mèkurya and singer Bahta Gèbrè-Heywèt,whose vocals guide the sinuous Middle-Easternmelody of “Antchim endèléla”, one of the set’s mostappealing numbers.

Other highlights include “Eyèyè”, a folk tune

arranged for horns and flute with an elegiac, almostfunereal mood and the traditional “Bati”, a minor-key,atmospheric ballad plaintively sung by TsèdèniaGèbrè-Marqos.

If there’s one shortcoming to Live in Addis, it’s theslightly sub-par recording quality - one would love tohear the album’s arrangements and soloists as crisplyas possible. But it’s a minor quibble in the face of twoCDs full of such exciting music.

For more information, visit www.budamusique.com. TheEither/Orchestra with Mulatu Astatké is at Joe’s Pub Oct.13th. See calendar.

“Rogers sings in her own skin, dropping the fetters of

mere interpretation to tap a wellspring of emotion.”

— All About Jazz

www.louiserogers.org

BASS-ICALLY SPEAKING

CD Available at CD Baby.com

For Booking Information visit

Ethiopiques 20: Live in AddisEither/Orchestra (Buda Musique)

by Brian Lonergan

Grand Ideas, Vol.3: Full Moon MusicArmen Donelian (Sunnyside)

by Elliott Simon

Vignettes in the Spirit of EllingtonJames Jabbo Ware/The Me We & Them Orch. (Y’All)

by Francis Lo Kee

22 October 2005 | ALLABOUTJAZZ-NEW YORK

Frank Morgan was almost one of the cautionary talesof jazz history; instead he’s become one of its mostremarkable survivor stories. A promising L.A. altosaxophonist in the ‘50s, he disappeared from the scenefor 30 years as he battled a heroin addiction andserved a series of jail terms. Morgan conquered hishabit and returned to recording in 1985, turning out astream of consistently excellent albums in the CharlieParker-inspired bebop style he’d begun exploringthree decades earlier.

Despite a stroke seven years ago, Morgan showsno signs of slowing down. His latest is the second volume culled from a three-night stand at the JazzStandard in 2003. It charts little new ground but servesup some of the best, most authentic modern bebopyou’re likely to hear anywhere. The tunes are mostlyfamiliar ones by Wayne Shorter, John Coltrane, DukeEllington and Miles Davis, along with chestnuts like“Polka Dots & Moonbeams” and “Old Folks”. Whilesome fresher material would be nice, Morgan, with hisclear tone and fluid improvisations and his superbrhythm section (veterans George Cables on piano,Curtis Lundy on bass and Billy Hart on drums) havelittle trouble breathing new life into these old warhorses.

Raising the Standard is another fine effort by one ofjazz’ most inspiring artists.

For more information, visit www.jazzdepot.com

Several years ago, the esteemed jazz critic GaryGiddins named Sonny Rollins’ This is What I Do hisNo. 1 album of the year. Among its many other merits,Giddins celebrated what he referred to as the record’s“LP-ballpark length”. “You can actually take it in inone sitting,” Giddins wrote, adding, “How many 75-minute epics, excellent in sections, become wallpaperby the eighth nine-minute track?”

How many, indeed. My answer: most. Cases inpoint: three albums by the very gifted pan-reedistVinny Golia. Based in California, Golia has been amajor force on the West Coast avant garde scene formore than 30 years. He’s a fantastically talented player, uncompromising in his music and a truevisionary; with Nine Winds, the label he founded in1977, he’s given voice to many players outside theNew York-centric jazz world and helped archive their

work. In short, Golia’s important and absolutely worthpaying attention to; if you don’t know him - and fartoo many New Yorkers do not - you should. However,as Giddins infers, there can be too much of a goodthing and these three albums are it. A Gift for theUnusual (Music for Contrabass Saxophone) runs over 64minutes; Music For Like Instruments; the Flutes runsmore than 67; and the live One, Three, Two - a doubleCD set - a whopping 144 or so.

Of the three releases, the live album is the mostconsistently interesting. Recorded at three Belgiangigs in 2001 on the heels of September 11th, One, Three,Two finds Golia switching off between eight differenthorns while headlining a first-rate quintet of longtimeSoCal associates. (Very longtime, in fact: the remarkable brothers Cline have been playing withGolia since ‘76, Michael Vlatkovich since ‘81.) It’s agood picture of what Golia does in a small-group context - investigative free improv, both delicate andrambunctious, based around quicksilver original compositions which concern themselves more withtexture and chaos than swing or groove. (The insistent,Alex Cline-fueled “Drum in the Circle of Stone” andthe Nels Cline-highjacked “The Happy”, which respectively open and close the disc’s second volume,are notable exceptions.) As so often with Golia, thepieces are lengthy, rarely falling short of 10 minutesand more often than not approaching 20, which partlyexplains the disc’s length; still, the double disc is simply too long for its own good. Judiciously culled toone, it might be indispensable.

Similarly, A Gift for the Unusual (Music forContrabass Saxophone) and Music For Like Instruments;The Flutes each have their moments, but eventually sagunder their own weight. The former showcases Goliaon the tubax, a dazzlingly flexible (at least in Golia’shands) variant of the unwieldy contrabass saxophone.It’s startling to hear a horn this deep be so fluid andexpressive and again, Golia surrounds himself withsome of the best players in the business (his witty duetwith the keyboardist Wayne Peet, “Eye My”, is particularly choice - and truth be told, worth purchasing the disc for in and of itself). But again, asgood as the music is, there’s simply too much of it;even the novelty of the tubax grows thin by the hourmark. Likewise, the all-flute-all-the-time lineup of thelatter record is guaranteed to perk up the listener’sears, yet long before the disc’s 15th and final composition, fascinating or not, it’s all started to runtogether.

For more information, visit www.jazzhalo.com andwww.ninewinds.com. Golia is at The Stone Oct. 6th withHarris Eisenstadt. See calendar.

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

Doors open at 8:30 pm

Sat Oct 1 RORY STUART/GLENN WILSON QUARTETJohn Lockwood, John Riley

Sun Oct 2 ROGER ROSENBERG QUARTET Mark Soskin, Chip Jackson, Jeff Brillinger

Tue Oct 4 ARTURO O’FARRILL Y RIZA NEGRARafi Torn, Rafi Malakiel, Peter Brainin, Emilio Valdez, Harvie S

Wed Oct 5 KIM BOCK QUARTETDavid Smith, Adam Armstrong, Peter Retzlaff

Thu Oct 6 ANAT FORT TRIOGary Wang, Roland Schneider

Fri Oct 7 JOHN HEBERT’S BYZANTINE MONKEY QUARTETRalph Alessi, Mat Maneri, Nasheet Waits

Sat Oct 8 JOHN MCNEIL’S INSOMNIA BANDMike Fahie, Mike McGuirk, John Reuckert

Sun Oct 9 LOUISE ROGERS/RICK STRONGMon Oct 10 POETRY & SAX: EVE PACKER/NOAH HOWARD 6 PM

COMPOSERS COLLABORATIVE INC. 8:30 PMWed Oct 12 ALEX HARDING AND BLUTOPIA

Lucian Ban, Hill Greene, Bruce CoxThu Oct 13 GNU VOX: JULIE HARDY; DAVID DEVOEFri Oct 14 JEREMY STEIG QUARTETSat Oct 15 TONY MALABY’S PALOMA RECIO QUINTET

Michael Rodriguez, Ben Monder, Eivind Opsvik, Rodney GreenSun Oct 16 GEORGE DULIN

Danny Zanker, Take Toriyama, special guest: Sal RosselliMon Oct 17 BIG BANG: Robert Dick; Kali ZTue Oct 18 HILARY NOBLE/REBECCA CLINE; RICHIE HART TRIO Thu Oct 20 PO’JAZZ HOSTED BY GOLDA SOLOMON 6 PM

GEORGE GARZONE/RASMUS EHLERS QNT. 8:30 PM Fri Oct 21 MARC MOMMAAS’ GLOBAL MOTION

Nikolaj Hess, John Hebert, Tony MorenoTue Oct 25 THE FLAIL: Dan Blankinship, Stephan Moutot, Brian Marsella,

Reid Taylor, Matt ZebroskiThu Oct 27 GNU VOX: GRETCHEN PARLATO; SOFIA KOUTSOVITIS

Nikolaj Hess, John Hebert, Tony MorenoFri Oct 28 ALLISON MILLER¹S AGRAZING MAZE

Ingrid Jensen, Enrique Haneine, Carlo deRosaSun Oct 30 JESSICA JONES QUARTET + FRIENDS

Raising the Standard: Live at Jazz Standard Vol. 2Frank Morgan (HighNote)

by Joel Roberts

One, Three, Two (Jazz Halo)A Gift for the Unusual (Nine Winds)

Music for Like Instruments; The Flutes(Nine Winds)Vinny Golia

by Brandt Reiter

ALLABOUTJAZZ-NEW YORK | October 2005 23

The best American jazz artists have often had to look overseas for support. European labels have longproved to be reliable homes for adventurous music.From the looks of its first three releases, the Frenchlabel Rogue Art might become another safe house.

The most exciting of the label’s inaugural issues isa new title from Art Ensemble of Chicago founderRoscoe Mitchell. In itself that is always a notableevent, but this new group (with Mitchell’s longtimerhythm section Jaribu Shahid and Tani Tabal on bassand drums along with new Art Ensemble trumpeterCorey Wilkes and the excellent young pianist CraigTaborn) stands among his greatest bands. They haveall the role and bluster of Mitchell’s Note Factory, butstripped down to an economic quintet. Across 14 quicktracks (five break the five-minute mark), they covermuch of Mitchell’s best improv settings, from jazzheads to percussion structures to horn drives andfunky rhythms. The most striking thing here - as withrecent Art Ensemble performances - is hearingMitchell share the front line with a trumpeter so readyto deliver. The young man’s gig filling Lester Bowie’sshoes was a shock and in no way does he try to emulate the departed master, but he is clearly confident in the partnership. As a whole, the group iscomfortable together, ready to let the compositionsstand and while Shahid and Tabal haven’t been themost exciting parts of Mitchell’s groups, here theysound better than ever.

Drummer Hamid Drake has been a major voice inthe generation of Chicagoans following the explosionof Mitchell and the Association for the Advancementof Creative Musicians. He’s most known for a longassociation with saxophonist Fred Anderson and heremakes his recording debut as a bandleader. He calledtogether for the session a quartet of New York andChicago saxophonists (Daniel Carter, Ernest Dawkins,Sabir Mateen and Greg Ward) and added the greatyoung flutist Nicole Mitchell. The tracks vary fromDrake solo (with Afro-esque vocals) to charted vampsand free blows with the horns. The standout, though,is a 14-minute duet with Mitchell, the rare flute playerinventive enough to carry such an extended percussion piece. Drake excels especially on the framedrum, as is well evidenced here.

New York saxophonist Rob Brown’s strongestwork has been as a sideman (he’s on heavy rotation inWilliam Parker’s bands) and in the group he co-ledwith Joe Morris. But if he’s been slower to come intohis own as a leader, Radiant Pools shows a promise formore. With Morris on bass, Steve Swell on tromboneand Luther Gray behind the drums, the group wiselytakes its time, letting the pieces unfold, often for closeto 10 minutes. Swell is as always a phenom and whileMorris’ bass playing continues to be second fiddle tohis great, innovative guitar work, he comes off as morerelaxed and on target here. Gray - who has been playing with Morris in recent years - is slow yetstrong, a perfect backing for the group.

Rogue Art so far seems to be doing everythingright: striking, uniform packaging, hometown recordings and overall excellent sequencing, makingall three albums flow beautifully despite the length ofthe pieces. Unfortunately - as is so often the case withFrench labels - distribution is shaky in the States. Eachis worth a quick grab if stumbled upon.

For more information, visit www.roguart.com. RoscoeMitchell is at the AACM series Oct. 7th. See calendar.

In Greek myth, when Hades abducted Demeter’sdaughter, the heartbroken harvest deity plunged theEarth into icy cold. But the Gods were able to work outa deal. During part of the year Persephone wouldreside with her husband in the underworld and winterwould descend. When the beautiful being once againemerged to be with her mother, spring’s ripe budswould penetrate the soil, engulfing the planet in summer blooms. Named for this ethereal figure, EzraWeiss’ second studio album shifts with as much lightand color as an autumn landscape shrouded by therays of a harvest moon.

Breezy saxophone lines kick off the first track“Lord Give Me Wings” and a panic that this might beanother jazz record with wide spanning horns, gentlepiano comping and splashy drums seizes. But the fantastic musicianship is quickly ascertained. The hornplayers - Michael Phillip Mossman (trumpet, flugelhorn), Antonio Hart (alto saxophone, flute) andKelly Roberge (tenor saxophone, clarinets) - glide overtheir instruments with comfort; Leon Lee Dorsey creates an underlying darkness on bass; Billy Hart andJason Brown concoct chilling scenes with shatteringdrums passages; and Weiss tethers the group withsubtle piano chords.

Giving thoughtful consideration to each instrument, Weiss composes well for this group. Withan abundance of horns, the melodic options are countless and he takes advantage, commanding willowy lines that intersect then reconvene in counterpoint or in harmony on the slow tempo track“Rise And Fall”. A villainous trumpet solo byMossman on “Winter Machine” creates a portrait of afertile planet becoming a barren wasteland. Hart’s altosaxophone sways gracefully across a calm surface on“The Dancer” that slowly evolves with the emergenceof Dorsey’s contemplative bass solo.

As a group the sextet sets varying moods.Everyone contributes a classy essence to “FamilySong” which begins with a sumptuous swagger fromthe rhythm section. Weiss seduces on keys makingthem glisten ever so softly. When the horns come inthey blend into an irresistible undulation.

The title track bursts with harmonious exchangesbetween ringing piano chords and flowing flute.Weiss’ solo piano flowers with clarinet lines that curlup like fiddleheads. The tune stays demure throughout the six minutes and forty seconds, continuing along the same even plain, reminding thatmother and daughter have much to cover as the last ofMarch’s snow melts away.

For more information, visit www.umojaproductions.com.Weiss is at Dizzy’s Club Oct. 18th-22nd. See calendar.

PersephoneEzra Weiss (Umoja)

by Celeste Sunderland

Turn Roscoe Mitchell (Rogue Art)

BinduHamid Drake (Rogue Art)

Radiant Pools Rob Brown (Rogue Art)

by Kurt Gottschalk

The timeless Curtis Fuller has been a brand nametrombone player for about 50 years now and he’snever sounded better than he does on his two new releases, Up Jumped Spring and Keep It Simple, whichwill enhance his standing as one of the bright andenduring stars in the jazz firmament. These discsprove that not only does he still have strong chops buthe can bring a fresh perspective to classics and originals. This was evident during a recent gig atSweet Rhythm, where he led a dynamic sextet thatincluded three members of the Louis Hayes group,including the venerable drummer himself, the rhythmsection sounding like they had been playing togetherfor years.

Fuller opens Up Jumped Spring with his take onHerbie Hancock’s jazz classic and hip-hop/acid jazzstandard “Cantaloupe Island” with excellent accompaniment by his young charges, particularlytrumpeter Brad Goode, whose soaring play providessome of that old-time Blue Note religion. The title cutfinds Fuller playing as mellow and spry as ever andGoode channels Miles on the trumpet with a splendidmuted solo. Pianist Karl Montzka, Larry Gray on bassand Tim Davis on drums drive the rhythm.

The group swings on Duke Ellington’s “In AMellow Tone”, Goode continuing his splendid mutedtrumpeting. Montzka again displays facility and dexterity on the piano, Gray again making a bowedsolo statement on bass. During the echoing that occursduring the statement of the theme between Fuller andGoode, the leader prefers to follow the (comparatively) young lion, giving him room to createand showing a respect and musical generosity of spirit Fuller seems to have inherited from Art Blakey.

On “God Bless the Child”, a duet between Fullerand Montzka, the venerable trombonist practicallysings the words of one of jazz’ most enduring cautionary tales through his horn. “Bags’ Groove”jumps out of the box with Fuller once again puttingtogether a masterful solo. Goode removes the muteand we hear him unbridled for the first time and it’s atreat. On Coltrane’s “Equinox” Goode also plays sansmute and solos with a resonant, confident tone. Thesmall Coltrane tribute continues with “I’m OldFashioned”, a tune featured on the classic Blue Train,an album on which Fuller appeared. Ironically, on thisversion he pretty much lays out, allowing the rhythmsection to do its thing. The leader returns in full forceon “Alone Together”, on which Goode does his mostpowerful blowing on the date. The disc ends with“Star Eyes”, which according to Fuller was one ofMiles Davis’ favorites. Montzka can swing with anypianist around and his sound and articulation on thiscut reaffirms his talent. Goode goes back to theHarmon mute and plays yet another impressive solo tocomplement Fuller’s own spirited turn.

According to the liner notes, Keep It Simple wasthe jazz equivalent of a pickup basketball game, withthe band members just hooking up for the session. Onthe opener, “The Court”, saxophonist Javon Jacksonsolos over Fuller’s statement of the melody. AfterFuller and Jackson state the melody on “The Maze”,Jackson plays a strongly Trane-ish solo that invokes“Softly As In A Morning Sunrise”. Fuller states his

case ably during his solo and pianist Doug Carn riffslike McCoy Tyner. The quaint “Girl Talk” finds Fullerin great form as he bookends the tune with his mistystatements of the melody, letting bandmates Carn andbassist Rodney Jordan shine on their solos.

“Lover Man” begins with a dolorous bowed soloby Jordan, with Fuller blowing the melody, thenJackson picking it up at the bridge. The two menexchange solos, with Jackson’s second turn beingappropriately slow and bluesy, with a clear, solid tone.The rhythm section takes a turn, sans Fuller andJackson, on Carn’s “Western Sunrise” making the listener wonder what this trio would sound like on itsown disc.

“Arabia” is another Fuller original plucked fromhis days as a Jazz Messenger and it dances and jivesunder the able chops of the leader and Jackson. Fullerlays out on “Diane”, Jackson’s original ballad, whichhe and the rhythm section play with warmth, tenderness and a bit of dramatic tension. The disc concludes with with “It’s You or No One”. Carn takesthe first solo, followed by Jackson. Fritz Wise ondrums and Jordan keep it all pinned down and theband sprints to the finish line in style.

For more information, visit www.delmark.com andwww.jazzdepot.com

Eric Frazier has assembled a large cast for this funk-filled, self-produced recording. With him at the helmare two jazz stalwarts: bassist Reggie Workman andpianist Danny Mixon. Also present are rising stars,including trumpeter Jeremy Pelt, tenor saxophonistWayne Escoffery and pianist Anthony Wonsey.

Things kick off with the funky “Walk That Walk”,defined by Mixon’s breathtaking solo and high-octanecomping. Although its beat is insistent and infectious(try to sit still), the ensemble’s reading of the theme isbreezy. Guitarist Wayne Jeffery’s, lean, single-notesolo unfolds beautifully.

“Talking Silly” could have easily been born in theShaft-era. Its call-and-response pattern defines theepitome of instrumental funk. Not content to rely onclichés, the soloists stretch out, bringing depth andadventure to their offerings.

“The Sun Will Shine Again” has a theme thatleans more towards traditional jazz than funk, with an especially appealing release. Then alto saxophonistDavid Lee Jones throws a curve in the first lead, offering an agitated, angular solo, followed by Pelt ina lyrical, reflective turn. Mixon shines again and it isall set against an unrelenting, but never ponderous,bass ostinato.

On this contemporary jazz production, repletewith funk, soul and jazz rhythms and motifs, the bandplays with seriousness of purpose, soloing with verveand imagination. And it’s all such fun dance music.The Latin-themed “Bueno Gente” offers a welcomechange of pace without relinquishing any of the driveof the previous tracks.

The level of invention drops when the vocalsenter however, but not enough to devastate this worthy project. Although Frazier and the other leadvocalists sing with sincerity, the words are not on parwith the excellent songs. The joie de vivre so on

display during the instrumental segments flags a bitwhen the singing starts.

Frazier’s vocal effort, of course, has a long, distinguished lineage in jazz, but here it does not elevate the proceedings. “It’s All Love” features another lush Pelt solo, this time muted, but the vocals,in a Leon Thomas-like aura, never take hold. On“Nobody Knows Me” however, band and vocalistsstrike a strutting, polyphonic New Orleans groove thatis so appropriate to remember at this time of devastation in this proud city’s history.

For more information, visit www.ericfraziermusic.com.Frazier is at Triad Oct. 14th and at JRG Fashion CaféWednesdays. See calendar.

24 October 2005 | ALLABOUTJAZZ-NEW YORK

New Y’All CD

Vignettes in the Spirit of Ellingtonby James Jabbo Ware

The Me We & Them Orchestra+ Strings & Horns

This new CD is yet another extension of Mr. Ware’s uniquely focused concepts of composition and improvisation. It is scored for The Me We & Them Orchestra

with string ensemble.

J. D. PARRAN - alto sax, clarinet PAAVO CAREY- tenor sax, fluteSALIM WASHINGTON - tenor sax PATIENCE HIGGINS - baritone sax, bass clarinet

EDDIE ALLEN, CECIL BRIDGEWATER, CHRIS ALBERT - trumpetsCLIFTON ANDERSON, RICHARD HARPER - trombones

BILL LOWE - bass trombone, tuba MARSHALL SEALY, MARK TAYLOR - hornsGWENDOLYN LASTER, CAROLOS BAPTISTE - violins

CRYSTAL GARNER, MELANIE DYER - violasCLARISSA HOWELL, NIOKA WORKMAN - cellos

LEON DORSEY, DAVID MOORE - double bassHILTON RUIZ - piano WARREN SMITH - drums

THURMAN BARKER - percussion JAMES JABBO WARE - conductor

Cost of CD: $18.00Mail orders: Check made payable to Y’All of New York, Inc.

Y’All of New York, Inc. 101 W. 23rd Street, Suite 2449New York, New York 10011

Online orders at www.yallnewyork.org

Find Yourself (Then Find Me)Eric Frazier (s/r)

by Andrew Rowan

Up Jumped SpringCurtis Fuller

(Delmark)

Keep it SimpleCurtis Fuller

(Savant)by Terrell Holmes

Release Concert:Saint Peter’s Church

October 21st 8:30 pm $20619 Lexington Avenue at 54th Street

Tickets: $20; $10 for seniors and students

Original Songs rooted in Big Band jazz, Be-Bop and the classic American Songbook.

