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Advertising Sales & Marketing: Jamie Cosnowsky. Circulation: Ellen ... for those readers who make music, a bonus 150-page e-book on the enhanced CD ...
WWW.JAZZIMPROV.COM JUNE 2008 The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings Motema Music Turns 5 Antonio Ciacca Thursdays at Roth’s Westside Steakhouse Ira Gitler’s Apple Chorus Plenty of Reviews of Cool CDs SUMMER JAZZ FESTIVAL GUIDE KJ Denhert June 21st, at Le Poisson Rouge JVC Jazz Festival INTERVIEWS: PERFORMANCE REVIEWS: Antonio Ciacca, John Fedchock Judy Carmichael, Onaje Alan Gumbs, Esperanza Spalding, Norma Winstone Ahmad Jamal, Paula West and more! E E R F Jazz Improv® NY IMPORTANT: WAIT THERE’S MORE! ISSN: 1940-8129 Check out our Blog: June 2008 — Volume 3, Number 12 http://jazzimprovlive.wordpress.com. Cover Design by Deena Warner You can also SUBCRIBE to our FREE Cover Photo Courtesy of Motema Music. e-Newsletter, Groove Notes. Just go to Publisher: Eric Nemeyer our website - scroll to the bottom and Editor: Winthrop Bedford Advertising Sales & Marketing: Jamie Cosnowsky put in your email address! Circulation: Ellen Kahn, Robin Friedman, Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Karry Thomas Interns: Dimitry Ekshtut, Chris Mandato, Kay Prins CONTENTS Contributing Artist: Mary Jo Schwalbach Gitler, Travis Maynard Contributing Photographers: Ken Franckling, Eric Nemeyer, Joe Patitucci, CLUBS, CONCERTS, EVENTS E.S. Proteus, Ken Weiss. Contributing Writers: Dan Adler; Brandon Bernstein; Dan Bilawsky; David 9 Around Town Bosch; Al Bunshaft; John Cizik; Curtis Davenport; Bill Donaldson; Dimitry 21 Calendar of Events Ekshtut; Ken Franckling; Eric Frazier; Robert Gish; Ira Gitler; Dr. Wayne Goins; Clive Griffin; Rick Helzer; Scott Hockenberry; Joe Knipes, Jan Klincewicz; On The Cover: KJ Denhert 30 Announcements — Upcoming Events; Joe Lang; Marc Lomanno; Ron Lyles; Chris Mandato; Dave Miele; Mercy Feature begins on page 38 Regular Engagements; Additional Club Monet; Joe Patitucci; Marco Pignataro; Paul Sakion; Annie Simmons; Peter Steinberger; Ariel Teitel; Ken Weiss; Will Wyatt; Marshall Zucker. and Venue Schedules Editorial Policies Jazz Improv ® does not accept unsolicited manuscripts. Persons wishing 35 Directory of Clubs, Venues, Music and Advertising Sales Contact Jamie Cosnowsky at 212-889-0853 to submit a manuscript or transcription are asked to request specific permission Record Stores, Schools & Universities, from Jazz Improv ® prior to submission. All materials sent become the property Jazz Improv ® Magazine Main Office of E.S. Proteus, Inc. unless otherwise agreed to in writing. Opinions expressed and more 107-A Glenside Avenue, Glenside, PA 19038 USA in Jazz Improv ® by contributing writers are their own & do not necessarily 37 Noteworthy Performances Telephone: 215-887-8808; Fax: 215-887-8803 express the opinions of Jazz Improv ®, E.S. Proteus, Inc. or its affiliates. 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Subscription rates are $49.95 per year, USA; $69.95, Canada; $99.95 Foreign #1 (destinations with Registration Number 1,971,047) on the Principal Register, U.S. Patent & Trademark Quartet, Caught In The Act – Paula Office, U.S. Dept of Commerce. U.S. Global Priority delivery); $129.95 Foreign #2 (no Global Priority). All West, Giacomo Gates, Judy Carmichael prices subject to change without notice. Copyright Notice Copyright © 2005-2008 by E.S. Proteus, Inc. All rights reserved. No part of this Trio, and Ahmad Jamal Quartet Advertising in Jazz Improv® Magazine & publication may be copied, photocopied or duplicated in any form, by any means Jazz Improv ® NY Magazine (print and online) without prior written consent from E.S. Proteus, Inc. Copying of this publication Jazz Improv ® Magazine provides its advertisers with a unique opportunity to is in violation of the United States Federal Copyright Law (17 USC 101 et seq.). INTERVIEWS & SKETCHES reach a highly specialized and committed jazz readership. Please call Jamie Violators may be subject to criminal penalties as well as liability for substantial Cosnowsky in our Advertising Department at 212-889-0853 or toll free at 11 A Festival At Sea – Jazz Cruises LLC monetary damages, including statutory damages up to $50,000 per infringement, 1-866-493-7185 to request a Media Kit. costs and attorneys fees. 12 2008 Festival Guide – Local, Regional, National and International 38 KJ Denhert Two publications from Jazz Improv® 40 Antonio Ciacca Jazz Improv® NY 41 Motéma Music Turns Five MONTHLY — FREE (available FREE in print at 250 locations around NY and via download of PDF file from 42 Esperanza Spalding website. Also available in print by paid subscription, delivered to your home or office). Features interviews, 44 John Fedchock articles, reviews of recordings and books, listings of events, jazz clubs, festivals and other venues. 46 Norma Winstone Jazz Improv® Magazine QUARTERLY — 250+ pages, CD (available by paid subscription & at retailers throughout the USA, CD & DVD REVIEWS Internationally) is a 240–300 page quarterly magazine that includes a companion CD featuring full-length tracks by leading and emerging artists. It is available by subscription and at book, record and music stores 48 Ryan Cohan, Lainie Cooke, and chains and newsstands nationally and internationally. Each edition of Jazz Improv ® Magazine features Lisa Hearns, Bob Leto, MEM3, detailed interviews, colossal bio-discographical features, reviews of recordings, books and musical and Russ Nolan products, motivational, philosophical, articles, over 20 pages devoted to guitar: “The Guitar Pages,” and for those readers who make music, a bonus 150-page e-book on the enhanced CD with lead sheets, CLASSIFIEDS transcriptions, analyses and more. 55 The Jazz Billboard 2 June 2008 Jazz Improv NY® www.jazzimprov.com To Advertise CALL: 212.889.0853 Save 1 The # World Best-Selling Ear Training Method for 27 Years $ 30 Publishe ersary iv 27th Ann Discount! r’s Once you learn the secret, we bet YOU will hear with Perfect Pitch G Name any note or chord — by EAR! G Sing any desired pitch at will G You’ll hear it for yourself — immediately. 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Burlington Avenue, Fairfield, IA 52556 Apple Chorus Swinging In Their 80’s – Part II By Ira Gitler “Raincheck” continued the rhythmic veracity with Photo: Eric Nemeyer the singular harmonic outlook of Strayhorn. Then it was back to the blues, this time “Menage A Blue” (or was it “Bleu”?) by Wess, a slow, insinuating line. Frank’s tenor sax has its own voice, informed by Lester Young, Coleman Hawkins and his Southwestern dis- ciples and figurations brought forth by Charlie Parker. If it was a pipe tobacco it would Wess’ Mixture. When in Malmo during Parker’s tour of Sweden, has four Frank soloed on Benny Carter’s “When Lights Are tracks by Bird with an all-Swedish group that fea- Low” he artfully wove in a Carteresque phrase. tures trumpeter Rolf Ericson; and three numbers by Stafford is a power bopper who incorporates the alto saxophonist Arne Domnerus with the same sup- ethos of the great horn men of the Swing Era; Lushtak, porting cast. Both are re-rleased in the U.S. by Naxos a strong accompanist, in solo mixes twangy, chordal and can be accessed through Naxos.com passages with spry single-line picking. The great vet- The Shihab date, featuring his compositions eran Reid plays with an authority that matches his and arrangements, is a real find for this underrated imposing figure; and Harper is a very active, physical performer. Although I knew this, I couldn’t see him musician, featuring him on his main horn, baritone Frank Wess sax, but also on flute with contributions from the ex- from where I sat but felt the intensity of his swing In January of this year Frank Wess turned 86 and variety of his fervid accenting, particularly in the cellent Danish players: tenor saxophonist Bent Jae- but I think he has found the Fountain of “Yoot” (as 8-bar exchanges with the others. dig; trumpeter Palle Mikkelborg; bassist Niles Hen- a friend I grew up with years ago in Brooklyn pro- On “Menage” Stafford used a Harmon mute, ning Orsted Pedersen and drummer Alex Riel, plus a nounced it) and drank a couple of flagons. I’ve been with stem in, for some sophisticated growling. He also formidable and varied ensemble. listening to Frank, on record and in person, from the made use of the same mute in matching the fleet airi- Speaking of foreign musicians I can drop the time he first joined Count Basie in 1953, and he has ness of Frank’s flute on the leader’s “Something Went imposing names of Paolo Fresu, Richard Galliano never been less than good. Maybe it was the hallowed Wrong” that was paced by Harper’s dancing brushes. and Jan Lundgren, the Sardinian trumpeter, Italian atmosphere of the Village Vanguard, or the four men The ballad department was handled in fine Frenchman accordionist and Swedish pianist who he had chosen to surround him, but on Wednesday, fashion by Stafford, this time on flugelhorn, Lushtak have a remarkable CD bearing their names in the April 30, the second night of his week long engage- chipping in with a mellow solo as well. order mentioned above, on Act. This is thoughtful, ment at the club, he was not only several cuts above The closer, “Estoril Sol,” another blues with beautiful music, perfect for those times you want to good but when the situation called for it he was ro- a shuffle, was dedicated to the fine Portuguese jazz be quiet but stimulated to think, dream, reflect or bust in the best possible way. festival where Wess has performed. The “head” was just chill. The groove was there from the first notes of the tossed back and forth between tenor and trumpet. Three from Arbors Records that should be of opener, a minor blues with a semi-shuffle, and the In solo, Terell showed his expertise with the plunger interest to a variety of listeners are multi-instrumen- quintet was definitely on the same page (although and the exchanges by all with Winard were especially talist Scott Robinson’s Plays the Music of Thad Jones; they weren’t reading) with an esprit de corps and syn- exhilarating to top off a splendid, feel-good set. Stompin’ the Blues by the Harry Allen-Joe Cohn chronicity that would be the envy some professional By now you know that I receive a plethora of Quartet with guests John Allred and Scott Hamil- athletic teams I could mention. CDs (and some DVDs) every week on an almost ton; and Blue Too with violinist Aaron Weinstein Wess’ frontline mate was trumpeter Terell daily basis. There’s no way I can possibly listen to and guitarist Jon Pizzarelli. Stafford. These two were complemented by guitarist all of them but here are some that I did audit and Finally, Mosaic, the great compiler of immea- Ilya Lushtak; bassist Rufus Reid; and drummer Wi- thought you should be made aware of. surably invaluable boxed sets has come up with two nard Harper. The way they tore into Billy Strayhorn’s First off, Sony-BMG is releasing on June 3, an more gems. You know how some fans back in the ‘40s amazing retooling of two solo sessions by piano mas- would make tapes of Charlie Parker solos from all his ter Art Tatum. Four selections are from a session he different 78s? Well there were fans, and musicians, did for Brunswick in 1933; the other nine tracks are that would also make tapes for themselves of all from a “Just Jazz” concert he played at the Shrine Au- the Basie recordings that contained solos by Lester ditorium in LA, 1949. These have been re-mastered, Young. You don’t have to do that now. Mosaic’s Clas- by a company called Zenph, in a way that makes Tatum a presence in your room. If you listen with sic Columbia, Okeh and Vocalion Lester Young With earphones, your head is where Art’s head was, you Count Basie (1936-1940) has got you Young at heart hear his left hand in your left ear and his right in your people covered. Add to this a new entry in the Mosaic right. Th is was achieved by programming a piano to 30 Select series: Boogie Woogie and Blues Piano with duplicate Tatum’s original performances and then over 70 tracks featuring such keyboard luminaries as recording that piano. I could mention binaural and Meade Lux Lewis, Albert Ammons, Pete Johnson, Japanese robotics but if you want to get technical, Joe Sullivan, Mary Lou Williams, Teddy Wilson, visit Zenph.com. ‘Nuff said. Freddie Slack, Jimmy Yancey and Cripple Clarence From Oktav, a Canadian label, come two blasts Lofton. Add to these Harry James, Benny Carter, from the past: Charlie Parker & Arne Domnerus in Will Bradley, Ray McKinley, Henry “Red” Allen, Sweden—November 22, 1950; and Sahib Shihab and the two-fingered piano-playing of Lionel Hampton the Danish Radio Jazz Group. The first, recorded live and vocals by Joe Turner. Three discs full of joy. 4 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Live Performance Reviews and trombonist Robin Eubanks achieved a warm and others’ company and the chance to play together, the SFJAZZ Collective exuberant front-line sound. Playing under Eubanks’ Collective grooved its way through the tune with the South Orange Performing Arts Center solo, the horns reached a fullness and richness of tex- help of a rousing solo from Harris. With a prodigious March 11, 2008 ture more akin to a big band than the Collective’s technique and bluesy grit, Harris used not just the comparatively smaller octet. The band softened for mallets but seemingly his entire body to craft an ex- By Dimitry Ekshtut the start of Zenón’s solo, whose playing demonstrated ceptional solo that garnered an emotional response great pacing, development, and a welcome capacity both on- and off-stage. For each of the past five years, SFJAZZ has as- for maintaining the rhythm section’s interest. “This, For his turn as bandleader, Harland introduced sembled a star-studded group of budding and estab- That, and the Other”, a Lovano original, featured the “The Year 2008”, an adventurous piece combining lished jazz heavyweights to tour, record, and teach in live and recorded elements. Beginning with a sam- agile veteran on both tenor and soprano saxophones. residency. This basic concept is by no means a novel pled recording of a male voice reciting the Declara- Lovano’s authoritative tone and a real ownership of one. However, the results of 2008’s line-up transcend tion of Independence, light comping appeared over his sound proved the unifying elements here. Mean- the usual “all-star group” mold, elevating this cur- the words until the band joined in and seamlessly su- while, the entire group’s crisp tutti sections spoke to rent incarnation of the SFJAZZ Collective to a level perseded the prepared recording. Essentially a vamp a substantial level of preparation. The rhythm section of cohesion, interactivity, and selflessness usually re- of just several chords in odd time, Harland’s compo- of vibraphonist Stefon Harris, pianist Renee Rosnes, served for the most tight-knit of working groups. It sition elicited an aggressive solo from Lovano and a bassist Matt Penman, and drummer Eric Harland is no accident then that the Collective’s performance melodic, heartfelt statement from Harris punctuated infused the tune with a lively yet tasteful accompani- in South Orange was utterly devoid of the prima by a call and response between Harris and the horn ment. Rosnes in particular, displaying great techni- donna antics which so often derail other similarly-as- section. Rosnes’ original composition, a waltz enti- cal command and a keen rhythmic sense, took one of sembled ensembles. In the spirit of cooperation, each tled “Aurora Borealis” provided a refreshing contrast many memorable solos that evening. member of the SFJAZZ Collective took a turn as the to what came before and highlighted the Collective’s “The Angel’s Share,” a wonderfully supple com- bandleader, introducing either an original composi- deft transitions from the “large group” sound of a position by Penman, takes its title from a French ad- tion or an arrangement of a tune by Wayne Shorter, multi-layered big band to the “small group” sound age for the portion of wine that evaporates from a this years’ featured composer. of a trio or quartet. “Secrets of the Code,” Douglas’ casket. A mysterious repeating motif on the piano set Alto saxophonist Miguel Zenón started things tribute to Wayne Shorter, included snippets from the stage for this darkly dramatic tune. Harris added off with his arrangement of Shorter’s “Armageddon”. Shorter’s tunes reshuffled into a searching excursion light, aromatic comping on the vibes as the theme Zenón, along with the imposing presence of tenor touching on free time, collective improvisation, and floated over from the rhythm section to the horns. saxophonist Joe Lovano, trumpeter Dave Douglas, brave exploratory playing. Eubank’s arrangement of After an energetic solo from Dougles, the rhythm Shorter’s perennial classic “Black Nile” veered into section again took the fore with a vamp upon which 7/8 time for the melody and included a vamp cour- the horns built upward, layering parts that inter- tesy of Harris, Rosnes, and Penman for Harland’s twined with each other into a knotted and rhythmi- open drum solo. Playing in, out, and around the cally diverse harmony. One by one, each instrument vamp, Harland demonstrated why he belonged with dropped out until only the saxophones and trumpet the cast of older and more recognizable names. were left by themselves, embodying the very sense of The SFJAZZ Collective delivered an engag- evaporation to which the song title alludes. ing, inventive program, enabled each member of A gentle solo piano introduction opened Wayne the group to receive some face-time, and rose above Shorter’s “Diana”, Rosnes’ arranged contribution to the sum of its parts to create an even greater unified the SFJAZZ Collective songbook. At times power- whole – a rare feat for an outfit already bursting with ful and evocative, at times slow and majestic, “Diana” so much individual star talent. It is hoped that future featured Zenón on the melody and the other horns versions of this trailblazing group will match, if not underneath for a big-band-like fullness. Harris’ ar- exceed, the level of commitment and solidity exem- rangement of Shorter’s “Go” was remarkable for the plified by this outstanding ensemble. energy and exuberance it drew from the band. Look- ing and sounding like they all genuinely enjoy each Onaje Allan Gumbs Quartet The Vando Jam is The Hang Cachaça Jazz and Samba Club April 5th, 2008 Monday, June 9th at 9pm featuring By Zoe Young Mark Gross Trio Cachaca Jazz and Samba Club in the West Iguana Restaurant Village was the perfect venue for the raw and soul- 240 W 54th Street (bet B’way/8th Avenue) ful style of the Onaje Allen Gumbs Quartet. As Gumbs began the first tune of the night, a song that IT’S FREE & A COOL HANG he wrote in his teens entitled “Breath of Fresh Air,” For more information call it became instantly clear that he was not like other 212-399-9457 pianists. Gumbs attacked the keys with hands that looked restless and ready for ragtime. But the sound that those hands produced was delicate and sensitive to the gentle mood of the tune. Once Gumbs moved from his contemplative solo into the carrying the 6 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 groove, the rhythm section entered and hooked in perfectly. It was wonderful to see Wally Gator on drums and Gary Fritz on percussion enjoying riffing each other. Fritz’s bongo work added a talkative aspect to the sound that interacted well with Gator’s articulate rhythms on the drum set. Marcus McLaurine’s up- right style felt too understated in comparison to the rest of the rhythm section, but as the show continued it came clear that this seeming understatement was more a reflection of good taste than timidity. Next up was a piece from Gumbs’ most recent album, People and Love. The tune began as a ballad but quickly flowed into a heavy swing. Gumbs’ solo was littered with slightly discordant intervals that that worked to spice up the grove, a style which McLaurine echoed in a beautiful, low bass solo. For the fourth tune, the classic, “It Had to be You,” Gumbs brought Vocal- ist M. Nahadr to the stage. Wearing a red velvet dress, Nahadr’s blond, glittered dreadlocks sparkled in the candlelit club. The quartet at once attacked the stan- dard with a Jobim twist backing Nahadr with a dynamic samba. The vocalist stayed just in front of the beat and sang with a full, raspy tone reminiscent of Billy Holliday and Cassandra Wilson. Nahadr hung with the quartet for the next two tunes, “Collage,” with Na- hadr’s new lyrics, and “Love for Sale.” This standard was the perfect forum for Gumbs to show his chops, and have a blast trading fours with the two percus- Thursdays, 12:15 – 1:45 pm sionists. Nahadr was lost in the music with a guttural scat solo that spanned the breadth of her enormous range. Performances The quartet ended the set with a song entitled “Watu,” meaning “People,” JUNE 19 David Murray Black Saint about the slave journey to the New World. Gumbs started the tune with a mourn- (Tenor Saxophonist) ful and disturbing solo that eventually broke into a deep African grove. For a song with such dark subject matter, the feel was quite vigorous. Nahadr sang both JUNE 26 Joe Locke “Force of Four” in English and Swahili as the Gumbs and his quartet created a groove much like (Vibraphonist) a ship moving through water. JULY 3 Houston Person The Onaje Allen Gumbs quartet explored many difficult themes that night (Tenor Saxophonist) and with the help of M. Nahadr, they never let go of their quintessential grove. JULY 10 Cindy Blackman (Drummer) CAUGHT IN THE ACT JULY 17 Bobby Sanabria Paula