“A gem of Americana jazz” —Indystar

“Top-level talent” —All About Jazz

“A highlight is One Never Knows, co-written with Norah Jones.” —NY Press

JC HOPKINS BIGGISH BANDUNDERNEATH A BROOKLYN MOON

IN STORES NOW!

www.jchopkins.comwww.tigerlilyrecords.us

Over a year ago we lost a pioneering musician whosinglehandedly created a language for the soprano saxophone. Two overdue reissues from thisyear (both recorded in 1972) and a belated NYC tributethis month help us to commemorate his genius.

The Gap’s title track, initiated with polyphonicquintet blasts followed by momentary silence, pronounces the tune and album’s title, its harmonicnooks and crannies intentionally and randomly left forgroup exploration. With Steve Lacy are alto/soprano saxophonist Steve Potts, drummer Noel McGhie, cellist Irene Aebi - sans vocals - and bassist KentCarter. From upper register overlapping flute-like saxophone parts to Carter and Aebi’s dirge arco work,“Esteem” quickly becomes a harmonic well for intertwining reeds and polyrhythmic brushwork anddrumming. The near-20 minute session centerpiece“The Thing” is where contemporary classical andchamber music meets free improv and jazz. The reissue’s liners state, “Lacy is hardly lockable insideany stylistic drawer other than his own.” There is nobetter example than here - subtle pitch variationsbetween the two string players and two horns create amultitude of possibilities, exploiting the gaps as aspringboard into a unique musical universe.

An ideal companion piece, the juxtaposition ofensemble interaction, sailing and contrasting solos andeven-if momentary pauses allows Mal Waldron with theSteve Lacy Quintet (basically add Lacy’s longtime collaborator Waldron to the above mix) to continue the“gap” concept naturally. The undeniably individualpianist adds a particular depth with resonant multi-textural playing of single notes and colorful yetdramatic chords, a perfect tonal foil at times to Lacy’satonal proclivities. Waldron once said, appropriatelyenough, “If there’s no silence, the sound doesn’t meananything.” Starting where “The Thing” left off, the 18+minute Waldron suite “Vio” is followed by two ofLacy’s originals: “Jump For Victor” and a Monk-ish“Blue Wee”, with two newly found precious alternatetakes of the first two pieces.

For more information, visit www.free-america.net. A SteveLacy tribute is at Merkin Hall Oct. 6th. See calendar.

The beguiling melodies draw listeners in. The lushinstrumentation, evoking the parts of an orchestra andvibrant ensemble playing hold their attention.Beautiful tunes with hints of humor and dedicated,unselfish performances coalesce on violinist JennyScheinman’s 12 Songs. The results satisfy deep,

repeated listens and remain accessible enough toappeal to a wide audience without pandering.

Earning notice in high profile gigs with guitaristBill Frisell and singer Norah Jones, Scheinman hasemerged as an intriguing young composer with astring of strong CDs. 12 Songs continues the positivetrend, with Scheinman crafting memorable tunes thatsubsume her varied influences and history to soundnatural and unforced when translated through performance. Of course it helps to be surrounded bythese consummate musicians: Frisell, clarinetist DougWieselman, cornetist Ron Miles, piano/accordionistRachelle Garniez, bassist Tim Luntzel and drummerDan Rieser. Never showy or self-aggrandizing, themusicians deftly interpret Scheinman’s compositions,punctuating them with taut solos and supporting thesoloists with snippets of the written themes.

This supporting role was accentuated at therecent CD-release celebration at Tonic, whereScheinman employed a string orchestra of some dozenplayers under the direction of Eyvind Kang. On “MoeHawk”, the string section doubled the infectiouslybouncy melody, before supporting Wieselman’scrowd-pleasing bass clarinet feature and a note-twisting turn by Frisell. Kang had them fluctuating thedynamics while providing harmonic material, asbassist Todd Sickafoose and drummer Mark Ferber (infor the gig) churned out the marching rhythm accenting the dominant beats.

The expanded strings heightened the drama ofcompositions like “She Couldn’t Believe it was True”,which unfolds from a sparse lyrical clarinet introduction, shifts to almost Celtic balladry fromScheinman’s violin, then builds to a dramatic flourishof repeated staccato phrases punched up by theorchestra. On “The Buoy Song” the strings mimickedthe sounds of seagulls, enhancing the song’s maritimeatmospheric textures. The sauntering Americana of“The Frog Threw His Head…” found Scheinmanplucking her violin like a mandolin, before steppingaside for Miles’ cornet to alter the tonal colors andinvert the lines. As on the CD, despite the participation of strong, idiosyncratic musicians, thesongs are what leave the deepest impression.

For more information, visit www.cryptogramophone.com.Scheinman is at Barbés Tuesdays in October and at 55BarOct. 23rd. See calendar.

26 October 2005 | ALLABOUTJAZZ-NEW YORK

Celebrating Our First 10 Years:

• Recorded for artistry, produced for excellence, engineered for reality, and played with conviction.

• 235 releases of excellent artistry.

• Send $1.00 in stamps and we’ll send you a FREE sampler:

CIMP RecordsCadence Building

Redwood, NY 13679 USAph: 315-287-2852 f: 315-287-2860

cimp@cadencebuilding.com www.cadencebuilding.com

CIMP Records

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12 SongsJenny Scheinman (Cryptogramophone)

by Sean Fitzell

The GapSteve Lacy

(America-Universal)

Mal Waldron with...Steve Lacy

(America-Universal)by Laurence Donohue-Greene

ALLABOUTJAZZ-NEW YORK | October 2005 27

It’s time to welcome another offering from EarthPeople, one of the most innovative and exciting groupson today’s avant garde scene. The group excels onceagain with the absolutely fresh Now is Rising, a soulfulamalgam of sound that showcases the group’s versatility and formidable gifts. This incarnation of thegroup includes Andre Martinez on drums and percussion, Jason Candler on alto sax and guitar, DougPrincipato on guitar, vocals and keyboards, FrancoisGrillot on contrabass, Mark Hennen on piano, SabirMateen on alto, tenor and alto clarinet, Elliott Levin onflute, tenor sax and vocals, Firehorse on electronics,Ricardo Solis on congas and M on vocals.

Earth People is renowned for its beautifullyintense jams, but on Now is Rising the songs are shorter, allowing the group to display an amazingrange. The CD starts out with “Red Clay”, a funkymelodic outpouring with a mesmerizing groove byGrillot, Levin’s boiling sax and M’s impassionedvocals. Then “Small Distraction Mass Confusion”brings in an entirely different spirit, a free jazz jamwhere Mateen’s fluid sax builds into a fiery solo without brakes. The next tune, “Now is Rising”, is ajoyfully wild spoken word by Principato and Levin, aswell as chanting by the entire band. Then the groupshifts to “M Train Samba”, a delightful short piecebursting with Solis’ congas and Hennen’s high energypiano. Next is “Time to Vote!”, another spoken wordby M. The song features electronics, a vampy pianoand Levin cooking on sax, creating an absolutely contemporary protest against the current out-of-control political climate. The sixth tune, “SweetPeas”, invokes Monk as well as the Blue Note sound,with Grillot setting up a rock solid groove and Mateenswinging light and loose. The CD closes with theunabashedly hard rocking “Draft Dodger”. The songgets wild and woolly, mixing in electronic squigglesand rollicking solos.

What a CD! The listener never knows where themusic is going next, which is part of the enjoyment.Yet Now is Rising is not the least bit incohesive - whatholds the CD together is the group’s open-heartedspirit and courage, as well as its intention to createhonest, passionate music. In this era of war and strife,

Earth People stands as a shining example of the beauty and harmony human beings are capable of creating.

For more information, visit www.earthpeople.tv. EarthPeople is at Henry Gregg Gallery Oct. 14th. See calendar.

The Wyman and Watts of jazz, bassist William Parkerand percussionist Hamid Drake, traveled to Israel toperform with Roy Campbell in the Pyramid Trio inFebruary 2005. The next day, after having sat in withthe band, saxophonist Albert Beger recorded his owntrio session with Parker and Drake in the studio. The resulting Evolving Silence Vol. 1 is just a taste: fourtracks across 42 minutes. But each composition standsindividually to represent a different aspect of Beger’sblend of free jazz and Middle Eastern lyricism (alongwith the unquestionable spiritual authority of hisbandmates) and the recording is vivid, crackling withimmediacy and brimming with soul.

“Naked Truth” opens with a serene invocationfrom Beger on tenor, then transforms into an improvised burner as Beger overblows with risingintensity. After Parker and Drake play furiously, thetenor comes screaming back, concluding decisivelybefore a tranquil coda. Two duets occupy the CD’smidsection. The first, for alto flute and bass, is the session’s most visceral performance, with Beger drawing audible breaths and Parker’s repeatedplucked motif in support. The bass responds quicklyto slight changes in tempo before answering Beger’spercussive flute pops with a bouncing bow. The second, for tenor and drums, is in the style ofColtrane’s “Countdown” as Drake’s loose-limbed double-timing seems to inspire torrential sheets ofsound from Beger as he runs up and down his horn.For the final track, “Rain Is Coming”, Parker switchesto the doussn’gouni to evoke the eternal flow of theNile and Drake handles his shaker as if he were running his fingers through wooden wind chimes.Atop Drake’s high-hat shimmer and stick taps as lightas brushes, Beger blows a gorgeously meditativemelody before finishing with a soft chant of “shanti,shanti”. Peace out.

We already know what Parker and Drake arecapable of, whether leading their own groups, as sidemen or simply supporting each other. With anyluck, Albert Beger’s capabilities will become evenmore apparent and impressive on Volume Two.

For more information, visit www.earsayrecords.com. Parkeris at Location One Oct. 9th. See calendar.

Evolving Silence Vol.1Drake/Beger/Parker (Earsay)

by Jeff Stockton

Now is RisingEarth People (Undivided Vision)

by Florence Wetzel

the dynamic duoremembertrane and bird

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

(aylcd-050/051)

rashid aliarthur rhames

France’s twin brother jazz combination, bassistFrancois and drummer Louis Moutin, are just out withtheir third Moutin Reunion Quartet recording in sixyears since the unit was formed as a showcase for theirswinging, original compositions. It’s another bop-rooted contemporary odyssey that is delightful inits scope and focus. The band is rounded out bypianist Pierre de Bethmann and the immensely giftedsaxophonist Rick Margitza.

Part 2 of the “Something Like Now” title track isa splendid example of rhythm section supportingsoloist, as Margitza embarks on a strong, cohesive andcrafty solo. Rich with nuance and variation from bar tobar, it never gets repetitively boring.

The brothers Moutin depart from their even splitof original compositions on Francois’ arrangement of“Bird’s Medley” - consisting of several themes fromcompositions by Charlie Parker. This is a bass anddrums duet from start to finish with Louis tradingsticks for bare hands throughout, plus an occasionalhi-hat accent.

Of particular interest is the tune “Take It Easy” - awild ride despite its perhaps tongue-in-cheek title. It’sfull of energy and fire, with the rhythm section unitingas a cushion to propel Margitza’s intense soloing. DeBethmann opens the ballad “Surrendering” with anextended solo that leads into the more poignant side ofMargitza’s playing. Francois’ “Echoing” is an acousticbass showcase with minimal support. The other threeplayers tiptoe in one by one to let its full feeling buildgradually. “Touch and Go” is a funky choice for thecloser, adding more dollops of the band’s WeatherReport acoustic and electronic influences as deBethmann shifts to Fender Rhodes.

The quartet has reinforced the feeling from lastyear’s release Red Moon - that this is one serious unitwith much to offer the straight ahead jazz listener.

For more information, visit www.nocturne.fr. The Moutinsare at Jazz Standard Oct. 4th. See calendar.

Vocalists Sheila Jordan and Annie Ross, veteran contemporaries separated in age by just over a year,are masters of vocalese with new CDs to prove it.

Jordan celebrated her 76th birthday lastNovember by recording a performance at New York’supper West Side club, The Triad. Accompanied solely by Cameron Brown’s solid bass lines, Jordansuccessfully swoops and flits around the melodies of adiverse collection of material, starting off with OscarBrown Jr.’s “Humdrum Blues” and an uptempo

version of Ellington’s “Mood Indigo”. In addition toAbbey Lincoln and Mal Waldron’s “Straight Ahead”,rendered moodily as befits the lyrics, Jordan puttogether three different medleys. The first, a bluesmedley for Miles Davis, consists of “Blue Skies”, “AllBlues” and “Freddie the Freeloader”, the latter sung invocalese as well as scat. The Fred Astaire/GingerRogers medley is comprised of the swinging andfamiliar “Let’s Face the Music and Dance”, “Cheek toCheek”, “I Won’t Dance”, “I Could Have Danced AllNight” and “Pick Yourself Up”. And the last medley,titled “Fats Meets Bird” and including “HoneysuckleRose”, “Ain’t Misbehavin’” and “Scrapple From TheApple”, is handled lightly with alternating vocal andbass solos. As a special guest, singer Jay Claytonjoined the two on stage for a rendition of Gillespie’s “Birk’s Works”, scatted byboth singers who solo and playfully sing together. Thememorable evening closed with two Jordan originals:“Sheila’s Blues” and “The Crossing”. Jordan’s smalland quirky voice covers a lot of ground and she andBrown read each other like a book, working hand inhand with a sense of humor and joy.

Annie Ross is, indeed, a diva. The voice is nowsmoky and husky and low in range, but the feelingand interpretation are strong as ever. Accompanied bypiano (Tardo Hammer), bass (Neal Miner) and drums(Jimmy Wormworth), she adds Bucky Pizzarelli’smagical guitar and Warren Vaché’s punctuating solosand fills on trumpet. The group evidently all gottogether over a period of two nights to put this offering together using only head arrangements, muchof the material being featured weekly at Danny’sSkylight Room through the end of the year.

The standards Ross selected are some of the best:two Gershwin songs, “Embraceable You” and “Isn’t ItA Pity” are sung with their respective verses, as isMercer/Arlen’s “Accentuate The Positive”. She pairsVictor Herbert’s “Kiss Me Again” with “IndianSummer” (on which Vaché delivers a sensitive solo)and Rodgers & Hart’s “Nobody’s Heart” - sung a capella - with Dietz/Schwartz’ “By Myself”. “Fun ToBe Fooled”, “Day In Day Out”, “I’ve Told Every LittleStar”, “Just Friends” and “I Thought About You” areall swinging finger snappers and the last track, BillyStrayhorn’s “Lush Life” (sung out of tempo), is justRoss and Pizzarelli. The lady is a spellbinder.

For more information, visit www.jazzdepot.com andwww.jazzbeat.com. Cameron Brown is at The Stone Oct.13th and Cornelia Street Café Oct. 14th with Jeremy Steig.Ross is at Danny’s Skylight Room Saturdays. See calendar.

Used to be you could grab a quick six-pack and duckinto Smalls, a Greenwich Village venue run by MitchBorden that literally hummed with world class talent-deserving-of-wider-recognition. Amidst this beehiveof activity Jason Lindner was always a contender andNew Yorkers in-the-know knew it was only a matter oftime before others caught on. Lindner’s latest release,Live/UK, gives out-of-towners a chance to hear whatthe local buzz is all about.

A veteran of almost 10 years of Monday nights atSmalls, playing three sets that would often stretch intothe wee hours - later also moving to the Thursday

night slot at Fat Cat - Lindner has had plenty of opportunity to hone his bandstand chops. Along theway, he’s formed lasting musical friendships withbassist Omer Avital and saxophonist Jimmy Greene,both featured on Premonition (Concord, 2000), his previous release.

Live/UK, a pared down “blowing” date withMarion Browder on drums, reveals the creative cohesion made possible by all of this shared experience - tight as a wet drum head, the quartetnegotiates complex time signatures and phrase structures with a seamless fluidity that makes it soundeasy, stretching out on lengthy jams without losing thelistener. The date has a strong Latin flavor, pepperedwith punchy montunos and unusual rolling accentpatterns that prolong the rhythmic excitement.Lindner’s comping is sterling, now prompting, nowreacting, he engages his compadres with active yetsympathetic counterpoint and his muted string introon “Suheir” is a funky tour de force.

The soloing is strong throughout: Greene playspercolating flute on “The Five Elements & the NaturalTrinity” and a shredful tenor on “Seven Ways”, whileAvital lays down some spunky soul jazz on “Take It ToChurch”. Lindner’s solo on “Meditation on TwoChords” starts with a slow left hand, continuesambidextrously in doubled octaves, climaxes withhigh-register tremolos and Tyner-ish filigree and finally winds down to sparse bluesy phrasing.Browder, meantime, manages to keep it all in thepocket, never missing an accent.

Lindner’s an up-and-comer. Catch him before thebig clubs get him - the latest buzz in bebop.

For more information, visit www.sunnysidezone.com.Lindner is at Jazz Gallery with Claudia Acuña and as aleader at Blue Note, both on Oct. 14th. See calendar.

28 October 2005 | 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

Live/UKJason Lindner (Sunnyside)

by Thomas Greenland

Something Like NowMoutin Reunion Quartet (Nocturne-Lightyear)

by Ken Franckling

Celebration: Live at...Sheila Jordan

(HighNote)

Let Me SingAnnie Ross

(CAP) by Marcia Hillman

ALLABOUTJAZZ-NEW YORK | October 2005 29

Ken Vandermark is not one to limit himself to easy,comfortable situations. As successful as hisVandermark 5 is, it presents only one side to his composing and playing. With the Free MusicEnsemble, a cooperative trio with bassist NateMcBride and drummer Paal Nilssen-Love, listeners,whether on their second disc Cuts or live at Tonic midSeptember, can hear a more visceral, looserVandermark, happy to be swept up by the improvisational thrusts of his fellow musicians.

The band began in 2001, only releasing one limited edition CD in 2002 and then following that upwith 2004’s Underground. The disc that preceded Cutslaid the groundwork for the group’s mission:Vandermark compositions (of a very different ilk thanhis Vandermark 5 pieces) fleshed out to have longimprovised segments and segues. The leaderlessnature of the bandname represents how effectivelyany of the three can grasp the music, manipulate it forthemselves and then throw the results back at the others for similar processes. And while Undergroundwas a fine record full of compelling moments, Cutsadvances the concept further and introduces moresuite-like thinking. Instead of single tunes, themes arestrung together, creating tapestries of more varied texture. At Tonic last month, with an album’s worth of unrecorded material, this approach was done evenmore expertly.

Since this is a saxophone trio, a format that has along history in jazz, the musical scholarship ofVandermark is better utilized. And since he had longstanding relationship with the “rhythm section”, particularly Nilssen-Love on two amazing duorecords, the two volumes of Dual Pleasure, the sharedresponsibility is a joyous rather than a weighty one.Because the group tours with some regularity andplays a fine, raucous concert when they do, furtheralbums should continue the group’s artistic rise. Fornow, Cuts is a fascinating snapshot of a hypercreativeband in the midst of discovering themselves and whatcan be done when new thinking is applied to established forms.

For more information, visit www.okkadisk.com

On a new release on Uptown Records, we hear a long-lost recording made at the Manhattan music hall60 years ago.

The digital transfer is mostly untouched, so as aresult some of the crack and hiss of the acetate recording is still there, as are the initial soundcheckmishaps that still happen today. Apart from that, wehave a historic encounter of two music giants performing tunes such as “Bebop” and “A Night InTunisia” among five others.

In one of several great moments, drummer MaxRoach steps aside while Sidney Catlett fills the drummer’s seat for “Salt Peanuts” and “Hot House”(pay attention to the lengthy drum solo during the latter track). The backing band doesn’t sound intimidated by Gillespie and Parker - pianist Al Haigholds his own in “Bebop” and other tracks as doesbassist Curley Russell (The credits also include DonByas on tenor sax on one song).

It is too bad that history did not preserve thehows and whys of the recording. We’ll probably neverknow who the recording engineer was who masterfully recorded the concert on two separateacetate machines, which kept every song intact or whoordered the recording to be made. Also, we knownothing about the origins of the recording itself, forthe efforts in tracking down the information wentnowhere.

On The Music of John Birks Gillespie, the Vervelabel selects tracks from Dizzy’s 1950-63 career,including two recordings with Charlie Parker,“Bloomdido” and “Leap Frog”.

This release serves as an introduction to the musicof the great trumpeter and is intended as a companion to a new biography by Donald L. Maggin(see In Print, pg. 34). The album also ends up being away for new audiences to get to know his work.

One of the best moments of the CD is “ExactlyLike You”, which features Stan Getz and OscarPeterson (a track from Diz and Getz), in which Gillespieand a pre-bossa nova Getz trade jabs, also providingspace for the pianist’s improvisations.

Another treat is “Cool Breeze”, a Gillespie/Dameron/Billy Eckstine composition that features Dizat work with a big band that has among its participants legendary producer Quincy Jones ontrumpet. The classic “Blue Moon” is also present, providing listeners with an opportunity to hear theman performing with yet another great name: RoyEldridge.

Eldridge was, by the way, also recorded on thatsame 1945 evening at Town Hall, but unfortunately (asthe first album’s liner notes state) his estate’s administrators did not allow the recording to be madepublic - something that saddens fans. Here’s hopingthat this changes soon.

For more information, visit www.uptownjazz.net andwww.vervemusicgroup.com. Tributes to Dizzy Gillespie areat the NYC Baha’i Center Oct. 18th and Blue Note Oct.18th-23rd. See calendar.

Town Hall, New York... Gillespie/Parker

(Uptown)

Dizzy: The Music of...Dizzy Gillespie

(Verve)by Ernest Barteldes

CutsFree Music Ensemble (Okkadisk)

by Andrey Henkin

vocalistvocalist Yoon Sun Choipianist Jacob Sacks

presents:

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

THE RESTLESS SPIRIT SERIES

the first Friday of every month w/ special guests:

Oct 7 Mat Maneri viola

Nov 4 Andrew Bishop sax/clarinet

Dec 2 Ben Monder guitar

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

7 pm-9 pm $8 admission

Blue Mongol acquaints trombonist Roswell Rudd’sunmatched tonal mastery and the musical tradition ofMongolia with each other, the result the most culturally respectful, spiritually uplifting and musically interesting release of the year. While theMongolian Buryat Band’s combined instrumental performances on bamboo flute, horse head bass andfiddle, dulcimer, lute and zither are comparable to thebest classically trained chamber ensemble, BattuvshinBaldantseren’s throat singing and Badma Khanda’sbeautifully expressive vocals defy comparison.

Although the band has aptly dubbed the music“trombolian”, Blue Mongol consists primarily of traditional Mongolian pieces and music that Ruddcomposed specifically for this project and is essentially a forum for the Buryat Band and Rudd tomeet, explore each other, strut chops and in theprocess create new music that builds on the strengthand uniqueness of the participants. Beginning with anunworldly demonstration of deep throat singing andending with Rudd’s own instrumental growl, “Camel”changes from a gorgeously soulful beast courtesy ofMitry Ayurov’s elegant fiddle to an exciting gallop asRudd punctuates the full band’s jam with his owntrombonal blasts. Rudd’s “Gathering Light” is a wonderful blend of Eastern melody and bluesy jazztellingly portrayed by Baldantseren’s flute, Rudd’shorn and Khanda’s voice as she easily navigates bothworlds. The swinging “Buryat Boogie” has all parties doing just that and includes some hot Ruddvocal scat. Khanda is a powerfully passionate vocalistwho matches Rudd’s potent horn on “Behind theMountains”, the quickly moving “Bridle Ringing”, thesolo vocal/t-bone trade off of “Ulirenge” and the freeformish wailing title cut. “Four Mountains” pairsRudd with Baldantseren’s throat singing, one on one,with incredible sonic results and “American Round”has flute and trombone interpreting “Swing LowSweet Chariot”, “Coming in on a Wing and a Prayer”and “Amazing Grace” against an Eastern musical backdrop. The world would be a better place if morepeople listened and took heed from the cultural lessons inherent in the delight that is Blue Mongol.

For more information, visit www.sunnysidezone.com. Ruddis at the Steve Lacy Tribute at Merkin Hall Oct. 6th. See calendar.

French pianist Jean-Michel Pilc has composed someattractive music in his decade in New York and he is adynamic improviser. On Live at Iridium, New York,

recorded in the fall of 2004, it’s mainly the latter quality that is most prominent.

Live at Iridium is the first recording featuringPilc’s new trio, with Thomas Bramerie on bass and the thundering Mark Mondesir on drums. The first half ofthe record is largely a showcase for a suite ofThelonious Monk pieces, substantially deconstructedby Pilc. The essential, identifiable elements of “Jackie-ing” and “Green Chimneys” are present (alongwith a quote of “Straight, No Chaser”) and are joinedtogether by a galumphing “Misterioso” that finds itsstride in nice, slow swing. Pilc’s solos include relatively long periods of space interrupted by jagged,darting phrases. It’s interesting music, but a little toomuch for the mind and not body or soul.

Pilc’s thoughtful and passionate interpretation ofColtrane’s “Spiritual”, which builds to a ferocious climax, is a standout on the record. But the real highlight is the penultimate, nearly classical composition “Voices”. An unaccompanied minor-keymelody in the piano, resolving in major-key cadences,becomes a dialogue with Bramerie’s bass and evolvesinto a full-on march when Mondesir’s snare drumjoins in.

Who knew that Jean-Michel Pilc, in addition to hisconsiderable keyboard talents, was a virtuoso whistleras well? Those who turned out at Iridium inSeptember learned this when, toward the end of theset, Pilc delivered a stunning solo, accompanying hislips with a knife and fork borrowed from a front-rowdinner table. The set was largely a recapitulation of therecord; fortunately the whistle solo led into“Landscape”, an upbeat, Caribbean-flavored danceable tune that, live as well as on Live at Iridium,was a warm, welcome coda to the evening’s music.

For more information, visit www.dreyfusrecords.com

30 October 2005 | ALLABOUTJAZZ-NEW YORK

Live at Iridium, New YorkJean-Michel Pilc (Dreyfus)

by Brian Lonergan

Blue MongolRoswell Rudd/Mongolian Buryat Band

(Soundscape-Sunnyside)by Elliott Simon

ALLABOUTJAZZ-NEW YORK | October 2005 31

Japanese pianist Satoko Fujii has been one of the mostexciting arrangers, as well as a compelling composerand performer, in outside jazz in recent years.Unusually with the company she keeps, improvisationbeyond soloing has never been a part of her work. Buta recent record shows a new leaning toward improv,to varying results.

Live in Japan adds to her longstanding trio ofbassist Mark Dresser and drummer Jim Black her husband and increasingly frequent collaboratorNatsuki Tamura. The trio had evolved in recent yearsfrom a head-oriented postboppy project to be morestretched out. As a quartet they find even more roomto move, with Tamura (an excellent trumpeter whoworks in blasts and smeared breaths) filling out theband without taking on a front-line melodic role.

The growth of the group (in its size and lexicon) isapparent especially because the four pieces in the set -recorded live at Egg Farm in Japan in July of 2004 -have all been recorded previously by Fujii (a rarity forthe prolific leader). The oldest, “Looking Out theWindow”, comes from the trio’s 1998 CD of the samename. Here, however, the theme is subsumed by the

playing of the piece. The most inventive tune of thefour is the scattershot “An Insane Scheme” (originallyfrom the trio’s sixth record, 2004’s Illusion Suite) interrupts itself almost manically, with excellent off-kilter playing by Black. At under seven minutes it’sthe shortest piece on the disc, but it became the centerpiece of a long suite of old and new compositions at Tonic last month. As an undividedwhole, the set gave room for segments of deep improvalong with familiar themes and some romantic melodicism á la Fujii’s former teacher Paul Bley. Therecord and the Tonic set showed Fujii to be less delineable than in past years. She has messed thingsup for the better of late by expanding her role as abandleader, finding more unusual settings (for example her work with Ruins drummer TatsuyaYoshihida and her synthesizer work in Tamura-ledgroups). The various motifs she’s farmed over theyears are now beginning to happily coexist.

For more information, visit www2s.biglobe.ne.jp/~Libra

Best known as Branford Marsalis’ bassist, Eric Revis’first solo project mixes straight ahead jazz with intensefunk fusion and employs a gaggle of special guests.The vast array of sounds and ensembles showcases thebass as an incredibly multi-faceted instrument thateasily finds its place among a diverse smattering of situations.

The album is a collage of unique moments. Reviscreates a reverent universe around his instrument on“Miles Sebastian”. The track opens with a hard-to- discern voice mail message, followed by the breathystrains of the Echo String Quartet. An encounter withmetal occurs on “11:11” as Oz Noy’s raunchy electricguitar erupts and JD Allen on tenor sax, YosvanyTerry on alto sax and Duane Eubanks on trumpet create a horn trellis that hovers above the rhythm section. A country twang creeps in with “Lulu’s BackIn Town”, featuring “Dirty Red” Ricky Gordon, DougWamble and Noy getting down and dirty on washboard, banjo and guitar respectively.

Many of the album’s tracks bounce along avibrant beat pierced by digital sounding clips. Bassand drums clench solidly on “Isitis” aided by percussionist Khalil Kwame Bell, while horns set offon fluttery travails. Jeff “Tain” Watts goes ballistic ondrums on “Black Elk Speaks”, forming an energeticforce field from which pianist Orrin Evans, Eubanks,Allen and Revis launch their solos.

There’s a truckload of ideas sifting through Revis’head, but he might benefit from a little simplicity. The18 musicians on Tales Of The Stuttering Mime are exceptional, but slightly overwhelming. Even the slowtunes simmer with a sudden energy. Allen’s saxophone and Eubank’s trumpet seethe through“Ayanna” as Evans lends a gentle touch on piano.Toned down to a trio, piano, bass and drums form anelegant ensemble for “Phi”. Evans’ notes glisten offRevis’ paunchy lines while cymbals splash around fora revealing moment where we realize less is more.

For more information, visit www.ericrevis.com. Revis is atJazz Gallery Oct. 1st with Jeff “Tain” Watts and Dizzy’sClub Oct. 18th-23rd with George Cables. See calendar.

Tales of the Stuttering MimeEric Revis (11:11 Records)

by Celeste Sunderland

Live in Japan 2004Satoko Fujii (NATSAT-Polystar)

by Kurt Gottschalk

Sax man Ron Blake tapped various sources and influences for his new disc Sonic Tonic, most prominent of which involve his Caribbean roots. Thisalbum, expertly produced by Me’Shell NdegéOcello,also explores various other genres and few beats aremissed in the execution.

The opening tune, “Invocation”, a tune in thefinest tradition of John Coltrane’s most spiritual worksis not as overwhelming or guttural but certainly noless passionate. It begins with Christian McBride’shypnotic bass line and marches on with Blake’s strongbut not overstated tenor. Michael Cain’s piano solo islater complemented by Blake on soprano, ChristianMcBride anchoring the groove on bass. “Chasing theSun” is a light, uptempo tune with a restless melody.As Blake explores the harmony, Cain does double dutyon keyboards, drummer Terreon Gully percolatingbeneath David Gilmore’s spitfire electric guitar solo.

“Dance of Passion”, a Johnny Griffin tune, has aMiddle Eastern melody that seems heavily influencedby “Caravan”. The core group is augmented here bytwo not terribly common instruments in jazz: VincentChancey’s French horn and Marcus Rojas’ tuba. JoshRoseman’s New Orleans growling on the trombonegives the tune a nice brass gumbo.

Blake plays his most seductive tenor on “TheWindmills of Your Mind”, with Gully’s cymbal workproviding a dramatic backdrop. On “Shades ofBrown” he expertly economizes where other sax players might have used honking, screeching or wailing to belabor their points. The title cut, as well as“Tom Blake (revisited)”, are Caribbean-influenced, theformer featuring a low down electric bass groove byReuben Rogers, Cain’s brewing organ and soaringtrumpet by Sean Jones.

Blake, making his tenor almost as tender as asoprano, does a fine job with Cain on “PureImagination”, a tune that in recent years has evolvedinto a jazz standard. The disc comes full circle with avariation on the opening song, “Invocation”, withPedro Martinez on congas. This is one of the morespirited tunes on the disc and it improves considerably on the original.

(There’s a 2CD limited edition of Sonic Tonic thatincludes hip-hop inflected remixes of several of thesongs on the primary disc.)

For more information, visit www.mackaverecords.com.Blake is at Jazz Standard Oct. 5th. See calendar.

A double-helix of alto saxophone and piano: no matter how far Tim Berne and Craig Taborn twist and

diverge their improvisations, they are always connected, intersecting with composed passages andenveloped in the swimming rhythms of drummer TomRainey. Feign further explores the acoustic sensibilitytested on half of last year’s Hard Cell Live, with Tabornexclusively playing piano. The acoustic instrument’sclarity highlights the synchronization between pianistand saxophonist, sometimes lost in the maelstrom ofelectric keyboard effects.

Like the CD, a recent show at Tonic opened withthe brisk “I Do It”, with its slightly out-of-phase piano-sax theme that eventually constricts, whippedalong by Rainey’s fractured groove before devolvinginto a linear melodic unison. Unlike the recording, thethree musicians played freely with the quieter theme,in time abandoning it completely, furiously spinningaround each other until resolving to another workoutof “Van Gundy’s Retreat”, fast becoming a Berne standard. Masked at first, this segue illustrated that,underlying the far-flung passages, there is always purpose in Berne’s music. Inextricably linked, theimprovisations are informed by the compositions andin turn propel them unexpectedly.

On “Time Laugh” Taborn plays with phenomenalindependence: one hand plays a clipped ostinato, theother a longer unison figure with Berne, who eventually drops out. As the drums and piano exploresparser terrain, the sax bleats dissonantly before a spiraling solo. Taborn rebuilds with an ominous bassline that returns to the original figure, pulling Berneback for a tight finish. During the spacious introduction of “Brokelyn”, Rainey scrapes soundfrom his drums, Taborn plays inside the piano and asense of momentum pervades, sweeping towards the climatic melody, disjointed yet catchy. The staggeringpiano that opens “My First Phone” returns later, tautwith Berne hanging on some notes, fashioning afocused unison phrase, even as Taborn continues toextrapolate around it.

In performance, these tricky passages were executed with precision, including the kinetic “IThought You Had It”, which brought the show to arousing conclusion. Taborn’s independence allowedone hand to hammer away with Rainey’s accents,while the other played a repeating 3-note phrase withBerne, eventually converging to reveal the broaderpattern.

For more information, visit www.screwgunrecords.com

Nnenna Freelon’s latest project pays tribute to singerBillie Holiday in the best possible way - without imitation and putting her own interpretations onmaterial written by or associated with Lady Day.

Her band, adjusted to fit the mood of each song,skillfully complements her at every turn. Freelon’sphrasing and vocal clarity contribute to an overallfeeling that is more positive than Holiday’s often darkand plaintive renditions of the same material.

Interspersed within this tribute are three naturalfits that don’t come directly from the HolidaySongbook. “Only You Will Know” and “Interlude-Little Brown Bird” are original collaborations byFreelon and Brandon McCune that pay homage toLady Day.

The former, an intimate vocal-guitar duet withAndre Bush, enables Freelon to question aloudwhether she should imitate Holiday’s style orapproach the project’s material in a different manner.Holiday’s answer in this imagined vocal dialogue was:“Sing until you know who you are and why youcame… You may sing a Lady song, sweet drawl softand low/but only if the song is you and only you willknow.”

The third is “Balm in Gilead” - a traditionalAfrican-American affirmation of faith, hope and optimism that enriches all of the other material. Thisduo version on which Freelon is accompanied bypianist McCune, leads into an uplifting and vibrantversion of “Them There Eyes”.

Doug Lawrence’s tenor sax offers a sublime conversational response to Freelon’s vocals on“You’ve Changed” and takes a different role on “NowOr Never” by reinforcing and at times echoing hervoice. Dave Ellis takes a more out-in-front complementary tenor role on the bluesy and soulfulversion of “Lover Man” that follows. Julian Lage’s guitar artistry sparkles throughout “Don’t Explain”and on several other tracks.

“Left Alone” presents a Holiday work she neverrecorded. Lady Day wrote it with the late MalWaldron. Abbey Lincoln was the first vocalist torecord the tune - in 1961. Freelon’s vocals plus quartetversion unearths the positives buried beneathHoliday’s words about loneliness.

“All of Me” concludes this fine session with another twist - a sultry reggae arrangement of the classic ballad.

For more information, visit www.concordrecords.com

32 October 2005 | ALLABOUTJAZZ-NEW YORK

Blueprint of a Lady (Sketches of Billie Holiday)Nnenna Freelon (Concord)

by Ken Franckling

FeignHardcell (Screwgun)

by Sean Fitzell

Sonic TonicRon Blake (Mack Avenue)

by Terrell Holmes

K AT I E BB U L L

"cutting edge" JAZZ WEEK

THURSDAY OCT 27 7pmKatie Bull, vocals

Frank Kimbrough, pianoMartin Wind, bass

Harvey Sorgen, drumsmusic from the

LOVE SPOOK albumand new originals

55 BARNYC

www.55bar.com

ALLABOUTJAZZ-NEW YORK | October 2005 33

With the passing of Albert Mangelsdorff, the mantleof elder improvising trombonist has passed to PaulRutherford. Though relative contemporaries andpeers, their approach to the trombone, particularly ina solo context, came from distinct directions, if ultimately sharing certain techniques. Mangelsdorffwas always concerned with form and melody;Rutherford is more interested in sound. Two albums,one a reissue, the other newly recorded, demonstratethis curiosity but also provide insight into the technological tools available to the improviser over thelast few decades.

Neuph, recorded in its original LP form in January1978 and now augmented with the live tracks from1980, made use of an old recording standard - over-dubbing - but in a such a way as to create a discussionabout the role of a solo improviser. Rutherford playsvarious extemporaneous tunes on as few as oneeuphonium or as much as four overlayed trombones.The musicianship and experimentation is excellent butwhat is confounding is that Rutherford is reacting tohimself, not in real time, but in a studio, even speeding up certain tracks, to create a soundscape fardifferent than the two live solo trombone tracks thatopen and close the disc. Some might call it impersonal, but it offers fascinating answers to the questions of how to play solo and how to use availabletechnology to expand the role of a musician.

Iskra3 is a different beast as Rutherford has a moretraditional function than on Neuph but utilizes a modern innovation - computer processing - to updatewhat an acoustic instrument, albeit one played inexpert hands, can accomplish when its musical counterpart is a machine, though one manipulated byits own duo of improvisors (Robert Jarvis andLawrence Casserly). Both discs are less about musicand more about aural exploration, a dichotomy thatRutherford has embraced his whole career.

For more information, visit www.emanemdisc.com

The Bad Plus is nothing if not confounding. The trioexalts in ambiguity, delights in dodging definition. Itsmusic at once conveys affected irony and honest intelligence, melodrama and real poignancy. It resistsinterpretation.

One thing is for certain: The Bad Plus has createdone of the most original and unmistakable sounds incontemporary music.

The trio’s third major-label album, SuspiciousActivity?, will do little to quell the arguments the

previous two have fueled in the jazz community. Andthough the approach here is not a radical departurefrom that on These Are the Vistas or Give, the musicdoes advance the trio’s adventurous conceptions ofform and rhythmic variation.

“The Empire Strikes Backwards”, a rollickingcomposition by drummer David King, is a standoutnot only on the album but also amid the trio’s entirerepertoire. Its jagged, jumping chord progression, dramatic shifts in tempo and tempestuous crescendotypify the trio’s compositions.

Bassist Reid Anderson’s “Knows the Difference”shows the trio’s impressive ability to spin lengthyimprovisations out of a small germ of melody andrhythm, while King’s catchy “Anthem for the Earnest”presents the group in full-on rock mode, recalling ‘80sBrit-pop.

The Bad Plus has enjoyed weeklong runs at theVillage Vanguard for a couple years now, its mostrecent being in late September. If confounding onrecord, something good happens to its music live - it’sless flat, arising like a poem off the page when readaloud.

In its opening set, the trio showcased the bettertracks from Suspicious Activity? along with older gemslike the exuberant “1972 Bronze Medalist”. It showeda mastery of irregular, tricky forms, with King especially displaying an agile, deft touch that doesn’tquite come across on record.

That the trio didn’t play Suspicious Activity?’s“(Theme from) Chariots of Fire”, which the adulatingVanguard crowd would have eaten up - its grandiosechords that would make Vangelis proud riding a looping, funky bass line - is evidence that The BadPlus is not as interested in facile crowd-pleasing as itis its own quirky conceptions of improvisation.

For more information, visit www.columbiajazz.com

The Path to Delphi, trombonist David Gibson’s latestwork, is a walk along the path of spirituality in the tradition of John Coltrane. The Hellenic-themed opuskicks off with Dwayne Burno’s bass statement on thetitle cut, a tightly arranged, reed-driven tune. RickGermanson’s deft and inventive piano solo sparkles,building the tension before Gibson steps in with a solowhose ideas fit nicely into the groove, with WayneEscoffery wailing on soprano in his wake. Rich hornarrangements highlight “Icarian Sea”, the centerpieceof which is splendid Middle Eastern-laced sopranofrom Escoffery and measured blowing by Gibson.“Son of Alcumus” is a slice of cool bop. Escoffery has another fine solo and the rhythm section switchesthings up behind the horns. Germanson solos herewith the same adventurism, rhythmic inventivenessand intonation as a sax player. “Eidolon” is an uptempo burner that marks the CD’s first appearanceof the great Randy Brecker on trumpet. Joe Strasser’s opening drum salvo takes the group to the groove,Gibson blows a hot solo and Brecker sprints alongbehind him, his rhythmic drive and ideas clear andformidable as usual.

The beautiful “Hestia’s Egress” opens withGibson brooding on his horn. Escoffery sympathizeswith him and the two exchange lamentations as the

rhythm section whispers its condolences.“Persephone” is midtempo with another appearanceby Brecker, who wittily works in a quote from an Irishjig during his soaring, fluttering solo. “Serpents ofHera” features Brecker on flugelhorn supplementingGibson’s introspective playing. The group fires on allcylinders again on “The Oracle Within” and“Prometheus’ Peace” is a fitting, serene conclusion toan excellent work of boundless depth and richness.Gibson shows that a personal quest, on whatever level,can be shared, inclusive and enriching for everyone.

For more information, visit www.qualiton.com. Gibson is atKavehaz Oct. 19th and at Swing 46 Wednesdays with theHot Pants Funk Sextet. See calendar.

Suspicious Activity?The Bad Plus (Columbia)

by Brian Lonergan

Path to DelphiDavid Gibson (Nagel Heyer)

by Terrell Holmes

Neuph (1978-80)Paul Rutherford(SFA-Emanem)

Iskra3

Paul Rutherford(Psi)

by Andrey Henkin

Faust: A Silent Movie (1926) - F.W. MurnauWillem Breuker (BVHaast)by Andrey Henkin

F.W Murnau was one of the giants of the Silent Film Era.His most famous work is 1922’s Nosferatu but his interpretation of the Faust legend was his most expansivework, also his last before leaving his native Germany.

That Willem Breuker would choose to write new musicfor this film should surprise no one. Breuker has neverbacked away from a challenge and he is cinematic enough inscope to be successful. And up to a point he is. The question

is what he was trying to do. The function of music in silent films is much different than into what

modern day soundtracks have evolved. With a choppier flow of action (dueboth to that lack of dialogue and the limitations of filmmaking at the time), themusic had to keep things moving forward and only occasionally sync up withthe action on the screen. The original print had an orchestral score unsurprisingly Wagnerian, but the new edition is in many ways jarring, themusic often clashing in feel with the action onscreen. At first this is because ofthe disparity between modern recording techniques and “ancient” filmmakingones. After that contrast is absorbed, the music is often too upbeat for the film,making what is arguably a creepy moralistic film campy.

Of course Breuker has been accused of campiness before and one wonderswhether he is being misinterpreted. The Kollektief is a wonderfully funnygroup, almost slapstick, but still one of the tightest ensembles around playing extremely complicated music. That same dynamic is here and makes for aninteresting dichotomy between sight and sound. This viewer’s interpretation isthat Breuker sees in this movie all the excesses and kitsch of a previous era butalso understands how seriously it was taken upon release and tried to writemusic to reconcile the two.

For more information, visit www.xs4all.nl/~wbk/BVHAAST.html. Breuker’sKollektief is at Merkin Hall Oct. 27th. See calendar.

34 October 2005 | ALLABOUTJAZZ-NEW YORK

Dizzy: the Life and Times of John Birks Gillespie Donald L. Maggin (Harper Collins)by Joel Roberts

With the exception of Louis Armstrong, there’s probablybeen no major artist in jazz as beloved as Dizzy Gillespie. Abrilliant musician and innovator who helped launch two ofthe music’s key movements - bebop and Afro-Cuban jazz -Gillespie was also one of the great showmen in jazz and oneof its true global ambassadors.

He’s also a rarity among the legends of his era in that helived what appears to have been a remarkably happy life

free of the usual jazz clichés - he wasn’t a junkie (though he drank and smokedplenty of marijuana), he had a long marriage (though he frequently cheated onwife Lorraine) and he didn’t die obscure and penniless (he earned at least $1million a year at the end of his life and resided comfortably in suburban NewJersey). He also brought a cheeky sense of humor (often getting him into trouble in his youth) to an art form that often takes itself far too seriously.