West (Drummer & Percussionist) South Orange Performing Arts Center JULY 24 Sean Smith and his Group April 12, 2008 (Bassist) By Joe Lang Sponsored by William Paterson University Summer Jazz Week South Orange, NJ was a great place to be on Saturday April 12, especially JULY 31 Catherine Russell if you caught vocalist Paula West at the South Orange Performing Arts Center. (Vocalist) This intimate concert hall was a perfect setting for West and her band mates, pianist and arranger George Mesterhazy, guitarist Ed Cherry, bassist Barak Mori AUGUST 7 Sean Jones and drummer Tony Reedus. (Trumpeter) Media Sponsor West has a wonderfully dusky sound, full of expressiveness, and her impres- sive sense of phrasing is unique and imaginative. Combining her vocal artistry Co-hosted by: The Newark Museum with the arranging genius of Mesterhazy, and the musicality of the players sur- Business & Community Council rounding her, added up to an evening of song that grabbed the attention of the audience from the first notes of “Waters of March, and held them to the end of her encore selection “Pocketful of Miracles. Her programming was eclectic ranging from standards like “Bewitched,” “Softly, As in a Morning Sunrise,” “Lover” and “Isn’t It Romantic,” to Hank Wil- liam’s “Jambalaya (on the Bayou),” to a couple of tunes from Bob Dylan, “Don’t Think Twice, It’s All Right” and “Like a Rolling Stone.” She imbued novelty tunes like Oscar Brown Jr,’s “The Snake,” a Leonard Feather ditty from the Ethel Waters’ songbook, “Man Wanted,” and the Bessie Smith classic “Gimmie a Pigfoot,” writ- ten by Coot Grant and Wesley Wilson, with appropriate sassiness and humor. On-Site Parking Available NewarkMuseum.org The arrangements of Mesterhazy complemented West’s singing perfectly. “Nature Boy” was invested with an other worldliness that well suited the mys- The Newark Museum, a not-for-profit museum of art, science and education, receives operating support from the City of Newark, the State of New Jersey, the New Jersey State Council on the Arts/Department of tical lyrics of Eden Ahbez. He put the folk-rock Dylan tunes in a jazz setting, State – a partner agency of the National Endowment for the Arts, the New Jersey Cultural Trust, the Wallace Foundation, the Prudential Foundation, the Geraldine R. Dodge Foundation, the Victoria Foundation closing “Like a Rolling Stone” with a deep gospel groove that had everyone in and other corporations, foundations and individuals. Funds for acquisitions and activities other than operations are provided by members and other contributors. the hall swaying. This arrangement was one of several that ended with an ex- tended instrumental interlude, unusual in arrangements written for vocalists, o TTY 973-596-6355 and extremely effective. Mesterhazy remarked after the concert “it is fun writing To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 7 arrangements for West, as she is a daring performer, Greg Bandy so reminded me of Art Blakey, last a slow-motion interlude that never lost its pulse. willing to take a chart and run with it.” This was evi- driving hard on what I thought was the set’s best Although she apologized in advance for her effron- dent throughout her performance. tune, “Comes Love.” This was the group’s highlight tery, she sang twice in the concert – once, offering a Each of the instrumentalists was given ample of a very strong set. Gates wailed here. Kindred blew Waller song cabaret star Steve Ross had found for her, solo opportunities, and they each displayed fertile hard, as did Friedman. To paraphrase a Blakey title, the flirtatious “Come And Get It.” Her second vocal imaginations. Again, the arrangements played a big this was the “cooker of the night.” found her away from the piano, seated next to Flory part in setting the players up for their moments in Another paean to Eddie Jefferson, the humor- and Kellso for a girlish “You’re Driving Me Crazy.” the spotlight. ous “Bennies From Heaven,” tickled the crowd. The Her vocal range is limited, her approach simple, but When you are having a good time, the hours set concluded with a terrific rendition of “All of Me” its unaffected earnestness is charming. pass like minutes, and this full evening of outstand- in which Gates invited the exciting vocal talent, When the last notes of the encore, “Honeysuckle ing music left you with a feeling that you could not re- Amanda Carr (one of a number of vocalists in the Rose,” had been played, we had had the pleasure of ally have been enjoying Paula West and company for audience) to participate. The impromptu duet was an hearing unamplified jazz in a perfect setting – an in- two plus hours. There just had to be time for more. invigorating finale to a fine set. timate, wood-lined room with a beautiful sound and Gates swung heavy, as he always does and made a well-tuned Steinway grand, the beautiful vistas of Giacomo Gates it a very tasteful, enjoyable evening. downtown New York City shining against the dark- ness. By being themselves, Carmichael, Kellso, and Dizzy’s Club Coca-Cola April 16, 2008 Judy Carmichael Trio Flory keep the stirring sounds of the past vividly alive. Bargemusic By Nick Mondello April 17 2008 , Ahmad Jamal Quartet Blue Note Dizzy’s is beautiful venue, located in the Time- By Michael Steinman Warner Building. The expansive room, which over- , May 7 2008 looks Central Park, is appointed in a modern, yet In Bud Freeman’s phrase, the ebullient pianist By Ariel D. Teitel comfortable décor; a perfectly elegant setting for Judy Carmichael doesn’t look like a musician, favor- what turned out to be an evening of superb, swing- ing blonde curls, leopard prints, and snazzy shoes. But A packed house awaited Ahmad Jamal, one ing jazz. she is a fine, swinging player of Stride piano, a style of the last remaining elder statesmen of jazz piano. I caught the group’s early set on the second night perfected by James P. Johnson, Fats Waller, and Wil- Jamal played songs from his new album, It’s Magic of a two-night appearance. The room was at capacity lie “the Lion” Smith. Carmichael’s streamlined ap- (Birdology-Dreyfus), along with some of his older and particularly vibrant. Gates performed selections proach to this demanding style shows she has learned compositions and standards. Magic is a word that from his new CD/DVD, Luminosity, as well as other a great deal from Basie and Teddy Wilson as well as is easily applied to Mr. Jamal; he notes being able to tunes meant to showcase his unique singing and scat- the stride giants – not only about creating sparkling play the piano fluidly at three without prior instruc- ting abilities and they did not disappoint. solos, but also about the often-ignored art of thought- tion. His music has a dynamic and wondrous qual- “Melodious Funk,” an edgy, very hip selection, ful accompaniment. She doesn’t have the astonishing ity, like a bird in perfect flight. His music is unique; got the evening off to a swinging start. The tune re- virtuosity of a Dick Hyman, but her understanding the power of McCoy Tyner, the swinging of Oscar quires incredible vocal flexibility and intense atten- of the style and its rhythmic pleasures is deep. Peterson, held together by his own lush lyrical lines tion to intonation and lyric nuances. Here, as he did For this evening’s concert, one of Bargemusic’s ensconced in scintillating rhythms. His long time all evening, Gates demonstrated an outstanding, jazz series, she brought trumpeter Jon-Erik Kellso and partners James Cammack and Idris Muhammad make-it-look-easy ability to swing, phrase and shade guitarist Chris Flory. If Carmichael’s playing evokes were joined by Manolo Badrena on percussion. Ba- both melody and lyric. The backup group, consisting Harlem after hours, Kellso’s absorbed everyone from drena added another layer of polyrhythms to the pro- of tenor sax man, Bob Kindred, pianist Don Fried- George Mitchell to Don Cherry, and he’s long since ceedings, sang at times, and made the texture of every man, bassist James King, Jr. and drummer, Greg found his own voice, a clarion open horn or growly song more interesting. Bandy, were terrific and Gates encourage the inter- side-of-the-mouth mutterings through the mutes he On “Back to the Island”, Jamal displayed his play throughout the evening. loves, in the manner of the great Basie and Ellington virtuosity alternating manic ascending and descend- Giacomo Gates is not bashful about reaching horn soloists. Flory (who played with Benny Good- ing chord runs and then peeking out with a quiet re- back and plucking lesser-known tunes and bringing man’s last bands) has an easy, varied rhythmic pulse; iteration of the theme from time to time. The band’s them out to the forefront, especially selections whose his bluesy solo work harks back to Charlie Christian. take of “It’s Magic” (by Sammy Cahn and Jule Styne) lyrical component is rich and whose harmonic struc- They reach back into the jazz past to create soulful, was exquisite. How can you go wrong when inspired ture challenges the scatter. Bobby Troup’s “Hungry original music. Their impromptu duet, “If Dreams by such lyrics: “The stars desert the skies and rush to Man,” showed Troup’s unique way to turn a witty Come True,” evoked two friends chatting on the nestle in your eyes, it’s magic….”. Jamal took pleasure lyric – and Gates’ smooth way to deliver it. Elder porch – gratifying chamber jazz. in reciting: “How else can I explain those rainbows statesman of the keyboard, Don Friedman, was me- Carmichael chooses swing classics that reflect when there isn’t rain? It’s magic….” ticulous both here and throughout the evening, the great small-band swing combos of the Thir- “I Can’t Get Started” was treated like royalty, swinging so...nudging harmonically. First Class. ties and Forties, so the evening was energetic. She Jamal ringing out each sequence of embellished King was just that - majestic, driving, technically opened with a foot-tapping “I Found A New Baby,” chords like chimes. He deftly darted in and out of awesome along with creative arc bowing. Drummer visited the riffing “Christopher Columbus,” echo- the traditional melody and chord sequence. Bandy made full use of his rig sounding robust, yet ing Waller’s recording, and offered properly racing Anything this group touched was enriched never overbearing. versions of Claude Hopkins’s theme, “I Would Do by their sophistication. All the musicians were out- Emanating from the pedigree of and making Anything For You” and “Lady Be Good.” Her affec- standing. Muhammad meshed especially well with no apologies for his adoration of the great scatter and tion for these tunes and tempos was infectious, but Jamal and Badrena; layers upon layers of intricacy vocalese artist, Eddie Jefferson, Giacomo also shined the best moments were more pensive. A surprisingly and sparkle were appropriately added to each tune. bright on Gershwin’s war-horse, “Lady Be Good.” tender “Keepin’ Out of Mischief Now,” a bluesy “A Mr. Jamal took note of the 50th anniversary of his This was a special treat as the “scat chef ” cooked and Smooth One” that encapsulated the 1940-41 Benny sentinel record: At the Pershing: But Not For Me, by flittered across the Jeffersonian lyrics set to the classic Goodman Sextet perfectly, and a meditative, Basie- playing “Poinciana”. It never gets old. Not him, and Bird solo that Yard would have dug. inflected “I Ain’t Got Nobody” were delightful, the not this band. 8 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Around Town Louis Armstrong House Museum Seeks Artist The Louis Armstrong House Museum is creating a Visitors Center across the street from the museum and is seeking an artist to create a new work of art for its Visitors Center. The project to design and construct the Visitors Center is being administered by the Dormitory Authority of the State of New York (DASNY) and by the City University of New York (CUNY). The design team wishes to bring an artist into the design process and to enrich the Visitors Center with the installation of new art. The art may be any form of visual art conceived in any medium, material, or combination thereof like a sound or video instal- lation. The art must relate in a meaningful way to the life and artistry of Louis Armstrong and should enhance the visitor experience to the Visitor’s Center. The design team will select an artist in June or July 2008. Artists who wish to be con- sidered for the Visitors Center project should e-mail (1) a brief statement about their art and (2) their contact information (name, address, telephone, and e-mail) to Deslyn Dyer, Assistant Director of the Louis Armstrong House Museum, at email@example.com. MoMA Celebrates the Best Original Jazz ScoresFor Film from The 1950s To The Present The Museum of Modern Art presents an extensive, multifaceted exhibition that celebrates jazz scores composed for films from the 1950s to the present, with a particular emphasis on the rich and largely unexplored relationship between postwar filmmakers and jazz composers, arrangers, and musicians. The elements in Jazz Score, presented April 16–September 15, 2008, in The Roy and Niuta Ti- tus 1 and 2 lobbies and theaters, include an international retrospective of approxi- mately 50 feature films and a selection of shorts, a multimedia gallery exhibition, live music concerts, and a panel discussion. For details about films and times, see our Calendar of Events section in this issue. Museum Admission: $20 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs). Target Free Friday Nights 4:00-8:00 p.m. Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only). The Museum of Modern Art is located at 11 West 53 Street, New York. Call 212-708-9400 for detailed Museum information or visit www.moma.org. 11th Annual ORIS Spirit of Jazz Concert Series in Tourneau Time Machine Atrium For eleven years, Oris Watches and Tourneau, have partnered with WBGO - Jazz 88.3 FM, to bring some of the greatest jazz acts to busy midtown Manhattan. Starting on June 3 and every Tuesday during the month, neighboring employees, business owners, and jazz fans from all over can ditch the lunch- time rush, and enjoy live jazz at the Oris Spirit of Jazz Concert Series, located in the atrium of the Tourneau TimeMachine on 57th & Madi- son Avenue in New York. The free concerts are from 12:00 PM-2:00 PM, with two 45- min- ute sets at noon and 1PM. Blues guitarist Lu- ther “Guitar Junior” kicks off this year’s series on June 3. Soulful saxophonist Houston Per- Steve Turre son brings his quartet on June 10, pianist Eric To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 9 Reed and his quartet are on June 17, and the series wraps with trombonist Steve Turre and his quintet on June 24. Visit the Tourneau TimeMachine Exhibit Hall, where you can view an exhibit simply titled The Blues which features rare and never-before-seen blues memorabilia, photos and more. The exhibit will be on display the entire month of June. Exhibit hall viewing hours are 10:00 AM-6:00 PM on Mon – Wed; Fri and Sat. 10:00 AM-7:00 PM on Thursdays and from 11:30 AM-5:30 PM on Sun- days. As part of the jazz concert series, Oris Watches will be giving away an Oris Artelier Date Timepiece. Visit the Tourneau TimeMachine Exhibit Hall and enter to win. Westchester Jazz Orchestra To Perform Works Of Antonio Carlos Jobim The Westchester Jazz Orchestra has been called a “local” orchestra “in about the same way as, say, the New York or Berlin Philharmonic Orchestras are local.” On June 7, this world-class big band will welcome summer with the works of Antonio Carlos Jobim, who first captivated Americans with his early- 1960s mega-hits The Girl from Ipanema and Desafinado, and was a key force in creating the international bossa nova craze of the early 1960s. His many musical contributions include movie soundtracks and hundreds of songs. The WJO will premiere newly-commissioned arrangements of his more famous tunes like De- safinado and How Insensitive and of lesser known contributions including Sabia and Look to the Sky. Led by Artistic Director Mike Holober, WJO musicians will include trum- peters Craig Johnson, Tony Kadleck, Chris Rogers and Jim Rotondi; saxophonists Kenny Berger, Jay Brandford, David Brandom, Ralph Lalama and Jason Rigby; trombonists Bruce Eidem, Larry Farrell, George Flynn, and Keith O’Quinn; pia- nist Ted Rosenthal; bassist Harvie S and drummer Andy Watson. WJO will be joined by Brazilian percussionist Rogerio Boccato and guitarist Keith Ganz. The concert will be held at 8:00pm at the Seven Bridges School, 222 Seven Bridges Road, Chappaqua, NY. WBGO’s Gary Walker is set to host the concert. Reserved seating is $30/$25 for seniors/ $5 for students. WJO, 914-861-9100. www.westjazzorch.org. Fans are encouraged to purchase tickets early as WJO’s April performance was a sellout. Reserved seating tickets are $30 for adults, $25 for seniors and only $5 for students. Call WJO at 914-861-9100 or order online at www.westjazzorch.org. Jazz at Lincoln Center Announces 2008-2009 Season Subscribe to the new season and enjoy the best seats at the best price, unlim- ited ticket exchanges, advance access to single tickets to sell-out shows, discounts on additional tickets to your subscribed performances, exclusive Subscriber Only discounts to area merchants, and so much more! The new line-up includes jazz greats such as McCoy Tyner and Ravi Coltrane, Ahmad Jamal, Wynton Marsalis and the JALC Orchestra, SF Jazz Collective Paquito d’Rivera amongst others. Visit online: www.jalc.org/subs or call 212-258-9999 for more info. “In the end it is important to remember that we cannot become what we need to be by remaining what we are.” — Max Dupree 10 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 A Festival At Sea Jazz Cruises LLC By Jamie Cosnowsky As we enter the Summer Jazz Festival season, add to the overall quality experience. The “interest- excitement builds as we start to plan out which festi- ing and varied ports-of-call” allows the passenger vals to attend. What if you could take a week off and to visit the hottest islands in the Caribbean. There’s literally hang out at a festival for an entire week while enough routine throughout the day, like pool parties, wining and dining with other fans? Not only could conversations with the artists, jam sessions, dancing, you see your favorite artists perform, but also enjoy afternoon performances as well as the evening events Q&A sessions and really get to know what makes to keep the cruiser’s musical appetites happily sated. these great artist’s tick? Let’s throw in one more “We have a full staff and we’re in charge of every as- enticement...you’re in the Caribbean visiting exotic pect of the cruise which includes programming,” said Photos: © Jazz Cruises, LLC ports of call and refreshing your soul with soothing Lazaroff. “We try to have as much interactive pro- panoramic views of the ocean while on board one of gramming as humanly possible. The passengers really Holland America’s great cruise ships, the Westerdam. get to meet the artists. There are afternoon question A jazz experience of a lifetime is what Jazz Cruises, and answer sessions, like “Mojito’s with Jeff Golub” LLC has created for the most discerning and pas- or “Champagne with Dianne Reeves”. This is a great sionate jazz fan—literally, a jazz festival at sea. opportunity for the artists to interact with the pas- What began as a passion has led to one of the sengers other than to just play and entertain them largest and most successful companies in the world from the stage” There’s plenty of that too!” Kirk Whalum and Dave Koz jamming on the of jazz. In the mid-80’s, the Norwegian Cruise Lines, Building the business has been a humbling Dave Koz Cruise; (below) poolside (NCL), started a jazz cruise on the SS Norway. It was experience for Michael Lazaroff. It hasn’t been as not a full ship charter, but rather a large group that smooth as some of the Smooth Jazz Cruises, but it Out of the four Jazz Cruises, two are contem- averaged 1,000 people. Travel agent Anita Berry’s hus- had him focus on what he knew he could do best. porary, one is straight ahead and the Playboy Jazz band was a jazz fan. Year after year, Anita sold the most Last year, Lazaroff added two diverse cruises in 2007, Cruise is a star-studded jazz extravaganza. When cabins on the jazz cruise and eventually the cruise line the North Sea Jazz Cruise and The Elvis Cruise, but asked about how he picked the themes for the cruises, started to consult with her about line-up and itinerary. acknowledged that he took on a bit too much: “We Lazaroff’s sharp marketing instincts shone brightly. This went on for a number of years until the Summer started a Latin Jazz Cruise, but last year was way too “I don’t pick them—I just sort of follow the market. of 1999, when NCL announced that they were termi- much and I wound up selling the Elvis cruise to a for- Smooth jazz has a certain caché market to it and that nating their jazz cruise program. Berry, who was 70 mer partner and some guys from Memphis. I really has seemed to work. We’ve had a straight ahead jazz at the time, realized that she had enough people and needed to concentrate on the jazz cruises. We just cruise forever and I saw that we didn’t have a cruise she could do a full-ship charter. Along with her son, took on too much. Currently, we have the four jazz cruises and we have the opportunity to do Playboy, in the largest jazz market and that was contemporary, Michael Lazaroff, started a new cruise company. so I wanted to do it, but I wanted to do it right. The In 1999, Berry went to the Holland America so I would rather concentrate on that cruise. Mar- cus was our host for the North Sea Jazz Cruise and I Smooth Jazz Cruise has a little