Donald Maggin’s sympathetic new biography traces Dizzy’s extraordinaryjourney from a boyhood in deeply racist ‘20s South Carolina through apprenticeships in the big bands of Cab Calloway, Earl Hines and BillyEckstine to his emergence in the late ‘30s and early ‘40s as one of the primarycreators (along with Bird, Monk, Kenny Clarke and Charlie Christian) of thethen-revolutionary bebop sound. Gillespie didn’t stop there, of course, leadinga series of important big bands and small groups, while becoming one of themost recognizable faces in jazz over the next 50 years.

Maggin, a writer/businessman/concert promoter and former presidentialadviser who knew Gillespie over many years, brings both a scholar’s knowledge and a fan’s enthusiasm to this nearly definitive biography of one ofjazz’ truly towering figures. It’s a life worth celebrating and a book worth reading.

For more information, visit www.harpercollins.com. Tributes to Dizzy Gillespie are atthe NYC Baha’i Center Oct. 18th and Blue Note Oct. 18th-23rd. See calendar.

IN PRINT ON DVD

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

Photography donated by Brian Wilder. Musician photos: © photography by Bradley Smith.

Saturday, October 1Don Cherry Celebration (DCC): Karl Berger with Graham Haynes, Peter Apfelbaum, Mark Helias, Tani Tabbal, Ingrid Sertso

The Stone 8, 10 pm $10Shelter from the Storm Benefit: Toni Morrison, Cecil Taylor, Yusef Komunyakaa, Dael Orlandersmith, Anne Waldman, Denize Lauture, Suheir Hammad, Roger Kamenetz, Steve Cannon, Bill Martin, Eddie Bobé, Moira Crone, Hal Sirowitz, Patricia Spears Jones and others

St. Mark’s Church 1 pm• Jazz con Salsa: Arturo O’Farrill’s Afro-Latin Jazz Orchestra and

guest Joe Lovano, Lew Soloff, Greg OsbyRose Theater 8 pm $30-130

Cedar Walton Trio Brooklyn Cons. of Music 8 pm $25• Cheo Feliciano, Ismael Miranda, Spanish Harlem Orchestra led by

Oscar Hernandez and guest Nelson González Lehman Center 8 pm $30-45

• Earl May Trio with Richard Wyands, Vinnie Johnson and guests Ray Bryant, TK Blue, LaVerne Butler, Allan Harris, Junior Mance, Houston Person, Benny Powell, Ron Sunshine, Paul Tillotson

Yehoodi 8 pm $35• John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy,

Tony Tedesco and guest Bucky PizzarelliFeinstein’s 8:30, 11 pm $60

• Marcus Miller with Guests Take 6B.B. King’s 8, 10:30 pm $45

MATA Micro-Orchestra Festival: Mick Rossi, Andrew Sterman, Andy Laster, Russ Johnson, Curtis Hasselbring, Hiroko Taguchi, Mary Wooten, Peter Herbert, Theo Bleckmann

St. Peter’s Church 8 pm $20Ahmed Abdullah’s Diaspora with Billy Bang, Salim Washington, Alex Harding, D.D Jackson, Radu, Andrei Strobert, Masujaa, Louis Reyes Rivera, Monique Ngozi Nri and Miles Griffith

Sistas’ Place 9, 10:30 pm $20Diet Coke Women in Jazz Festival: Barbara Carroll Trio with guests Dizzy’s Club 7:30, 9:30, 11:30 pm $30

• Ayako Shirasaki Dizzy’s Club 12:45 am $10Louis Hayes Trio with Javon Jackson, Reuben Rogers

Smoke 9, 11 pm 12:30 am $25Ralph Peterson’s Fo’tet with Don Byron, Bryan Carrott, Belden Bullock Sweet Rhythm 8, 10 pm 12 am $20Ingrid Jensen Quintet with George Garzone, Danny Grissett, Matt Clohsey, Jon Wilkan The Kitano 8, 9:45 pm $15Jeff “Tain” Watts Group with Yosvany Terry, Larry Fields, Eric Revis and guests Jazz Gallery 9, 10:30 pm $15Garage A Trois: Charlie Hunter, Skerik, Stanton Moore, Mike Dillon Tonic 10:30 pm 12 am $20

• Freddie Hubbard and the New Jazz Composers Octet with Joe Chambers, Craig Handy, Myron Walden, David Weiss, Chris Karlic, Steve Davis, Xavier Davis, Dwayne Burno

Iridium 8, 10, 11:30 pm $30Mark Murphy Birdland 9, 11 pm $30Jason Moran Bandwagon with Marvin Sewell, Tarus Mateen, Nasheet Waits Village Vanguard 9, 11 pm 12:30 am $35

• Regina Carter Group Jazz Standard 7:30, 9:30, 11:30 pm $30• Bebel Gilberto Blue Note 8, 10:30 pm $40• Avi Bortnick and Cornpone with Andy Hess, Tony Mason

Blue Note 12:30 am $8• Rory Stuart/Glenn Wilson Quartet with John Lockwood,

John Riley Cornelia Street Café 9, 10:30 pm $12• Valerie Capers/John Robinson

Knickerbocker Bar and Grill 9:45 pm $5• Randy Johnston Trio Puppet’s Jazz Bar 9 pm $5• David Bond Group with Francesca Tanksley, Ed and

George Schuller Kavehaz 6 pm• Chip White Quartet with Patience Higgins, Keith Sanders,

Per-Ola Gadd Kavehaz 9:30 pm• Rudy Lawless Group with Keisha St. Jones

Lenox Lounge 9, 10:30 pm 12 am $20Jason Lindner Smalls 10 pmGreg Tardy Fat Cat 10 pm

• John Ellis Trio Bar Next Door 9, 11:15 pm $8• Will Sellenraad and Rootdown

Detour 10 pm $5Ayana Lowe, Sayuri Goto, Ben Dixon

55Bar 6 pm• Bonga Jean-Baptiste Satalla 10 pm $15• River Alexander and his Mad Jazz Hatters

Barbès 10 pm• Mamiko Watanabe QuartetCleopatra’s Needle 8 pm• Frank Catalano, Yan Pevzner, Arthur Kell, Rob D’Addario

Lexington United Meth. Church 2 pm $7 • Champion Fulton Trio The Garage 12 pm• Hide Tanaka Trio The Garage 6:15 pm

Virginia Mayhew Quartet The Garage 10:45 pmSunday, October 2

DCC: Joseph Jarman/Adam Rudolph; Mark Helias/Graham Haynes The Stone 8, 10 pm $10

All Night Soul Jazz Festival: Duke Ellington Orchestra Tribute to Ruth Ellington Advent Lutheran Church 8 pm

• Marcus Miller with Guests Take 6B.B. King’s 8, 10:30 pm $45

MATA Micro-Orchestra Festival: Mick Rossi, Andrew Sterman, Andy Laster, Russ Johnson, Curtis Hasselbring, Hiroko Taguchi, Mary Wooten, Peter Herbert, Theo Bleckmann

St. Peter’s Church 8 pm $20• Diet Coke Women in Jazz Festival: Akiko Grace Trio;

LeeAnn Ledgerwood Trio Dizzy’s Club 7:30, 9:30 pm $30Ralph Peterson’s Fo’tet with Don Byron

Sweet Rhythm 8, 10 pm 12 am $20• Freddie Hubbard and the New Jazz Composers Octet with

Joe Chambers, Craig Handy, Myron Walden, David Weiss, Chris Karlic, Steve Davis, Xavier Davis, Dwayne Burno

Iridium 8, 10 pm $25Jason Moran Bandwagon with Marvin Sewell, Tarus Mateen, Nasheet Waits Village Vanguard 9, 11 pm $30

• Regina Carter Group Jazz Standard 7:30, 9:30 pm $25• Bebel Gilberto Blue Note 8, 10:30 pm $40• Edmar Castaneda Sweet Rhythm 8, 10 pm $15

Scott DuBois with Loren Stillman, Jason Rigby, Thomas Morgan, Ted Poor 55Bar 9:30 pm

• Roger Rosenberg Quartet with Mark Soskin, Chip Jackson, Jeff Brillinger Cornelia Street Café 8:30 pmSteve Lantner, Reuben Radding, Dee Pop

5C Café 7 pm

36 October 2005 | ALLABOUTJAZZ-NEW YORK

CALENDAR

OctoberTo 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

Celebrating Elvin Jones: Delfeayo Marsalis Quintet with Donald Harrison, Mulgrew Miller, Jason Marsalis

Dizzy’s Club 7:30, 9:30 pm $30• Akiko Grace Trio Dizzy’s Club 11:30 pm $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Stacey Kent Birdland 9, 11 pm $40

Vision Fugitive Orchestra: JD Allen, Abraham Burton, Stacy Dillard, Bruce Williams, Frank Logan, Jason Marshall, Issac Smith, Duane Eubanks, Jonathan Finlayson, Leron Thomas, Ameen Saleem, Jeremy “Bean” Clemons, Damion Reid

Mo Pitkins 11 pm $10Ron Blake with Gilmar Gomes, Michael Cain, Reuben Rogers, Dion Parson Jazz Standard 7:30, 9:30 pm $20Joan Stiles Quintet with Jeremy Pelt, Joel Frahm, Ali M. Jackson, Kimberly Marshall, Joong-Hwa Jung

New School 8 pm $10• Assen Doykin Trio The Kitano 8, 9:45 pm

Roulette: Nicole Zaray; Daniel Levin with Nate Wooley, Matt Moran, Joe Morris Location One 8:30 pm $12Bob Mover Trio Lima’s Taste 8 pm

• Bujo Kevin Jones Sweet Rhythm 8, 10 pm $15• Kim Bock Quartet with David Smith, Adam Armstrong,

Peter Retzlaff Cornelia Street Café 8:30 pm $8• Van Davis: Jake Ezra, Jon Price, Patrick Carmichael

and guest Ted Baker 55Bar 7 pm• Mike Stern 55Bar 10 pm• Jackson Moore Group with Mike Pinto, Eivind Opsvik,

Tommy Crane Kavehaz 8 pm• Ryan Meagher Group; Allen Bjorkland Collective

The Pourhouse 9, 10:30 pm• Manhattan Vibes with Christos Rafalides

The Garage 9 pmThursday, October 6

DCC: Marty Ehrlich Trio with Jerome Harris, Billy Martin; Harris Eisenstadt’s Where Is Brooklyn? with Vinny Golia, Achim Kaufmann The Stone 8, 10 pm $10Tribute to Steve Lacy with Irene Aebi, Roswell Rudd, Joe Lovano, David Liebman, Jean-Jacques Avenel, John Betsch, Bobby Few, George Lewis, Richard Teitelbaum, David Wessel, Jeremy Udden, Don Byron, Gary Lucas, Thomas Buckner, Judi Silvano, Daniel Tepfer Merkin Hall 8 pm $10All Night Soul Jazz Festival: Tribute to Cobi Narita with Golda Solomon, Christopher Dean Sullivan, Eri Yamamoto, JD Parran; Gloria Cooper Trio; Antoinette Montague Trio

Saint Peter’s 6:30 pm $15Sex Mob does James Bond with guest John Medeski

Tonic 8, 10 pm• WBGO Jazz 88’s Gala 2005

Ritz Carlton at Battery Park 8 pmHarlem Speaks: Roy Haynes

Jazz Museum of Harlem 6:30 pmKeely Smith with Earl Gardner, Jerry Vivino, Chip Jackson, Joe Cocuzzo, Ken Ascher and guests

Tribeca Perf. Arts Ctr. 8 pm $30Melvin Sparks Group; Reuben Wilson Group

Sweet Rhythm 8, 10 pm $15• Text of Light: William Hooker, Ulrich Krieger, Alan Licht,

Christian Marclay, Lee RanaldoThe Kitchen 8:30 pm $10

• Jazz Gallery 10th Anniversary Heartsong Series: Gretchen Parlato Group with Lionel Loueke, Aaron Parks, Kendrick Scott

Jazz Gallery 9, 10:30 pm $12George Garzone, Garth Stevenson, Ziv Ravitz

Bar 4 8:30 pmPharoah Sanders Quartet with William Henderson, Adam CruzUgonna Okegwo Iridium 8, 10 pm $27.50

• John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, Tony Tedesco and guest Bucky Pizzarelli

Feinstein’s 8:30 pm $60Charlie Haden’s Liberation Music Orchestra with Carla Bley, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Michael Rodriguez, Matt Wilson, Miguel Zenon

Blue Note 8, 10:30 pm $35Celebrating Elvin Jones: Delfeayo Marsalis Quintet with Donald Harrison, Mulgrew Miller, Jason Marsalis

Dizzy’s Club 7:30, 9:30 pm $30• Akiko Grace Trio Dizzy’s Club 11:30 pm $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Stacey Kent Birdland 9, 11 pm $40

Aaron Goldberg Trio with Reuben Rogers, Eric HarlandJazz Standard 7:30, 9:30 pm $20

• Avishai Cohen Group with Yotam Silberstein, Omer AvitalTea Lounge 9, 10:30 pm

Reggie Nicholson Brass Concept with Eddie Allen, Mark Taylor, Steve Swell, Jose Davila; Monika Heidemann with Matt Moran, Khabu Doug-Young, Mike Savino, Take Toriyama

Location One 8:30 pm $12• Haruko Nara Trio with Paul Beaudry

The Kitano 8, 9:45 pmAnat Fort Trio with Gary Wang, Roland Schneider

Cornelia Street Café 8:30 pm $10• Todd Londagin with Jon Dryden, Pete Smith, Jennifer Vincent,

David Berger Barbès 9 pm• Bill Ware Puppet’s Jazz Bar 9 pm $5• junk”KAT”: Yael Acher, Art Baron, Nad Russell, Jr., Dave Treut,

Hagar Ben-Ari and guest Rashad DobbinsZebulon 10 pm

• Katja Endemann Quartet with Daniela Schaecter, Oleg Ossenkov, Jordan Perlson Kavehaz 6 pm

• Erik Torrente Quartet with Vicente Archer, Jamier WilliamsKavehaz 9:30 pm

• Arthur Sterling 5C Café 5 pm• Danielle Gasparro with Ryan Scott, Thomas Bramerie,

Bill Campbell 55Bar 7 pm• Dmitri Kolesnik Cleopatra’s Needle 8 pm• Yardena The Garage 9 pm

• Ron Anderson Downtown Music Gallery 6 pm• Sharif Sehnaoui; Christine Sehnaoui; Dadajam

ABC No Rio 8 pm $3• Jon Davis Trio Puppet’s Jazz Bar 9 pm $5• Hayes Greenfield’s Jazz-A-Ma-Tazz

Bowery Poetry Club 11 am 1 pm $8• Joni Paladin The Garage 12 pm• Roz Corral Trio with Paul Meyers, Harvie S

North Square Lounge 12:30, 2:30 pm • Combo Nuvo: Dave Schroeder, Jamie Fox, Rich Shemaria,

Mike Richmond, John HadfieldBlue Note 12:30, 2:30 pm $19.50

Monday, October 3All Night Soul Jazz Festival: Photo exhibit and music by Peter Leitch, Jeremy Steig, Joe Wilder, Carmen Lundy and others

Saint Peter’s 7 pmTriptych Myth: Cooper-Moore, Chad Taylor, Tom Abbs

Tonic 8 pm $10Roulette: Jim Staley/Zeena Parkins

Location One 8:30 pm $12• Amram & Co. Cornelia Street Café 8:30 pm

Dave Schnitter Trio Lima’s Taste 8 pm• John Ellis Blue Note 8, 10:30 pm $10• Voices & Songs: Cheryl Bentyne with Corey Allen,

Klaus Suonsaari, Christian FabianJazz Standard 7:30, 9:30 pm $15

• Goran Ivanovic Group with Doug Rosenberg, Matthew Ulery, Michael Caskey Satalla 9:30 pm $12

• Laurent Medelgi Group with Uli Geissendoerfer, Trifon Dimitrov, Andrea Valentini 55Bar 10 pm

• Carolyn Leonhart Trio Bar Next Door 8 pm $5• Keith Witty Trio with Stacy Dillard, Jeremy Clemons

Niagra 9, 10:30 pm $5• Frank LoCrasto Trio Detour 9:30 pm• Jaime Aff Organ Trio with William Ash

Puppet’s Jazz Bar 9 pm $5• New School Presents Sweet Rhythm 8, 10 pm $10

Tuesday, October 4DCC: Cyro Baptista with Tim Keiper, Brian Marsella, Peter Apfelbaum; Ira Cohen and Friends with Brahim Fribgane, Harris Eisenstadt, Graham Haynes, Matt Waugh

The Stone 8, 10 pm $10All Night Soul Jazz Festival: New Orleans Benefit Concert with Nicholas Payton, John Patitucci and others

Saint Peter’s 7:30 pm $15• Savion Glover B.B. King’s 8 pm $45

Benoît Delbecq solo Jazz Gallery 9, 10:30 pm $12• John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy,

Tony Tedesco and guest Bucky PizzarelliFeinstein’s 8:30 pm $60

Charlie Haden’s Liberation Music Orchestra with Carla Bley, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Michael Rodriguez, Matt Wilson, Miguel Zenon

Blue Note 8, 10:30 pm $35Celebrating Elvin Jones: Delfeayo Marsalis Quintet with Donald Harrison, Mulgrew Miller, Jason Marsalis

Dizzy’s Club 7:30, 9:30 pm $30• Akiko Grace Trio Dizzy’s Club 11:30 pm $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Stacey Kent Birdland 9, 11 pm $40

Moutin Reunion Quartet with Francois and Louis Moutin, Pierre de Bethmann, Rick Margitza

Jazz Standard 7:30, 9:30 pm $20• Freedom Art Quartet: Omar Kabir, Norbert Stachel, Lloyd Haber

Jaribu Shahid NYC Baha’i Center 8, 10 pm $15• Arturo O’Farrill y Riza Negra with Rafi Torn, Rafi Malakiel,

Peter Brainin, Emilio Valdez, Harvie SCornelia Street Café 8:30 pm $10

• Skuli Sverrisson/Anthony BurrTonic 8 pm

Club D’Elf Tonic 10 pm $10Loren Stillman with Ben Monder, Eivind Opsvik, Ted Poor

Bowery Poetry Club 10 pm Stephen Gauci Trio with Todd Nicholson, Jeremy Carlstedt

55Bar 7 pm• Bill Mobley with Danny Walsh, Gary Fisher, Ed Schuller,

Peter Davenport 55Bar 10 pm• Roulette: Walter Thompson Orchestra, Soundpainting

String Quartet and The New York Soundpainting OrchestraLocation One 8:30 pm $12

• Nora McCarthy, Jorge Sylvester, Pablo Vergara and guestsVia Della Pace 8 pm

• Marilyn Sweet Rhythm 8, 10 pm $15• Todd Sickafoose Group with Josh Roseman, Shane Endsley,

Ches Smith Koze Lounge 9, 10:30 pm $7• Ben Holmes Quartet with Brian Drye, Reuben Radding,

Take Toriyama Barbès 7 pmFay Victor Trio with Anders Nilsson, Hill Greene

Kavehaz 7 pm• Evans Thompson 5C Café 5 pm• Daniel Kelly The Backroom 9 pm • Howling Makams Satalla 9:30 pm $10• Justin Mullens Quartet Detour 9:30 pm• Russ Spiegel Big Band The Garage 8 pm• Dred Scott Trio Rockwood Music Hall 12 am

Wednesday, October 5DCC: Ned Rothenberg Quartet with Ray Anderson, Lindsay Horner, Reggie Nicholson; Avram Fefer/Bobby Few

The Stone 8, 10 pm $10All Night Soul Jazz Festival: Jazz Ministry 40th Anniversary Concert Saint Peter’s 1 pm $5Pharoah Sanders Quartet with William Henderson, Adam CruzUgonna Okegwo, Iridium 8, 10 pm $27.50

• Marc Ribot’s Ceramic Dog with Shahzad Ismaily, Ches SmithTonic 8, 10 pm $12

• Kali. Z. Fasteau with Michael Ray, Michael T.A. ThompsonVia Della Pace 8 pm

Night of the Ravished Limbs: Renku: Michaël Attias, John Hebert, Satoshi Takeishi; Mario Pavone Quintet with Mike DiRubbo, Jimmy Greene, Peter Madsen, Gerald Cleaver

Barbès 8, 10 pm $8Matana Roberts Quartet Zebulon 10 pmBenoît Delbecq solo Jazz Gallery 9, 10:30 pm $12

• John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, Tony Tedesco and guest Bucky Pizzarelli

Feinstein’s 8:30 pm $60Charlie Haden’s Liberation Music Orchestra with Carla Bley, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Michael Rodriguez, Matt Wilson, Miguel Zenon

Blue Note 8, 10:30 pm $35

• Paula West with the Eric Reed TrioAlgonquin Oak Room 9 pm $50

Matthew Shipp/Steve Dalachinsky; J.A.M Trio: Jim Black, Mat Maneri, Assif Tsahar Tonic 8 pm $12Ari Hoenig/Chris Potter 55Bar 7 pm

• Leni Stern 55Bar 10 pm• Joel Harrison’s Starfish Parade with Taylor Ho Bynum,

Sam Bardfeld, Dave Ambrosio, Will Holshouser, George SchullerKoze Lounge 9, 10:30 pm $7

• MSM Chamber Jazz EnsembleManhattan School of Music 8 pm

• Judy Bady Quartet with Misha Piatigorsky, Max Vater, Greg Searvance Sugar Bar 8:30 pm $10

• Sofia Laiti with Carlton Holmes, Essiet Essiet, Vincent EctorSweet Rhythm 8, 10 pm $15

• Jim DeSalvo Trio with Chris Lough, Eliot ZigmundDetour 9:30 pm

• NYU Big Band The Garage 8 pm• Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5• Dred Scott Trio Rockwood Music Hall 12 am

Wednesday, October 12DCC: Full Moon: Badal Roy, Steve Gorn, Kenny Wessel, Daniel Moreno; Jai Uttal and Friends with Steve Gorn, Charlie Burnham, Daniel Paul

The Stone 8, 10 pm $10Roy Haynes Band Iridium 8, 10 pm $30T.S. Monk Sextet Birdland 9, 11 pm $30Night of the Ravished Limbs: Chris Lightcap Quintet with Tony Malaby, Craig Taborn, Mark Turner, Gerald Cleaver; Tony Malaby’s Paloma Recio with Michael Rodriguez, Ben Monder, Eivind Opsvik, Rodney Green

Barbès 8, 10 pm $8Lucian Ban/Alex Harding’s Blutopia with Hill Greene, Bruce Cox

Cornelia Street Café 8:30 pm $10Jim Hobbs and the Fully Celebrated Orchestra with Taylor Ho Bynum, Timo Shanko, Django Carranza