bit of R&B in it, like cruise line and chartered their smallest ship, the Maas- Chaka Khan. Tower of Power is our special guest for dam, which held 1245 passengers. “We did a mimeo- learned a couple of things by that. First, there’s a real market for contemporary jazz. Secondly, it should be the Dave Koz Cruise this year.” graphed mailing,” reflected Lazaroff, “and it was sold Each cruise lasts seven days and two of the out within 90 days. The first sailing —the first full in the Carribean and I was looking for a name that would catapult it and that was Playboy. So I went to cruises are booked back-to-back. Next up is the Dave ship charter was in November 2000. In 2001, we did the mansion and I met with the Playboy Jazz people Koz Cruise on November 2 - 9, 2008, followed by have a sailing right after 9/11 and that went fine. Just and they were extremely enthusiastic because it co- The Jazz Cruise from November 9 - 16th, 2008. The like Jaws, we kept on getting bigger boats.” incided with the 30th Anniversary of their festival. Dave Koz Cruise features a line up of leading Smooth Michael Lazaroff helped Berry from the begin- They’ve been wonderful and are the most amazing and Contemporary artists such as Eric Benet, Alonzo ning, but really didn’t come into the picture full time partners ever. They are doing a fantastic job assisting Bodden, Rick Bruan, Jonathan Butler, George Duke, until 2003–2004. “I started off doing golf and spa us in promoting the cruise.” Candy Dulfer, Jeff Golub, Euge Groove, Arlington charters,” said Lazaroff. “I came in and took over the Smooth Jazz Cruise from Peter D’Attoma, who was do- The Playboy Jazz Cruise is the newest addition Jones, Najee, Brian Simpson and more. The Jazz ing a back-to-back groups on Costa Cruise Lines, with to Jazz Cruises, LLC, that has Lazaroff beaming like Cruise boasts the Clayton-Hamilton Jazz Orches- the proviso that if I liked it that I could buy it. I also a new daddy. The Playboy Jazz Cruise boasts a “Who’s tra with John Clayton, Jeff Clayton, Jeff Hamilton, was responsible for setting up the Dave Koz cruise.” Who” in jazz and offers a heavy hitting line-up of Rickey Woodard, Denise Thimes, Heath Brothers In 2004—2005, he formed Jazz Cruises, LLC, which jazz luminaries. Joining host Marcus Miller, is 2008 Quartet, Neena Frelon, Tierney Sutton, Andy Bey, is the holding company for all the difference cruises. Grammy Award Winner, Herbie Hancock, James Tom Scott and Shelly Berg, Benny Green, Regina “January of 2005 was our first full ship charter of the Moody, Dianne Reeves, Roy Hargrove, Roberta Gam- Carter, Jeremy Pelt, Judy Roberts, Trio da Paz, Hous- barini, Latin Jazz Great, Poncho Sanchez, Keb’ Mo’, ton Person, Ben Riley’s Monk Legacy Septet, Johnny Smooth Jazz Cruise, so we’ve now had four of them; James Carter, Eldar and the New Birth Brass Band. O’Neal Trio, Ken Peplowski, Houston Person, Dena we’ve had three Dave Koz Cruises and seven of The Jazz Cruise, which is our straight ahead cruise.” DeRose, Wycliffe Gordon, Jay Leonhart, to name Lazaroff’s formula for success is simple: Provide a few. Kicking off the new year is the Smooth Jazz his audience of cruisers an abundance of world-class Cruise from January 18 - 25, 2009, and the Playboy artists and talent in their given genre, put them on a Jazz Cruise from January 25 - Feb. 1st, 2009. There’s fully chartered, first class cruise ship, schedule events a Jazz Cruise for every jazz taste. Enjoy a festival at throughout the day in which the fan not only gets to sea with your favorite artists. “Some people book hear the artist, but often gets to interact with them cruises back to back and just stay on the ship,” said personally. This creates in intimate bond that is often Lazaroff enthusiastically. “We get a lot of people who not found at jazz festivals since the artists are usu- are returning year after year. It’s become a must at- ally cordoned off behind a rope. Beautiful venues, tend event.” Visit www.jazzcruisesllc.com for a com- and state of the art sound and music production plete line up of artists, information and pricing. To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 11 JUNE: Local & Regional Jazz-a-ma-Tazz; Jonathan Batiste 3; Andrea Tierra; Jun 29: (SEC) 8pm; E.S.T. Aetherial Bass (LPR) The O’Jays; Boney James & Jonathan Butler; Dianne Reeves; 7:30PM; Simone, KJ Denhert (LPR) Central Pennsylvania Jazz Festival: May 29 – June 1 Charles Lloyd New Quartet w/Jason Moran, Reuben Rogers & 11pm; Jun 22: João Gilberto (CH) 8pm; Harrisburgh, PA Eric Harland; Terence Blanchard; Rachel Price; The Brubeck Brad Mehldau 3 (ZH) 8:30pm; Tribute Notable: Kevin Mahogany, Dave Liebman, Terell Stafford, Brothers; Aaron Goldberg 3; Rachael Price; 3D.spac.org to Carlos “Patato” Valdez w/The Conga Hendrick Meurkens, Randy Weston. www.pajazz.org Kings feat. Giovanni Hidalgo, Candido Hot Steamed Jazz Festival: June 27 – 29 Camero, Francisco Aguabella (SEC) DuPont Clifford Brown Jazz Festival: June 15 – 22 Essex, CT 8pm; Jun 23: Herbie Hancock w/Dave Brad Mehldau Wilmington, DE Galvanized Jazz Band w/ Jane Campedelli, Bob Seeley, Holland, Vinnie Colaiuta, Chris Potter, JVC Jazz NY Palomar 4 w/Dan Levinson, Olivier Lancelot, Jeff Hughes & Sonya Kitchell Lionel Loueke Trio (CH) June 22 Notable: David Sanborn, Bonerama, Mingus Big Band, Trio 3 Festival All Stars, Buffalo Ridge Jazz Band, New York Stompers, 8pm; Dick Hyman, Ken Peplowski, w/Reggie Workman, Oliver Lake, Andrew Cyrill; Hiromi’s Sonic Rialto Rhythm Revellers, Wolverine Jazz Wycliffe Gordon, Randy Sandke, Bloom. www.cliffordbrownjazzfest.com Band w/Jimmy Mazzy, Sugarfoot Youth Howard Alden, Jay Leonhart & Eddie Band, Jazz Jesters Novelty Orchestra Locke Zankel Hall (ZH) 8:30pm; JVC Freihofer’s Jazz Festival: June 28 – 29 w/ Jeff Hughes, Dan Levinson’s Summa Salutes Art D’Lugoff, Poncho Sanchez Saratoga Springs, NY Cum Laude. www.hotsteamedjazz.com (LPR) 7:30pm; Jun 24: Chris Botti (CH) Jun 28: Return to Forever w/Chick Corea, Stanley Clarke, Al 8pm; Tierney Sutton (ZH) 8:30pm; Bad DiMeola & Lenny White; Dee Dee Bridgewater, Chris Botti; JVC Jazz Festival – New York: June Plus 1 w/Kurt Rosenwinkel (SEC) 8pm; Saxophone Summit w/Joe Lovano, Dave Liebman & Ravi Jun 25: Anat Cohen 4, Esperanza Sergio Mendes 15 – 28 Coltrane; Ryan Shaw; Conrad Herwig; Johnathan Batiste 3; Spalding 4 (SEC) 8pm; Aaron Goldberg JVC Jazz NY New York, NY (See End of Listing for Jenny Scheinman; Maurice Brown Effect; Hayes Greenfield & Anat Cohen 3 (RMA) 7pm; Jun 26: Soulive w/Joshua June 21 Key to Venues) JVC Jazz NY Redman (LPR) 7:30pm; Billy Harper Jun 15: Kenny Barron 3 (SC) 3pm; Jun June 25 17: Tribute to Alice Coltrane w/Ravi 5 (SMH) 7:30pm; New School Jazz Coltrane, Geri Allen, Charlie Haden, Jack Ensemble (USP) 5:30pm Jun 27: Al Dejohnette, Brandee Younger (SEC) Green, Dianne Reeves (CH) 8pm; Dee 8pm; Jun 18: 35 Years of Highlights Dee Bridgewater(SEC) 8pm; Soulive in Jazz w/Jack Kleinsinger Billy Taylor, w/Joshua Redman (LPR) 7:30pm; Tim Bucky Pizzarelli, Ken Peplowski, Byron Berne, Craig Taborn (RMA) 7pm; Jun Stripling, Ted Rosenthal, Wycliffe 28: Mos Def Big Band w/Gil Scott-Heron Dianne Reeves Gordon, Gene Bertoncini, Jay Leonhart (CH) 8pm; Richard Galliano, Tangaria JVC Jazz NY and Lewis Nash (SEC) 8pm; Charlie Joao Gilberto 4tet (ZH) 8:30pm; Charles Lloyd w/ June 27 Haden 4 West , (LPR) 7:30pm & 10pm; JVC Jazz NY Jason Moran, Reuben Rogers, Eric Maceo Parker, Lettuce (BMT) 8pm; Jun June 22 Harland (SEC) 8pm. www.festivalnetwork.com 19: Lila Downs, Raul Midon (SEC) 8pm; Medeski, Martin & Wood Marc Ribot’s Kingston Jazz Festival: June 27 – 29 Ceramic Dog Taylor McFerrin (PPB) Kingston, NY 7pm; Bill Frisell 3 (LPR) 7:30pm & 10pm; Jun 27: Karl Berger’s Creative Music University Jazz Combos (USP) 12:30pm; Studio Orchestra; Jun 28: Jazz Knights Jun 20: Jill Scott (CH) 8pm; Cecil Taylor, of West Point; Jun 29: Cyrus Chestnut 3; George Cables (SEC) 8pm; Billy Hart The Kingston HS Jazz Ensemble; Claire Academy w/Theo Croker (RMA) 7pm; Herbie Hancock Daly’s “Rah Rah” Band; The Jeff “Siege” Jun 21: Sergio Mendes, Zap Mama JVC Jazz NY Siegel 4; Frank Wess 5; Jon Faddis Jazz Jon Faddis (CH) 8pm; Hank Jones Celebration June 23 Orchestra. www.kingstonjazzfestival. Kingston Jazz com Festival JVC Key To Venues: June 29 (BMT) Brooklyn Masonic Temple, 317 Claremont Ave (Bklyn) Newark Museum - Jazz in the Garden: (CH) Carnegie Hall, W 57th St & 7th Ave. June 19 - Aug 7 (SEC) New York Society for Ethical Culture, 2 W 64th St & Central Newark, NJ Park West David Murray Black Saint; Joe Locke; (LPR) Le Poisson Rouge, 158 Bleecker St. Houston Person; Cindy Blackman; (PPB) Prospect Park Bandshell, 9th St & Prospect Park West, Park Bobby Sanabria; Sean Smith; Catherine Slope, (Bklyn) (RMA) Rubin Museum of Art, 150 W 17th St. Russell; Sean Jones (SC) Schomburg Center for Research in Black Culture, 515 www.newarkmuseum.org Malcolm X Blvd & W 135th St. Claire Daly (SM) Studio Museum in Harlem 144 W 125th St New Languages Festival: Kingston Jazz Fest (USP) Union Square Park – South Plaza 14th Street (bet B’way & - June 29 June 12 – 14 Union Square West) Litchfield - Aug 3 New York, NY (ZH) Zankel Hall W 57th St & 7th Ave. Jun 12: The Color Now; Miles Okazaki; Tyshawn Sorey: Wu-Wei; 12 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Jun 13: Jackson Moore 3; Tony Malaby 3; Darcy James Argue’s Moutin Reunion 4; Oz Noy; West Coast / East Coast Dream 7:45, 8:45, 9:15, 10:15; Lewis Barnes’ Hampton Roads, 6; Roy Secret Society Saturday; Jun 14: Shaikh, Formanek, & Peterson; Band. www.syracusejazzfest.com Nathanson’s Sotto Voce, 7; Abdoulaye Alhassane Toure’s Deep TOTEM>; Chris Speed & Friends. www.newlanguages.org Sahara, 8; William Parker’s Inside Songs of Curtis Mayfield Plus Vision Festival XIII: June 10 – 15 Children’s Choir, 9. www.visionfestival.org Red Bank Jazz & Blue Festival: Clemente SoloVelez Cultural Center, May 30 – June 1 107 Suffolk Street, NYC 10002 Jun 10: West Oak Lane Jazz & Arts Festival: June 20 – 22 Red Bank, NJ Opening Invocation w/Hamid Drake, Philadelphia, PA www.redbankfestival.com Patricia Nicholson & William Parker, 7; Notable: Benny Golson Quartet, Kevin Eubanks, Pieces of a Taylor Ho Bynum Sextet, 7:30; Milagro, Dream. www.westoaklanefestival.com Rochester Int’l Jazz Festival: June 13 – 21 8:15; Dave Douglas & Magic Circle Rochester, NY Keys, 8:30; Milagro, K.J. Holmes & David JUNE: National & Canada Dave Douglas Notable: Ben Riley’s MONK Legacy Septet, Al Foster, Rachel Z, Moss, 9:15; The Nu Band 9:30; Milagro, Vision Festival Frank Sinatra, Jr., Amina Figarova 6, Bad Plus, Dave Samuels, 10:15; Mark Dresser Duo, 10:30; Jun June 10 Capital Jazz Fest: June 6 – 8 Dee Dee Bridgewater, Eddie Daniels, John Scofield, Bob 11: Lifetime Achievement Celebration Upper Marlboro MD Sneider, Cindy Blackman, Dave Liebman,Sachal Vasandani, of Edward “Kidd” Jordan: Milagro, 5:30, www.capitaljazz.com Miguel Zenon, Tierney Sutton, Joe Lock, Taylor Eigsti & Julian 7:30 8:15, 10; in Stage, Jordan/Bluiett/ Lage. www.rochesterjazz.com Burrell, 7:00; Bang/Jordan/Parker/Drake, Festival International de Jazz de Montreal: June 26 – July 6 7:45; Milagro, 8:15; Jordan/Fielder Montreal, Canada SanofiAventis Jazz Fest: June 6 – 8 Quartet, 8:30; New Orleans Pays Tribute Jun 26: Michel Portal & Jacky Terrasson; Rémi Bolduc Jazz Drew University, Madison NJ to Kidd Jordan, 9:15; Anderson/Jordan/ Ensemble; Dee Dee Bridgewater; Erik Mongrain; Robben Ford; Jun 6: Winners of HS Band competition; Jun 7: The Bucky Parker/Drake, 10:15; Jun 12: Oliver Katie Melua; That 1 Guy; Nikki Yanofsky; Michel Haumont Pizzarelli, Nicki Parrott & Rossano Sportiello Trio, Ed Metz & the Lake’s New Quintet Project, 7:30; Milagro, Matthew Shipp - Jean-Félix Lalanne; Salif Keita - Vieux Farka Touré; Harry Bob Crosby Bobcats, James Dean Big Band, Cynthia Sayer & 8:15, 9:15, 10:15; James Spaulding’s Vision Festival Manx; Iro Haarla 5; Gilberto Gil; Hank Jones &Oliver Jones; Sparks Fly; Tony DeSare Trio; Jerry Vezza Trio w/ Frank Noviello; Swing Expressions, 8:30Main Stage, June 14 Jordan Officer; David Murray Black Saint 4; Vive La Fête; Jun Jun 8: Earl May Tribute Band feat. Larry Ham, Benny Powell, Hamiet Bluiett 4, 9:30; Stage, Ensemble 27: Buffy Sainte-Marie; Christine Jensen Ingrid Jensen Nordic Bob Crenshaw, Eddie Locke & Dave Glasser; Eric Comstock of Possibilities, 10:30; Jun 13: Ullmann/Swell 4, 7:30; Milagro, Connect; Joe Lovano, Dave Liebman, Ravi Coltrane; Antoine Trio, Swingadelic, Jazz Lobsters Big Band, Carrie Jackson & 8:15, 9:15, 10:15; Simmons/Few, 8:30; Connie Crothers, 9:30; Dufour; Return To Forever w/Chick Corea, Stanley Clarke, Her Swinging All-Stars, Joe Temperley 5. www.njjs.org Sabir Mateen/Henry Grimes 4, 10:30; Wadada Leo Smith’s Al Di Meola & Lenny White; Intakto Todavia; Houdini, The Golden 4, 11:30; Jun 14: Emerging Artists spotlight, 1-6pm; Musical; That 1 Guy; John Jorgenson; Marcus Miller; Harry Syracuse Jazz Festival: June 27 – 28 Milagro, 1, 3, 4, 5, 8:15, 9:15, 10:15; Jeff Arnal 3, 2pm; Celestial Manx; Duo Baars – Henneman; Yael Naim & David Donatien; Syracuse, NY Moon Beams Funk, 7:30, Matthew Shipp Trio, 8:30; Dunmall/ Hank Jones & Joe Lovano; Jake Shimabukuro; Brad Mehldau Randy Brecker; Chaka Khan; Sergio Mendes & Brazil 2008; Ali/Grimes, 9:30; George Lewis/Joëlle Léandre, 10:30; Marraffa/ Solo; Alice Russell; Jun 28: Stacey Kent; Brad Mehldau 3; The Steelheads; Bill Evans; Mike Stern Band; Ivan Lins Band; Braida/Borghini/Spera, 11:30; Jun 15: Milagro, Milagro, 3, 6:45, Guy Nadon; Andy McKee; Sarah Slean; Houdini, The Musical; FRIDAY, AUGUST 1 SATURDAY AUGUST 2 - A L L DAY SUNDAY, AUGUST 3 Spanish Courtyard at 8:00pm Venetian Theater Venetian Theater Tickets: $35.00, $25.00 Tickets: $65.00, $50.00, $35.00 Tickets: $45.00, $35.00 Ahmad Jamal, piano 3:00pm Cuban Piano Summit 3:00pm Aaron Diehl, piano James Cammack Elio Villafranca & Chuchito Valdes 4:15 pm Jimmy Heath Big Band Idris Muhammad 4:15 pm Mulgrew Miller’s Wingspan 5:30 pm Michel Camilo Trio 5:30 pm 50 Years of Bossa Nova Charles Flores & Dafnis Prieto Ricardo Peixoto & Claudia Villela Dinner Break JAZZ FESTIVAL PACKAGE 8:00 pm Wynton Marsalis Purchase tickets for all three shows and receive 10% off each performance. This concert is sponsored, in part, by generous support from Wachovia Wealth Management. It’s Easy To Get There! Caramoor’s beautiful gardens and acoustically perfect open-air theaters are easy to reach from New York City. JUST FOR JAZZ: Exclusive caterer, Great Performances will grill chicken, ribs, burgers and hot dogs on the picnic grounds. To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 13 Al Green; Lizz Wright; That 1 Guy; Coral Egan; Don Ross; Fraser; Lewis Furey; Keb’ Mo’ Solo - Taj Mahal; Dave Brubeck 5; Vinny Valentino; Chrissi Poland De La Soul - Ghislain Poirier Live; Harry Manx; Steamboat 4 & 8; Christian Scott 6; Jul 5: Gino Vannelli; James Carter 5; 4; Bob Mover Emilie Mover 5; Victor Switzerland; Gonzalo Rubalcaba 5; Dominick Farinacci 5; Bettye Lavette; Billy Bang, Ranee Lee, Coral Egan, Yannick Jones; George Garzone, Joe Lovano, Hank Jones & Brad Mehldau; Martin Taylor; Belly Of A Drunken Rieu, Chet Doxas, Lorraine Klaasen, Dawn Tyler Watson Et Judi Silvano & Kenny Werner; Jerry Piano: A Show Celebrating Tom Waits, w/Stewart D’arrietta; Paul Deslauriers, Bryan Lee & The Blues Power Band, Oliver Bergonzi, Bruce Gertz 4; Ray Greene, Yaron Herman 3; Misteur Valaire; Jun 29: Roberto Fonseca, Jones; Yoav; Melingo; Ima; Lee Scratch Perry - The Wailers; Mark Greel 5; Ron Reid, Dick Johnson, François Richard Nouvel Orchestra; Croisière Jazz w/Dorothée Martin Sexton; Torngat; Joe Piscopo; Dave Brubeck 3; Jean Lou Columbo Salute; Brian Walkley; KJ Berryman; Gareth Pearson; Omara Portuondo, Gracias Mayra Vanasse - Miroslav Vitous; Guillaume & The Coutu Dumonts; Denhert; Dane Vannatter, Greg Hopkins Roy Haynes Andrade; Ayo; Woody Allen & His New Orleans Jazz Band; Jul 6: Glenn Miller & Tommy Dorsey Orchestras; James Taylor. Big Band. www.capecodjazzfestival.com Norwalk Jazz That 1 Guy; Coral Egan; We Are Wolves; Vinicio Capossela; www.montrealjazzfest.com Festival Satoko Fujii & Natsuki Tamura Duo; Harry Manx; Hommage July 12 À Léo Ferré w/Roberto Cipelli, Gianmaria Testa, Paolo Fresu, Norwalk Jazz Festival: July 12 Park City Jazz Festival: June 12 – 22 Norwalk, CT Attilio Zanchi & Philippe Garcia; Hank Jones & Charlie Haden; Park City, UT Pierre Bensusan; Belly Of A Drunken Piano; Hilario Duran Trio, Jun 28: Roy Haynes, Damon Grant, www.parkcityjazz.org Socalled; Jun 30: Dianne Reeves; E.S.T.; Jazzlab; Croisière Sherry Winston, Tyrha Lindsey. www. Jazz w/Dorothée Berryman; Strunz & Farah; Woody Allen & His norwalkjazzfestival.com TD Canada Trust Toronto Downtown: June 18 – 29 New Orleans Jazz Band; Melody Gardot; That 1 Guy; Public Downtown Toronto, Canada Enemy; Vinicio Capossela; Corkestra; Charlie Haden Quartet Bethel Woods: July 17 – Aug 17 Notable: Michel Legrand Trio w/Phil Woods, Dave Brubeck 4, Joe West; Anat Cohen 4; Belly Of A Drunken Piano; Marc Cary Trio Bethel, NY LaBarbera & Pat LaBarbera, Gary Morgan Big Band Latin Jazz, Focus; Love Trio In Dub With U-Roy; Jul 1: Croisière Jazz w/ Jul 17: Klezmataics; Jul 19: Tony John Pizzarelli Cyrus Chestnut, Dr. John, e.s.t., Esbjorn Svensson, Bill Charlap Dorothée Berryman; McCoy Tyner 3 w/Ravi Coltrane; Steely Bennett, Jul 31: John Pizzarelli Quartet; Litchfield Dan; Catherine Russell; TV On The Radio; Daniel Lanois; Jul & Sandy Stewart / Renee Rosnes; Geri Allen, Maceo Parker, Lizz Wright, Marcus Miller, Gene Bertoncini, David Binney, Bill Aug 17: Preservation Hall Jazz Band. Aug 3 2: Abbey Lincoln; Richard Galliano Tangaria; Matt Herskowitz www.bethelwoodscenter.org & Guests Mad Gershwin; Orchestra Baobab; Steely Dan; Mays, Marvin Stamm & Alisa Horn. www.torontojazz.com Catherine Russell; Yoav; Melody Gardot; Ladytron; Datarock; Telluride Jazz Celebration: June 5 – 8 Columbia Gas 2008 Summer Jazz Daniel Lanois; The Blind Boys Of Alabama - The Dirty Dozen Telluride, CO Celebration: July 26 Brass Band; McCoy Tyner Solo; Renaud-Garcia Fons 3; Jul www.telluridejazz.org Bellefonte, PA 3: Richard Thompson; Steven Bernstein; Claude Lamothe; Daniel Lanois; Aretha Franklin; Yoav; Melody Gardot; Brooke Byron Stripling, Tom Malone, Russ Fraser; Lewis Furey; Rodrigo Y Gabriela; McCoy Tyner Big JULY: Local & Regional Kassoff, Jay Anderson, Dennis Mackrel, Band w/ Berklee Concert Jazz Orchestra & Christian Scott; Catherine Dupuis, Phil Haynes, Greg Catherine Dupuis Miguel Zenon 4; Jul 4: Cassandra Wilson; Vic Vogel; Trio Cape Cod Jazz Festival: July 3– Aug 29 Johnson, Billy Test, Charlie Heim, State Columbia Gas Michel Donato w/Marin Nasturica & Jon Gearey; Joseph Arthur; Chatham, MA College HS Jazz Band. www.JazzPA. Jazz Celebration Aretha Franklin; Melingo; Yoav; Ima; Daniel Lanois; Brooke Mercedes Hall; Pat Ryan; Burton Greene 3; Dave Schnitter com July 26 tickets online at norwalkjazzfestival.com 14 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Connecticut Jazz Festival: July 25 – 27 Jul 31: Lush Life: Billy Strayhorn w/Bill CharlapCarol Sloane, Moodus, CT Frank Wess, Terell Stafford, Mulgrew Miller, Russell Malone, Blue Street; Cornet Chop Suey; Igor’s Jazz Cowboys; Midiri Peter Washington, Willie Jones III. www.92y.org Brothers 6; Galvanized Jazz Band; Swing ‘39; Heartbeat Jazz Band; Bearcats Jazz Band; Jeff Barnhart’s Coast to Coast All Syracuse Jazz Fest: July 27– 28 Stars; Ivory and Gold; Jazz’M; Sarah Spencer’s Transatlantic Syracuse, NY Band; Sugarfoot Jazz Band; Washboard Slim & The Blue Oz Noy Ivan Lins; Moutin Reunion 4; Mike Stern Band & Lights. www.ctjazz.org An All Star Trib. to Michael Brecker; Chaka Khan. www. syracusejazzfest.com Greater Hartford Festival of Jazz: July 18 – 20 Hartford, CT JULY – National Mike Arroyo; Nick Colionne; Four 80 East; Jeff Lorber; Giacomo Gates; Ray Blue; Kendrick Oliver & New Life Jazz Orchestra. Satchmo Summer Fest: July 31– August 3 www.jazzhartford.org New Orleans, LA This Summer, join New Orleans, the birthplace of jazz, as they Jazz in July at 92nd St. Y: July 22– 31 celebrate the legacy of hometown legend Louis “Satchmo” New York, NY Armstrong. Enjoy traditional & contemporty jazz, brass bands, Jul 22: Somewhere: The Songs of a jazz Mass, world-famous New Orleans cuisine, second-line Leonard Bernstein w/Bill Charlap, Kurt parades, “edutaining” siminars and discussions, Satchmo Club Elling, Jon Gordon, Jimmy Greene, Brian LynchTed Rosenthal, Peter Washington, Strut & more! Info & hotel rates call 504-522-5730. www.fqfi.org Kenny Washington; Jul 23: Piano Jam w/Bill Charlap, Dr. Billy Taylor, Cedar Catalina Island Jazztrax Festival: June 20 – 22 Bill Charlap Walton, Bill Mays, Warren Vaché, Sandy 92nd St Y Avalon, CA Stewart, Peter Washington, Eddie Jazz in July www.jazztrax.com Locke; Jul 24: Vanguard Jazz Orchestra: 42 Years of Swing, Bill Charlap; Jul 28: Jazz Piano Master Cathedral Park Jazz Festival: July 18– 20 Class w/Bill Charlap, Ted Rosenthal, Sean Smith; Jul 29: Portland, OR Jazz Samba! w/Bill Charlap, Vera Mara, Claudio Roditi, Harry www.cpjazz.com Allen, Dario Eskenazi, David Finck, Sandro Albert, Adriano Santos, Mauro Refosco; Jul 30: Tribute to George Shearing Centrum’s Jazz Port Townsend: July 24 – 26 w/Bill Charlap, Fred Hersch, Freddy Cole, Joe Locke, Peter Port Townsend, WA Bernstein, Sean Smith, Kenny Washington, Daniel Sadownick; www.centrum.org Closer to New York City Than You Think... GOSHEN FAIRGROUNDS GOSHEN, CONNECTICUT Bebe Neuwirth Dave Brubeck Paquito D’Rivera Cyrus Chestnut LITCHFIELDJAZZFEST.COM John Pizzarelli Dear Mr. Sinatra with orchestra 13TH ANNUAL AUGUST Litchfield Jazz Festival Wayne Shorter Tribute Big Band 1, 2 & 3 led by David Weiss 2008 Conrad Herwig’s Latin Side of Miles & ‘Trane Cyrus Chestnut Kenny Werner Winard Harper Jimmy Greene Peter Madsen Claire Daly Nicole Zuraitis and much more Photos courtesy of Stuart Feldman & Steven Sussman 16 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 2008 Fillmore Jazz Festival: July 5 – 6 AUGUST – Local & Regional San Francisco, CA www.fillmorejazzfestival.com Caramoor Jazz Festival: August 1 – 3 Katonah, NY Iowa City Jazz Festival: July 4 – 6 Aug. 1: Ahmad Jamal; Aug 2: Elio Iowa City, IA Villafranca, Chuchito Valdes; Mulgrew www.icjazzfest.com Miller’s Wingspan; Ricardo Peixoto and Claudia Villela; Wynton Marsalis; Aug. Jazz in July: July 7 – 18 3: Aaron Diehl, Jimmy Heath Big Band; H Amhearst, MA Michel Camilo Trio w/Charles Flores & Wynton Marsalis www.jazzinjuly.com Dafnis Prieto. www.caramoor.org Caramoor Aug 2 Down by the river in Kingston, New York Jazz in the Valley: July 25 – 27 Litchfield Jazz Festival: August 1 – 3 Ellensburg, WA Goshen, CT JUNE 27, 28 & 29 www.jazzinthevalley.com Aug 1: Friends of the Festival Gala; Paquito D’Rivera w/Zaccai Curtis 3; Bebe Neuwirth; Aug 2: Dave Brubeck; Winard Harper 6; Nicole Zuraitis 4; Kenny Werner 3; Wayne Shorter Tribute Big ALL EVENTS ARE FREE KoSA Int’l Percussion Workshops & Festival: Jul 30 – Aug 3 Band; Dave Brubeck 4; Conrad Herwig’s Latin Side of Miles & Castleton, VT RAIN OR SHINE www.kosamusic.com ‘Trane; Aug 3: John Pizzarelli; Claire Daly’s “Rah! Rah!” Band; Peter Madsen 3; Jimmy Greene 4; Chestnut 3; John Pizzarelli Friday, June 27 at 7:30 PM Mammoth Lakes Jubilee: July 9 – 13 & Dear Mr. Sinatra w/Orchestra. www.litchfieldjazzfest.com e In the council chamber of Mammoth Lakes, CA the historic Kingston City Hall Belleayre Music Festival: Aug 8 – 16 www.mammothjazz.org Highmount, NY Karl Berger’s Aug 8: KJ Denhert 5; Aug 9: Ramsey Lewis; Aug 15: Ken Creative Music Studio Orchestra Sioux Falls Jazz & Blues Festival: July 18 – 19 Sioux Falls, SD Peplowski 4; Aug 16: Two Jazz Diamonds 75th Birthday All Star Celebration for David “Fathead” Newman & Curtis Fuller Saturday, June 28 at 6:00 PM www.jazzfestsiouxfalls.com with Cedar Walton, Rufus Reid, Jimmy Cobb, plus surprise At the Kingston High School Field House guests. www.belleayremusic.org JULY – International Saturday Night Swing JVC Newport Jazz Festival: August 8 – 10 with Århus International Jazz Festival: July 12 – 19 Newport, RI The Jazz Knights of West Point Århus, Denmark Aug 8: Chris Botti; Ledisi; Aug 9: Chris Botti; Wayne Shorter 4; Music of Duke Ellington, Count Basie and more www.jazzfest.dk Dave Holland-Gonzalo Rubalcaba-Chris Potter-Eric Harland; Ledisi; Lettuce w/Fred Wesley; Charlie Hayden-Ethan Iverson- Sunday. June 29 at Noon Atlantic Jazz Festival: July 11– 19 Paul Motian; Jacob Fred Jazz Odyssey; Christian Scott; down in the Rondout Halifax, Nova Scotia Warren Vache 5; Aaron Goldberg 3; Aug 10: Sonny Rollins; www.jazzeast.com The Cyrus Chestnut Trio Herbie Hancock; Anthony Hamilton; Guillermo Klein Y Los Gauchos; Soulive w/Fred Wesley, Lionel Loueke 3; Chris Estoril Jazz/Jazz On a Summer Day: July 4– 15 The Kingston HS Jazz Ensemble Potter’s Underground; George Wein & Newport All-Stars w/ (under the direction of Bob Shaut) Cascais, Portugal Anat Cohen-Howard Alden; Marco Benevento 3 w/Chris Potter; www.projazz.pt Mark Rapp Band. www.festivalnetwork.com Claire Daly’s “Rah Rah” Band Tribute to Rahsaan Roland Kirk Keitelejazz Festivsal: July 23 – 26 Long Island Jazz Festival: August 9 & 10 Äänekoski, Finland Oyster Bay, NY The Jeff “Siege” Siegel Quartet www.aanekoski.fi/keitelejazz Aug 9: Dave Koz, Lizz Wright; Aug 10: Jonathan Butler, Boney The Frank Wess Quintet James. www.fotapresents.org Kongsberg Jazz Festival: July 2 – 5 The Jon Faddis Jazz Orchestra Kongsberg, Norway Sackets Harbor Jazz Festival: August 9 www.kongsberg-jazzfestival.no Sackets Harbor, NY INFORMATION: Speakeasy Jazz Babies; Russ Kassoff Trio, w/Martin Wind, (800) 331.1518 or (845) 331.7517 Montreux Jazz Festival: July 4 – 19 Dennis Mackrel, Catherine Dupuis. www.jazzinsackets.org www.kingstonjazzfestival.com Montreux, Switzerland www.montreuxjazz.com Historic Lewiston Jazz Festival: August 22 – 24 Produced by Planet Arts Lewiston, NY North Sea Jazz Festival: July 11 – 13 www.lewistonjazz.com www.PlanetArts.org Rotterdam, The Netherlands www.northseajazz.com Charlie Parker Festival: August 23– 24 Sponsored by ENTERGY New York, NY Stockholm Jazz Festival: July 16– 19 Aug 23: Hank Jones, Vanessa Rubin, Rashied Ali, Stockholm, Sweden Robert Glasper; Aug 24: Randy Weston, Jerry Gonzalez www.stockholmjazz.com and Fort Apache, Eric Lewis, Gretchen Parlato. www. cityparksfoundation.org Souillac En Jazz: July 14– 20 Souillac, France Tanglewood Jazz Festival: August 29 – 31 www.souillacenjazz.net Lenox, MA Aug 29: Colombian harpist, Edmar Castaneda & Trio w/Joe Umbria Jazz: July 11– 20 Locke; Eliane Elias; Aug 30: Marian McPartland; Donal Fox, Perugia, Italy w/Christian Scott; Dianne Reeves; Aug 31: Eddie Daniels 4; www.umbriajazz.com Mark O’Connor, w/Jane Monheit; Aug 31: Terence Blanchard 18 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 & 30-piece orchestra performing A Tale of God’s Will (A Red Sea Jazz Festival: August 25 – 28 Requiem for Katrina). www.bso.org Eilat, Israel www.redseajazzeilat.com AUGUST – National Rimouski Festi Jazz International: August 28 – 31 Anacortes Jazz Festival: August 30 – September 1 Rimouski, Quebec Canada Anacortes, WA www.festijazzrimouski.com www.anacortes.org Sildajazz: August 6 – 10 Detroit International Jazz Festival: August 29 – Haugesund, Norway September 1 www.sildajazz.no Detriot, MI www.detroitjazzfest.com Zomer Jazz Fiets Tour: August 29 – 30 Netherlands Grand Hotel Labor Day Jazz Festival: August 29 – www.zjft.nl Belleayre Ramsey Lewis September 1 MacKinac Island, MI Festival www.grandhotel.com SEPTEMBER—Local & Regional Orchestra COTA Jazz Festival: Sept 5 – 7 WITH SPECIAL GUEST Ken Peplowski Long Beach Jazz Festival: August 8 – 10 Delawre Water Gap, PA Long Beach, CA Ronan Tynan www.rainbowpromotions.com www.cotajazz.org “TWO JAZZ Long Beach Jazz Festival: Sept 4 – 7 DIAMONDS”– Markham Jazz Festival: August 15 – 17 75TH BIRTHDAY Long Beach, NY (Long Island) Markham, Ontario Canada Brian Wilson CELEBRATION www.markhamjazzfestival.com www.longbeachjazzfest.com David Lake George Jazz Festival: Sept 13 – 14 Mt. Hood Jazz Festival: August 15 – 16 Bacon “Fathead” Gresham, OR Lake George, NY Sep 13: Ted Firth Trio w/Marilyn Mae; Roswell Rudd & Shout; Newman, www.mthoodjazz.org Brothers Pucho & The Latin Soul Brothers; Sep 14: Lee Shaw 3; Cindy Curtis Fuller, Blackman 5; The Either/Orchestra. www.lakegeorgearts.org Band Orange County Classic Jazz Festival: August 7 – 10 Cedar Walton, Costa Mesa, CA SEPTEMBER—National Rufus Reid, www.oc-classicjazz.org Justin Kolb Jimmy Cobb Vail Jazz Festival & Party: Aug 29 – Sep 1 Sedona Jazz Festival: September 23 - 28 WITH SPECIAL GUESTS Sedona, AZ and Friends Vail, CO www.sedonajazz.com www.vailjazz.org Monterey Jazz Festival: Sep 19 – 21 Vince Gill West Coast Jazz Party & Brunch Cruise: August 28 – 31 Bebe Irvine, CA Monterey, CA www.montereyjazzfestival.org Neuwirth www.westcoastjazzparty.com “Kaleidoscope” August—International Jazz By The Boulevard: Sep 19 – 21 A FREE CHILDREN’S Fort Worth, TX Belleayre CLASSICAL MUSIC Jazz Festival Willisau: August 27 – 31 www.fortworthjazz.com EXPERIENCE Willisau, Switzerland Festival Summit Jazz: Sep 26 – 28 Opera: The Teaching www.jazzwillisau.ch Denver, CO Pagliacci Artists Oslo Jazz Festival: August 11 – 16 www.summitjazz.org & OPEN CHORUS Ensemble Oslo, Norway www.oslojazz.no Ziegler Kettle Moraine Jazz Festival: Sep 5 – 6 of the West Bend WI New York www.kmjazz.com Kids’ Opera Philharmonic SEPTEMBER & OCTOBER International DölaJazz - Lillehammer Jazzfestival: Oct 16 – 19 KJ Denhert Chris Isaak Lillehammer, Norway www.dolajazz.no Summer2008 Guelph Jazz Festival: Sep 3 – 7 Guelph Ontarario, Canada BELLEAYRE MUSIC FESTIVAL www.guelphjazzfestival.com Trinidad & Tobago Steel Pan & Jazz Festival: Oct 24 – Nov 1 Tridad & Tobago, West Indies David “Happy” Williams Quintet w/Eddie Henderson & Javon Jackson; Etienne Charles; Tinidad All Stars Steel Orchestra; Skiffle Bunch Stell Orchestra; EXODUS Steel Orchestra; Oliver Lake Steel 4 & more! www.steelpanjazzfestival.com 20 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Calendar of Events Thursdays How to Get Your Gigs and Events Listed in Jazz Improv® NY Sedric Choukroun Brasserie Julien 7:00pm Duane Eubanks Late Nite Session Sweet Rhythm 11:30 Submit your listings via e-mail to firstname.lastname@example.org. Include date, times, location, phone Avram Fefer Trio Le Pere Pinard 9:00 pm number for additional information and or tickets/reservations. Deadline: 14th of the month Gerald Hayes & Qualified Gents Minton’s 9, 10:30 pm 12 preceding publication (e.g. May 14 for June issue). Listings placed on a ﬁrst come basis. Manhattan Ragtime Orchestra The Cajun 8:00pm Pam Purvis Savoy Grill 5:30–7:30pm Barbara Rosene Times Square Brewery 8:00 pm Mondays Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Straight Street Quartet Shutters Café 8:00pm Ron Affif Trio Zinc Bar 9:00, 11:00pm, 12:30, 2AM Annie Ross The Metropolitan Room 7:00 pm Will Vinson Bar Next Door 8:00pm Dave Allen Group Push Cafe 8:00pm Jenny Scheinman; Slavic Soul Party Barbès 7, 9pm Gene Bertoncini Le Madeleine Bistro Fridays Grant Stewart, Joe Cohn Quintet Small’s 10:00pm Cecil’s Big Band w/ Joe Elefante Cecil’s 9:00pm Canal Street Dixieland Jazz/Blues Band Cajun 8:00pm Eddy Davis N. Orleans Jazz Band The Carlyle 8:45pm Greg Tardy Group Fat Cat 10:00 & 11:30pm Sedric Choukroun Brasserie Julien 7:00pm John Farnsworth Jazz Jam Smoke 8:00pm Hammond B3 Organ Grooves Smoke 9, 11, 12:30am Mike Davis Quintet St. Nick’s Pub 10 pm Harlem Renaissance Orchestra Swing 46 8:30 pm Julius Tolentino Jam Cleopatra’s Needle 8:00pm Kelly Friesen Quartet Shelly’s 8:30 pm Jack Jeffers Big Band Minton’s 9, 10:30 pm 12 am Joe Traina & Quintet Sardi’s 9:30 pm Don Hanson Quintet Minton’s 9, 10:30 pm 12 am JFA Jazz Jam Local 802 7 pm Tommy Igoe’s Birdland Big Band Birdland 5:50–7:30pm Mingus Big Band Iridium 8:00 & 10:30pm Nathan Lucas Trio Perk’s Restaurant 8 pm Ralph Lalama’s Bopjuice w/Clifford Barbaro Smalls 12 Les Paul & his Trio Iridium 8:00 & 10:30pm Sweet Rhythm Vocal Series 8:00 & 10:00pm Jan Leder Trio La Prima Donna 8:30 pm Patience Higgins Lenox Lounge 9:30pm Bruce Williams Jam Session Cecil’s 9:00pm Jeremy Manasia 3 Roth’s Westside Steakhse 10:00 pm Scott Whitfield Jazz Orchestra Birdland 5:30pm Oren Nieman Quartet Roth’s Steakhouse 10:00 pm Vanguard Jazz Orchestra V. Vanguard 9:30 & 11:30pm Wednesdays Lenore Raphael Strada 57 7:00pm Melvin Vines Kortet St. Nick’s Pub 10 pm Greg Bandy Group St. Nick’s Pub 10:00 pm Bill Saxton and Friends Bill’s Place 10:00 pm Donald Smith St. Nick’s Pub 10:00 pm Rick Germanson Duo Ruth’s Chris Steakhouse 6:00 pm Tuedays Killer Ray Appleton Sextet Creole 7:30 pm Patience Higgins Sugar Hill 4 Minton’s 9,10:30pm 12am Saturdays Sedric Choukroun Seppi’s 8:30pm Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Brazilian Bossa Jazz Zinc 10:00 & 11:30pm, 1:00am Seleno Clarke Trio Perk’s Restaurant 8:00 pm Jonathan Kreisberg Bar Next Door 8 pm Andy Brown/Petra Jensen Osterua Del Sole 1:00pm Chris Crocco Duo Mario’s Trattoria 8:00 pm Arturo O’Farrill Sextet Birdland 9:00 & 11:00 pm Sedric Choukroun Brasserie Julien 7:00pm Duke Ellington Orchestra Birdland 9:00 & 11:00 pm Ted Hefko Quartet Antique Garage 1:30 pm David Ostwald Birdland 5:30pm Joel Frahm Bar Next Door 8:00pm Whitney Moulton/Brian Cashwell Perk’s Rest. 7:00 pm George Gee Big Band Swing 46 8:30pm–11:30pm Avi Rothbard Ethiopian Restaurant 7:30 pm Alan Jay Palmer & New Soil Band Creole 9:00pm Loston Harris Café Carlyle 9:30 pm Jerry Weldon Trio Smoke 8:30, 10, 11:30 pm Iris Ornig/Chuck Jennings Duo Dodo 12 pm Ken Hatfield Fetch 8:30 pm–12:00am Nathan & Max Lucas Organ Trio Lenox Lounge 6:00pm Wayne Robert/Joe Cohn City Crab 12 pm To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 21 Skye Jazz Trio Jack 9:15, 11 pm Bob Kindred, J. Hart, S. LaSpina Café Loup 12:30–3. Sun 6/1, 6/8, 6/15, 6/22, 6/29: Lapis Luna Trio with Shawn Harry Whitaker & Friends Smalls afterhours Chico O’Farrill Afro-Cuban Jazz Big Band Birdland Aileen Clark, John Merrill & Chris Pistorino at Bocca. 9:00 & 11:00 pm 7:00pm. No cover. 39 E. 19th St. (Bet. Broadway & Park Sundays Satoshi Inoue Trio Sushi Samba 1:00pm Ave. S.) www.boccanyc.com. www.lapisluna.com Gene Bertoncini Le Madeleine Bistro Satoshi Inoue Duo Roth’s Steakhouse 6:00pm Sun 6/1, 6/8, 6/15, 6/22, 6/29: Marjorie Eliot with Rudel Brazilian Samba Jazz Zinc 10:00 & 11:30pm, 1:00am Myrna Lake; Spike Wilner Group Smalls 7, 10:30 pm Drears & Sedric Choukroun at Parlor Entertainment Peter Leitch Duo Walker’s 8:00pm Studio. 4:00pm. Free. 555 Edgecombe Ave., #3F. (Bet. 159th Rick Bogart Trio Seppi’s 3:00 pm Peter Mazza Bar Next Door 8:00 pm & 160th St.). 212-781-6595. http://ParlorEntertainment.com. Anat Cohen & Friends; Ari Hoenig 3 Louis 649 6, 9 pm Jazz Standard Youth Orchestra Jazz Standard 2:00pm www.sedric.net David Coss & Trio Garage 7:00pm Rudell Drears, Sedric Choukroun & Marjorie Elliot Mon 6/2, 6/9, 6/16, 6/23, 6/30: Vince Giordano & His Toru Dodo Jam Cleopatra’s Needle 8:00pm Parlor Entertainment 4:00pm Nighthawks Orchestra at Sofia’s Restaurant, Edison Eli Fountain’s Organizers Minton’s 9, 10:30 pm 12 am TC III St. Nick’s Pub 10:30 pm Hotel. 3 sets, 8:00pm – 11:00pm. $15 cover, $15 min. Ted Hefko Quartet Antique Garage 1:30 pm Chris Washburne SYOTOS Band Smoke 9, 11:00pm, “Dancing to the Music of the 1920’s and 1930’s.” 221 W. 46th Ear Regulars w/Jon-Erik Kellso The Ear Inn 8:00pm 12:30am St. (Bet. Broadway & 8th). 212-719-5799. ww.myspace.com/ VinceGiordanotheNighthawks New York City Mon 6/2: Museum of Modern Art: Jazz Scores. A Marriage Fulton Ferry Landing, Brooklyn Made in Heaven, 6:30pm. 11 W. 53rd St. 212-708-9400. email@example.com Fri 5/2: Tommy Igoe’s “Birdland Big Band” at Birdland. www.moma.org Every Friday 5:30-7:30PM. 315 W. 44th St. Visit TommyIgoe. bargemusic (718) 624-2083 Mon 6/2: Paul Knopf at St. Peter’s Church. “Chamber www.bargemusic.org com for surprise special guest line-up. Sun 6/1: Museum of Modern Art: Jazz Scores. Compositions & Jazz Improvisation.” 7:30pm. 54th & Lexing- The Criminal, 2:30pm. Alfie, 5:00pm. 11 W. 53rd St. ton. 212-935-2200. www.saintpeters.org/jazz. 212-708-9400. www.moma.org Tue 6/3, 6/10, 6/17, 6/24: Sedric Choukroun Duo at JUNE JAZZ CALENDAR: THURSDAYS at 8PM Sun 6/1: Sasha Dobson with Neal Miner & Andrew Borger Seppi’s. 8:30pm. In Parker Meridian Hotel, 123 W. 56th St. 212-708-7444. www.sedric.net BRAZILIAN JAZZ NIGHT at North Square Lounge. 12:30pm & 2:00pm. No cover or Tue 6/3: Ken Hatfield with Hans Glawischnig & Valery 12 LUIZ SIMAS PIANO AND VOCALS min. 103 Waverly Pl. @ Macdougal. 212-254-1200. www. ITAIGUARA BASS northsquarejazz.com. Ponomarev at Fetch. 7:30pm. No cover. 1649 Third Ave. ADRIANO SANTOS DRUMS (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. Sun 6/1: Peter Leitch & Sean Smith at Walker’s. 8:00pm. LOGAN RICHARDSON ALTO SAXOPHONE No cover. 16 N. Moore St., TriBeCa. Tue 6/3: Russ Kassoff Big Band with Catherine Dupuis 19 JESSE ELDER PIANO Sun 6/1: Sean Wayland Quintet at St. Peter’s Church. at NYC Baha’i Center. 8:00pm & 9:30pm. 53 E. 11th St. NASHEET WAITS DRUMS 5:00pm. Jazz Mass. Free. 54th & Lexington. 212-935-2200. (Bet University Place & Broadway) 212-222-5159. www. TED KOOSHIAN’S STANDARD ORBIT QUARTET www.saintpeters.org/jazz. bahainyc.org/jazz.html. TED KOOSHIAN PIANO 26 JEFF LEDERER SAXOPHONE AND CLARINETS Sun 6/1: Adam Birnbaum Trio at Blue Note. 12:30pm & Tue 6/3: Luther “Guitar Junior” Johnson at Tourneau TOM HUBBARD BASS 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd TimeMachine. Noon & 1:00pm. Free. 11th Annual ORIS WARREN ODZE DRUMS AND PERCUSSION St. 212-475-8592. www.bluenote.net Spirit of Jazz Concert Series. 57th & Madison Ave. 22 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 JUNE 2008 EVENTS 973-624-8880, x245. JAZZMUSEUMINHARLEM.ORG Wed 6/4: Museum of Modern Art: Jazz Scores. The Criminal (The Concrete Jungle), 6:00pm. Alfie, 8:00pm. 11 W. 53rd St. 212-708-9400. www.moma.org THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS Harlem Speaks Wed 6/4: Susan Pereira with Rodrigo Ursaia, Manu Koch, Michael LaValle & Vanderlei Pereira at Enzo’s Jazz at The Jolly Madison. 8:00pm & 9:30pm. $15, 1 drink min. 22 East 38th St. at Madison Ave. 212-802-0600. In the Whaler Bar located in the Lobby. www.jollymadison.com/ A SPECIAL SERIES HONORING HARLEM HEROES amenities_Enzo.htm. www.susanpereira.com Wed 6/4: Pete Robbins at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. june 12: George Wein june 26: Emme Kemp Thu 6/5: 55 Bar. Davy Mooney with John Ellis, Greg Ritchie & Mark Anderson @ 7:00pm. Adam Rogers with Pianist/Entrepreneur Pianist Fima Ephron & Nate Smith @ 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. T IME : 6:30 -- 8:30 pm P RICE : Free F OR R ESERVATIONS : 212-348-8300 Thu 6/5: Museum of Modern Art: Jazz Scores. A Bucket LOCATION: Harlem School of the Arts, 645 St. Nicholas Avenue (141st St.) of Blood, 6:00pm. Pianissimo, 8:00pm. 11 W. 53rd St. 212-708-9400. www.moma.org Thu 6/5, 6/12, 6/19, 6/26: Sedric Choukroun Duo at Photo courtesy of the estate of William P. Gottlieb, Copyright 1979, www.jazzphotos.com Brasserie Julien. 7:00pm. 1422 3rd Ave. (Bet. 80th & 81st St.) 212-744-6327. www.brasseriejulien.com. www.sedric.net Fri 6/6, 6/13, 6/20 & 6/27: Mark Rapp at Carnegie Club. 9:00pm. 2-drink min. 156 W. 56th St. 212-957-9676. www. thecarnegieclub.net. www.markrapp.com Fri 6/6: Grassella Oliphant Quintet at Roth’s Westside Steakhouse. 9:00pm. No cover. 680 Columbus Ave. @ 93rd St. 212-280-4103. Fri 6/6, 6/13, 6/20, 6/27: Jim West at Café Brama. 157 2nd Ave. (At 10th St.) 212-358-7140. www.cafebrama.us. June 6 Jane Ira Bloom, Saxophonist Fri 6/6: Museum of Modern Art: Jazz Scores. The Pawnbroker, 6:00pm. In Cold Blood, 8:30pm. 11 W. 53rd St. June 13 Joe Wilder, Trumpeter 212-708-9400. www.moma.org $18 ADVANCE $20 AT DOOR Fri 6/6, 6/13, 6/20, 6/27: Sedric Choukroun Duo at Brasserie Julien. 7:00pm. 1422 3rd Ave. (Bet. 80th & 81st St.) 212-744-6327. brasseriejulien.com. www.sedric.net Fri 6/6: Lauren Hooker with Allen Farnham, Bill Moring & Tim Horner at Enzo’s Jazz at The Jolly Madison. 8:00pm & 9:30pm. $15, 1 drink min. 22 East 38th St. at Madison Harlem Speaks Ave. 212-802-0600. In the Whaler Bar located in the Lobby. www.laurenhooker.com Fri 6/6: Teodross Avery at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. S P E C I A L E V E N T Fri 6/6, 6/13, 6/20, 6/27: Taeko Fukao with Doug Richardson at Ethiopian Restaurant. 8:00pm. 1582 York Johnny Colon & NY Salsa Jazz Ave. 212-717-7311. www.songbirdtaeko.com Fri 6/6, 6/13, 6/27: Birdland Big Band directed by Tommy Igoe. 5:15pm. 315 W. 44th St. 212-581-3080. Jazz for Curious Listeners Fri, Sat & Sun: Junior Mance & Hide Tanaka at Café Free classes celebrating Harlem & its legacy Interview 2 pm, Dance 3:30 pm FREE Loop. Fri & Sat; 8:00-11PM; Sun 6/8: 6:30-9:30pm. 105 W. 13th St. 212-255-4746. www.juniormance.com Tuesdays 7:00 - 8:30 p.m. THIS MONTH: The Riverside Theatre Sat 6/7: Maritri at Blue Note. Late Night Groove Series. Location: Harlem School of the Arts Art Tatum at The Riverside Church 12:30am.131 W. 3rd St. 212-475-8592. 91 Claremont Avenue 645 St. Nicholas Avenue (141st St.) New York, NY 10027 Sat 6/7, 6/14, 6/21, 6/28: Itamar Borochov at Café Brama. 157 2nd Ave./10th St. 212-358-7140. cafebrama.us Attend any individual class, Registration is always open June 3, June 10 Sat 6/7: Museum of Modern Art: Jazz Scores. The call 212-348-8300 or register online june 17, june 24 CALL 212-348-8300 FOR RESERVATIONS Wild One, 2:30pm. The Organization, 6:00pm. The Taking of Pelham One Two Three, 8:15pm. 11 W. 53rd St. 212-708-9400. www.moma.org Sat 6/7: Gentle Gentlemen of Jazz (Marcus Persiani, GRAMERCY PARK BLOCK ASSOCIATION INVITES YOU TO OUR Emanuel Harold & Aaron James) with vocalists TC 14TH ANNUAL FREE SPRING CONCERT A Tribute to Duke Ellington III, Tony Hewitt, Rome Neal, Dwight West, Ulysses L. Slaughter Jr. at The Nuyorican Poets Café. 9:00pm. $15. Complimentary banana puddin’ for all. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167. www.nuyorican.org. www. Thursday, June 5 6:30 - 8:00 pm myspace.com/bananapuddinjazz Featuring the National Jazz Museum in Harlem All Star Big Band Sat 6/7, 6/14, 6/21, 6/28: Sedric Choukroun Duo at Brasserie Julien. 7:00pm. 1422 3rd Ave. (Bet. 80th & 81st St.) 212-744-6327. brasseriejulien.com. www.sedric.net Location: Calvary Christian Church (Park Ave. S. at 21st St.) Sat 6/7: Dwight West at Nuyorican Poet’s Café. 9:00pm. Info: Call Arlene S. Harrison at 212-260-3875 $15. 236 E. 3rd St. (Bet. B & C). www.nuyorican.org. www. Come and see our new bluearkrecords.com Sun 6/8: Museum of Modern Art: Jazz Scores. The visitor's center! Pawnbroker, 2:30pm. In Cold Blood, 5:00pm. 11 W. 53rd St. OPEN M-F 10 AM - 4 PM the Smithsonian Institution 212-708-9400. www.moma.org Affiliations Program DOCTOROW FAMILY FOUNDATION 104 East 126th Street, #2D, New York, NY 10035 Sun 6/8: Elin with Leonardo Cioglia, Ricardo Vogt & Rafael To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 23 Barata at Blue Note. 12:30pm & 2:30pm. $24.50 includes Cachaça. 7:00pm & 8:30pm. 35 W. 8th St. 212-388-9099. Christopher St. 212-929-9883. www.55bar.com. www. brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www. www.cachacajazz.com. katiebull.com bluenote.net Mon 6/9: Museum of Modern Art: Jazz Scores. A Bucket of Fri 6/13: Grassella Oliphant Quintet at Roth’s Westside Sun 6/8: Peter Leitch & Ugonna Okegwo at Walker’s. Blood, 6:15pm. 11 W. 53rd St. 212-708-9400. www.moma.org Steakhouse. 