Zebulon 10 pmBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street

Jazz Standard 7:30, 9:30 pm $20Fieldwork: Steve Lehman, Vijay Iyer, Tyshawn Sorey

Jazz Gallery 9, 10:30 pm $12• Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash

Dizzy’s Club 7:30, 9:30 pm $30Giacomo Gates/Larry Ham

Dizzy’s Club 11:30 pm $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Eldar Djangirov Blue Note 8, 10:30 pm $25• Paula West with the Eric Reed Trio

Algonquin Oak Room 9 pm $50• Tom Guarna Band Sweet Rhythm 8, 10 pm $15• Vana Gierig Trio with Sean Conly, Gene Jackson

AC Pianocraft Workshop 8 pm $20• Sheryl Bailey with Brian Charette, Ian Froman

55Bar 7 pmGeorge Schuller’s Circle Wide with Donny McCaslin, Brad Shepik, Tom Beckham, Dave Ambrosio

55Bar 10 pm• The Eternal Now; Sunny Jain Collective with Rez Abbasi,

Steve Welsh, Gary Wang, Samita Sinha; Chris Berry and PanjeaGalapagos 8 pm $10

• Shakers n’ Bakers: Mary LaRose, Jeff Lederer, Steven LaRosa, Chris Lightcap, Allison Miller

Tea Lounge 9, 10:30 pm• Vincent Gardner Quintet The Kitano 8, 9:45 pm• Clifford Barbaro The Garage 9 pm• Adam Niewood Group; Jay Foote Group

The Pourhouse 9, 10:30 pm• Christiana Drapkin/Stephanie Grieg

The Backroom 9 pmPete Malinverni Saint Peter’s 1 pm $5

Thursday, October 13DCC: Oliver Lake/Adam Rudolph; Cameron Brown’s “Don in Copenhagen, March ‘66” with Dave Ballou, Jason Rigby, Tony Jefferson The Stone 8, 10 pm $10Dr. Lonnie Smith Trio with Peter Bernstein, Allison Miller

Smoke 9, 11 pm 12:30 am $25Fluid Trio: George Garzone, Christopher Crocco, Francisco Mela

Kavehaz 6 pm• Pan Asian Jazz Chamber Ensemble: Meg Okura, Yukari,

Megumi Yonesawa, Jennifer Vincent, Satoshi Takeishi and guest Sam Newsome Kavehaz 9:30 pmMulatu Astatké with Either/Orchestra

Joe’s Pub 7 pm $25• Jenny Lin with guest Jim Pugliese

Symphony Space 7:30 pm $21Roy Haynes Band Iridium 8, 10 pm $30T.S. Monk Sextet Birdland 9, 11 pm $30Billy Hart Quartet with Mark Turner, Ethan Iverson, Ben Street

Jazz Standard 7:30, 9:30 pm $20• Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash

Dizzy’s Club 7:30, 9:30 pm $30Giacomo Gates/Larry Ham

Dizzy’s Club 11:30 pm $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Eldar Djangirov Blue Note 8, 10:30 pm $25• Jazz Gallery 10th Anniversary Heartsong Series: Renee Neufville

Group with Roy Hargrove Jazz Gallery 9, 10:30 pm $12• Paula West with the Eric Reed Trio

Algonquin Oak Room 9 pm $50• Gnu Vox: Julie Hardy; Dave Devoe

Cornelia Street Café 8:30 pm $10• Aaron Alexander Trio Yom Kippur Break-Fast

Makor 8 pm $40• Ben Monder Barbès 10 pm• The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella,

Reid Taylor, Matt ZebroskiSweet Rhythm 8, 10 pm $15

• Adam Birnbaum Trio The Kitano 8, 9:45 pm• Bill Ware Puppet’s Jazz Bar 9 pm $5

Andrea Wolper with Michael Howell, Ken Filiano55Bar 7 pm

Dave Berkman Quartet with Dick OattsDetour 9:30 pm

• Jay Vilnai’s Vampire Suit with Skye Steele, Gry Pickard, Mike Savino, Kevin Garcia

Tea Lounge 9, 10:30 pm• Dan Brantigan, Garth Stevenson, Matt Kilmer

Bar 4 8:30 pm• Geoffrey Loomis 5C Café 5 pm• Billy Newman’s Brooklyn Brazil Bop

Satalla 7:30 pm $12• Marcus Persian Trio Cleopatra’s Needle 8 pm• John Chin The Garage 9 pm

ALLABOUTJAZZ-NEW YORK | October 2005 37

Celebrating Elvin Jones: Delfeayo Marsalis Quintet with Donald Harrison, Mulgrew Miller, Jason Marsalis

Dizzy’s Club 7:30, 9:30, 11:30 pm $30• Akiko Grace Trio Dizzy’s Club 12:30 am $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm 12:30 am $35• Stacey Kent Birdland 9, 11 pm $40• Michael Weiss, Gerald Cannon, Danny Sadownick

Knickerbocker Bar and Grill 9:45 pm $5• Adam Kendall with guest Anthony Coleman

Issue Project Room 8 pm $10• Eric Nauman/Douglas Cohen; David Means/Steve Goldstein

Location One 8:30 pm $12Joe Fiedler/Tanya Kalmanovitch Quartet with Dave Ambrosio, Owen Howard Kavehaz 6 pm

• Lucian Ban/Sam Newsome Quartet with Carlo DeRosaKavehaz 9:30 pm

Eric Rasmussen’s Tristano Band with Matt WilsonDetour 10 pm $5

• Bill Warfield Quartet Blue Mountain Gallery 5:30 pm• Jon Gordon Trio Bar Next Door 9, 11:15 pm $8• Stephanie Clark with Murray Wall, Clifford Barbaro, Saul Rubin,

Mike Hashim 55Bar 6 pm• Ty Stephens ParlorJazz 9, 10:30 $20• Marcelo Cardozo Trio Bistro Jules 9:30, 11 pm• Larry Newcomb Quartet Cleopatra’s Needle 8 pm• Larry Newcomb Trio The Garage 12 pm• Nick Moran The Garage 6:15 pm• Daniel Kelly The Garage 10:45 pm

Sunday, October 9 DCC: Graham Haynes/Adam Rudolph; Bern Nix/Joe Morris

The Stone 8, 10 pm $10All Night Soul Jazz Festival: All Night Soul 35th Anniversary with Clark Terry Big Band Saint Peter’s 5 pm $20First Annual Haitian Jazz Festival: Boulo Valcourt; Moyazik; Eddy Prophete; Buyu Ambroise; Beethova Obas; Reginald Policard with guests Joel Widmaiier, Richard Barbot; Jowee Omicil, Emeline Michel, Eddy Brisseaux

SOB’s 8 pmJerome Cooper/William Parker

Location One 8:30 pm $12Patrick Zimmerli’s “Emergence” with Yoon Kwon, Patrick Jee, Stomu and Satoshi Takeishi, Steve Gosling, Harold Bott Jr. and guests Anthony Burr, Skuli Sverrison

The Triad 7 pm $8Dave Stryker/Steve Slagle Band with Ed Howard, Victor Lewis

Jazz Standard 7:30, 9:30 pm $20• Jazz Gallery 10th Anniversary Heartsong Series:

Lezlie Harrison Quartet Jazz Gallery 9, 10:30 pm $15Pharoah Sanders Quartet with William Henderson, Adam Cruz, Ugonna Okegwo Iridium 8, 10 pm $32.50Charlie Haden’s Liberation Music Orchestra with Carla Bley, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Michael Rodriguez, Matt Wilson, Miguel Zenon

Blue Note 8, 10:30 pm $35Celebrating Elvin Jones: Delfeayo Marsalis Quintet with Donald Harrison, Mulgrew Miller, Jason Marsalis

Dizzy’s Club 7:30, 9:30 pm $30• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Jason Marshall Sweet Rhythm 8, 10 pm $15

Roy Nathanson Quartet with Sam Bardfeld, Tim Kaya, Gerald Cleaver with guests Napoleon Maddox, Ross Gay, Curtis Fowlkes Barbès 6 pm

• Kris Davis, Reuben Radding, Dee Pop5C Café 7 pm

• Jim Campilongo’s Electric Band with Tim Luntzel, Dan Rieser 55Bar 9:30 pm

• Gene Ess Group with Harvie SEuropa Club 8 pm $10

Louise Rogers/Rick StrongCornelia Street Café 8:30 pm $7

Tyshawn Sorey Unit Downtown Music Gallery 6 pm• Brady Sharp/Gino Robair; Blaise Siwula, Chris Welcome,

John McLellan ABC No Rio 8 pm $3• Frédérique/Hill Greene Seppi’s 8 pm• Courtney Bennett Trio Creole 8, 10:30 pm 12:30 am $15• Jon Davis Trio Puppet’s Jazz Bar 9 pm $5• Joel Forrester and People Like Us

Bowery Poetry Club 11 am $8• Joni Paladin The Garage 12 pm• Sachal Vasandani Trio North Square Lounge 12:30, 2:30 pm• Sayuri Goto Trio with Nat Reeves, Gene Jackson

Blue Note 12:30, 2:30 pm $19.50Monday, October 10

Ellery Eskelin/Andrea Parkins/Jim Black 55Bar 10 pm

Noah Howard/Eve Packer Cornelia Street Café 6 pm $6Michael Attias’ Clinamen Orchestra with Tony Malaby, Mark Taylor, Matt Moran, John Hebert, Satoshi Takeishi, Tyshawn Sorey Zebulon 10 pm

• Steve Coleman Presents Jazz Gallery 9 pm $15Fay Victor Ensemble with Anders Nilsson, Ken Filiano and guest Wolter WeirbosThe Backroom 9 pm

• Voices & Songs: Paulette McWilliams Band with Myron Walden, Nat Adderly Jr., Matt Clohesy, Greg Hutchinson

Jazz Standard 7:30, 9:30 pm $15• Sachal Vasandani with Jeb Patton, David Wong, Quincy Davis

Zinc Bar 7:15 pm $5• Alexis Cole Trio Bar Next Door 8 pm $5• FUS: Jowee Omicil, Johnny Mercer, Deedgra, Kona Khasu,

Manny Laine Niagra 9, 10:30 pm $5• Jaime Aff Trio with William Ash

Puppet’s Jazz Bar 9 pm $5• New School Presents Sweet Rhythm 8, 10 pm $10

Tuesday, October 11• DCC: Berber Bahia Blues: Brahim Fribgane, Dende,

Adam Rudolph; Mopti: Bai Koro Kouyate, Bala Koro Kouyate, Yakouba Sissoko, Daniel Moreno

The Stone 8, 10 pm $10Billy Hart Quartet with Mark Turner, Ethan Iverson, Ben Street

Jazz Standard 7:30, 9:30 pm $20Fieldwork: Steve Lehman, Vijay Iyer, Tyshawn Sorey

Jazz Gallery 9, 10:30 pm $12• Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash

Dizzy’s Club 7:30, 9:30 pm $30Giacomo Gates/Larry Ham

Dizzy’s Club 11:30 pm $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $30• Eldar Djangirov Blue Note 8, 10:30 pm $25

John Clark Group NYC Baha’i Center 8, 10 pm $15

Friday, October 7DCC: Bob Stewart with Jerome Harris, Abdou Mboup, James Zollar, Carlton Holmes, Buddy Williams; Dewey Redman and Friends The Stone 8, 10 pm $20

• All Night Soul Jazz Festival: Chico O’Farrill Afro-Cuban Jazz Orchestra; Mayte Vicens’ Mambo Dancers

Saint Peter’s 7:30 pm $15Chico Freeman Quartet with Hilton Ruiz

Creole 8, 10:30 pm 12:30 am $15Gold Sounds: James Carter, Cyrus Chestnut, Ali Jackson

Joe’s Pub 9:30 pm $20• Houston Person Quartet Jazz 966 10:15 pm $15

Bobby Few/Chris ChalfantFaust Harrison Pianos 7 pm $15Billy Martin/Dave Burrell Tonic 8 pmAACM: Reggie Nicholson Percussion Trio with Eli Fountain, D.D. Jackson; Roscoe Mitchell Trio with Jaribu Shahid, Tani Tabbal Comm. Church of New York 8 pm $20Louis Hayes/John Hicks Quartet with Abraham Burton, Gerald Cannon Sweet Rhythm 8, 10 pm 12 am $20Milt Jackson Tribute: Joe Locke, Mike LeDonne, Bob Cranshaw, Mickey Roker The Kitano 8, 9:45 pm $20

• Joe Farnsworth’s World Rhythm OctetSmoke 9, 11 pm 12:30 am $25

Wycliffe Gordon Quintet Rose Center 6, 7:30 pmMichael Wolff/Steve Wilson

Friends Seminary 7:30 pm $20Mario Pavone Septet with Joe Magnarelli, Mike DiRubbo, Lauren Sevian, Peter McEachern, Peter Madsen, Gerald Cleaver

55Bar 10 pm• Valerie Capers and Trio Lenox Lounge 9, 10:30 pm 12 am $20• Text of Light: William Hooker, Ulrich Krieger, Alan Licht,

Christian Marclay, Lee Ranaldo and guests Zeena Parkins, Marina Rosenfeld The Kitchen 8:30 pm $10

• I Wish You Love: The Musical Memoir of a Jazz Diva: Gloria Lynne with Ray Chew and The Crew, guest Roy Meriwether and Ethel Beatty Barnes, Shelley Thomas, Darryl JoVan Williams

Tribeca Perf. Arts Ctr. 8 pm $25-55• Jazz Gallery 10th Anniversary Heartsong Series: Gretchen Parlato

Group with Lionel Loueke, Aaron Parks, Kendrick ScottJazz Gallery 9, 10:30 pm $12

Bill Warfield Big Band Marie’s 6 pmPharoah Sanders Quartet with William Henderson, Adam CruzUgonna Okegwo Iridium 8, 10, 11:30 pm $30

• John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, Tony Tedesco and guest Bucky Pizzarelli

Feinstein’s 8:30, 11 pm $60Charlie Haden’s Liberation Music Orchestra with Carla Bley, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Michael Rodriguez, Matt Wilson, Miguel Zenon

Blue Note 8, 10:30 pm $35• Deborah Davis Blue Note 12:30 am $8

Celebrating Elvin Jones: Delfeayo Marsalis Quintet with Donald Harrison, Mulgrew Miller, Jason Marsalis

Dizzy’s Club 7:30, 9:30, 11:30 pm $30• Akiko Grace Trio Dizzy’s Club 12:30 am $10• Bill Charlap Trio with Peter Washington, Kenny Washington

Village Vanguard 9, 11 pm $35• Stacey Kent Birdland 9, 11 pm $40• Michael Weiss, Gerald Cannon, Danny Sadownick

Knickerbocker Bar and Grill 9:45 pm $5John Hebert’s Byzantine Monkey Quartet with Ralph Alessi, Mat Maneri, Nasheet Waits

Cornelia Street Café 9 pm $10Joe Giglio/Peter Bernstein

107West 10 pmOscar Noriega, Chris Speed, Anthony Burr

Barbès 7 pmYale Strom and Hot Pstromi with guest Tanya Kalmanovich

Barbès 8 pm• Pete Robbins, Sam Sadigursky, Jacob Sacks, Thomas Morgan,

Tyshawn Sorey Tea Lounge 9, 10:30 pm• Yoon Choi, Jacob Sacks and guest Mat Maneri

5C Café 7 pm• Phil Fried; Corey Dargel with César Alvarez, Sheila Donovan

Location One 8:30 pm $12Rick Germanson Trio with Gerald Cannon, Neal Smith

Kavehaz 6 pmAlex Harding and Blutopia with Lucian Ban, Carlo DeRosa,Gene Jackson Kavehaz 9:30 pm

• La Buya Zebulon 10 pm• Bryn Roberts Trio Bar Next Door 9, 11:15 pm $8• Benjamin Lapidus/Sonido Isleño with Harvie S., Paul Carlon,

Pedro Martínez Clemente Soto Velez 9:30 pm• Todd Herbert Quartet Cleopatra’s Needle 8 pm• Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5• Jun Miyake Quartet The Garage 6:15 pm• Groove Aparatus The Garage 10:45 pm

Saturday, October 8DCC: Billy Bang Quintet with James Zollar, Andrew Bemkey, Todd Nicholson, Newman Taylor Baker; Peter Apfelbaum with Jessica Jones, Tony Jones, David Phelps, Patrice Blanchard, Dafnis Prieto The Stone 8, 10 pm $20Jazz Gallery 10th Anniversary Heartsong Series: Andy Bey Duo

Jazz Gallery 9, 10:30 pm $15Hamiet Bluiett Sistas’ Place 9, 10:30 pm $20John McNeil’s Insomnia Band with Mike Fahey, Mike McGuirk, John Reuckert Cornelia Street Café 9 pm $8Dave Stryker/Steve Slagle Band with Ed Howard, Victor Lewis

Jazz Standard 7:30, 9:30, 11:30 pm $25Louis Hayes/John Hicks Quartet with Abraham Burton, Gerald Cannon Sweet Rhythm 8, 10 pm 12 am $20Milt Jackson Tribute: Joe Locke, Mike LeDonne, Bob Cranshaw, Mickey Roker The Kitano 8, 9:45 pm $20

• Joe Farnsworth’s World Rhythm OctetSmoke 9, 11 pm 12:30 am $25

• Valerie Capers and Trio Lenox Lounge 9, 10:30 pm 12 am $20• I Wish You Love: Gloria Lynne with Ray Chew and The Crew,

guest Roy Meriwether, Ethel Beatty Barnes, Shelley Thomas, Darryl JoVan Williams Tribeca Perf. Arts Ctr. 8 pm $25-55

• Juni Booth/Ladell McLin Zebulon 10 pm• Arturo O’Farrill Trio Puppet’s Jazz Bar 9 pm $5

Melody Breyer-Grell with Gloria Cooper GroupIridium 7 pm $20

Pharoah Sanders Quartet with William Henderson, Adam Cruz, Ugonna Okegwo Iridium 8, 10, 11:30 pm $32.50

• Dafnis Prieto Master ClassBlue Note 2 pm $10

• John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, Tony Tedesco and guest Bucky Pizzarelli

Feinstein’s 8:30, 11 pm $60Charlie Haden’s Liberation Music Orchestra with Carla Bley, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Michael Rodriguez, Matt Wilson, Miguel Zenon

Blue Note 8, 10:30 pm $35

38 October 2005 | ALLABOUTJAZZ-NEW YORK

Charles Tolliver Big Band with Todd Bashore, Billy Harper, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, David Guy, David Weiss, Keyon Harrold, Clark Gayton, Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Ralph Peterson Jazz Standard 7:30, 9:30 pm $25Dizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and guest Paquito D`Rivera Blue Note 8, 10:30 pm $35George Cables Project with Gary Bartz, Eric Revis, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30Ezra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Jason Brown Dizzy’s Club 11:30 pm $10Geoff Keezer Trio with Mike Pope, Terreon Gully

Village Vanguard 9, 11 pm $30• Paula West with the Xavier Davis Trio

Algonquin Oak Room 9 pm $50• Dave Weckl Band Iridium 8, 10 pm $27.50• Pauline Oliveros/Ione Mercantile Library 6:30 pm $15

Night of the Ravished Limbs: JD Allen Trio; Ken Filiano Quartet with Michaël Attias, Tony Malaby, Michael T. A. Thompson

Barbès 8, 10 pm $8• Tony Malaby Master ClassNYU Frederick Loewe Theatre 8 pm• Dave Gibson Quartet with Rick Germanson, Dwayne Burno,

Joe Strasser Kavehaz 8 pm• Lawrence Clark Sweet Rhythm 8, 10 pm $15• Havana Carbo with Dario Eskenazi, Nilson Matta

55Bar 7 pm• Mike Stern 55Bar 10 pm• Tommy Campbell Trio The Kitano 8, 9:45 pm• Hanuman Sextet CBGB’s 7 pm• The Derividactory; Curious Citizens

The Pourhouse 9, 10:30 pm• Manhattan Vibes with Christos Rafalides

The Garage 9 pm• Harry Allen, Joe Cohn, Joel Forbes, Chuck Riggs

Saint Peter’s 1 pm $5Thursday, October 20

DCC: Min Xiao-Fen, Okkyung Lee, Susie Ibarra; Susie Ibarra/ Adam Rudolph The Stone 8, 10 pm $10Blue Note Live: Joe Lovano

Symphony Space 7:30 pm $21Henry Threadgill’s Zooid with Liberty Ellman, Dana Leong, Rubin Kodheli, Jose Davila, Elliot Humberto Kavee

Jazz Gallery 9, 10:30 pm $20Joanne Brackeen Quartet with Lakecia Benjamin, E.J. StricklandUgonna Okegwo New School 8 pm $10Claire Daly Sweet Rhythm 8, 10 pm $15Assif Tsahar/Cooper-Moore

Tea Lounge 9, 10:30 pm• Singers Over Manhattan: Eric Reed Trio and Carla Cook,

Sachal Vasandani, Jennifer SanonAllen Room 7:30 pm $40-130

• Pat Martino Quartet Birdland 9, 11 pm $30Charles Tolliver Big Band with Todd Bashore, Billy Harper, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, David Guy, David Weiss, Keyon Harrold, Clark Gayton, Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Ralph Peterson Jazz Standard 7:30, 9:30 pm $25Dizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and guest Paquito D`Rivera Blue Note 8, 10:30 pm $35George Cables Project with Gary Bartz, Eric Revis, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30Ezra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Jason Brown Dizzy’s Club 11:30 pm $10Geoff Keezer Trio with Mike Pope, Terreon Gully

Village Vanguard 9, 11 pm $30• Paula West with the Xavier Davis Trio

Algonquin Oak Room 9 pm $50• Dave Weckl Band Iridium 8, 10 pm $27.50• Ben Waltzer Trio with Matt Penman, Gerald Cleaver

The Kitano 8, 9:45 pmBurnt Sugar Zebulon 10 pm

• Judy Barnett Smoke 9, 11 pm• Peter Eldridge Joe’s Pub 7:30 pm $15• Po’Jazz: Pyeng Threadgill Group; The John Brazile Trio; hosted

by Golda Solomon Cornelia Street Café 6 pm $13George Garzone/Rasmus Ehlers Quartet

Cornelia Street Café 8:30 pm $10• Gregg August Sextet with EJ Strickland, John Hart, Greg Tardy,

Logan Richardson, John BaileySmalls 9:30 pm $10

• Charlotte Hug/Jane RiglerIssue Project Room 8 pm $10• Judith Berkson Barbès 8 pm• Leo Genovese, Garth Stevenson, Ferenc Nemeth

Bar 4 8:30 pm• Annette A. Aguilar and StringBeans with Freddie Bryant,

Javier Diaz, Lewis Kahn, Ellen Uryevick-Adams, Pablo Vergara, Victor Rendon

Satalla 7:30 pm $12• Russell Branca Quartet with Tom Beckham, Heather Bennett,

Anthony Pinciotti Kavehaz 6 pm• Carlos Jiminez with Patrick Grady, Anna Milat-Meyer, Manu,

Guillermo Jiminez Kavehaz 9:30 pm• JD Walter 55Bar 7 pm

Bill Ware Puppet’s Jazz Bar 9 pm $5• Eric Person Group Night of the Cookers 8 pm• Abigail Payne Band Detour 9:30 pm• Joseph Lapore Trio Cleopatra’s Needle 8 pm• Arthur Sterling 5C Café 5 pm• Kerry Linder Brooklyn Public Library Main Branch 7 pm• Yardena The Garage 9 pm

Friday, October 14DCC: Hassan Hakmoun’s Gift of the Gnawa with Brahim Fribgane, Adam Rudolph and guests Graham Haynes, Vishal Vaid

The Stone 8, 10 pm $20Jimmy Cobb’s Mob with Craig Handy, George Colligan

Sweet Rhythm 8, 10 pm 12 am $20Houston Person Quartet Lenox Lounge 9, 10:30 pm 12 am $20Don Friedman Trio with Martin Wind, Tony Jefferson

The Kitano 8, 9:45 pm $20Joanne Brackeen/Cecil McBee

Knickerbocker Bar and Grill 9:45 pm $5• Jazz Gallery 10th Anniversary Heartsong Series: Claudia Acuña

Quartet with Jason Lindner, Omer Avital, Tony EscapaJazz Gallery 9, 10:30 pm $15

• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka da FonsecaJazz Standard 7:30, 9:30, 11:30 pm $25

Dr. Lonnie Smith Trio with Peter Bernstein, Allison MillerSmoke 9, 11 pm 12:30 am $25

Earth People Henry Gregg Gallery 7 pm• Pablo Mayor’s Folklorico SOB’s 8, 10 pm $15

Tessa Souter 55Bar 6 pmDave Liebman Quartet with Vic Juris, Tony Marino, Marko Marcinko 55Bar 10 pmJeremy Steig Quartet with Vic Juris, Cameron Brown, Anthony Pinciotti Cornelia Street Café 9 pm $12Roy Haynes Band Iridium 8, 10, 11:30 pm $30T.S. Monk Sextet Birdland 9, 11 pm $30

• Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis NashDizzy’s Club 7:30, 9:30, 11:30 pm $30

Giacomo Gates/Larry HamDizzy’s Club 12:30 am $10

• Bill Charlap Trio with Peter Washington, Kenny WashingtonVillage Vanguard 9, 11 pm $35

• Eldar Djangirov Blue Note 8, 10:30 pm $25• Beatbox Jazz: Baba Israel, Kid Lucky, D-Cross, Yako,

Chesney Snow, Taylor McFerrin, Jason Lindner, Dana Leong, Tony Escapa Blue Note 12:30 am $8

• Paula West with the Eric Reed TrioAlgonquin Oak Room 9, 11:30 pm $50

Burnt Sugar: Matana Roberts, Rene Akan, Thom Loubet, Jared Nickerson, Jason Di Matteo, Chris Eddleton, Trevor Holder, Julia Kent, Bruce Mack, Justice Dilla-x, Lisala Beatty Jeremiah, Greg Tate Tonic 12 am $10

• Armen Donelian with Marc Mommaas, John HebertInHouse 8 pm $12

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

Bowery Poetry Club 8 pm $12• Gary Lucas’ Gods and Monsters

Bowery Poetry Club 10 pm $15• Marguerita Mariama Quartet; Steve Cromity Quartet

Jazz 966 10:15 pm $15• Brian Willson, Yuko Fujiyama, Dominic Duval

Issue Project Room 8 pm $10• Edom: Eyal Mayoz, Shanir Blumenkranz, Yuval Lion

Tea Lounge 9, 10:30 pm• Joe Giglio/Bob DeVos 107West 10 pm• Jon De Lucia Quartet with Nir Felder, Garth Stevenson,

Tommy Crane Kavehaz 6 pm• Dave Allen Quartet with Donny McCaslin, Carlo DeRosa,

Take Toriyama Kavehaz 9:30 pm• Dave Hillyard Detour 10 pm• Tommy Campbell Band Puppet’s Jazz Bar 9 pm $5• Stacy Dillard Quartet Cleopatra’s Needle 8 pm• Eric Frazier Quintet The Triad 8, 10 pm $15• Grant Stewart Trio Bar Next Door 9, 11:15 pm $8• Bruce McKinnon Trio The Garage 6:15 pm

Saturday, October 15DCC: Adam Rudolph’s Moving Pictures with Graham Haynes; Stephen Gorn, Shanir Blumenkrantz, Brahim Fribgane, Tani Tabbal, Jerome Harris, Ned Rothenberg

The Stone 8, 10 pm $20Sonny Fortune/Rashied Ali

Sistas’ Place 9, 10:30 pm $20• Olu Dara Blue Note 8, 10:30 pm $30

Tony Malaby’s Paloma Recio with Michael Rodriguez, Ben Monder, Eivind Opsvik, Rodney Green

Cornelia Street Café 8:30 pm $10Jimmy Cobb’s Mob with Craig Handy, George Colligan

Sweet Rhythm 8, 10 pm 12 am $20Houston Person Quartet Lenox Lounge 9, 10:30 pm 12 am $20Don Friedman Trio with Martin Wind, Tony Jefferson

The Kitano 8, 9:45 pm $20Joanne Brackeen/Cecil McBee

Knickerbocker Bar and Grill 9:45 pm $5• Jazz Gallery 10th Anniversary Heartsong Series: Claudia Acuña

Quartet with Jason Lindner, Omer Avital, Tony EscapaJazz Gallery 9, 10:30 pm $15

• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka da FonsecaJazz Standard 7:30, 9:30, 11:30 pm $25

Dr. Lonnie Smith Trio with Peter Bernstein, Allison MillerSmoke 9, 11 pm 12:30 am $25

Dave Liebman Quartet with Vic Juris, Tony Marino, Marko Marcinko 55Bar 10 pmRoy Haynes Band Iridium 8, 10, 11:30 pm $30T.S. Monk Sextet Birdland 9, 11 pm $30

• Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis NashDizzy’s Club 7:30, 9:30, 11:30 pm $30

Giacomo Gates/Larry HamDizzy’s Club 12:30 am $10

• Bill Charlap Trio with Peter Washington, Kenny WashingtonVillage Vanguard 9, 11 pm 12:30 am $35

• Paula West with the Eric Reed TrioAlgonquin Oak Room 9, 11:30 pm $50

• Gino Sitson 4 with Helio Alves, Lonnie Plaxico, Willard DysonUniversal Temple of the Arts 8 pm

• Alan Palmer Creole 8, 10:30 pm 12:30 am $15Dominique Eade/Brad Shepik

InHouse 8 pm $12• Robert Walter with Johnny Vidacovich, James Singleton,

Tim Green B.B. King’s 12 am $15• Jeff Silverbush Trio with Ed Fuqua, Rob Garcia

Kavehaz 6 pm• Francisco Mora with JD Allen, Xavier Davis, Chris Lightcap

Kavehaz 9:30 pm• Brian Horton Trio Bar Next Door 9, 11:15 pm $8• Eric Person Group Night of the Cookers 10 pm • Tommy Campbell Band Puppet’s Jazz Bar 9 pm $5• Joel Forrester Quartet Cleopatra’s Needle 8 pm• Adam Kolker 5C Café 7 pm• Joel Forrester and People Like Us

Bowery Poetry Club 11 am $8• Mark Capon Trio The Garage 12 pm• Vinson Vallega Trio The Garage 6:15 pm• Carlos Jimenez Quartet The Garage 10:45 pm

Sunday, October 16 DCC: Henry Grimes; Bill Dixon

The Stone 8, 10 pm $20• Olu Dara Blue Note 8, 10:30 pm $30• Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka da Fonseca

Jazz Standard 7:30, 9:30 pm $20Roy Haynes Band Iridium 8, 10 pm $35

• Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis NashDizzy’s Club 7:30, 9:30 pm $30

• Bill Charlap Trio with Peter Washington, Kenny WashingtonVillage Vanguard 9, 11 pm $30

Evind Opsvik Overseas with Tony Malaby, Jacob Sacks, Jeff Davis Zebulon 10 pm

• Linda Lee Baker with Dick Katz, Boots Maleson, Jimmy MadisonCobi’s Place 6, 8 pm $20

Ursel Schlicht, Reuben Radding, Dee Pop5C Café 7 pm

• Will Vinson 55Bar 9:30 pm• Edmar Casteneda Sweet Rhythm 8, 10 pm $15• George Dulin with Danny Zanker, Take Toriyama and

guest Sal Rosselli Cornelia Street Café 8:30 pm $10• Uli Geissendoerfer Trio Europa Club 8 pm $10• Rachel Thompson, Jonathan Zorn, Bryan Eubanks,

Andrew Lafkas; Julianne Carney, Duane Pitre, John McLellen ABC No Rio 8 pm $3

• Yoon Sun Choi/Judith BerksonDowntown Music Gallery 6 pm

• Lee Torchia Group Saint Peter’s 5 pm• Frédérique/Hilliard Greene

Seppi’s 8 pm• Jon Davis Trio with Tommy Campbell

Puppet’s Jazz Bar 9 pm $5• John Wriggle Quartet with Charles Lee, Nick Russo, Rober Sabin

Stain Bar 9 pm• Kit McClure Band Central Park Bandshell 11 am• Hayes Greenfield’s Jazz-A-Ma-Tazz

Makor 1 pm $12• Jan Findlay The Garage 12 pm• Barbara Sfraga Trio with Ron Affif, Christopher Dean Sullivan

North Square Lounge 12:30, 2:30 pm• Jun Miyake Quartet with Reggie Workman, Pheeroan AkLaff,

Satoshi Inoue Blue Note 12:30, 2:30 pm $19.50Monday, October 17

Tobias Delius Quartet with Tristan Honsinger, Valdi Kolli, Han Bennink Tonic 8 pm

• Bobby Sanabria and Quarteto AchéBaruch College 6 pm

Assif Tsahar/Cooper-MooreZebulon 10 pm

• Steve Coleman Presents Jazz Gallery 9 pm $15• Sadhana: Vincent Chancey, Warren Smith, Keith Witty,

Jeremy Carlstedt, Will Connell Jr.Niagra 9, 10:30 pm $5

• Voices & Songs: Julia Dollison with Ben Monder, Matt Clohesy, Ted Poor Jazz Standard 7:30, 9:30 pm $15

• Mary Ann McSweeney 55Bar 7 pm• Shane Endsley Group 55Bar 10 pm• JJ Sanseverino Blue Note 8, 10:30 pm $10

Robert Dick; Kali Z. Fasteau with Carletta Joy Walker, Ron McBee and guest Michael Ray Cornelia Street Café 8:30 pm $10

• Sachal Vasandani Trio Bar Next Door 8 pm $5• Dan Weiss Trio Detour 9:30 pm• Jaime Aff Organ Trio with William Ash

Puppet’s Jazz Bar 9 pm $5• New School Presents Sweet Rhythm 8, 10 pm $10

Tuesday, October 18 DCC: Ravish Momin Trio with Shanir Blumenkrantz, Jason Kao Hwang; Jason Kao Hwang/Sang Won Park Duo

The Stone 8, 10 pm $10Dizzy Gillespie’s 88th Birthday Celebration with Mike Longo’s NY State of the Art Jazz Ensemble with Antoinette Montague and guest Jimmy Owens

NYC Baha’i Center 8, 10 pm $15Dizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and guest Paquito D`Rivera Blue Note 8, 10:30 pm $35George Cables Project with Gary Bartz, Eric Revis, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30Ezra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Billy Hart Dizzy’s Club 11:30 pm $10Geoff Keezer Trio with Mike Pope, Terreon Gully

Village Vanguard 9, 11 pm $30• Paula West with the Xavier Davis Trio

Algonquin Oak Room 9 pm $50Curtis Hasselbring’s Decoupage with Mat Maneri, Mary Halvorson, Satoshi Takeishi

Issue Project Room 8 pm $10• Moodswing Orchestra: Ben Perowsky, Raz Mesinai, Markus Miller,

Pamelia Kurstin Tonic 10 pm $10• Chris Bergson Band with Jay Collins, Chris Berger, Tony Leone

Jazz Standard 7:30, 9:30 pm $20• Nora McCarthy, Jorge Sylvester, Pablo Vergara and guests

Via Della Pace 8 pm• Jerome Sabbagh Quartet with Ben Monder, Gary Wang, Ted Poor

Koze Lounge 9, 10:30 pm $7Peter Van Huffel Group with Jesse Stacken, Scott Dubois, Michael Bates, Jeff Davis 55Bar 7 pm

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

• Hilary Noble, Rebecca Cline, Fernando Huergo, Steve Langone; Richie Hart Trio with Rick Petrone, Joe Corsello and guest

Cornelia Street Café 8:30 pm $10• Amy London Trio with Roni Ben-Hur

Sweet Rhythm 8, 10 pm $15• Will Vinson The Backroom 9 pm• Nate Birkey Quartet with Steve Rudolph, Tony Marino,

Marko Marcinko The Encore NYC 9:30 pm • Evans Thompson 5C Café 5 pm• Jeff Peretz’ Abu Gara Satalla 9:30 pm $12• Randy Johnston Trio Puppet’s Jazz Bar 9 pm $5• Galen Lima’s Taste 8 pm• Combo Nuvo The Garage 8 pm• Lew Soloff Master Class Manhattan School of Music 3 pm• Dred Scott Trio Rockwood Music Hall 12 am

Wednesday, October 19 DCC: Sylvie Courvoisier/Adam Rudolph; Speak in Tones: Bamako Bai Koro Kouyate, Yakouba Sissoko, Bala Koro Kouyate, Daniel Moreno and others

The Stone 8, 10 pm $10• Fred Hersch Zankel Hall 8:30 pm $42• Pat Martino Quartet Birdland 9, 11 pm $30

• Submerged, Kain The Stone 8, 10 pm $10Night of the Ravished Limbs: Loren Stillman Quartet with Jacob Sacks, Scott Lee, Jeff Hirshfield; Tyshawn Sorey’s Oblique with Russ Lossing, Loren Stillman, Carlo DeRosa

Barbès 8, 10 pm $8• Helio Alves Quartet with Vic Juris, Santi Debriano,

Marcello Pellitteri Zinc Bar 9, 11 pm 12:30 am $5• Lynn Skinner with Bob Schleslinger

55Bar 7 pm• Mike Stern 55Bar 10 pm• Joel Frahm Trio Arthur’s IP 6 pm• Edmar Castaneda The Kitano 8, 9:45 pm• Amoury Acosta Quartet Lima’s Taste 8 pm• Sharel Cassity Trio with Ryan Berg, Jeremy Clemons

Kavehaz 8 pm• Alex Hills and Balachka The Pourhouse 9, 10:30 pm• Jim Malloy and Trio The Garage 9 pm• Kendra Shank/Frank Kimbrough

Saint Peter’s 1 pm $5Thursday, October 27

Willem Breuker Kollektief with Andy Altenfelder, Andy Bruce, Henk de Jonge, Hermine Deurloo, Arjen Gorter, Bernard Hunnekink, Boy Raaymakers, Maarten van Norden, Rob Verdurmen Merkin Hall 8 pm $25Steve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, Russ Johnson, Jacob Garchik

Jazz Standard 7:30, 9:30 pm $20Steve Coleman and Five Elements with Jonathan Finlayson, Tim Albright, Thomas Morgan, Tyshawn Sorey, Jen Shyu

Jazz Gallery 9, 10:30 pm $15Charles Gayle Zebulon 10 pmKenny Garrett Quartet with Ronald Brunner, Vicente Archer, Vernell Brown Iridium 8, 10 pm $27.50Nicholas Payton Quartet Birdland 9, 11 pm $30Randy Weston and African Spirits with TK Blue

Dizzy’s Club 7:30, 9:30 pm $30• Ernesto Simpson Trio Dizzy’s Club 11:30 pm $10

Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, Ugonna Okegwo, Neal Smith

Village Vanguard 9, 11 pm $30• Milton Nascimento Blue Note 8, 10:30 pm $47.50• Paula West with the Bruce Barth Trio

Algonquin Oak Room 9 pm $50• Corrupt Souls and Submerged

The Stone 8, 10 pm $10Katie Bull with Frank Kimbrough, Joe Fonda, Harvey Sorgen

55Bar 7 pm• Spike Wilner Quartet Smoke 9, 11 pm• Helio Alves Quartet with Vic Juris, Santi Debriano,

Marcello Pellitteri Zinc Bar 9, 11 pm 12:30 am $5• John DiMartino Trio The Kitano 8, 9:45 pm• Oscar Noriega Trio with Trevor Dunn, Tom Rainey

Barbès 8 pm• Aranami with Michelle and Kenta Nagai; Jane Rigler,

Reuben Radding, Andrew DruryThe Backroom 9 pm $5

• Gnu Vox: Gretchen Parlato; Sofia KoutsovitisCornelia Street Café 8:30 pm $10

• Bill Ware Puppet’s Jazz Bar 9 pm $5• Gregg August Sextet with EJ Strickland, John Hart, Greg Tardy,

Logan Richardson, John BaileySmalls 9:30 pm $10

• Jesse Elder Group with Jeremy Viner, Christopher Tordini, Adam Jackson Kavehaz 6 pm

• Justin Finn Group Kavehaz 9:30 pm• Naked Brunch: David Crowell, Ed Rosenberg, Greg McMurray,

Mike Chiavaro, Ted Poor Tea Lounge 9, 10:30 pm• John Shannon, Garth Stevenson, Martin Valihora

Bar 4 8:30 pm• Geoffrey Loomis 5C Café 5 pm• John Chin The Garage 9 pm

Friday, October 28• Tappin’ Into Monk with Savion Glover

Rose Theater 8 pm $30-130Sonny Fortune with Xavier Davis, Chip Jackson, Steve Johns

Sweet Rhythm 8, 10 pm 12 am $20• Hilton Ruiz/Leon Dorsey Knickerbocker Bar and Grill 9:45 pm $5• Danny Mixon Trio Lenox Lounge 9, 10:30 pm 12 am $20• Ryan Kisor Quintet with Peter Zak, John Webber, Jason Brown

The Kitano 8, 9:45 pm $20Allison Miller’s Agrazing Maze with Shane Endsley, Enrique Haneine, Carlo DeRosa

Cornelia Street Café 9 pm $10Steve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, Russ Johnson, Jacob Garchik

Jazz Standard 7:30, 9:30, 11:30 pm $25Steve Coleman and Five Elements with Jonathan Finlayson, Tim Albright, Thomas Morgan, Tyshawn Sorey, Jen Shyu

Jazz Gallery 9, 10:30 pm $15Kenny Garrett Quartet with Ronald Brunner, Vicente Archer, Vernell Brown Iridium 8, 10, 11:30 pm $30Nicholas Payton Quartet Birdland 9, 11 pm $30Randy Weston and African Spirits with TK Blue

Dizzy’s Club 7:30, 9:30, 11:30 pm $30• Ernesto Simpson Trio Dizzy’s Club 12:30 am $10

Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, Ugonna Okegwo, Neal Smith

Village Vanguard 9, 11 pm $35• Milton Nascimento Blue Note 8, 10:30 pm $47.50• Paula West with the Bruce Barth Trio

Algonquin Oak Room 9, 11:30 pm $50• End.user and Submerged The Stone 8, 10 pm $10• Brooks Qawwali Party: Tony Barba, John Savage, Jesse Neuman,

Ryan Keberle, Robert Jost, Noah Jarrett, Mike Gamble, Tony Kieraldo, Robert DiPietro, Brook Martinez

Tea Lounge 9, 10:30 pm• Chauncey Upson Quartet Kavehaz 6 pm

Manuel Valera Quartet with Ricky Rodriguez, Ernesto Simpson, Donny McCaslin Kavehaz 9:30 pm

• Freddie Bryant Trio Bar Next Door 9, 11:15 pm $8• Kendra Shank 55Bar 6 pm• Sean Pelton/Brian Mitchell’s House of Diablo

55Bar 10 pm• Joe Giglio/John Basile 107West 10 pm

Bill Ware Puppet’s Jazz Bar 9 pm $5• Yoni Halevy’s Sienna Quartet with Jonathan Voltzok, Rene Hart

and guest Louis 649 9 pm• Daisuke Abe Quartet with Matt Brewer

Cleopatra’s Needle 8 pm• Mark Capon Trio The Garage 6:15 pm

ALLABOUTJAZZ-NEW YORK | October 2005 39

Friday, October 21DCC: Joseph Jarman/Adam Rudolph; Flutists of Fula Flute with Bailo Bah and Sylvan Leroux

The Stone 8, 10 pm $10Jon Hendricks Flushing Town Hall 8 pm $35James Spaulding Jazz 966 10:15 pm $15Eddie Gale Group Sistas’ Place 9, 10:30 pm $20 Cecil Payne Sextet with Harold Mabern, John Farnsworth, Jim Rotondi, John Webber, Joe Farnsworth

The Kitano 8, 9:45 pm $20Ray Barretto Sextet with Joe Magnarelli, Myron Walden, Ricardo Rodriguez, Robert Rodriguez, Vince Cherico

Smoke 9, 11 pm 12:30 am $25James Jabbo Ware and The Me We & Them Orchestra with JD Parran, Paavo Carey, Salim Washington, Patience Higgins, Eddie Allen, Cecil Bridgewater, Antonio Dangerfield, Clifton Anderson, Richard Harper, Bill Lowe, Hilton Ruiz, Leon Dorsey, Warren Smith and guest George Coleman

Saint Peter’s 8:30 pm $20• Jeff Arnal’s Transparent Paths with Estelle Woodward,

Gordon Beeferman, Donald O’Finn, Clyde Forth, Iain Machell, Jonathan Vincent, Elizabeth Ward, Clyde Forth, Michael Evans, Anders Nilsson, Jane Rigler, Tomas Ulrich

Chocolate Factory 8 pm $15• Cliff Korman BAMCafé 9 pm• Romero Lubambo/Nilson Matta

Creole 8, 10:30 pm 12:30 am $15• The Leonharts: Jay, Michael, Carolyn, Donna, Ted Rosenthal

Knickerbocker Bar and Grill 9:45 pm $5• Roy Meriwether Trio Lenox Lounge 9, 10:30 pm 12 am $20• Rhonda Ross with Rodney Kendrick Band