9:00pm. No cover. 680 Columbus Ave. @ 93rd Tue 6/10: Houston Person Quartet at Tourneau Time St. 212-280-4103. 8:00pm. No cover. 16 N. Moore St., TriBeCa. Machine. Noon & 1:00pm. Free. 11th Annual ORIS Spirit Fri 6/13: Museum of Modern Art: Jazz Scores. A Bout de Sun 6/8: 5:00: Dick Katz Trio at St. Peter’s Church, Jazz of Jazz Concert Series. 57th & Madison Ave. 973-624-8880, Souffle (Breathless), 6:00pm. 11 W. 53rd St. 212-708-9400. Vespers. 7:00pm: Jazz memorial for Patti Brown. Free. 54th www.moma.org & Lexington. 212-935-2200. www.saintpeters.org/jazz. x245. Tue 6/10: Daoud David Williams & the Spirit of Life Fri 6/13: Hypnotic Brass Ensemble at Blue Note. Late Sun 6/8: Roz Corral with Ron Affif & Paul Gill at North Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. Ensemble with Joe Lee Wilson at NYC Baha’i Center. Square Lounge. 12:30pm & 2:00pm. No cover or min. www.bluenotejazz.com 8:00pm & 9:30pm. 53 E. 11th St. (Bet University Place & 103 Waverly Pl. @ Macdougal. 212-254-1200. www. Broadway) 212-222-5159. www.bahainyc.org/jazz.html. Fri 6/13: Vision Festival Main Stage. Ullmann/Swell 4 northsquarejazz.com. Tue 6/10: Vision Festival Main Stage. Opening invocation @ 7:30pm. Sonny Simmons & Bobby Few @ 8:30pm. Mon 6/9: John Fedchock New York Big Band at with Hamid Drake/Patricia Nicholson/William Parker Wadada Leo Smith Quartet @ 9:30pm. Connie Crothers @ 10:30pm. Saboir Mateen/Henry Grimes Quartet @ @ 7:00pm. Taylor Ho Bynum Sextet @ 7:30pm. Dave 11:30pm. At Clemente Soto Velez, 107 Suffolk St. (At Douglas & Magic Circle @ 8:30pm. NU Band @ 9:30pm. Rivington St.) 800-838-3006. www.visionfestival.org Mark Dresser Duo @ 10:30pm. At Clemente Soto Velez, Fri 6/13: Tessa Souter Trio at 55 Bar. 6:00pm. 55 107 Suffolk St. (At Rivington St.) 800-838-3006. www. Christopher St. 212-929-9883. www.55bar.com. www. visionfestival.org tessasouter.com Tue 6/10: Sean Nowell with Nir Felder, Adam Klipple, Fri 6/13: Jay Clayton with Peggy Stern, Dean Johnson Janek Gwizdala & Cliff Almond at 55 Bar. 10:00pm. 55 & Tony Moreno at Enzo’s Jazz at The Jolly Madison. Christopher St. 212-929-9883. www.55bar.com. 8:00pm & 9:30pm. $15, 1 drink min. 22 East 38th St. at Tue 6/10: Ken Hatfield with Hans Glawischnig & Rob Madison Ave. 212-802-0600. In the Whaler Bar located in Thomas at Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet. the Lobby. www.jollymadison.com/amenities_Enzo.htm. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. www.jayclayton.com Tue 6/10: Jack Wilkins & Bucky Pizzarelli at Bella Fri 6/13: The Neo Bass Ensemble featuring Lisle Atkinson Luna Restaurant. 7:30pm. 584 Columbus Ave. @ 88th St. at Symphony Space, The Thalia Theater. “A Tribute to 212-877-2267. www.jackwilkins.com Thelonious Monk.” 8:00pm. $23. 95th & Broadway. Wed 6/11: Brian Villegas with Robert Rodriguez at Enzo’s Fri 6/13: New Languages 4th Annual Festival, The Living Jazz at The Jolly Madison. 8:00pm & 9:30pm. $15, 1 drink Theater. $10; $25 for all events. 9:00pm: Jackson Moore min. 22 East 38th St. at Madison Ave. 212-802-0600. In the with Eivind Opsvik & Eric Mcpherson. 10:00pm: Tony Whaler Bar located in the Lobby. www.jollymadison.com/ Malaby with Matt Brewer & Gerald Cleaver. 11:00pm: amenities_Enzo.htm. Darcy James Argue’s Secret Society. 21 Clinton St. Wed 6/11: Taeko Fukao with Doug Richardson Trio 212-792-8050. www.newlanguages.org. at Mobay Uptown. 7:30pm. No cover. 17 W. 125th St. Fri 6/13: “Jazz & Tap” at Tribeca Performing Arts Center, 212-876-9300. www.songbirdtaeko.com Borough of Manhattan Community College. Concert @ Wed 6/11: KJ Denhert at Virgin MegaStore Union Square. 8:30pm with Harvie S, Phil Woods, Roxane Butterfly, Jane 52 E. 14th St. www.kjdenhert.com Goldberg, Tina Pratt & Max Pollak, $25. Free Humanities Wed 6/11: Museum of Modern Art: Jazz Scores. The Wild Program @ 7:00pm with artists who performed at Jazzmania, One, 8:15pm. 11 W. 53rd St. 212-708-9400. 199 Chambers St. 212-220-1460. www.tribecapac.org. Wed 6/11: Vision Festival Main Stage. Kidd Jordan, Fri 6/13: Janek Gwizdala with Elliot Mason, Brad Mason, Bluiett & Dave Burrell @ 7:00pm. Billy Bang Quartet @ Justin Vasquez, Tim Miller, Oli Rockberger & Tobias 7:45pm. Kidd Jordan Quartet @ 8:30pm. New Orleans Ralph at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. Pays Tribute @ 9:15pm. Fred Anderson Quartet @ www.55bar.com. 10:15pm. At Clemente Soto Velez, 107 Suffolk St. (At Fri, Sat & Sun: Junior Mance & Hide Tanaka at Café Rivington St.) 800-838-3006. www.visionfestival.org Loop. Fri & Sat; 8:00-11PM; Sun 6/8: 6:30-9:30pm. 105 W. Thu 6/12: Gene Ess Quartet with Tigran Hamasyan at 13th St. 212-255-4746. www.juniormance.com Cachaça. 7:00pm. $15 cover, $15 min. 35 W. 8th St. (Bet. Sat 6/14: Digg Deep at Blue Note. Late Night Groove 5th & 6th). 212-388-9099. www.jazzgenemusic.com Series. 12:30am.131 W. 3rd St. 212-475-8592. Thu 6/12: Antonio Ciacca with Kengo Nakamura & Sat 6/14: Martial Solal at the Museum of Modern Art. Rodney Green at Roth’s Westside Steakhouse. 8:00pm. 7:30pm. 11 W. 53rd St. 212-708-9400. www.moma.org 680 Columbus Ave. @ 93rd St. 212-280-4103. www. Sat 6/14: Sweet Plantain at Casa Frela Gallary. 8:00pm. antoniociacca.com $20 cover includes free wine & hors d’oeuvres. 47 W. 119th Thu 6/12: Museum of Modern Art: Jazz Scores. The Taking St. 212-722-8577. www.casafrela.com of Pelham One Two Three, 6:00pm. The Organization, Sat 6/14: Vision Festival Main Stage. Poetry reading 8:15pm. 11 W. 53rd St. 212-708-9400. @ 1:00pm. Jeff Arnal Trio @ 2:00pm. Nabaté Isles’ Thu 6/12: Vision Festival Main Stage. Oliver Lake New Imagination @ 3:00pm. Kioku @ 4:00pm. Mazz Swift Trio Quintet @ 7:00pm. James Spaulding Swing Expressions @ 5:00pm. P. Nicholson Group @ 7:30pm. Matthew Shipp @ 8:30pm. Bluiett’s Bio-Electric @ 9:30pm. Ensemble Trio @ 8:30pm. Paul Dunmall Trio @ 9:30pm. George of Possibilities @ 10:30pm. At Clemente Soto Velez, Lewis & Joelle Leandre @ 10:30pm. Edoardo Marraffa 107 Suffolk St. (At Rivington St.) 800-838-3006. www. Quartet @ 11:30pm. At Clemente Soto Velez, 107 Suffolk visionfestival.org St. (At Rivington St.) 800-838-3006. www.visionfestival.org Thu 6/12: New Languages 4th Annual Festival, The Sat 6/14: KJ Denhert at 55 Bar. 10:00pm, 11:00pm & Living Theater. $10; $25 for all events. 8:00pm: The 1:00am. 55 Christopher St. 212-929-9883. www.55bar.com. Color Now with Ty Cumbie, Daniel Carter, Adam Lane www.kjdenhert.com & Lukas Ligeti. 9:00pm: Mirror with Miles Okazaki, Sat 6/14: New Languages 4th Annual Festival, The Living David Binney, Miguel Zenon, Jonathan Flaugher & Dan Theater. $10; $25 for all events. 9:00pm: Aaron Ali Shaikh, Weiss. 10:00pm: Tyshawn Sorey’s Wu-Wei (Chapter 3). Michael Formanek & Randy Peterson. 10:00pm: TOTEM 21 Clinton St. 212-792-8050. www.newlanguages.org. with Bruce Eisenbeil, Tom Blancarte & Andrew Drury. Thu 6/12: Willie Martinez La Familia Sextet at FB 11:00pm: Chris Speed, Skuli Sverrison & Jim Black. 21 Lounge. 9:00pm. 169 E. 106th St. www.fondaboricua.com, Clinton St. 212-792-8050. www.newlanguages.org. www.williemartinez.com Sun 6/15: Museum of Modern Art: Jazz Scores. A Bout de Thu 6/12: Katie Bull with Frank Kimbrough, Joe Fonda, Souffle (Breathless), 2:30pm. Échappement Libre, 5:00pm. Harvey Sorgen & Jeff Lederer at 55 Bar. 7:00pm. 55 11 W. 53rd St. 212-708-9400. www.moma.org 24 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Sun 6/15: Roz Corral with Jonathan Kreisberg & Joe member. 58 Park Ave. (Bet. 37th & 38th St.) 212-847-9737. 10:00pm. “DJ Meets Jazz.” Part of JVC Jazz Festival. 158 Martin at North Square Lounge. 12:30pm & 2:00pm. No www.scandinaviahouse.org Bleecker St. 212-796-0741. www.lepoissonrouge.com cover or min. 103 Waverly Pl. @ Macdougal. 212-254-1200. Thu 6/19: Antonio Ciacca with Kengo Nakamura & Rod- Fri 6/20: Hilmar Jensson at Scandinavia House. 7:00pm. www.northsquarejazz.com. ney Green at Roth’s Westside Steakhouse. 8:00pm. 680 $15; $12 ASF member. 5-concert pass, $60; $45 ASF Sun 6/15: 5:00pm: Sarah McLawler & Les Jazz Femmes at Columbus Ave. @ 93rd St. 212-280-4103. antoniociacca.com member. 58 Park Ave. (Bet. 37th /38th St.) 212-847-9737. St. Peter’s Church, Jazz Vespers. 7:00pm: Jazz memorial Thu 6/19: Russ Kassoff at Bryant Park, Upper Terrace. scandinaviahouse.org. www.hilmarjensson.com for Buddy Miles. Free. 54th & Lexington. 212-935-2200. 5:00pm. 42nd St. Bet. 5th & 6th Ave. www.bryantpark.org Fri 6/20: String of Pearls Vocal Trio with Sue Halloran, www.saintpeters.org/jazz. Thu 6/19: Raul Midón & Lizz Wright at New York Society Jeanne O’Connor, Holli Ross, Tony Regusis & Andy Sun 6/15: Peter Leitch & Thomson Kneeland at Walker’s. for Ethical Culture. 8:00pm. “Voices beyond Boundaries.” Eulau at Enzo’s Jazz at The Jolly Madison. 8:00pm & 8:00pm. No cover. 16 N. Moore St., TriBeCa. Part of JVC Jazz Festival. 2 W. 64th St. & Central Park W. 9:30pm. $15, 1 drink min. 22 East 38th St. at Madison Ave. Sun 6/15: Kenny Barron Trio at Schomburg Center for 877-655-4TIX. www.nysec.org 212-802-0600. www.stringofpearls.net Research in Black Culture. 3:00pm. Part of JVC Jazz Thu 6/19: Bill Frisell Trio with special guests at (le) Fri 6/20: Jill Scott at Carnegie Hall, Stern Auditorium/ Festival. 515 Malcolm X Blvd & W 135th St. 212-491-2200. poisson rouge. 7:00pm & 9:00pm. Part of JVC Jazz Perelman Stage. 8:00pm. $35–$95. Part of JVC Jazz www.nypl.org/research/sc Festival. 158 Bleecker St. 212-796-0741. Festival. 57th St. & 7th Ave. 212-247-7800. Sun 6/15: Sony Holland with the Ted Rosenthal Quartet Thu 6/19: Jazz Ensemble from the University of the Arts, at Blue Note. 12:30pm & 2:30pm. $24.50 includes brunch, The Northern Illinois Unversity Liberace Jazztet, Greater show & 1 drink. 131 W. 3rd St. 212-475-8592. Hartford Academy Jazz Ensemble at Union Square Park, Sun 6/15: Bill Stevens with Rich Russo & Gary Fogel at South Plaza. 12:30pm. Free. Part of JVC Jazz Festival, 14th The Blue Owl. 8:30pm & 10pm. $10 cover. 196 2nd Ave. St. (Bet. Broadway & Union Sq. West). Sun 6/15: Vision Festival Main Stage. Lew Barnes Thu 6/19: MUSICMUSICMUSIC with Fabian Kallerdahl, Michael Edlund & Josef Kallerdahl at Scandinavia Quintet @ 6:00pm. Roy Nathanson Quintet @ 7:00pm. House. 7:00pm. $15; $12 ASF member. 5-concert pass, Abdoulaye Alhassane Toure’s Deep Sahara @ 8:00pm. $60; $45 ASF member. 58 Park Ave. (Bet. 37th & 38th St.) William Parker Group @ 9:00pm. At Clemente Soto 212-847-9737. www.scandinaviahouse.org Velez, 107 Suffolk St. (At Rivington St.) 800-838-3006. Fri 6/20: Swingadelic at Swing 46. 9:30pm. 349 W. 46th St. www.visionfestival.org www.swing46.com/home.htm Mon 6/16: Museum of Modern Art: Jazz Scores. Sait-on Fri 6/20: Grassella Oliphant Quintet at Roth’s Westside jamais? (No Sun in Venice), 6:00pm. Échappement Libre, Steakhouse. 9:00pm. No cover. 680 Columbus Ave. @ 93rd 8:00pm. 11 W. 53rd St. 212-708-9400. www.moma.org St. 212-280-4103. Mon 6/16: Iro Haarla Quintet with Verneri Pohjola, Fri 6/20: Billy Hart Academy featuring Theo Croker Kari “Sonny” Heinlä, Reino Laine & Uffe Krokfors at at the Rubin Museum of Art. 7:00pm 150 W. 17th St. Scandinavia House. 7:00pm. $15; $12 ASF member. 212-620-5000. www.rmanyc.org 5-concert pass, $60; $45 ASF member. 58 Park Ave. (Bet. Fri 6/20 Chops Horns Band at Blue Note. Late Night 37th & 38th St.) 212-847-9737. www.scandinaviahouse.org Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. Tue 6/17: Chip White’s Ensemble at NYC Baha’i Center. Fri 6/20: Carl Craig’s Tribe at (le) poisson rouge. 8:00pm & 9:30pm. 53 E. 11th St. (Bet University Place & Broadway) 212-222-5159. www.bahainyc.org/jazz.html. Tue 6/17: Ravi Coltrane, Geri Allen, Charlie Haden, Jack DeJohnette & Brandee Younger at New York Society for Ethical Culture. 8:00pm. “Tribute to Alice Coltrane.” Part of JVC Jazz Festival. 2 W. 64th St. & Central Park W. 877-655-4TIX. www.nysec.org Tue 6/17: Beady Belle with Beate S. Lech, Marius Reksjø & Erik Holm at Scandinavia House. 7:00pm. $15; $12 ASF member. 5-concert pass, $60; $45 ASF member. 58 Park Ave. (Bet. 37th & 38th St.) 212-847-9737. www. scandinaviahouse.org Tue 6/17: Eric Reed Quartet at Tourneau TimeMachine. Noon & 1:00pm. Free. 11th Annual ORIS Spirit of Jazz Concert Series. 57th & Madison Ave. 973-624-8880, x245. Tue 6/17: Amy Cervini at 55 Bar. 7:00pm. Free; 1-drink min. 55 Christopher St. 212-929-9883. www.55bar.com. Tue 6/17: Ken Hatfield with Hans Glawischnig & Valery Ponomarev at Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. Wed 6/18: Museum of Modern Art: Jazz Scores. Sait- on jamais? (No Sun in Venice), 6:45pm. 11 W. 53rd St. 212-708-9400. www.moma.org Wed 6/18: Billy Taylor, Bucky Pizzarelli, Ken Peplowski, Byron Stripling, Ted Rosenthal, Wycliffe Gordon, Gene Bertoncini, Jay Leonhart & Lewis Nash at New York Society for Ethical Culture. 8:00pm. “Celebration of 35 Years of Jack Kleinsinger Highlights in Jazz.” Part of JVC Jazz Festival. 2 W. 64th St. & Central Park W. 877-655-4TIX. www.nysec.org Wed 6/18: Charlie Haden Quartet West at (le) poisson rouge. 7:30pm & 10:00pm. Part of JVC Jazz Festival. 158 Bleecker St. 212-796-0741. www.lepoissonrouge.com Wed 6/18: Gabriele Tranchina with Joe Vincent Tranchina, Santi Debriano, Renato Thoms & Taro Okamoto at Enzo’s Jazz at The Jolly Madison. 8:00pm & 9:30pm. $15, 1 drink min. 22 East 38th St. at Madison Ave. 212-802-0600. www.gabrieletranchina.com Wed 6/18: Jacob Anderskov at Scandinavia House. 7:00pm. $15; $12 ASF member. 5-concert pass, $60; $45 ASF To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 25 Fri 6/20: Cecil Taylor & George Cables at New York Kozlov & Adam Cruz at 55 Bar. 10:00pm. 55 Christopher Society for Ethical Culture. 8:00pm. “The Solo Piano.” St. 212-929-9883. www.55bar.com. Part of JVC Jazz Festival. 2 W. 64th St. & Central Park W. Tue 6/24: Jack Wilkins & Howard Alden at Bella Luna 877-655-4TIX. www.nysec.org Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. Fri, Sat & Sun: Junior Mance & Hide Tanaka at Café 212-877-2267. www.jackwilkins.com Loop. Fri & Sat; 8:00-11PM; Sun 6/8: 6:30-9:30pm. 105 W. Tue 6/24: Nabate Isles’ Quartet at NYC Baha’i Center. 13th St. 212-255-4746. www.juniormance.com 8:00pm & 9:30pm. 53 E. 11th St. (Bet University Place & Sat 6/21: Sarah DeLeo at Tavern on the Green. 1:00pm. Broadway) 212-222-5159. www.bahainyc.org/jazz.html. “Make Music New York Day.” Free. Central Park & W. 67th Tue 6/24: Steve Turre Quintet at Tourneau TimeMachine. St. www.sarahdeleo.com Noon & 1:00pm. Free. 11th Annual ORIS Spirit of Jazz Sat 6/21: E.S.T. Aethereal Bace @ 7:30pm. Simone Concert Series. 57th & Madison Ave. 973-624-8880, x245. KJ Denhert @ 11:00pm. Part of JVC Jazz Festival. 158 Tue 6/24: Chris Botti at Carnegie Hall, Stern Auditorium/ Bleecker St. 212-796-0741. www.lepoissonrouge.com Perelman Stage. 8:00pm. $35–$85. Part of JVC Jazz Sat 6/21: Shelley Nicole & BlakBushe at Blue Note. Late Festival. 57th St. & 7th Ave. 212-247-7800. Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. Tue 6/24: Marco Benevento Trio, DJ Logic Project, Logic, www.bluenote.net Mocean Worker at (le) poisson rouge. 8:00pm. “Turntables Sat 6/21: Chanda Rule at Casa Frela Gallary. 8:00pm. $20 & Samples Meet Jazz.” Part of JVC Jazz Festival. 158 cover includes free wine & hors d’oeuvres. 47 W. 119th St. Bleecker St. 212-796-0741. 212-722-8577. www.casafrela.com Tue 6/24: Ken Hatfield with Gene Torres & Rob Thomas Sat 6/21: Hank Jones & Special Guests at New York at Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet. 92nd & Society for Ethical Culture. 8:00pm. “Celebrating 90 Years 93rd St.) 212-289-2700. www.kenhatfield.com. of Hank Jones.” Part of JVC Jazz Festival. 2 W. 64th St. & Tue 6/24: The Bad Plus 1 featuring Kurt Rosenwinkle Central Park W. 877-655-4TIX. www.nysec.org Empirical at New York Society for Ethical Culture. Sat 6/21: Sergio Mendes Zap Mama at Carnegie Hall, 8:00pm. “A JVC New York Exclusive.” Part of JVC Jazz Stern Auditorium/Perelman Stage. 8:00pm. $35–$90. Festival. 2 W. 64th St. & Central Park W. 877-655-4TIX. Part of JVC Jazz Festival. 57th St. & 7th Ave. 212-247-7800. Tue 6/24: Tierney Sutton Band at Carnegie Hall, Zankel www.carnegiehall.org. Hall. 8:30pm. From $55. Part of JVC Jazz Festival. 57th St. Sun 6/22: Bob DeVos at Blue Note. 12:30pm & 2:30pm. & 7th Ave. 212-247-7800. $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. Wed 6/25: Pamela Luss with John DiMartino, David Mann 212-475-8592. www.bluenote.net & Chris Higgins at Enzo’s Jazz at The Jolly Madison. Sun 6/22: Dave Rivello Ensemble at St. Peter’s Church. 8:00pm & 9:30pm. $15, 1 drink min. 22 East 38th St. at 5:00pm. Jazz Vespers. Free. 54th & Lexington. 212-935-2200. Madison Ave. 212-802-0600. www.pamelaluss.com www.saintpeters.org/jazz. Wed 6/25: The Aaron Goldbert Trio at the Rubin Museum Sun 6/22: Roz Corral with Paul Meyers & Vanderlei of Art. 7:00pm 150 W. 17th St. 212-620-5000. Pereira at North Square Lounge. 12:30pm & 2:00pm. No Wed 6/25: Ledisi at (le) poisson rouge. 10:00pm. cover or min. 103 Waverly Pl. @ Macdougal. 212-254-1200. “Soulsinger!” Part of JVC Jazz Festival. 158 Bleecker St. www.northsquarejazz.com. 212-796-0741. www.lepoissonrouge.com Sun 6/22: João Gilberto at Carnegie Hall, Stern Wed 6/25: Anat Cohen Quartet with special guests Yuval Auditorium/Perelman Stage. 8:00pm. $35 -$100. Part of Cohen, Avishai Cohen & Esperanza Spalding at New JVC Jazz Festival. 57th St. & 7th Ave. 212-247-7800. York Society for Ethical Culture. 8:00pm. “Rising Stars.” Sun 6/22: Peter Leitch & Charles Davis at Walker’s. Part of JVC Jazz Festival. 2 W. 64th St. & Central Park W. 8:00pm. No cover. 16 N. Moore St., TriBeCa. 877-655-4TIX. www.nysec.org Sun 6/22: Bob Kindred Group with co-host Barbara Duffy, Thu 6/26: Antonio Ciacca with Kengo Nakamura & tappers Max Pollak, Maurice Chestnut, Andrew Nemr, Rodney Green at Roth’s Westside Steakhouse. 8:00pm. Brenda Buffalino, Lynn & Claudia Rahardjanoto at Café 680 Columbus Ave. @ 93rd St. 212-280-4103. Loup. 12:30pm. “Jazz tap brunch reunion celebration.” 105 Thu 6/26, Fri 6/27, Sat 6/28: Russ Kassoff with Bucky W. 13th St. No cover. Brunch, $9.50–$16.50. 212-255-4746. Pizzarelli & Martin Wind at The Knickerbocker. 9:45pm. Sun 6/22: The Conga Kings featuring Giovanni Hidalgo, University & 9th St. 212-228-8490. Candido Camero & Francisco Aguabella at New York Thu 6/26: Billy Harper Quintet at Studio Museum in Society for Ethical Culture. 8:00pm. “A Tribute to Carlos Harlem. 7:30pm. 144 W. 125th St. (Bet Lenox & 7th Ave.) ‘Patato’ Valdez.” Part of JVC Jazz Festival. 2 W. 64th St. & 212-864-4500. www.studiomuseum.org Central Park W. 877-655-4TIX. www.nysec.org Thu 6/26: The New School Jazz Ensemble at Union Sun 6/22: Brad Mehldau with Larry Grenadier & Jeff Square Park, South Plaza. 5:30pm. Free. Part of JVC Jazz Ballard at Carnegie Hall, Zankel Hall. 8:30pm. From $55. Festival, in association with the Union Square Partnership Part of JVC Jazz Festival. 57th St. & 7th Ave. 212-247-7800. as part of Summer in the Square concert series. 14th St. www.carnegiehall.org. (Bet. Broadway & Union Square West). Mon 6/23 thru Fri 6/27: Russ Kassoff at Bryant Park, Thu 6/26 & Fri 6/27: Soulive with special guest Joshua Upper Terrace. 1:00pm. 42nd St. Bet. 5th & 6th Ave. Redman at (le) poisson rouge. 7:30pm. Part of JVC Jazz Mon 6/23: Poncho Sanchez at (le) poisson rouge. Festival. 158 Bleecker St. 212-796-0741. 7:30pm. “JVC Jazz Festival Salutes Art D’Lugoff & “Salsa Fri 6/27: Chanda Rule at Blue Note. Late Night Groove Meets Jazz.” Part of JVC Jazz Festival. 158 Bleecker St. Series. 12:30am.131 W. 3rd St. 212-475-8592. 212-796-0741. www.lepoissonrouge.com Fri 6/27 & Sat 6/28: Mercedes Hall at The Metropolitan Mon 6/23: Herbie Hancock with Dave Holland, Vinnie Room. 7:30pm. 34 W. 22nd St. 212-206-0440. www. Colaiuta, Chris Potter, Lionel Loueke & Sonya Kitchell mercedeshall.com at Carnegie Hall, Stern Auditorium/Perelman Stage. Fri 6/27: Tim Berne & Craig Taborn at the Rubin Museum 8:00pm. $35 - $95. Part of JVC Jazz Festival. 57th St. & 7th of Art. 7:00pm 150 W. 17th St. 212-620-5000. Ave. 212-247-7800. www.carnegiehall.org. Fri 6/27: Al Green & Dianne Reeves at Carnegie Hall, Mon 6/23: Dick Hyman with Ken Peplowski, Wycliffe Stern Auditorium/Perelman Stage. 8:00pm. $35 - $95. Gordon, Randy Sandke, Howard Alden, Jay Leonhart JVC Jazz Festival. 57th St. & 7th Ave. 212-247-7800. & Eddie Locke at Carnegie Hall, Zankel Hall. 8:30pm. Fri 6/27: Grassella Oliphant Quintet at Roth’s Westside From $55. Part of JVC Jazz Festival. 57th St. & 7th Ave. Steakhouse. 9:00pm. No cover. 680 Columbus Ave. @ 93rd 212-247-7800. www.carnegiehall.org. St. 212-280-4103. Mon 6/23: Donny McCaslin with Ben Monder, Boris Fri 6/27: Dee Dee Bridgewater Red Earth: A Malian 26 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Journey at New York Society for Ethical Culture. Queens 8:00pm. Part of JVC Jazz Festival. 2 W. 64th St. & Central Park W. 877-655-4TIX. www.nysec.org Queens Jazz Trail Tour. First Sat. of each month, May Fri, Sat & Sun: Junior Mance & Hide Tanaka at Café 3, 1:00–4:00pm. $30/$25 members. Hop aboard the Loop. Fri & Sat; 8:00-11PM; Sun 6/8: 6:30-9:30pm. 105 W. Flushing Town Hall Trolley—a fascinating journey through 13th St. 212-255-4746. www.juniormance.com neighborhoods where Louis Armstrong, Dizzy Gillespie, Sat 6/28: Mos Def Big Band with Gil Scott-Heron at Count Basie, Billie Holiday, Ella Fitzgerald, John Coltrane Carnegie Hall, Stern Auditorium/Perelman Stage. lived. Includes guided visit to newly restored Louis 8:00pm. $35 - $95. Part of JVC Jazz Festival. 57th St. & 7th Armstrong House and Museum. SPECIAL OFFER: Jazz Ave. 212-247-7800. www.carnegiehall.org. by Night and Day! $40/$35 for members! Experience Friday Sat 6/28: Bobby Previte & The New Bump at Blue Night Intimate Jazz Concert in Flushing Town Hall Gallery, Note. Late Night Groove Series. 