Sweet Rhythm 8, 10 pm 12 am $20Henry Threadgill’s Zooid with Liberty Ellman, Dana Leong, Rubin Kodheli, Jose Davila, Elliot Humberto Kavee

Jazz Gallery 9, 10:30 pm $20• Singers Over Manhattan: Eric Reed Trio and Carla Cook,

Sachal Vasandani, Jennifer SanonAllen Room 7:30 pm $40-130

• Pat Martino Quartet Birdland 9, 11 pm $30Charles Tolliver Big Band with Todd Bashore, Billy Harper, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, David Guy, David Weiss, Keyon Harrold, Clark Gayton, Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Ralph Peterson Jazz Standard 7:30, 9:30, 11:30 pm $30Dizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and guest Claudio Roditi Blue Note 8, 10:30 pm $35George Cables Project with Gary Bartz, Eric Revis, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30, 11:30 pm $30Ezra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Jason Brown Dizzy’s Club 12:30 am $10Geoff Keezer Trio with Mike Pope, Terreon Gully

Village Vanguard 9, 11 pm $35• Paula West with the Xavier Davis Trio

Algonquin Oak Room 9, 11:30 pm $50• Dave Weckl Band Iridium 8, 10, 11:30 pm $27.50• Marc Mommaas’ Global Motion with Nikolaj Hess, John Hebert,

Tony Moreno Cornelia Street Café 9 pm $10• MSM Jazz Philharmonic Orchestra with Marc Copland

Manhattan School of Music 8 pm• Joe Giglio/Joe Cohn 107West 10 pm• David White with Matt Garrison, Michael Jake, Scott Fragala,

Ryan Cavan Kavehaz 6 pm• Gene Ess Quartet with Donny McCaslin, Harvie S, Take Toriyama

Kavehaz 9:30 pm• Wu Li Masters Tea Lounge 9, 10:30 pm• Dan Pratt Trio Bar Next Door 9, 11:15 pm $8• Linda Ciofalo/John Hart 55Bar 6 pm• Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5• Steve Carrington Quartet Cleopatra’s Needle 8 pm• Larry Newcomb Trio The Garage 6:15 pm• Chris Bergson Trio The Garage 10:45 pm• Andy Middleton Quartet 92nd Street Y 2 pm

Saturday, October 22DCC: John Zorn Improv Party with guests

The Stone 8, 10 pm $10• Chico Hamilton/Marcus Gilmore

Jazz Gallery 9, 10:30 pm $15Mulgrew Miller and Wingspan with Antonio Hart, Duane Eubanks, Richie Goods, Karriem Riggins, Steve Nelson

Miller Theater 8 pm $25Rebirth Brass Band B.B. King’s 12 am $20Cecil Payne Sextet with Harold Mabern, Steve Davis, Jim Rotondi, John Webber, Joe Farnsworth

The Kitano 8, 9:45 pm $20Ray Barretto Sextet with Joe Magnarelli, Myron Walden, Ricardo Rodriguez, Robert Rodriguez, Vince Cherico

Smoke 9, 11 pm 12:30 am $25• Jeff Arnal’s Transparent Paths with Estelle Woodward,

Gordon Beeferman, Donald O’Finn, Clyde Forth, Iain Machell, Jonathan Vincent, Elizabeth Ward, Clyde Forth, Michael Evans, Anders Nilsson, Jane Rigler, Tomas Ulrich

Chocolate Factory 8 pm $15• The Leonharts: Jay, Michael, Carolyn, Donna, Ted Rosenthal

Knickerbocker Bar and Grill 9:45 pm $5• Roy Meriwether Trio Lenox Lounge 9, 10:30 pm 12 am $20• Singers Over Manhattan: Eric Reed Trio and Carla Cook,

Sachal Vasandani, Jennifer SanonAllen Room 7:30 pm $40-130

• Pat Martino Quartet Birdland 9, 11 pm $30Charles Tolliver Big Band with Todd Bashore, Billy Harper, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, David Guy, David Weiss, Keyon Harrold, Clark Gayton, Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Ralph Peterson Jazz Standard 7:30, 9:30, 11:30 pm $30Dizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and guest Claudio Roditi Blue Note 8, 10:30 pm $35

• Ed Cherry Blue Note 12:30 am $8George Cables Project with Gary Bartz, Eric Revis, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30, 11:30 pm $30Ezra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Jason Brown Dizzy’s Club 12:30 am $10Geoff Keezer Trio with Mike Pope, Terreon Gully

Village Vanguard 9, 11 pm 12:30 am $35• Paula West with the Xavier Davis Trio

Algonquin Oak Room 9, 11:30 pm $50• Dave Weckl Band Iridium 8, 10, 11:30 pm $30• Donny McCaslin Trio Bar Next Door 9, 11:15 pm $8• Alan Palmer Creole 8, 10:30 pm 12:30 am $15• Dave Ullman Quartet Detour 10 pm $5• Phil Yoon Group with Dave Smith, Greg Murphy, Dmitry Kolesnik

Kavehaz 6 pm• Jorge Sylvester Trio with Jeff Carney

Kavehaz 9:30 pm• Ellen Starr 55Bar 6 pm

• Marcelo Cardozo Trio Bistro Jules 9:30, 11 pm• Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5• William Spaulding Cleopatra’s Needle 8 pm• Joni Paladin The Garage 12 pm• Frank Basile Quartet The Garage 6:15 pm

Virginia Mayhew The Garage 10:45 pmSunday, October 23

• DCC: Basya Schecter’s Queens Dominon; Steve Gorn/Adam Rudolph The Stone 8, 10 pm $10Patrick Zimmerli’s “Emergence” with Yoon Kwon, Patrick Jee, Stomu and Satoshi Takeishi, Steve Gosling, Harold Bott Jr. and guests The Triad 7 pm $8Charles Tolliver Big Band with Todd Bashore, Billy Harper, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, David Guy, David Weiss, Keyon Harrold, Clark Gayton, Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Ralph Peterson Jazz Standard 7:30, 9:30 pm $25Dizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel

Blue Note 8, 10:30 pm $35George Cables Project with Gary Bartz, Eric Revis, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30Geoff Keezer Trio with Mike Pope, Terreon Gully

Village Vanguard 9, 11 pm $30• Dave Weckl Band Iridium 8, 10 pm $30• Gabriela Anders 55Bar 7 pm

Jenny Scheinman 55Bar 9:30 pm• Jason Marshall and Negratude

Sweet Rhythm 8, 10 pm $15Roy Nathanson Quartet with Sam Bardfeld, Tim Kaya, Gerald Cleaver with guests Napoleon Maddox, Ross Gay, Curtis Fowlkes Barbès 6 pmDan Dechellis, Reuben Radding, Dee Pop

5C Café 7 pm• Daniel Freedman Group Zebulon 10 pm• Pyeng Threadgill Group Europa Club 8 pm $10• Anders Nilsson/Evan Gallagher; Jozef Van Wissem

Downtown Music Gallery 6 pm• Catherine Dupuis Group Saint Peter’s 5 pm• Talibam; Matana Roberts; John McDonough

ABC No Rio 8 pm $3• Ras Moshe, Matt Heyner, Jackson Krall

The Tank 8 pm $5• Jon Davis Trio Puppet’s Jazz Bar 9 pm $5• Jan Findlay The Garage 12 pm• Roz Corral/Eddie MonteiroNorth Square Lounge 12:30, 2:30 pm• Miki Hayama Quartet Blue Note 12:30, 2:30 pm $19.50

Monday, October 24Rudresh Mahanthappa with Vijay Iyer, François Moutin, Elliot Humberto Kavee Blue Note 8, 10:30 pm $10

• Steve Coleman Presents Jazz Gallery 9 pm $15• Voices & Songs: Chiara Civello

Jazz Standard 7:30, 9:30 pm $15• Katrina Benefit: Jambalaya Brass Band

Zebulon 10 pm• Sachal Vasandani with Jeb Patton, David Wong, Quincy Davis

Zinc Bar 7:15 pm $5Alexander McCabe Group with Joe Barbato, Ugonna Okegwo, Steve Johns 55Bar 7 pm

• Mike Stern 55Bar 10 pm• Vinny Sperazza Quartet Lima’s Taste 8 pm• Dave Devoe Trio Bar Next Door 8 pm $5• Jackson Moore Quartet with Mike Pinto, Matt Brewer,

Tommy Crane Niagra 9, 10:30 pm $5• Jasmine Ilya Detour 9:30 pm• Jaime Aff Organ Trio with William Ash

Puppet’s Jazz Bar 9 pm $5• New School Presents Sweet Rhythm 8, 10 pm $10

Tuesday, October 25 Randy Weston and African Spirits with TK Blue

Dizzy’s Club 7:30, 9:30 pm $30• Ernesto Simpson Trio Dizzy’s Club 11:30 pm $10

Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, Ugonna Okegwo, Neal Smith

Village Vanguard 9, 11 pm $30Charli Persip and Super Sound Big Band

NYC Baha’i Center 8, 10 pm $15• Miguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,

Henry Cole Jazz Standard 7:30, 9:30 pm $20• Milton Nascimento Blue Note 8, 10:30 pm $47.50• Paula West with the Bruce Barth Trio

Algonquin Oak Room 9 pm $50• Submerged, Bill Laswell and Guy Licata

The Stone 8, 10 pm $10• Helio Alves Quartet with Vic Juris, Santi Debriano,

Marcello Pellitteri Zinc Bar 9, 11 pm 12:30 am $5• Matt Pavolka Group Koze Lounge 9, 10:30 pm $7

Virginia Mayhew Group 55Bar 7 pm• Leni Stern 55Bar 10 pm• Lil Phillips with Howard Johnson, Cleave Guyton, Jr.,

Gerald Cannon, Steve Berrios and guestSweet Rhythm 8, 10 pm $15

• Howling Makams Satalla 9:30 pm $10• John Licata Quartet Lima’s Taste 8 pm• The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella,

Reid Taylor, Matt ZebroskiCornelia Street Café 8:30 pm $8

• NYU Big Band The Garage 8 pm• Dred Scott Trio Rockwood Music Hall 12 am

Wednesday, October 26Howard Johnson and Gravity

Sweet Rhythm 8, 10 pm $15Kenny Garrett Quartet with Ronald Brunner, Vicente Archer, Vernell Brown Iridium 8, 10 pm $27.50

• Nicholas Payton Quartet Birdland 9, 11 pm $30Derek Smith All-Stars with Joe Ascione, Joe Helleny, Nicki Parrott, Ken Peplowski, Warren Vaché Jr.

The Lighthouse 8:15 pm $30James Finn with Jaribu Shahid, Warren Smith

Zebulon 10 pmRandy Weston and African Spirits with TK Blue

Dizzy’s Club 7:30, 9:30 pm $30• Ernesto Simpson Trio Dizzy’s Club 11:30 pm $10

Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, Ugonna Okegwo, Neal Smith

Village Vanguard 9, 11 pm $30• Miguel Zenon Quartet with Luis Perdomo, Hans Glawischnig,

Henry Cole Jazz Standard 7:30, 9:30 pm $20• Milton Nascimento Blue Note 8, 10:30 pm $47.50• Paula West with the Bruce Barth Trio

Algonquin Oak Room 9 pm $50

Saturday, October 29Jazz Piano Summit: Hank Jones, Barry Harris with Ray Drummond, Lewis Nash

Allen Room 7:30, 9:30 pm• Slavic Soul Party; Rob Curto’s Forro For All

Joe’s Pub 9:30 pm $14• Mike Mellia Trio with Jansen Cinco, Ari Serkagucci

Kavehaz 6 pmBob Stewart First Line Band with Jerome Harris, Isiah Cook, David Guy, Clark Gayton Kavehaz 9:30 pm

• New Cookers with Keith Loftis, Kenyatta BeasleySistas’ Place 9, 10:30 pm $20

• Tappin’ Into Monk with Savion GloverRose Theater 8 pm $30-130

Ivo Papasov/Yuri Yunakov Symphony Space 8 pm $26Sonny Fortune with Xavier Davis, Chp Jackson, Steve Johns

Sweet Rhythm 8, 10 pm 12 am $20• Hilton Ruiz/Leon Dorsey Knickerbocker Bar and Grill 9:45 pm $5• Danny Mixon Trio Lenox Lounge 9, 10:30 pm 12 am $20• Ryan Kisor Quintet with Peter Zak, John Webber, Jason Brown

The Kitano 8, 9:45 pm $20Steve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, Russ Johnson, Jacob Garchik

Jazz Standard 7:30, 9:30, 11:30 pm $25Steve Coleman and Five Elements with Jonathan Finlayson, Thomas Morgan, Tyshawn Sorey, Jen Shyu

Jazz Gallery 9, 10:30 pm $15Kenny Garrett Quartet with Ronald Brunner, Vicente Archer, Vernell Brown Iridium 8, 10, 11:30 pm $32.50Nicholas Payton Quartet Birdland 9, 11 pm $30Randy Weston and African Spirits with TK Blue

Dizzy’s Club 7:30, 9:30, 11:30 pm $30• Ernesto Simpson Trio Dizzy’s Club 12:30 am $10

Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, Ugonna Okegwo, Neal Smith

Village Vanguard 9, 11 pm 12:30 am $35• Milton Nascimento Blue Note 8, 10:30 pm $47.50• Paula West with the Bruce Barth Trio

Algonquin Oak Room 9, 11:30 pm $50• Jim Payne Band Blue Note 12:30 am $8• Submerged, Bill Laswell and guests

The Stone 8, 10 pm $10• Mike Mellia Trio with Jansen Cinco, Ari Serkagucci

Kavehaz 6 pmBob Stewart First Line Band with Jerome Harris, Isiah Cook, David Guy, Clark Gayton Kavehaz 9:30 pm

• Gary Versace Trio Bar Next Door 9, 11:15 pm $8• Nueus Kabarett 8th Anniversary: Gina Leishman and others

Brecht Forum 8:30 pm $10• Sandy Sasso with Carlton Holmes, Desi Norman, Rick Crane

55Bar 6 pm• Bill Ware Puppet’s Jazz Bar 9 pm $5• Michelle Marie Cleopatra’s Needle 8 pm• Hide Tanaka The Garage 12 pm

40 October 2005 | ALLABOUTJAZZ-NEW YORK

Sunday, October 30Steve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, Russ Johnson, Jacob Garchik

Jazz Standard 7:30, 9:30 pm $20Kenny Garrett Quartet with Ronald Brunner, Vicente Archer, Vernell Brown Iridium 8, 10 pm $32.50Randy Weston and African Spirits with TK Blue

Dizzy’s Club 7:30, 9:30 pm $30Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, Ugonna Okegwo, Neal Smith

Village Vanguard 9, 11 pm $30• Submerged, Bill Laswell and Guy Licata

The Stone 8, 10 pm $10• Drori Mondlak and Straight Circle with Cary DeNigris,

Gary Versace Europa Club 8 pm $10Jessica Jones Quartet and Friends

Cornelia Street Café 8:30 pmStephen Gauci/Mike Bisio Downtown Music Gallery 6 pm

• Jason Marshall and NegratudeSweet Rhythm 8, 10 pm $15

• Judith Berkson, Reuben Radding, Dee Pop5C Café 7 pm

• Paul Knopf’s Reformation CelebrationSaint Peter’s 5 pm

• Ryan Sawyer’s Eye ContactZebulon 10 pm

• John Wriggle Quartet with Charles Lee, Nick Russo, Rober SabinStain Bar 7 pm

• Jacquelyn Messina with Vladimir Katz, Tal Ronen55Bar 6 pm

• Pini Shavit Group with Joel Frahm, Chris Higgins55Bar 9:30 pm

• Jon Davis Trio Puppet’s Jazz Bar 9 pm $5• Vishnu Wood/Joel L. Martin

Wave Hill 2 pm $18• Gino Sitson/Helio Alves Brooklyn Botanic Garden 1 pm• Roz Corral Trio with Art Hirahara, Chris Berger

North Square Lounge 12:30, 2:30 pm• Hironobu Saito with Dominick Farinacci

Blue Note 12:30, 2:30 pm $19.50Monday, October 31

Illinois Jacquet 81st Birthday CelebrationDizzy’s Club 7:30, 9:30 pm $30

• Steve Coleman Presents Jazz Gallery 9 pm $15• Voices & Songs: Rhiannon with Tim Ray, John Lockwood,

Pedro Ito Jazz Standard 7:30, 9:30 pm $15• Gino Sitson/Helio Alves Makor 8 pm $15• Jaime Aff Organ Trio with William Ash

Puppet’s Jazz Bar 9 pm $5

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)• 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• 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• Anat Cohen and Friends Bistro Jules 8:30 pm• Espriens Cafe Charbon 10 pm - 1 am free• Joel Frahm Bar Next Door 8 pm $5• Greg Glassman Quartet Niagra 12 am• Hammond B3 Organ Grooves Smoke 9, 11 pm, 12:30 am• Ken Hatfield Duo Fetch 9 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• 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• Francina Connors, Michael Howell and guests Penang 8 pm• 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• Irving Fields East River Café 7 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• Hot Pants Funk Sextet Swing 46 8:30 pm• 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 Sextet Birdland 9, 11 pm• Valery Ponomarev Big Band Swing 46 8 pm• Annie Ross Danny’s Skylight Room 9:15 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• Alexis Cole Vocal Jam Creole 5 pm• Irving Fields East River Café 7 pm• Erik Frazier Band Club 243 7 pm $10• Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm• Justin Lees Guitar Duo Mr. Babbington’s 7 pm• Wayne Krantz 55Bar 9:30 pm• Manhattan Ragtime Orchestra The Cajun 8 pm• Eddie Martinez Big Band Fat Cat 10, 11:30 pm $10• Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm• Sebastien Noelle Trio Louis 649 7 pm• Karin Okada Quartet Ciao Stella 7:30, 10pm• Barbara Rosene Times Square Brewery 8 pm• Lorenzo Sanguedolce’s Sweetblood Trio I.C.U. Bar 9 pm• 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• Joshua Brown 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• Kelly Friesen Quartet Shelly’s 8:30 pm• Ginetta’s Vendetta Oro Blu 8:30 pm• Jan Leder Trio La Prima Donna 8:30 pm (ALSO SAT)• Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm• 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 C-Note 4 pm• Jacob Melchior Trio Roth’s Steakhouse 7 - 10 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• David Coss and Trio The Garage 7 pm• Toru Dodo Jam Cleopatra’s Needle 4 pm• Choro Ensemble Bistro Jules• Charles Davis The Zipper Theater 9 pm• Marjorie Eliot, Rudell Drears, Sedric Choukroun ParlorJazz 4 pm• Irving Fields East River Café 12 pm• Lafayette Harris Trio Lenox Lounge 7 pm• Michael Howell/Andy McCloud Village Restaurant 12:30 pm• Satoshi Inoue Duo Philip Marie 12 pm• Jazz Standard Youth Orchestra Jazz Standard 2 pm $5• Bob Kindred, John Hart, Steve LaSpina Cafe 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• Chico O’Farrill Afro-Cuban Jazz Big Band Birdland 9, 11 pm• Iris Ornig Trio Cafe 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

V i s i t T h e W e b ’ s U l t i m a t e G u i d e t o

J a z z N e w sI n t e r v i e w s

R e v i e w sV i d e o sR a d i o

&M o r e

w w w . a l l a b o u t j a z z . c o m

ALLABOUTJAZZ-NEW YORK | October 2005 41

• 107West 2787 Broadway (212-864-1555) Subway: 1, 9 to 110th Street

• 92nd Street Y Lexington Avenue at 92nd Street (212-415-5500) Subway: 6 to 96th Street www.92ndstreety.com

• 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

• Advent Lutheran Church 2504 Broadway at 93rd 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, 9, 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

• Anyway Café Brooklyn 1602 Gravesend Neck Road (718-934-5988) Subway: Q to Neck Road

• Arthur’s IP 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, 9 to Christopher Streetwww.arthurstavernnyc.com

• 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

• 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 Mountain Gallery 530 W. 25 Street, 4th floor (646-486-4730) Subway: C, E to 23rd Street

• 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 Water Grill 31 Union Square West (212-675-9500) Subway: 4, 5, 6, N, R, L to 14th Street

• 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

• Brecht Forum 451 West Street (between Bank & Bethune)(212-242-4201) Subway: A, C, E, L, 1, 2, 3, 9 to 14th Streetwww.brechtforum.org

• Brooklyn Botanic Garden 900 Washington Avenue(718-623-7333) www.bbg.org

• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: Q, B to 7th Avenue www.brooklynconservatory.com

• CBGB’s Downstairs Lounge 313 Bowery at Bleecker Street (212-677-0455) Subway: F, V, Grand Street Shuttle to Broadway-Lafayette Street; 6 to Bleecker Street www.cbgb.com

• 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 StreetSubway: 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 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

• Carnegie Club 156 W. 56th Street (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue

• Central Park Bandshell 72nd Street and Fifth Avenue Subway: B, D to 72nd Street

• CharleyO’s 713 Eighth Avenue at 45th Street(212-977-0025) Subway: A, C, E, F, V to 42nd Street

• Chocolate Factory 5-49 49th Avenue, QueensSubway: 7 to Vernon/Jackson Avenue

• Ciao Stella 206 Sullivan Street(212-505-8530) Subway: A,B,C,D,E,F,V to West 4th Street

• Clemente Soto Velez Cultural Center 107 Suffolk Street(212-353-3707) Subway: F, J, M, Z to Delancey Street

• Cleopatra’s Needle 2485 Broadway between 92nd and 93rd (212-769-6969) Subway: 1, 2, 3, 9 to 96th Street www.cleopatrasneedleny.com

• C-Note 157 Avenue C at 10th Street (212-677-8142) Subway: F, V to Second Avenue; L to 1st Avenue

• Cobi’s Place 158 West 48th Street between 6th and 7th Avenues (516-922-2010) Subway: 1,2 to 50th Street

• Community Church of New York 40 E. 35th Street (212-594-7149) Subway: 6 to 33rd Street

• Cornelia Street Café 29 Cornelia Street (212-989-9319) Subway: A, B, E, B, D, F, Q to W. 4th Street www.corneliastreetcafe.com

• Creole 2167 3rd Avenue at 118th Street(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com

• Danny’s Skylight Room 346-348 West 46th Street (212-265-8130) Subway: A, C, E, N, R to 42nd Street www.dannysgrandseapalace.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, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org

• Dorian’s 226 West 79th Street between Broadway and Amsterdam (212-864-1829) Subway: 1, 9 to 79th Street

• Downtown Music Gallery 342 Bowery(212-473-0043) Subway: 6 to Astor Place; F, V to Second Avenue www.downtownmusicgallery.com

• The Encore NYC 266 W 47th Street (212-221-3960) Subway: A, C, E, F, V to 42nd Street-Port Authority www.theencorenyc.com

• 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

• Faust Harrison Pianos 205 W. 58th Street• 5C Café 68 Avenue C (212-477-5993)

Subway: F, V to Second Avenue www.5ccc.com• Feinstein’s 540 Park Avenue (212-339-4095)

Subway: 6 to 77th Street www.feinsteinsattheregency.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

• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (718-625-9339) Subway: G to Fulton Street

• Friends Seminary 15 Rutherford Place (15th Street between Second and Third Avenues) Subway: 4, 5, 6, N, R, L to 14th Street/Union Square

• 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, 9 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, 9 train to Christopher Street-Sheridan Square

• Harlem Tea Room 1793A Madison Avenue at 118th(212-348-3471) Subway: 4, 5, 6 to 125th Street

• I.C.U. Bar 765 Washington Street at W. 12th Street• InHouse 474 Greenwich Street, 5th floor (212-925-8534)

Subway: A, C, E to Canal Street www.davidlopato.com• Il Campanello Restaurant 136 West 31st Street

(212-695-6111) Subway: A, C, E to 34th Street• Iridium 1650 Broadway at 51st Street

(212-582-2121) Subway: 1,2 to 50th Street www.iridiumjazzclub.com

• 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

• 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, 9 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 (212-219-3055) Subway: 1,2 to Franklin Street www.knittingfactory.com

• Koze Lounge 676 5th avenue at 20th street, Brooklyn(718-832-8282) Subway: R to Prospect Avenue

• La Belle Epoque 827 Broadway at 12th Street(212-254-6436) Subway: 4, 5, 6, N, R, L to 14th Street/Union Square

• 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, 9 to 42nd Street-Times Square

• Le Figaro Café 184 Bleecker Street(212-677-1100) Subway: 6 to Bleecker Street

• Lehman Center 250 Bedford Park Boulevard West, Bronx (718-960-8833) Subway: 4, D train to Bedford Park Blvd.

• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com

• Lexington United Methodist Church 150 East 62nd StreetSubway: 6 to 59th Street

• Lima’s Taste 122 Christopher Street (Between Bleeker and Hudson)(212-242-0010) Subway: 1 to Christopher Street

• 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

• Louis 649 649 9th Street at Avenue C (212-673-1190)Subway: L to 1st Avenue

• 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, 9 to 116th Street www.msmnyc.edu

• Marie’s 51 West 46th Street between 5th and 6th Avenues(212-944-7005) Subway: B, D, F, V, 7 to 42nd Street

• Mercantile Library 17 East 47th Street(212-755-6710) Subway: B, D, F, V to 47th-50th Sts Rockefeller Center www.mercantilelibrary.org

• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam (212-501-3330) Subway: 1, 9 to 66th Street-Lincoln Center www.kaufman-center.org

• Miller Theater 2960 Broadway and 116th Street (212-854-7799) Subway: 1, 9 to 116th Street-Columbia University www.millertheater.com

• 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

• NYU Frederick Loewe Theatre 35 W. 4th. Street• Niagra 112 Avenue A

(212-420-9517) Subway: F, V to Second Avenue • Night of the Cookers 767 Fulton Street, Brooklyn

(718-797-1197) Subway: C to Lafayette Avenue• 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

• Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925) Subway: F, V to Second Avenue www.nublu.net

• 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

• Penang 240 Columbus Avenue at 71st Street (212-769 -3988) Subway: 1, 2, 3 to 72nd Street

• Perk’s Restaurant 553 Manhattan Avenue (at 123rd 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, 9 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• Ritz Carlton Hotel 2 West Street (212-344-0800)

Subway: 4, 5 to Bowling Green• Rockwood Music Hall 96 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 Theater 33 West 60th Street, 11th floor(212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.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• S.O.B.’s 204 Varick Street

(212-243-4940) Subway: 1, 9 to Varick Street www.sobs.com• 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

• Satalla 37 West 26th Steet between Broadway and Sixth Avenue (212-343-0612) Subway: 1, 9 to 23rd Street www.satalla.com

• Schomburg Center 515 Macolm X Boulevard(212-491-2200) Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html

• 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, 9 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.smallsjazz.com

• Smoke 2751 Broadway between 105th and 106th Streets (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com

• 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, 9 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, 9 to 96th Street www.symphonyspace.org

• Tagine 537 9th Ave. between 39th and 40th Streets (212-564-7292) Subway: A, C, E, 1, 2 to 42nd Street

• The Tank 142 West 42nd Street between Ninth and Tenth Avenues Subway: A, C, E, F, V to 42nd Street-Port Authority

• Tea Lounge 837 Union Street, Brooklyn(718-789-2762) Subway: M, R to Union Streetwww.tealoungeNY.com

• Tonic 107 Norfolk Street between Delancey and Rivington Streets (212-358-7503) Subway: F to Delancey Street; J, M, Z to Delancey-Essex Streetswww.tonicnyc.com

• 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, 9 to Chambers Street www.tribecapac.org

• Tribes Gallery 285 E. 3rd Street (212-674-8262) Subway: F, V to Second Avenuewww.tribes.org

• Universal Temple of the Arts 425 Jersey Street, Staten Island(718-273-5610)

• 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 Vanguard 178 Seventh Avenue South at 11th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com

• Walkers 16 North Moore Street (212-941-0142)• Wave Hill West 249th Street and Independence Avenue, Bronx • Yehoodi 502 W 41st Street at 10th Avenue www.yehoodi.com• 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) www.zippertheater.com

CLUB DIRECTORY

42 October 2005 | ALLABOUTJAZZ-NEW YORK

(LEWIS continued from page 6)

GL: That’s interesting. I guess over the years, I’ve hadto give up that idea. I mean I did believe in it at onetime, but then I wanted to see how far it could go. Andyou know it can go pretty far. Over the past 25 or soyears that I’ve been doing this, I’ve seen the computersand programming that I’ve made evolve along withmy thinking about what music is. Computers havehelped me to think about music and helped me tounderstand improvisation more thoroughly than Iused to. And one of the things I’ve discovered formyself is that a person can be very warm and nice anda pretty bad improviser! [laughter] So at a certainpoint you have to listen to the music and say, well, it’sgreat to have all that warmth and everything, but whatabout the music. And to me, I’m looking more thesedays at who the good players are - there’s no reasonfor me to exclude anyone, human or whatever. If Ithink they’re doing a good job, let’s see how far theygo.

AAJ-NY: So your experience is that the computersyou’ve programmed are just as responsive as humans?

GL: No, no, that would be overdoing it. But whoknows how far they can go? I think they’ve gone veryfar already. But you know, the whole man/machinecompetition thing is pretty cliché at this point…Basically my major task now is to explore music andnot machines and man. I think that ultimately mywork in computers is mainly about exploring what wedo as human beings.

For more information, visit www.music.columbia.edu/faculty/lewis.html. Lewis is at the Steve Lacy Tribute atMerkin Hall Oct. 6th. See calendar.

Recommended Listening:• George Lewis - Solo Trombone Album

(Storyville, 1976)• Anthony Braxton - Quartet (Dortmund) 1976

(hatART, 1976)• George Lewis - Homage to Charlie Parker

(Black Saint, 1979)• Steve Lacy Seven - Cliches (hatHUT, 1982)• John Zorn/George Lewis/Bill Frisell -

News for Lulu/More News for Lulu(hatART, 1987/1989)

• George Lewis/Bertram Turetzky - Conversations (Incus, 1998)

(TASO continued from page 8)

Taso’s next project, Cathedral Vol. 1, again pairs Rekwith Mariano and features Peter Reiter on pipe organ.This music has an organic depth borne out of theartist’s sense of self. “The music is very personal andhonest: I recorded the music I had in my body andbeing and it came out formed exactly as I had envisaged,” Vitold comments.

With releases such as these, Taso is fast becomingan acknowledged meeting ground for creative expression in the context of ethnically rich compositions that demand expert musicianship.

For more information, visit www.polishjazz.com. KarlBerger is at the Don Cherry Tribute at The Stone Oct. 1st.See calendar.

(SAINT PETER’S continued from page 8)

home to the Duke Ellington Society. A seminar serieswill begin shortly to address relevant subjects formusicians such as life on the road, health insuranceand finances.

The Chair of Jazz Commission which guides thecourse of the Jazz Ministry, is Lynne Mueller, a soft-spoken, no-nonsense jazz fan who first turned up atSaint Peter’s years ago to attend the service forEllington’s drummer Sonny Greer. A former presidentof the Duke Ellington Society, she speaks with a quiet intensity of the church’s goal of “missing no opportunities to reach out to musicians and musiclovers. ...To become more widely known and to be afoundation for jazz in the church across the countryand around the world,” mentioning delightedly thevisits from enthusiastic fans from Europe and Japanwho have read about the church.

Those who work at Saint Peter’s according toSturm “...just consider themselves to be servants of thecommunity.” Of the Jazz Ministry, Rev. Lind observes:“This has become a mecca for jazz musicians, theirspiritual home for many... They and the people wholove the music will always be welcome here.” Andwith anticipatory relish about the final evening of theFestival, he promises “We’re going to be making greatfood here all day on Saturday for that ‘Sunday All NiteSoul’.”

Clearly it is a feast that’s not to be missed.

For more information, visit www.saintpeters.org. For the complete lineup of the All Night Soul Jazz Festival 2005running from Oct. 2nd-9th, see calendar.

(WILLIAMSBURG continued from page 13)

On Friday, Williamsburg’s own Gerry EastmanQuartet opened with a very light, moody piece whichslowly evolved into a more complex mode later onthanks to Joe Ford’s saxophone riffs. They quicklymoved onto a funk-bop groove that showcased theentire band, which featured Namiko Guatanabe(keys), Ford (soprano), Newman Baker (drums) andJamira on vocals.

They also played more traditional-soundingtunes, such as the original walking-bass rich “Can’t BeWithout It” and explored more experimental stuff onthe following song, which had a lot of broken basslines coupled by complicated keyboard sequences thatserved as backing for a Coltrane-inspired sax solo.

Cuban-born pianist Manny Valera followed withLatin-inspired hard-bopping jazz met by an ambiguous audience response - some were familiarwith the sound, while others were apparently tryinghard to follow the band, which featured Ben Street(bass), Seamus Blake (sax) and Ernesto Simpson (dms).

It was hard to understand what Mike McGinnisand OK OK were doing as they opened proceedings atLaila on Saturday - Kyoko Kitamura screamed extraneous vocals as she extracted other weird soundsoff her laptop. Khabu Young followed that with weirdguitar riffs, while McGinnis played reeds.

After, electric bass player Chris Tarry began witha funky, Return To Forever-inspired tune which thetrumpet player took to a more Dizzy-esque direction.Guitar player Ben Monder showed incredible speedand technique, while Tarry kept things simple with hiseffective bass lines, which Dan Weiss followed byplaying as subtly as possible.

During a break between sets at Laila on Saturday,I walked to the impossibly crowded Galapagos, whereThe Rick Parker Collective played a more sophisticated East Coast cool jazz. The band had avery new-bossa groove as they went along their set.

It is just a pity that we can’t be in two places at thesame time, so I could only catch glimpses of what wasgoing at the separate stages. But what was seen andheard was satisfying. Here’s hoping that next year’sevent turns out to be even better.

For more information, visit www.wjazzfestival.com

ALLABOUTJAZZ-NEW YORK | October 2005 43

ON THIS DAY

One of the more interesting items inColtrane’s discography, this matchesthe disparate talents of Trane, trumpeter Kenny Dorham, pianistCecil Taylor, bassist Chuck Isrealsand drummer Louis Hayes. Coltranecontributes no material, instead playing an original each by Dorhamand Isreals plus two standards. Giventhe multiple styles present here andColtrane only beginning to find hisvoice, somewhere in between the traditions of Dorham and Taylor,Coltrane Time is a fascinating bridge inthe saxophonist’s development.

Though saxophonist Gordon’s mostfamous resurgence was his return tothe U.S. after years in Europe as anex-pat, the resurgence referred to inthe title of this album is in a document sense, Gordon having notrecorded for five years prior to thisdisc. He would never take such a hiatus again so this album, featuringGordon with obscure players MartinBanks, Richard Boone, Dolo Coker(who wrote two-thirds of the album’stunes), Charles Green and LaranceMarable, really resparked Gordon’s legendary career.

Itaru Oki is a well known Japanesetrumpeter who may be most familiarto American audiences through hiswork with Alan Silva. However, Okihas been actively recording since thelate ‘60s, often with European musicians like the ones with whom heis featured here. Michel Pilz was thebass clarinetist for the Globe UnityOrchestra and Ralf Hübner mannedthe drum chair in AlbertMangelsdorff’s group for most of the‘60s. A typical freeish jazz record ofthe label, the most notable thing hereis the instrumentation.

This album is the companion to Jimand I Live in Frankfurt recorded threedays earlier. Like that album, the twoguitarists, Attila Zoller and JimmyRaney (born two months apart in1927), improvise four pieces in concert, in this case at Berlin’sQuasimodo Club. Only “Scherz”,meaning “joke” in German, appearson both albums but all, including theother tunes “Autumn in Berlin”, “Ku-Damm” and “Out inQuasimodo”, are wonderful featuresfor two highly creative if somewhatoverlooked players.

Another in the long line of progressively minded Chicago musicians, guitarist Scott Fields hasled an Ensemble (named in honor ofthe Art Ensemble) of rotating participants since 1995. This editionfeatures the leader with pianistMarilyn Crispell, bassist Hans Sturmand drummer Hamid Drake.Irreverent yet focused, with somestrange thing for eggs, Fields wroteall the material for this session including a tunes called “TheArchaeopteryx and the Manatees”and “Teaching Rats Hope”.

by Andrey Henkin

Coltrane TimeJohn Coltrane (Blue Note)

October 13, 1958

ResurgenceDexter Gordon (Jazzland-OJC)

October 13, 1960

One Year-Afternoon & EveningOki/Pilz/Hübner (FMP)

October 13, 1978

Jim And I Live At QuasimodoZoller/Raney (L + R)

October 13, 1980

Five Frozen EggsScott Fields (Music and Arts)

October 13, 1996

BIRTHDAYSOctober 1Andre Paquinet b.1926Dave Holland b.1946Tony Dumas b.1955

October 2†Wally Rose 1913-97Phil Urso b.1925†Howard Roberts 1929-92†Ronnie Ross 1933-91Django Bates b.1960

October 3†Edgard Battle 1907-77†Booker Pitman 1909-69†Buddy Banks 1909-91Von Freeman b.1922George Wein b.1925Rashid Bakr b.1943Mike Clark b.1946Michael Bowie b.1961Carsten Dahl b.1967

October 4†Greely Walton 1904-93†Noel Chiboust 1909-94†Marvin Ash 1914-74†Stan Hasselgard 1922-48†Walter Bishop 1927-98†Leon Thomas 1937-99Mark Levine b.1938Steve Swallow b.1940Eddie Gomez b.1944Robert Hurst b.1964

October 5†Frank Guarente 1893-42†Jimmy Blanton 1918-42†Fred Norman 1910-33Bill Dixon b.1925Donald Ayler b.1942

October 6†Sammy Price 1908-92†Carmen Mastren 1913-81Norman Simmons b.1929

October 7†Papa Jo Jones 1911-85Alvin Stoller b.1925Amiri Baraka b.1934†Larry Young 1940-78

October 8†Clarence Williams

1893-65†J.C. Heard 1917-88†Pepper Adams 1930-86John Betsch b.1945Steven Bernstein b.1961

October 9†Elmer Snowden 1900-73†Lee Wiley 1915-75Yusef Lateef b.1920Abdullah Ibrahim b.1934Chucho Valdes b.1941Kenny Garrett b.1960

October 10†Milt Larkin 1910-96†Harry “Sweets” Edison

1915-99†Thelonious Monk

1917-82†Julius Watkins 1921-77†Monk Montgomery

1921-82†Oscar Brown Jr.

1926-2005†Ed Blackwell 1929-92Junior Mance b.1928Cecil Bridgewater b.1942

October 11†Curtis Amy 1919-2002†Art Blakey 1919-90†Billy Higgins 1936-2001†Lester Bowie 1941-99

October 12†Tubby Hall 1895-46†Jimmy Archey 1902-67Ed Cherry b.1957Michael Mossman b.1959

October 13†Art Tatum 1909-56Terry Gibbs b.1924†Ray Brown 1926-2002Tommy Whittle b.1926Lee Konitz b.1927†Johnny Lytle 1932-95Pharoah Sanders b.1940

October 14†Spencer Williams

1889-1965†Red McKenzie 1899-48†John Graas 1924-1962Dusko Goykovich b.1931Fritz Pauer b.1943

October 15†Thore Jederby 1913-84Paul Tanner b.1917†Joe Roccisano 1939-97Palle Danielsson b.1946Bill Charlap b.1966

October 16†Buck Washington

1903-55Ray Anderson b.1952Roy Hargrove b.1969

October 17†Jimmy Harrison 1900-31†Lee Collins 1901-60†Leslie Thompson

1901-87†Cozy Cole 1906-81†Luiz Bonfá 1922-2001†Barney Kessel 1923-2004Sathima Bea Benjamin

b.1936Joseph Bowie b.1953Howard Alden b.1958

October 18†Stump Evans 1904-28†Conrad Lanoue 1908-72†J.C. Moses 1936-77Anita O’Day b.1919†Bent Jaedig 1935-2004

October 19†Sylvester Lewis 1908-74†Spike Hughes 1908-87Howard Smith b.1910Red Richards b.1912Eddie Daniels b.1941

October 20†Jelly Roll Morton

1890-41John Best b.1913†Ray Linn 1920-96Willie Jones b.1929†Eddie Harris 1934-96

October 21†Don Byas 1912-72†Dizzy Gillespie 1917-93†Don Elliott 1926-84Jerry Bergonzi b.1947Marc Johnson b.1953

October 22Clare Fischer b.1928Giorgio Gaslini b.1929Tyrone Hill b.1948Jane Bunnett b.1955

October 23†Bernard Peiffer 1922-76†Sonny Criss 1927-77Fats Sadi b.1927†Gary McFarland 1933-71Ernie Watts b.1945

October 24†Joe Watkins 1900-69†Louis Barbarin 1902-97†Jimmie Powell b.1914Odean Pope b.1938

October 25†Eddie Lang 1902-33†Don Banks 1923-80Jimmy Heath b.1926Terumasa Hino b.1942Robin Eubanks b.1955

October 26†Charlie Barnet 1913-91†Warne Marsh 1927-87Eddie Henderson b.1940

October 27†Babs Gonzales 1919-80†George Wallington

1924-1993†Elmon Wright 1929-84Sonny Dallas b.1931Barre Phillips b.1934Philip Catherine b.1942Arild Andersen b.1945Ken Filiano b.1952

October 28†Chico O’Farrill

1921-2001Cleo Laine b.1927Andy Bey b.1939Glen Moore b.1941Jay Clayton b.1941Elton Dean b.1945Michel Pilz b.1945

October 29†Hadda Brooks 1916-2002Neil Hefti b.1922†Zoot Sims 1925-85†Pim Jacobs 1934-96Siggy Busch b.1943

October 30Teo Macero b.1925†Bobby Jones 1928-80†Clifford Brown 1930-56Trilok Gurtu b.1951Tom Browne b.1954

October 31†Ethel Waters 1896-77†Julia Lee 1902-58Chris Griffin b.1915Toshiyuki Miyama b.1921†Illinois Jacquet

1922-2004Ted Nash b.1922Bob Graettinger b.1923†Ray Crane 1930-94†Booker Ervin 1930-70Les Tomkins b.1930Johnny Williams b.1936†John Guerin 1939-2004Reimer Von Essen b.1940Sherman Ferguson b.1944David Parlato b.1945

PALLE DANIELSSONOctober 15, 1946

As a five-year-old, theSwedish tyke played“Mocking Bird Hill” onharmonica. He later tookup the bass and got a gigwith Bill Evans atStockholm’s The GoldenCircle. The ‘70s were spentplaying mostly with KeithJarrett, Jan Garbarek andBobo Stenson. He stilltours and records with aninternational melee ofmusicians and leads hisown group Contra Post.

-CS

Separated at Birth?Saxophonist Pepper Adams (l.)

Cinema’s George McFly (r.)

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Clarence “Gatemouth” BrownAfter T-Bone Walker got sick at a Houston gig,Brown took over on guitar and wowed thecrowd. He drew from jazz, country, Cajun andblues to create what he called “American music,Texas-style”. The guitarist/violinist/composerwas 81 when he died Sep. 10th.

Al CaseyListed as a leading jazz musician in Esquire’s1944 readers poll, the guitarist played with FatsWaller in the ‘30s and after going electric, joinedKing Curtis. A member of the Harlem Blues andJazz Band, Casey died Sep. 11th. He was 90years old.

Ted GreeneReferred to by a student as “a living encyclopedia of the guitar”, Greene releasedonly one record, Ted Greene Solo Guitar, in 1977.One of the most influential teachers in L.A. andauthor of four instructional books, Greene was58 when he died Jul. 25th.

Joe HarnellBefore writing the score for The Incredible Hulk,the composer toured with the Glenn Miller AirForce Band, studied with Nadia Boulanger andarranged for Frank Sinatra, Marlene Dietrichand Judy Garland. Harnell passed away Jul.14th at age 80.

Teddy Harris Jr. The founder of Detroit’s New Breed BebopSociety and Supremes musical director for 16years was inspired by Duke Ellington to playmusic at age 7. The house pianist for many yearsat Detroit’s Dummy George’s was 70 when hedied Aug. 15th.

Paul HoefflerHis photos of Billie Holiday, Duke Ellingtonand Oscar Peterson helped define an era. KenBurns’ Jazz comprised hundreds of the Torontophotographer’s shots and many Blue Note andVerve records bear his images. Hoeffler died Jul.30th. He was 67.

Lyle “Spud” MurphyHis method of composition “The Equal IntervalSystem” allowed the Berlin-born, Utah-bredarranger to produce a dizzying number ofcharts for Benny Goodman, The Three Stoogesand Fred Astaire. Murphy passed away Aug.5th at age 96.

Dom Um RomaoWith Joao Gilberto, the Brazilian percussionistplayed on Elizeth Cardoso’s “Cancao do AmorDemais”. He joined Weather Report in 1971after stints with Radio Tupi, Sergio Mendes andprojects with his own groups. Romao died Jul.27th. He was 79.

In Memoriam by Celeste Sunderland

http://www.towerrecords.com