12:30am.131 W. 3rd St. take the Queens Jazz Trail Tour following afternoon, one low 212-475-8592. www.bluenote.net price. www.flushingtownhall.org/jazztrail.html. Sat 6/28: KJ Denhert at 55 Bar. 55 Christopher St. Louis Armstrong House and Museum. Guided tours 212-929-9883. www.55bar.com. www.kjdenhert.com daily through Louis and Lucille Armstrong’s home. Now a Sat 6/28: Charles Lloyd New Quartet featuring Jason museum, the home is in pristine condition and it’s a big time Moran, Reuben Rogers & Eric Harland at New York warp, to say the least! Most notable is the kitchen and the Society for Ethical Culture. 8:00pm. “70th Birthday Tour mirrored bathroom Louis taped himself in every room and Celebrating Life & Music.” Part of JVC Jazz Festival. 2 W. he’ll give you a tour of the man behind the entertainer. This 64th St. & Central Park W. 877-655-4TIX. www.nysec.org is a revealing look at one of the most influential figures of Sat 6/28: Richard Galliano Tangaria 4Tet at Carnegie the 20th century. Info: 718-478-8274 or www.satchmo.org. Hall, Zankel Hall. 8:00pm. From $55. Part of JVC Jazz Festival. 57th St. & 7th Ave. 212-247-7800. Check schedule. A must see. Sun 6/29: Peter Leitch & Sean Smith at Walker’s. 8:00pm. Fri 6/6: Jeb Patton Trio at Flushing Town Hall. 8:00pm. No cover. 16 N. Moore St., TriBeCa. $20; $16 members; $10 students. Free parking. 137-35 Sun 6/29: Amy London with Roni Ben-Hur & Santi Northern Blvd. 718-463-7700, x222. Debriano at North Square Lounge. 12:30pm & 2:00pm. No www.FlushingTownHall.org cover or min. 103 Waverly Pl. @ Macdougal. 212-254-1200. Fri 6/6, 6/13, 6/20, 6/27: Steve Blanco Trio at Domaine www.AmyLondonSings.com Wine Bar. 50-04 Vernon Blvd. 718-784-2350. www. Sun 6/29: Scott Reeves Quintet at 55 Bar. 9:30pm. 55 steveblanco.com Christopher St. 212-929-9883. www.55bar.com. www. Sat 6/7: Queens Jazz Trail Tour. 1:00pm. $35; creativejazz.com $25 members. Free parking. Flushing Town Hall. Sun 6/29: Gene Bertoncini & Ike Sturm at St. Peter’s 718-463-7700, x222. www.FlushingTownHall.org. Church. 5:00pm. Jazz Vespers. Free. 54th & Lexington. Thu 6/12: Diane Hoffman with Sean Fitzpatrick & Zaid 212-935-2200. www.saintpeters.org/jazz. Shukri at Windsor Park Library. 2:00pm. 79-50 Bell Blvd., Bayside. 718-468-8300. Brooklyn Sat 6/21: Diane Hoffman with Don Militello & Bim Strasberg at Woodhaven Library. 85-41 Forest Park, Mon 6/2, 6/9, 6/16, 6/23, 6/30: Sedric & The Brasileiros Woodhaven. 718-849-1010. www.dianehoffman.org. Trio with Freddie Bryant, Nanny Assis & Sedric Choukroun at Chez Lola. 7:30pm. 387 Myrtle Ave. Long Island 718-858-1484. www.bistrolola.com. www.sedric.net Wed 6/4, 6/11, 6/18, 6/25: Sedric Choukroun & The Sat 6/7: Diane Hoffman with Don Militello, Zeke Martin Eccentrics Trio with Adam Rafferty & Paul Beaudry at at 780 Grill. 8:30pm. 780 Beech St., Long Beach. Chez Oskar. 7:00pm. 211 Dekalb Ave., corner of Adelphie 516-432-7262. www.dianehoffman.org. St., Fort Green. 718-852-6250. www.chezoskar.com. Sat 6/14: Diane Hoffman with Jeremy Bacon at Milk Thu 6/5: Lionel Loueke Trio at MetroTech Plaza. & Sugar Café. 8:00pm. 49 W. Main St., Bay Shore. 718-488-8200. www.lionelloueke.com 631-969-3655. www.dianehoffman.org. Thu 6/5, 6/12, 6/19 & 6/26: Adam Iding Trio at The Schnitzel Fri 6/20: Tribute to the music of Chicago with Beginnings Haus. 8:00pm; 10:00pm jam session. Free. 7319 5th Ave., at Dix Hills Center for the Performing Arts. 7:30pm. $20. Bay Ridge. 718-836-5600. www.schnitzelhausny.com. 305 N. Service Rd., Dix Hills. 631-656-2148. www.ftc.edu. Sat 6/7: Cassandra Wilson at Brooklyn Academy of www.dhpac.org. Music Harvey Theater. 8:00pm. $56-$100. 651 Fulton St. (Bet. Ashland Pl. & Rockwell Pl.) 718-636-4100. tickets@ Westchester BAM.org. Sat 6/7: Westchester Jazz Orchestra at Seven Bridges Thu 6/12: Luiz Simas with Itaiguara & Adriano Santos at School. Jobim tribute. 8:00pm. $30; $25 seniors; $5 students. Bargemusic. 8:00pm. $35; $30 for senior; $20 for student. 222 Seven Bridges Road, Chappaqua. 914-861-9100. www. Fulton Ferry Landing, at the foot of the Brooklyn Bridge. westjazzorch.org 718-624-2083. www.bargemusic.org. Wed 6/18: Maceo Parker Lettuce at Brooklyn Masonic Sat 6/7: Chuck Mangione at Tarrytown Music Hall. Temple. 8:00pm. “Make it funky!” Part of JVC Jazz Fest. 8:00pm. 13 Main St., Tarrytown. 877-840-0457. www. 317 Claremont Ave. @ Lafayette Ave. 866-468-7619. www. tarrytownmusichall.org. masonicboom.com Thu 6/19: Jesse Elder at Bargemusic. 8:00pm. New Jersey Thu 6/19: Medeski, Martin & Wood; Marc Ribot’s Ceramic Dog; Taylor McFerrin at Prospect Park Bandshell. Sun 6/1: Maurício de Souza Trio at Red Bank Jazz & 7:00pm. Presented by JVC Jazz Festival & Celebrate Blues Festival, Marina Stage. Noon. Free. 1 Marine Brooklyn! Free ($3 contribution to Celebrate Brooklyn!) 9th Park, Red Bank. 732-933-1984. redbankfestival.com. www. St. & Prospect Park West, Park Slope. 718-855-7882. www. mauríciodesouzajazz.com briconline.org/CB Tue 6/3: Coleman Mellett at Shanghai Jazz. 24 Main St., Thu 6/26: Ted Kooshian with Jeff Lederer, Tom Hubbard Madison. 973-822-2899. www.shanghaijazz.com. & Warren Odze at Bargemusic. 8:00pm. Fulton Ferry Wed 6/4, 6/11, 6/18, 6/25: Betty Liste Trio at Stony Hill Landing, at the foot of the Brooklyn Bridge. 718-624-2083. Inn. 7:30pm. 231 Polifly Rd., Hackensack. 201-342-4085. www.bargemusic.org. www.bettyliste.com To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 27 Wed 6/4: Joe Morello Trio at Shanghai Jazz. 24 Main St., Swingadelic, Jazz Lobsters Band, Carrie Jackson, Joe Madison. 973-822-2899. www.shanghaijazz.com. Madison. 973-822-2899. www.shanghaijazz.com. Temperley Quintet, noon-6:00pm. Tickets: $45 per day; Sat 6/7, 6/14, 6/21, 6/28: NYC Trio with Jim DeAngelis, Tony Thu 6/5: Bucky Pizzarelli & Jerry Bruno at Glen Rock $85 for Saturday & Sunday; $10 for students; free under Signa, Jake Kukik & Carrie Jackson at 27 Mix Restaurant Inn. 7:00pm. 222 Rock Road, Glen Rock. 201-445-2362. 16. 800-303-6557. www.njjs.org & Bar. 8:00pm. 27 Halsey St., Newark. 973-648-0643. Thu 6/5: Janice Friedman Trio at Shanghai Jazz. 24 Fri 6/6: “Trio Zen” with Reggie Pittman & Loren Daniels Sat 6/7: Evan Gregor Duo at Lounge Zen. 7:30pm. No Main St., Madison. 973-822-2899. at Lounge Zen. 7:30pm. No cover, $10 min each set. 254 cover, $10 min each. 254 Degraw Ave., Teaneck. www. Fri 6/6–Sun 6/8: Sanofi-Aventis Jazzfest 2008 at Degraw Ave., Teaneck. www.lounge-zen.com lounge-zen.com. www.evangregor.com Drew University, Madison. Friday: outdoor concert of Fri 6/6: Oz Noy Trio at Talk of the Town. 9:00pm. No Sat 6/7, 6/14, 6/21, 6/28: Betty Liste Trio at Stony Hill Inn. high school jazz bands, 7:00pm, free. Saturday: Bucky cover. 213 Rt. 46 W., Elmwood Park. 8:00pm. 231 Polifly Rd., Hackensack. 201-342-4085. www. Pizzarelli/Nicki Parrott/Rossano Sportiello Trio, Ed Metz Sat 6/7, 6/14, 6/21, 6/28: Bob Wylde, Mike Richmond bettyliste.com & the Bob Crosby Bobcats, Janes Dean Band, Cynthia & Bob Kindred at The Ho-Ho-Kus Inn. 1 East Franklin Sun 6/8: Daryl Sherman Trio with Boots Maleson & Sayer, Tony DeSare Trio, Jerry Vezza Trio, noon-6:00pm. Turnpike, Hohokus. 201-445-4115. www.hohokusinn.net Randy Sandke at Shanghai Jazz. 24 Main St., Madison. Sunday: Earl May Tribute Band, Eric Comstock Trio, Sat 6/7: Wycliffe Gordon at Shanghai Jazz. 24 Main St., 973-822-2899. www.shanghaijazz.com. Sun 6/8: Linda Ciofalo at The Priory. 11:00am. 233 Market St., St. Josephs Plaza, Newark. 973-242-8012. www. lindaciofalo.com Mon 6/9: Dan Levinson with Nik Payton, Alex Mendham, Mark Shane, Kevin Dorn & Brian Nalepka at Bickford Theatre. 8:00pm. $13 in advance; $15 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-971-3706. www.njjs.org Tue 6/10: John Zweig & Steve Freeman at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. Wed 6/11: Bucky Pizzarelli at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. Thu 6/12: Vic Cenicola & Charlie DesCarfino at Glen Rock Inn. 7:00pm. 222 Rock Road, Glen Rock. 201-445-2362. Thu 6/12: Morris Nanton Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. Fri 6-13 – Sat 6-14: 37th Annual Jazz Record Collectors’ Bash at Hilton Woodbridge. 78s, LPs, CDs, memorabilia. 120 Wood Ave. S., Iselin. 516-681-7102. zimrecords@ msn.com MON JUNE 16 AMINA FIGAROVA SEXTET TUE JUNE 17 “Jazz Venue of the Year” - ALL ABOUT JAZZ “Best Jazz Club” - NEW YORK MAGAZINE & CITYSEARCH BILL O’CONNELL TRIPLE PLAY TUE-SUN MAY 27-JUNE 1 DAVE VALENTIN TERENCE BLANCHARD WED JUNE 18 MON JUNE 2 J.C. HOPKINS BIGGISH BAND BLAKE TARTARE THU-SUN JUNE 19-22 TUE JUNE 3 BEN WOLFE OCTET DAFNIS PRIETO SEXTET MON JUNE 23 WED-SUN JUNE 4-8 ANDY MILNE & GREGOIRE MARET ´ NICHOLAS PAYTON QUINTET TUE & WED JUNE 24 & 25 MON JUNE 9 KENDRICK SCOTT ORACLE AYELET ROSE GOTTLIEB SEXTET THU-SUN JUNE 26-29 TUE & WED JUNE 10 & 11 GEORGE COLEMAN QUARTET TIM RIES GROUP MON JUNE 30 THU-SUN JUNE 12-15 EMILIO SOLLA’S FREDDY COLE QUARTET NY TANGO JAZZ PROJECT JAZZ FOR KIDS SEASON FINALE SUN JUNE 1. RETURNING IN OCTOBER! 28 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Fri 6/13: Jerry Vezza Trio at Shanghai Jazz. 24 Main St., …And Beyond Madison. 973-822-2899. www.shanghaijazz.com. Fri 6/13: Dwight West at The Priory. 233 Market St., St. Sun 6/1: BD Lenz with Jame Rosocha & Don Guinta Josephs Plaza, Newark. 973-242-8012. bluearkrecords.com at Deer Head Inn. 5:00pm. Music charge $5. 5 Main Fri 6/13: Joel Perry Trio at Lounge Zen. 7:30pm. No cover, St., Delaware Water Gap, PA. 570-424-2000. www. $10 min each. 254 Degraw Ave., Teaneck. deerheadinn.com Fri 6/13: Jeanie Bryson Quartet at Watchung Arts Mon 6/2: David Schnitter with John Hart, Bill Moring, Center. 8:00pm. $18; $16 WAC members. 18 Stirling Rd., Anthony Pinciotti & John Richmond at Turning Point Watchung. 908-753-0190. www.watchungarts.org Café. 8:00pm. 468 Piermont Ave., Piermont. 845-359-1089. Sat 6/14: Orrin Evans Trio at Shanghai Jazz. 24 Main St., www.turningpointcafe.com. Madison. 973-822-2899. www.shanghaijazz.com. Wed 6/4: John Donato & Marty Wilson at Deer Head Inn. Sat 6/14: WaFoo Chamber Unit at Lounge Zen. 7:30pm. 7:00pm. No music charge. No cover, $10 min each. 254 Degraw Ave., Teaneck. www. Thu 6/5: Jesse Green Jazz Jam at Deer Head Inn. lounge-zen.com. http://wafoo.info 8:00pm. No music charge. Sat 6/14: Maurício de Souza Trio at Cask 591. 8:00pm. Fri 6/6: Nancy & Spencer Reed at Deer Head Inn. 7:00pm. No cover. 591 Broadway, Long Branch. 732-571-8848. Music charge, $10; $5 after 9:30pm. www.cask591.com. www.mauriciodesouzajazz.com Sat 6/7: Orrin Evans Quartet at Deer Head Inn. 7:00pm. June 3: The Russ Kassoff Big Band Sun 6/15: Jan Findlay & Jay D’Amico Trio at Shanghai Music charge $12; $6 after 9:30pm. with vocalist Catherine Dupuis Jazz. 24 Main St., Madison. 973-822-2899. Sun 6/8: Abigail Riccards & Michael Canan at Deer Head Tue 6/17: Coleman Mellett at Shanghai Jazz. 24 Main St., Inn. 5:00pm. Music charge $5. June 10: Percussionist Daoud-David Williams & Madison. 973-822-2899. www.shanghaijazz.com. Mon 6/9: Tim Price with John Richmond, John Hart, Bill the Spirit of Life Ensemble (SOLE) Wes 6/18: Oz Noy Trio at Mexicali Blues. 9:00pm. 1409 Moring & Tim Horner at Turning Point Café. 8:00pm. 5 with guest vocalist Joe Lee WIlson Queen Anne Rd., Teaneck. $7 music charge. Main St., Delaware Water Gap, PA. 570-424-2000. www. Thu 6/19: Vince Giordano Quartet at Shanghai Jazz. 24 June 17: Drummer Chip White’s Ensemble deerheadinn.com Main St., Madison. 973-822-2899. ww Wed 6/11: John Donato & Marty Wilson at Deer Head June 24: Trumpeter Nabate Isles’ Quartet Thu 6/19: Muzzy Trio at Glen Rock Inn. 7:00pm. 222 Rock Inn. 7:00pm. No music charge. Road, Glen Rock. 201-445-2362. Thu 6/12: Blues Jam with Spencer Reed at Deer Head Fri 6/20: Tony DeSare Trio at Shanghai Jazz. 24 Main St., Inn. 8:00pm. No music charge. Madison. 973-822-2899. www.shanghaijazz.com. Fri 6/13: JD Walter with Jim Ridl, Donald Edwards & Fri 6/20: Bob Wylde & Mike Richmond at Lounge Zen. Mark Kelley at Deer Head Inn. 7:00pm. Music charge $12; 7:30pm. No cover, $10 min each. 254 Degraw Ave., $6 after 9:30pm. Teaneck. www.lounge-zen.com Sat 6/14: Bill Goodwin & Mike Melvoin at Deer Head Inn. Sat 6/21: Rich Eisenstein Trio at Shanghai Jazz. 24 Main 7:00pm. Music charge $12; $6 after 9:30pm. St., Madison. 973-822-2899. Sun 6/15: Paul Kendall & Jesse Green at Deer Head Inn. Sat 6/21: Justin Derman Trio at Lounge Zen. 7:30pm. No 5:00pm. cover, $10 min each. 254 Degraw Ave., Teaneck. Mon 6/16: Pete Levin with John Cariddi & Harvey Sorgen Sun 6/22: Bossa Brasil at Church Street Music Festival. at Turning Point Café. 8:00pm. 468 Piermont Ave., 4:00pm. Free. Corner of Church St. & Bloomfield Ave., Piermont. 845-359-1089. turningpointcafe.com. Montclair. 973-509-3820. www.montclaircenter.com/events. Wed 6/18: John Donato & Marty Wilson at Deer Head htm. www.mauriciodesouzajazz.com Inn. 7:00pm. No music charge. Sun 6/22: Beacon Hill Jazz Band with Marty Eigen, Thu 6/19: Jazz Jam with Jesse Green at Deer Head Inn. Fred Fischer, Bill Ash, Paul Grabow & Verne Whitlock 8:00pm. No music charge. at Watchung Arts Center. 3:00pm. $16; $13 WAC members. 18 Stirling Rd., Watchung. 908-753-0190. www. Fri 6/20: Michele Bautier with Russ Kassoff at Deer Head watchungarts.org Inn. 7:00pm. Music charge $12; $6 after 9:30pm. Tue 6/24: John Zweig & Steve Freeman at Shanghai Sat 6/21: Eric Mintel with Nelson Hill, Dave Antonow & Jazz. 24 Main St., Madison. 973-822-2899. Dave Mohn at Deer Head Inn. 7:00pm. Music charge $12; Wed 6/25: “Boogie Bob” Seeley at Ocean County $6 after 9:30pm. College, Fine Arts Center. 8:00. $13 in advance; $15 at Sun 6/22: Bob Lieve & The Wooster Street Trolley Band door. Campus Drive, just off Rt. 549. 732-255-0500. www. at Deer Head Inn. 5:00pm. Music charge $5. ocean.edu. Mon 6/23: Warren Chiasson with John Hart, John Thu 6/26: Lyle Atkinson & Joshua Breakstone at Richmond, Ralph Hamperia & Steve Johns at Turning Glen Rock Inn. 7:00pm. 222 Rock Road, Glen Rock. Point Café. 8:00pm. 468 Piermont Ave., Piermont. 201-445-2362. 845-359-1089. www.turningpointcafe.com. Fri 6/27: Willie Martinez La Familia Sextet at The Priory. Wed 6/25: John Donato & Marty Wilson at Deer Head 233 Market St., St. Josephs Plaza, Newark. 973-242-8012. Inn. 7:00pm. No music charge. 5 Main St., Delaware Water www.williemartinez.com Gap, PA. 570-424-2000. www.deerheadinn.com Fri 6/27 & Sat 6/28: Steve Turre Quartet at Shanghai Thu 6/26: Blues Jam with Spencer Reed at Deer Head Jazz. 24 Main St., Madison. 973-822-2899. Inn. 8:00pm. No music charge. Fri 6/27: Lauren Hooker & Allen Farnham at Lounge Fri 6/27: Dan Brubeck & Chris Brubeck with Chuck Lamb Zen. 7:30pm. No cover, $10 min each. 254 Degraw Ave., & Mike DeMicco at Deer Head Inn. 7:00pm. Music charge Teaneck. www.lounge-zen.com. www.laurenhooker.com $15; $8 after 9:30pm. Fri 6/27: Sarah Partridge Trio at Watchung Arts Center. Sat 6/28: Vocalist Nicole Pastnak at Silvermine Tavern w/ 8:00pm. $18; $16 WAC members. 18 Stirling Rd., Watchung. Harold Zinno, Bill Cofrances, Doug Schlink, John Mobilio, 908-753-0190. www.watchungarts.org Jack Varanelli. 8:00 to 10:30 pm. $8 cover. 194 Perry Ave., Sat 6/28: Matt McCabe Band at Lounge Zen. 7:30pm. Norwalk, CT. 203-847-4558. nicolepasternak.com. No cover, $10 min each. 254 Degraw Ave., Teaneck. www. Sat 6/28: Sue Matthews at Deer Head Inn. 7:00pm. Music myspace.com/mattmccabeband charge $12; $6 after 9:30pm. Mon 6/30: Bob Seeley at Bickford Theatre. 8:00pm. Sun 6/29: Len Mooney & Tim Carbone at Deer Head Inn. $13 in advance; $15 at door. On Columbia Turnpike @ 5:00pm. Music charge $5. Normandy Heights Road, east of downtown Morristown. Mon 6/30: John Hart Group at Turning Point Café. 973-971-3706. www.njjs.org 8:00pm. To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 29 Calendar of Events Sunday, June 1 VOCALIST DWIGHT WEST Friday & Sat., June 6 & 7 BRUCE WILLIAMS QUARTET Sunday, June 8 OGRANIST EMMET COHEN Thursday, June 12 SPIRIT OF LIFE ENSEMBLE Friday & Sat., June 13 & 14 BOB DEVOS Thursday, June 19 BLUES@CECIL’S Friday, June 20 KATE BAKER Saturday, June 21 ALMA MICIC WITH BRANDON MCCUNE Friday & Sat., June 27 & 28 MICHAEL CARVIN AND LIFE FORCE Sundays, June 15, 22, 29 “PRAISE SUNDAYS” GOSPEL EVENT Mondays in June CECIL’S BIG BAND Tuesdays in June JAM SESSION WITH BRUCE WILLIAMS Wednesdays in June VARIETY SHOW Thursdays, June 5 & 26 BLUES JAM SESSION WITH DEAN SHOT 30 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 31 32 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 June 1 9:00PM PIANO TRIOS: SHIMRIT SHOSHAN 10:30PM June 2 8:30PM AMRAM & CO David Amram, Kevin Twigg, John de Witt, Adam Amram, John Ventimiglia June 4 8:30PM THE LATE 20TH CENTURY QUARTET Joe Giardullo, Frank Kimbrough, Jay Anderson, Harvey Sorgen June 5 6:00PM ARTISTS’ SALON Robin, Angelo, Poul, and David, hosts 8:30PM GNU VOX: DEADRA HART David Devoe, curator; Deadra Hart, Jim Ridl, Matt Wigton, Fred Kennedy June 6 9:00PM GLOBAL MOTION 10:30PM Nikolaj Hess, John Hebert, Tony Moreno, Marc Mommaas June 8 8:30PM PIANO TRIOS: RANDY INGRAM Randy Ingram, Matt Clohesy, Jochen Rueckert June 9 8:30PM COMPOSERS COLLABORATIVE: SERIAL UNDERGROUND Joshua Fried, Michael Lowenstern, Regie Cabico, Clifton Hyde, Robyn Siwula, Motoko Shimizu June 11 8:30PM LUCIAN BAN’S SOUNDSCAPE TRIO Lucian Ban, Jeff Carey, Nasheet Waits June 12 8:30PM SCOTT DUBOIS QUARTET CD RELEASE CONCERT Scott DuBois, Gebhard Ullmann, Thomas Morgan, Ted Poor June 13 9:00PM BAD TOUCH 10:30PM Loren Stillman, Gary Versace, Nate Radley, Ted Poor June 14 9:00PM TOM RAINEY WITH INGRID LAUBROCK AND 10:30PM MARK HELIAS Tom Rainey, Ingrid Laubrock, Mark Helias June 15 8:30PM SKYE STEELE QUINTET Skye Steele, Ben Cassorla, Josh Meyers, John Hadﬁeld June 17 8:30PM JACOB ANDERSKOV PROJECT Jacob Anderskov June 18 8:30PM THE SONGWRITER’S BEAT Valerie Ghent, Vickie Russell, Jenn Adams June 19 6:00PM PO’JAZZ Golda Solomon, host 8:30PM JOEL HARRISON ENSEMBLE Joel Harrison, Chris Howes; Jakub Trasak; Tanya Kalmanovich; Wendy Sutter, Miguel Zenon, Jeff Hermanson, Lindsey Horner, Satoshi Takeishi June 20 9:00PM TONY MALABY’S PALOMA RECIO 10:30PM Tony Malaby, Ben Monder, Eivind Opsvik, Nasheet Waits June 21 9:00PM TONY MALABY’S PALOMA RECIO 10:30PM Tony Malaby, Ben Monder, Eivind Opsvik, Nasheet Waits June 22 8:30PM FELIPE SALLES GROUP Felipe Salles, Jacam Manricks, Nando Michelin, Jorge Roeder, Bertram Lehmann June 26 8:30PM GNU VOX: MICHAEL SCHIEFEL David Devoe, host; Michael Schiefel June 27 9:00PM MARK HELIAS’ PROJECTILE Featuring 10:30PM ELLERY ESKELIN Mark Helias, Ellery Eskelin June 28 9:00PM CIRCLE DOWN TRIO 10:30PM Angelica Sanchez, Chris Lightcap, Chad Taylor June 29 8:30PM RICARDO GALLO QUARTET Ricardo Gallo, Dan Blake, Jorge Sepúlveda, Juan Manuel Toro To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 33 Wednesday, June 4th: Susan Pereira Rodrigo Ursaia, Manu Koch, Michael LaValle, Vanderlei Pereira Friday, June 6th: Lauren Hooker Allen Farnham, Bill Moring, Tim Horner Wednesday, June 11th: Brian Villegas Robert Rodriguez Friday, June 13th: Jay Clayton Peggy Stern, Dean Johnson, Tony Moreno Wednesday, June 18th: Gabriele Tranchina Joe Vincent Tranchina, Santi Debriano, Renato Thoms, Taro Okamoto Friday, June 20th: String of Pearls Vocal Trio Sue Halloran, Jeanne O’Connor, Holli Ross - vocals Tony Regusis, Andy Eulau, Ron Vincent Wednesday, June 25th: Pamela Luss John DiMartino, David Mann, Chris Higgins, Eric Halvorson Enzo’s Jazz will remain closed for the summer and will re-open on September 12th 34 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Clubs and Venues 107 West, 107th & Broadway, NY, www.107west.com Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010 The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www. 1050 Lounge, 735 Tenth Ave., Tel: 212-445-0149, Fax: Community Church of NY, 40 E. 35th St. (betw Park & Madison knittingfactory.com 212-765-4478, 1050restaurant.com/media/flash.html Ave.), 212-683-4988, www.ccny.org Kush, 191 Chrystie Street, New York , NY, 212-677-7328 191 Restaurant, 191 Orchard St. (near Houston), 212-982-4770 Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952. 55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, Cornelia Street Café, 29 Cornelia St., 212-989-9319, www. La Lanterna (Next Door at La Lanterna), 129 MacDougal Street, www.55bar.com corneliastreetcafe.com New York, 212-529-5945, www.lalanternarcaffe.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Cornerstone Café & Bistro, 25 New Street, Metuchen, NJ 08840, Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brooklyn, NY, 212.415.5500, www.92ndsty.org 732-549-5306, www.cornerstonenj.us 718-486-6791, www.lailalounge.com ABC — No Rio, 156 Rivington St. (betw Clinton & Suffolk), Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, 212-254-3697, www.abcnorio.org Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, New York, 212-246-2993, www.lemadeleine.com Aaron Davis Hall, City College of NY, Convent Ave., 908-232-5666 Le Figaro Café, 184 Bleecker (at MacDougal), 212-677-1100 212-650-6900, www.aarondavishall.org Cutting Room, 19 W. 24th St, Tel: 212-691-1900, www. Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253, Alice Tully Hall, Lincoln Center, Broadway & 65th St., thecuttingroomnyc.com www.lenoxlounge.com 212-875-5050, www.lincolncenter.org/default.asp Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, www. Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington Allen Room, Lincoln Center, Time Warner Center, Broadway and jazzatdetour.com St.), 212-260-4080 60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, Lighthouse, 111 E. 59th St., betw Park & Lex, 516-627-4468 American Museum of Natural History (Starry Nights), 81st St. & 212-258-9595, www.jalc.com Lima’s Taste, 122 Christopher St., 212-242-0010 Central Park W., 212-769-5100, www.amnh.org Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350 Living Room, 154 Ludlow St. (betw Rivington & Stanton), Anyway Café, 34 E. 2nd St., 212-533-3412 or 212-473-5021, Downtown Music Gallery, 342 Bowery Ave. (betw E. 2nd & E. 3rd 212-533-7235, www.livingroomny.com www.anywaycafe.com St.), 212-473-0043, www.dtmgallery.com Location One, 26 Greene St. (Betw Canal & Grand), Tel: Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com 212-334-3289, Fax: 212-334-3289, www.location1.org www.arthurstavernnyc.com eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 Louis, 649 E. 9th St. (at Ave. C), 212-673-1190 Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; Elixir, 95 W. Broadway (at Chambers St.), 212-233-6171 Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000, 973-378-2133, www.artsmaplewood.org El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: www.makor.org Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., 212-831-7272, Fax: 212-831-7927, www.elmuseo.org Mannahatta, 316 Bowery, New York, 10022, 212-253-8644, 212-875-5030, www.lincolncenter.org The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com www.mannahatta.us Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY, Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. at Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005 718-622-7035, www.freddysbackroom.com Madison Ave. (in the Whaler Bar located in the lobby) Marriott New York at the Brooklyn Bridge, 333 Adams St., BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, EZ’s Woodshed, 2236 AC Powell Blvd (bet 131st/132nd Sts), Brooklyn, NY, Tel: 718-246-7000, Fax: 718-246-0563, www.bam.org 212-283-JAZZ (5299) marriott.com/property/propertypage/NYCBK Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw www.Bar4.net www.fatcatjazz.com Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, Firehouse 12, New Haven, CT, 203-785-0468, www.firehouse12.com Metropolitan Room, 34 West 22nd Street New York City, NY 718-965-9177, www.barbesbrooklyn.com Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, Fax: 10012, 212-206-0440, www.metropolitanroom.com Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, 718-858-8256, www.fivespotsoulfood.com MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY, www.bargemusic.org Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718-488-8200 or 718-636-4100 (BAM) B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Minton’s Playhouse, 210 W. 118th St, (at St. Nicholas Ave.), www. 718-463-7700 x222, www.flushingtownhall.org www.bbkingblues.com uptownatmintons.com, 212-864-8346 Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, Beacon Theatre, 74th St. & Broadway, 212-496-7070 Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 NY, 718-625-9339, www.frankscocktaillounge.com Big Apple Jazz/EZ’s Woodshed, 2236 7th Ave, New York, NY Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035 10027, 718-606-8442, www.bigapplejazz.com 516-328-2233, www.mixednotescafe.com Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, Birdland, 315 W. 44th St., 212-581-3080 Mo-Bay Uptown, 17 W. 125th St., 212-876-9300, www.galapagosartspace.com Blue Note, 131 W. 3rd St., 212-475-8592, www.mobayrestaurant.com Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and www.bluenotejazz.com/newyork Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660 Bleecker), 212-645-0600, www.garagerest.com Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800, Gishen Café, 2150 Fifth Ave., 212-283-7699. 718-403-7450, www.bluestonebarngrill.com www.montaukclub.com Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road, Blue Water Grill, 31 Union Square West, 212-675-9500 Museum of the City of New York, 1220 Fifth Ave. (betw 103rd & Glen Rock, NJ 07452, 800-400-2362 Bodles Opera House, 39 Main St, Chester, NY 10918, 104th St.), 212-534-1672, www.mcny.org The Goat, 21 South Orange Ave. So. Orange, NJ www.bodles.com Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or 973-275-9000, www.thegoatcafe.typepad.com 860-231-0663 Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Greenwich Village Bistro, 13 Carmine St., 212-206-9777, NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973 www.bowerypoetry.com www.greenwichvillagebistro.com BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-7882 Newark Museum, 49 Washington Street, Newark, New Jersey x53, Fax: 718-802-9095, www.bricstudio.org Harlem Tea Room, 1793A Madison Ave., 212-348-3471, 07102-3176, 973-596-6550, www.newarkmuseum.org Brooklyn Exposure, 1401 Bedford Avenue, Brooklyn, NY 11216, www.harlemtearoom.com New Jersey Performing Arts Center, 1 Center St., Newark, NJ, 718-783-8220 Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), 212-206-0609, 07102, 973-642-8989, www.njpac.org Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, www.helensnyc.com New School Performance Space, 55 W. 13th St., 5th Floor (betw NY, 718-230-2100, www.brooklynpubliclibrary.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, 5th & 6th Ave.), 212-229-5896, www.newschool.edu. C-Note, 157 Ave. C (at 10th St.), 212-677-8142, 609-466-9889, www.hopewellvalleybistro.com New School University-Tishman Auditorium, 66 W. 12th St., 1st www.thecnote.com Houston’s, 153 E 53rd St, New York, 10022, 212-888-3828 Floor, Room 106, 212-229-5488, www.newschool.edu Cachaça, 35 West 8th St (bet. 5th/6th Aves), 212-388-9099 Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Ave.), New York City Baha’i Center, 53 E. 11th St. (betw Broadway & www.cachacajazz.com 212-695-6111, www.ilcampanelloristorante.com University), 212-222-5159, www.bahainyc.org Café 111, 111 Court St., Brooklyn, NY, 718-858-2806, Iridium, 1650 Broadway (below 51st St.), 212-582-2121, Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), www.cafe111online.com www.iridiumjazzclub.com 718-399-2161, www.nightanddayrestaurant.com Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955 Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: Cafe Brama, 157 2nd Ave. (at 10th St.) 212-358-7140 Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org 718-797-1197, Fax: 718-797-0975 www.cafebrama.us Frederick P. Rose Hall, Broadway at 60th St., 5th Floor North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 212-254-1200, www.northsquarejazz.com Café Loup, 105 W. 13th St. (West Village) , between Sixth and Rose Theater, Tickets: 212-721-6500 Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Seventh Aves., 212-255-4746 THE ALLEN ROOM, Tickets: 212-721-6500 Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664, Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-505-8183, www.nuyorican.org www.cafestbarts.com 212-242-0491, www.jazzgallery.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn, The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey 6th Ave.), 212-840-6800, www.thealgonquin.net NY, 718-369-7776, www.cafesteinhof.com Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com Opia, 130 E. 57th St., 212-688-3939, www.opiarestaurant.com Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, 718-624-3838, Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Orbit, 2257 First Ave. (at 116th St.), 212-348-7818, www.caffebuongustoonline.com Jimmy’s, 43 East 7th Street (between 2nd and 3rd Ave), www.orbiteastharlem.com Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com 212-982-3006 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Carnegie Club, 156 W. 56th St., 212-957-9676, Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004 www.hospitalityholdings.com 212-539-8778, www.joespub.com Pace Downtown Theatre, 3 Spruce St. (betw Park Row & Gold St.), Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org John Birks Gillespie Auditorium (see Baha’i Center) 212-346-1715 Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, Johnny’s On The Green, 440 Parsonage Hill Rd., Short Hills, Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 & Phone: 973-736-4800, www.cecilsjazzclub.com NJ 07078, 973-467-8882, www.foreseasonsrestaurant.com 160 St.), 212-781-6595, www.parlorentertainment.com Central Park Summerstage, Rumsey Playfield, 72nd St. & 5th Ave., Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn, 212-360-2777, www.summerstage.org 212-420-0998, www.julesbistro.com NY, 718-855-1981, www.parlorjazz.com Charley O’s, 713 Eighth Ave., 212-626-7300 Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, Passions Jazz Café (at Cameo Banquet Center), 800 Rahway Ave, The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, NY, www.kitano.com Woodbridge, NJ, 732-636-2904 718-268-6704, www.thechurchinthegardens.org The Kitchen, 512 W. 19th St., 212-255-5793 Patio, 31 Second Ave. (betw 1st & 2nd St.), 212-460-0992 Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Peddie School-Jazz Fridays Series, South Main St. Box A, 212-769-6969, www.cleopatrasneedleny.com www.knickerbockerbarandgrill.com Hightstown, NJ 08520, 609-490-7500 To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 35 www.peddie.org/community/Capps/concerts.asp Table XII, 109 E. 56th St., NY, NY, 212-750-5656 Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York, Perch Cafe, Brooklyn The Tank, 208 W. 37th St. (betw 7th & 8th Ave.), 212-563-6269, NY 10036, 212-302-5893 Perk’s, 535 Manhattan Ave, New York NY 10027, Fax: 212-563-0556, www.thetanknyc.org Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com 212-666-8500 Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123, Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org Broooklyn, 718-789-2762, www.tealoungeNY.com www.sadowsky.com Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878 Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ 212-777-7776, www.terrablues.com 07103, 973-639-7885 Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org SCHOOLS, COLLEGES, CONSERVATORIES Proper Café, 217-01 Linden Blvd., Queens, NY 11411, Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 718-341-2233, jazz Wednesdays City Island, Bronx, 718-885-3200, www.titopuentesrestaurant.com 212.415.5500; www.92ndsty.org Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: Brooklyn-Queens Conservatory of Music, 42-76 Main St., NY, 718-768-0855 212-358-7501, Fax: 212-358-1237, tonicnyc.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086, Town Hall, 123 W. 43rd St., 212-997-1003 Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, www.pumpkinsjazz.com Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 718-622-3300, www.brooklynconservatory.com Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn, 212-362-2590, www.triadnyc.com Charles Colin Studios, 315 W. 53rd St., 212-581-1480 NY, 718-499-2627, www.PuppetsJazz.com Tribeca Performing Arts Center, 199 Chambers Street, 10007, City College of NY-Jazz Program, 212-650-5411, Pure Lounge, 101 Seventh Ave. (4th & Grove), 212-620-4000 firstname.lastname@example.org, www.tribecapac.org Columbia University, 2960 Broadway, 10027 Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220 Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. Drummers Collective, 541 6th Ave, New York, NY 10011, RARE Jazz at The Lexington Lounge, trumpetsjazz.com 212-741-0091, www.thecoll.com 303 Lexington Ave (at 38th St.), 212-481-8439 the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968 Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, (845) 359-1089 Dix Hills, NY www.redeyegrill.com http://www.turningpointcafe.com/ Greenwich House Music School, 46 Barrow St., Tel: 212-242- River Room, Riverbank State Park, Riverside Drive at 145th Street, Village Vanguard, 178 7th Avenue South, 212-255-4037. 4770, Fax: 212-366-9621, www.greenwichhouse.org 212-491-1500, www.theriverroomofharlem.com www.villagevanguard.net Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170 Vision Festival, 212-696-6681, email@example.com, LaGuardia Community College/CUNI, 31-10 Thomson Ave., Rose Center (American Museum of Natural History), 81st St. www.visionfestival.org Long Island City, 718-482-5151 (Central Park West & Columbus), 212-769-5100, www.amnh.org/rose Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org 908-753-0190, www.watchungarts.org 10023, 212-258-9816, 212-258-9900 Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, Long Island University — Brooklyn Campus, Dept. of Music, 845-658-9048, www.rosendalecafe.com 914-834-2213, www.watercolorcafe.net University Plaza, Brooklyn, 718-488-1051, 718-488-1372 Roth’s Westside Steakhouse, 680 Columbus Ave., Tel: Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, Manhattan School of Music, 120 Claremont Ave., 10027, 212-280-4103, Fax: 212-280-7384, www.rothswestsidesteakhouse. 212-247-7800 212-749-2805, 2802, 212-749-3025 com Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ Ruby Lounge, 186 E. 2nd St., 212-387-9400 11211, (718) 384-1654 www.wmcjazz.org 07305, 888-441-6528 St. John’s Lutheran Church, 115 Milton St. (betw Manhattan Ave. Zankel Hall, 881 7th Ave, New York, 212-247-7800 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 & Franklin St.), Brooklyn, NY, 718-389-4012 Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934, New York University-Jazz/Contemporary Music Studies, 35 St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 www.zebuloncafeconcert.com West 4th St. Room#777, 212-998-5446, 212-995-4043 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 Zinc Bar, 90 W Houston St., 212-477-8337, www.zincbar.com Princeton University-Dept. of Music, Woolworth Center Musical St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, Zipper Theater Lounge, 336 W 37th St. (Between 8th and 9th Studies, Princeton, NJ, 609-258-4241, 609-258-6793 www.saintpeters.org Aves.), 212-563-0485, www.zippertheater.com Queens College — Copland School of Music, City University of Sanctuary, 25 First Ave. (above 1st St), 212-780-9786 Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626 NY, Flushing, 718-997-3800 Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus, Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, PO Box 270, New Brunswick, NJ, 908-932-9302 www.nypl.org/research/sc/sc.html RECORD STORES SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY Shades Bar, 720 Monroe St., Hoboken, NJ 07030, 888-374-2337, 914-251-6300, 914-251-6314 www.shadesofhoboken.com Academy Records & CDs, 12 W. 18th St., 212-242-3000, Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022, Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, www.academy-records.com 212-753-8811, www.tbms.org www.shanghaijazz.com Academy Record Store, 77 E. 10th St., 212-780-9166 William Paterson University Jazz Studies Program, 300 Pompton Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-2422, Barnes & Noble, 675 5th Ave, at 21st, 212-727-1227 Rd, Wayne, NJ, 973-720-2320 www.shellysnewyork.com Barnes & Noble, Citicorp Building, 3rd Ave & 54th St. Showman’s, 375 W. 125th St., 212-864-8941 Barnes & Noble, 4 Astor Plz, 212-420-1322 Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, Barnes & Noble, 1280 Lexington at 86th, 212-423-9900 RADIO 718-885-3200 Barnes & Noble, 600 5th Ave, at 48th St, 212-765-059 CD101.9, WQCD-FM; 395 Hudson St, 7th Fl., New York, NY Sidewalk Café, 94 Ave. A, 212-473-7373 Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 10014, 212-352-1019, www.cd1019.com Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, Colony Music Center, 1619 Broadway. 212-265-2050, www.colonymusic.com WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 203-847-4558, www.silverminetavern.com Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, Downtown Music Gallery, 342 Bowery (between 2nd & 3rd St), 973-624-8880, Fax: 973-824-8888, www.wbgo.org 718-398-1766, www.sistasplace.org 212-473-0043 WCWP, LIU/C.W. Post Campus Slipper Room, 167 Orchard St. (at Stanton St.), 212-253-7246, EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts), WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html www.slipperroom.com 212 283-JAZZ (5299) WKCR 89.9, Columbia University, 2920 Broadway Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565, J&R Music World, 23 Park Row (across from City Hall Park), Mailcode 2612, New York, NY 10027, Listener Line: (212) www.fatcatjazz.com 212-238-9000, www,jr.com 854-9920, www.columbia.edu/cu/wkcr, firstname.lastname@example.org Smith’s Bar, 701 8th Ave, New York, 212-246-3268 Jazz Record Center, 236 W. 26th St., Room 804, One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com 212-675-4480, www.jazzrecordcenter.com Saturdays, and at www.tribecaradio.net at 11AM Sundays and again Snug Harbor Cultural Center, 1000 Richmond Terr., Staten Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599 on Monday and Thursday nights at 11PM.) Island, NY, 718-448-2500, www.snug-harbor.org Princeton Record Exchange, 20 South Tulane St., Princeton, NJ Sofia’s Restaurant, 221 W. 46th St. (at Bdwy), 212-719-5799 08542, 609-921-0881, www.prex.com PERFORMING GROUPS Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks Westchester Jazz Orchestra, Emily Tabin, Exec. Director, 718-919-8001 Pl.), 212-505-1774 111 Grove Street, Mt. Kisco, NY 10549, 914-861-9100, South Street Seaport, 207 Front St., 212-748-8600, Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901, www.westjazzorch.org www.southstseaport.org. 908-277-3893, www.scotticd.com Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Virgin Megastore, 1540 Broadway, 212-921-1020 ADDITIONAL JAZZ RESOURCES Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, Virgin Megastore, 52 East 14th Street, 212-598-4666 212-721-6500, www.lincolncenter.org Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Stella Adler Studio, 31 W. 27th St., 3rd Floor, 212-689-0087, 718-997-3670, www.satchmo.net www.stellaadler.com MUSIC STORES Institute of Jazz Studies, John Cotton Dana Library, Rutgers- The Stone, Ave. C & 2nd St., www.thestonenyc.com Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 Stonewall Bistro, 113 Seventh Ave., 917-661-1335 Charles Colin Publications, 315 W. 53rd St., 212-581-1480 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900, Sugar Bar, 254 W. 72nd St., 212-579-0222 Jody Jazz, 35 White St., 5th Floor, New York, NY 10013, www.jazzmobile.org The Supper Club, 240 W. 47th St., 212-921-1940, 212-219-4050, www.jodyjazz.com Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, www.thesupperclub.com Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave), www.jazzmuseuminharlem.org Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker), 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Jazz Foundation of America, 322 W. 48th St. 10036, 212-255-3626, www.sweetrhythmny.com Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-245-3999, www.jazzfoundation.org Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-840-3057, 212-391-1185, www.drummersworld.com New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org 212-262-9554, www.swing46.com Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, New York Blues & Jazz Society, www.NYBluesandJazz.org Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-391-1315; Rubin Museum, 150 W. 17th St, New York, NY, 212-932-3228, www.symphonyspace.org 212-840-7224, www.robertoswoodwind.com 212-620-5000 ex 344, www.rmanyc.org. 36 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Noteworthy Performances Dwight West www.bluearkrecords.com Roy Hargrove myspace.com/royhargrove Cecil’s: Sat 6/1 Nuyorican Poet’s Café: Sat 6/7 Jazz Gallery: Tue 6/3 & 6/10 West was a lead singer with local R&B groups, but it wasn’t until Born in Waco, TX, Hargrove was discovered when Wynton he discovered the rhythmic & harmonic challenge of jazz that he Marsalis visited his high school, Dallas’s Booker T. Washington came into his own and became a jazz singer. He has travelled the High School for the Performing and Visual Arts. He spent one at world as a vocalist with Amiri and Amina Baraka’s jazz ensemble, Berklee College of Music, and honed his craft at late nite jams BLU ARK, performing with some of the hippest musicians & in NYC. Hargrove is in high demand both as a sideman and poets. On his latest CD, Tribute To The Masters, West sings is leader, & has performed with most every jazz luminary. He is own original lyrics to the works of great jazz tunes. playing in June with his Big Band at the Jazz Gallery. Joe Locke www.joelocke.com Joey DeFrancesco www.joeydefrancesco.com Smoke: Fri 6/6 & Sat 6/7 Newark Museum: Thu 6/26 JazzStandard: Sat 6/14 – Tue 6/14 Locke is one of the most in-demand vibraphonists on the scene At only 17 years old, Joey DeFrancesco was asked by Miles Davis today. He has released more than 25 recordings as a band to play Hammond organ in his band. Since then he has proved leader, and appeared on almost 100 albums as a guest artist. time and time again why he is regarded by organ aficionados The past years have been increasingly busy for Locke. He most as the baddest B-3 burner in the business With over 20 solo recently formed a new musical collaboration, “Joe Locke - Force releases and historic associations with legends like Miles, Jimmy of Four” which will be recording their first album in spring 2008 Smith, Bobby Hutcherson, Elvin Jones & John McLaughlin, on the Origin label for a summer 2008. DeFrancesco’s place in the idiom’s history is cemented. Amina Figorova www.aminafigorova.com John Scofield www.johnscofield.com Jazz Standard: Mon 6/16 Blue Note: Tue 6/17 – Sun 6/22 In 1998, Figorova was invited to study at the Thelonious Monk One of the innovators of modern jazz guitar, Scofield has forged Jazz Colony in Aspen, CO. That same year she released her a consistent, rock-solid aesthetic identity. An artist with over thirty second album “Another Me”, a mix of funk, fusion and R&B, albums to his credit as a leaderhe has embraced the vernacular influenced by jazz, reggae and latin music, again with all original of bebop, blues, jazz-funk, organ jazz, acoustic chamber jazz, compositions. She & her band perform at jazz festivasl world- electronic groove music and orchestral ensembles with ease side; their most recent appearance was the New Orleans Jazz & enthusiasm over the past three decades. His new CD on Festival. She is a talent who’s name will be well-known. Emarcy is entitled This Meets That. Chip White www.chipwhitejazz.com Cynthia Holiday www.cynthiaholidaymusic.com Baha’i Center: Tue 6/17 Cornelia Street Café: Thu 6/19 Trumpets: Sat 6/21 (Poetry Reading) Newark, NJ native Holiday is a vocalist and lyricist who grew White began studying percussion & music with his father up around jazz, often accompanying her stepfather, trumpeter at the age of 9, later studying composing & arranging. White Calvin Hughes, on gigs. Ballet dancing solidified Holiday’s desire has performed and/or recorded with a variety of jazz artists and luminarys including Carman McCrae, Jaki Byard, John as a performer & her vocal training at the Newark School for the Abercrombie, & Frank Foster. His latest project, Double Arts started her on the road to mastery in jazz singing. Her latest Dedication, is a 2-disc set featuring original compositions written release, All The Way, features the Cedar Walton Trio, on Miles for famous jazz masters; the 2nd CD features White’s poetry. High Records, appeals to both the jazz & blues audience. Sonny Fortune www.sonnyfortune.com Michael Carvin www.michaelcarvin.com Dizzy’s Club Coca Cola: Tue 6/26 – Sun 7/1 Sweet Rhythm: Cecil’s Jazz Club: Fri 6/27 & Sat 6/28 6/23 & 6/24 Born in Houston, TX, Carvin’s musical training began early with Not pursuing jazz until age 18, Sonny Fortune has found himself his father, one of the top drummers in Houston. Joining Freddie recording with greats such as Dizzy Gillespie, Elvin Jones, Oliver Hubbard’s band in ‘73, Carvin moved to NY where he gained a Nelson, George Benson and Nat Adderly. His 2005 release of Trilogy Collection on his own label Sound Reason is a 3-disc stellar reputation.In addition to leading his own bands, Carvin’s compilation of his best recordings.Fortune continues to be one played & recorded with Dizzy Gillespie, Dexter Gordon, Jackie of the most loved and in-demand voices in jazz. His latest CD is McLean, Hank Jones, McCoy Tyner, Illinois Jacquet. He is one You And The Night & The Music. of the world’s most respected drum teachers & clinicians. Houston Person www.houstonperson.com Mulgrew Miller www.mulgrewmiller.com Lenox Lounge: Fri 6/27 & Sat 6/28 Kitano: Fri 6/27 & Sat 6/28 Hailing from Florence, SC, tenorman Houston Person has been Born in the Mississippi delta, Miller’s music is tinged with the a staple on the jazz scene for over 50 years. Known for touring blues & gospel flavor of his native environment. He arrived in with musical partner Etta Jones, Person crosses jazz genres New York with the Duke Ellington Orchestra, conducted by well versed in hard bop, swing & soul jazz. He’s played Person Mercer Ellington, in ‘77, & is a crowd favorite at jazz festivals was inducted into SC University’s Hall of Fame is ’99 & he worldwide. Miller recorded his first album as leader in 1985 & has received the Eubie Blake Jazz Award in ‘82. His latest CD is continued to lead his Quintet, Wingspan, to wide acclaim. His Thinking of You on the High Note label. most recent release is entitled Live at Yoshi’s Two on MaxJazz. To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 37 Interview KJ Denhert By Eric Nemeyer KJ: Lucky Seven is the seventh CD that I’ve put out first in Italy and then next fall we’ll be releasing a live on my label and this is the one where Motéma Re- record that’s going to have some tracks form Lucky cords decided they were ready to partner with me Seven, some older tracks and some new material. So and I brought in pretty much all the people who have I’ve been busy. been part of the band for the last ten years. I’ve been playing at the 55 Bar every other Saturday night for JI: KJ, why don’t you talk a little bit about your, how about the last ten years, since 1998, and I was very the relationship with Motéma Records developed? happy to have my bass player, Mamadou Ba, on many of the tracks. Mamadou Ba has been with me right KJ: That was — it started with an email from Jana. since the beginning. He’s from Senegal, Africa, and She had found the record; I had a live record called he adds a certain personality to my music that I call Another Year Gone By that won an independent mu- And you’re going to do that in the studio. I don’t go “Urban Folk and Jazz.” It’s really sort of a singer- sic award for Best Live Record. I had a little cluster of65 times on anything in the studio. You can. I don’t. songwriter type of music with jazz or jazz improvi- time where I left my day job I said, “I want to win an I try to keep it to three takes and keep some of the sation going on. I feature some other great cats, my award,” and all of a sudden I won three in a very short excitement, record as much live as possible, but then drummer Ray Levier, he’s been with me. He’s earned period. Jana saw the write up about that record. She you’re going to clean things up and it’s great to have cat status. You can call him a cat now. I didn’t want wrote to me and I went and looked at her website and the ability to sort of — I feel like I’m orchestrating to get too “KJ centric,” you know. For me, it’s re- the thing I remembered is she said on her website she where I want your ear to be. I want you to listen to ally about the band, and me. I arrived with a style. wanted to hire musicians that were capable of chang- vocals here. But for me it’s not just vocals. It’s vocals, I came back to New York in 1996 and started this ing the molecules in a room when they played. So I its changes, it’s the transition from this mood to that band. By 1998, we started a residency at the 55 Bar mean, it can sound a little artsy but it actually really mood and I enjoy creating an entire record. Then I that’s still continuing. Ray has been with me since resonated with me and she began coming down to also make live records and that involves recording it 1998. Pete Vitalone he looks like Jesus and plays like the 55 to see us and a year ago on her birthday – our well, having the ability to go back and at least mix, a saint. He’s been with me as well since ‘98. And then birthdays are very close– I went to see her band and and song selection. This last record, if you ask me I have some great guests, Mr. Etienne Stadwijk from I said, “Oh, here’s Lucky Seven. I just finished this these questions I could talk for twelve hours. What Richard Bona’s band. I do a duet with him. There’s a record.” And she became very interested in a record I noticed about myself is that I had every hat on. I with a name like Lucky Seven. She said, “I think I even heard myself. I had a brand new songbook that gentleman named Bennett Paster who’s been doing want that on my label.” And so we wrangled for a I wrote and I was playing it with Aaron. And we only Umbria Jazz Festivals with me. We’ve just completed few months. I had another deal on the table that I played it about three times. It was a duet between us. the next record which is going to be a live record, ac- had to get their blessing and permission which I did I showed it to him in his hotel room. And I knew on tually. So Lucky Seven is going into stores right now before I moved on to Motéma. So we’ve been work- my third try that I never really felt like I had the end- on May 27th and we’re going out to the West Coast ing together about eight months and they’re putting ing that I liked, and on the third time that I did it to support that. Sue Hadjopoulos played percussion a lot of resources behind my career. It’s very new and I practically stopped and added this ending that we on Lucky Seven. She did some touring in Umbria. bringing a lot of great people to the table. So I have anended up abridging onto the version that went there. And then we’ve got Kevin Jones who’s also on Mo- agent and a manager…and I’ve met Michael Jensen And the engineer, his name is Ben Wisch, Ben was téma and he’s going to go on this tour to California. and I’ve opened for Robben Ford. So all of a sudden saying, you know, I could almost hear you saying, And then we’re going back to Umbria Jazz for our we’re — there’s a team where a lot of the work really “Okay, Ben, cut it in right here.” So I was constantly fifth consecutive appearance. I’m really excited about was carried by me before. producing a record that had tracks that weren’t on a that. I just have to talk about this because the biggest previous live record and sort of balancing it between news is I just had a birthday – a big one… JI: What kinds of challenges do you find that you featuring Aaron as we were, tunes from the new re- run into as an independent artist? cord and some tunes from the previous record, sort JI: You’re 21. of balancing the whole thing. And it’s a lot to think KJ: Choices. Choices of material are — I decided not about when you’re on stage and I don’t do set lists. KJ: Yes. Twenty-five, actually. Twenty-five is the new to see it as a problem but I do have a little bit of an That’s another quirk. fifteen and I know I don’t really look a day over fif- understanding of how business and marketing work teen. So, two days before my birthday I get the news and I do understand that you need to be placed some- JI: You mentioned the singer-songwriter connection. that we’re going to Umbria Jazz for our fifth time and where. And my heart is in so many different types of Why don’t you talk a little bit about how you bridged they have offered me a main stage performance to music that I think I’ve second guessed myself. Is it the gap and how that singer-songwriter element in- support Alicia Keyes on July 19th. So I’m walking a okay to do the style of music that I’m doing? The fluences or impacts your artistry? little higher off the ground. I think that my band is other challenge also is we’ve become such a dynamic just going to sound fantastic because we’re so happy band live in concert. How to bring that to a CD? KJ: Well, it started actually when I was ten that I to be there. I’ve seen so many people on that stage started playing guitar. And in the late 60’s, very late over the last two summers. I’ve seen Pat Metheny, JI: Translate the live feeling into the wax so to speak? 60’s, practically the 80’s already when I was playing Diana Krall, Eric Clapton, Santana has played that guitar, James Taylor and Joni Mitchell were probably Photo Courtesy Motéma Music stage although I missed that show so I don’t know a KJ: Right. And I love well-produced records and I the first people to really influence my playing. There lot about that, but it’s going to be great. So, getting think I’m still hearing some combination of James was one great book by James Taylor that had tabla- back to my band, Aaron Heick is the last guy. This [Taylor], Joni [Mitchell] and Steely Dan, and to me ture and another book by Joni Mitchell called For past winter when I was in Orvieto for Umbria Jazz making a studio record is like making a film. If you’re The Roses that had her modal tunings that I learned. XV, we featured Aaron Heick on saxophone. We going to make a film I might come in and say, “How Once I learned them, I could identify them by ear. recorded those shows and that’s going to come out are you doing today?” 65 times until we get it right. I could go to one of her concerts and pick out — 38 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 oh, that’s this tuning or this tuning. So, I was sort a longer route than some people might have taken. I of rooted in those guys, but I listened to the singer- didn’t really take any formal lessons but I was work- songwriters of that time. And at the same time I had ing with musicians from Ithaca College. One in par- a great love, since my childhood, for Sergio Mendes. ticular was a woman named Vicki Gedfan and we So I always had this other pull. Sergio Mendes really were just talking yesterday. We were listening to Paul was my first love. At nine years old I would set my Winter Consort. We were listening to Keith Jarrett. dolls up, my G.I. Joe’s, and they would play exclu- We were listening to Steely Dan and we were playing sively Sergio Mendes and I would dance. Well, the guitar and opening — I wrote music by really hunt- G.I. Joe’s had a trigger finger and that trigger finger ing for the tensions that I love. Today I know that could hold a guitar. And my Gumby had a guitar, I use 6/9 chords. Often I’ll use a 6/9 chord instead so it was perfect. They could do a bar chord before I of the major seven. I had a ten-year period where I could. And I could do… didn’t like any seven chords. And it wasn’t until I decided to arrange “Pennies From Heaven” that I JI: …And you let Gumby be with the G.I. Joe’s? re-introduced seventh chords to my writing. I was very uneducated and very opinionated with regard to KJ: No, he wasn’t even allowed to be in the band so what I wanted to play. I think we were a jam band it is unfortunate. We’re trying to make retributions before jam bands were called that. I called what I did now to Gumby and Pokey. They didn’t get any time Urban Folk and Jazz. Folk music that didn’t come on the stage. What’s funny is, it’s really true. So from from Appalachia. Folk music that came really from there, I went on to my finger-style playing which was the singer-songwriter movement of the 70’s and I certainly enhanced by early James Taylor. Mudslide was from New York City. You know, I’ve never lived Slim and One Man Dog were two records that I feel on a farm or a river. I lived in New York City and like they’re mapped on my DNA. And there’s a part so I thought, I like the term urban folk but from the of me that’s always re-creating that sound you get time we got together it really always about taking the sections, opening them up and letting them become when you work with acoustic guitar, acoustic piano, drums, percussion, and bass, you know, maybe an- what they would. So that’s the best definition and it’s actually not such a great definition but it’s the best I Including the Pulse other guitar player. They say you’re always attached to the first music that you were attached to. Those can give you off the top. of Jazz Percussion are absolutely my roots, but as time went on, another JI: What is for you the connection between music Roy Haynes album that I just heard the other day that I was ad- and spirituality? Photo by Jimmy Katz dicted to, my mother made me stop playing this record. She actually said, “I can’t listen to this any KJ: The connection for me between music and spiri- more.” And it was Hubert Law’s Rite of Spring. I just tuality is what am I here to do? And I’ve tried to say, gave that to a friend of mine who plays flute and I sent “Oh, I’m supposed to be a scientist. I’m supposed to her an MP3. As she was listening, I noticed we both be a psychologist, I’m supposed to be a financial ad- stopped talking on the phone and we were just lis- visor,” well not that, a financial analyst, but I keep tening to it again. He does two movements from the coming back and repeating over and over my high Brandenburg Concertos and I’m always speechless. school experience. I put bands together and I keep To this day I heard it and we couldn’t — two minutes them together for a long time. Spiritually, at the age we were on the phone and it’s like you realize we’ve that I am now I finally accepted that this is what I’m stopped talking just to listen to that. Then I became supposed to be doing. I was fairly successful at a lot a big Steely Dan head. I left college to play guitar in of other things but it just, it doesn’t hold me. My day Damon Sherry a Top 40 band. One year with a Top 40 band and Grant Winston jobs have always been hobbies. I like numbers so do- then the next year I was more with a rock band. That ing spreadsheets and looking at numbers was really band did some Steely Dan and we sort of mixed it great fun. And sometimes I’ll just build a spread- up. Another big love of mine was a guy named Bruce sheet these days just to keep my mind occupied. But Cockburn. I also rode the fence between singer-song- apparently I’m supposed to play music so I’m accept- writer. There was a lot of faith in his music which ing that and it’s working on my playing and how to didn’t offend me in any way, and just a lot of great bring out what’s important to me in my playing. I’m Tyrha guitar playing. very, very fortunate. That much I’ve finally accepted Lindsey as well and I left my day job five years ago. And I came JI: Talk about improvisation and a little bit about out and I remember whining and saying, “I want an your concept…not necessarily notes or melody or award.” I’d read other people’s bios and my bio was harmony, I mean all those things certainly, but im- provisation as it is about the music and about your just like, plays at 55, does this, does that, and I said I New Artists for 2008 want an award. And it wasn’t even six months later personality, and your spirit – about how it becomes that I went to Mountain Stage and I won the contest together on The Sound! part of your life. there and I got to be on Mountain Stage, followed by Saturday, the Independent Music Award. I went to Kerrville. I July 12, 2008 KJ: Well it’s – I love changes and I love groove. And won their songwriting contest and all of a sudden I Noon Until Sunset the way that I taught myself to play guitar is probably had awards to talk about. Veteran's Memorial Park See what everyone is talking about. Catch KJ Denhert on June 21st, at Le Poisson Rouge as part of the JVC Jazz Norwalk, CT Festival and on June 12 at the Virgin MegaStore in Union Square. For more info visit KJ on the web at Tickets online at www.kjdenhert.com. Her new album with her group Lucky 7 is available on Motema Music, www.motema.com norwalkjazzfestival.com To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 39 Interview Antonio Ciacca By Eric Nemeyer JI: Could you discuss your new album, Rush Life, on denying the existence of this music, I would rather the Motema Music label that will be release on June talk about things that I know. So I went to check out 24? Tell us about how you developed the repertoire this concert at the Langston Hughes House. Then I and your choice of personnel. got to meet Jana Herzen, the President of Motéma. They had a beautiful Fazioli in the Langston Hughes AC: Since 2004, I have had Kengo Nakamura in my House, and I couldn’t resist trying to play it. I played band. I met him through saxophonist Wess Ander- a couple of songs and she approached me and asked son when I played at the Village Vanguard, when me if I was interested in recording some of the tunes Wynton was part of the front line. Joe Magnarelli that I was playing, which were my tunes. I gave her played on an earlier album of mine in 2002. Ulysses three of my last CDs – a trio, a quartet and a quin- Owens is a young, brilliant drummer from Juilliard, tet. She really liked the quintet sound – the Horace and he has that kind of vibe of learning through play- Silver, Benny Golson Jazztet kind of vibe. She said, ing, rather than through books and transcriptions. “I want the quintet.” And, I said, “You got it. You’re He knows how important it is to play with the jazz in charge, you tell me what you want.” So I started to masters to get this language together. He plays with write music for the quintet, and I brought back Joe Lonnie Smith, and Mulgrew Miller. He’s on the same [Magnarelli] into the band, and we did it. wavelength as me. I spent most of my last ten years with Steve Lacy and Benny Golson, to get a direct JI: She’s a musician herself, so she has a keen ear and source of information, not second-hand informa- a deep understanding. that we are working on ideas and we are trying to tion. Stacy Dillard is my man from Michigan. I was present the whole spectrum of the jazz repertoire and told about him by Wynton, and I went to check him AC: The reason why I think the quality of recordings jazz history, so we need people who can implement out. He’s the kind of real improviser – not the kind has gone down is because we don’t have people like our concept and ideas. We try to present the largest of super-polished, clean saxophone player who works Teo Macero or Orrin Keepnews in the studios any- variety of what this music is all about, since it is over out at home what they’re going to play on stage. This more – people who knew about music. Now you’re 100 years old. man is a real improviser. When we get on stage, he is dealing with someone who is more concerned with playing in that moment. He is not going to perform how nice you look, and how that will enable them to JI: How does your role with Jazz at Lincoln Center, something that he has worked out. He is not going to get you on the cover of this or that, instead of listening away from the piano, create support or create chal- deliver licks that he worked out at home. He’s really to how you play. I was fortunate because I had Todd lenges for your own artistic pursuits? a real musician. The repertoire comes from them. I Barkan in the booth producing this album. He is such learned from Benny Golson that it is really the musi- an unbelievable personality. Just to have him there, AC: This role is pure gold for me as a pianist and as cian who tells you how to write music – the kind of made me feel so good. The musicians were so happy a jazz musician because I am dealing with music. I’m harmonic progression they like, the kind of tempos to have someone who has been at 2,000 recording ses- dealing with the music of Bill Evans, Benny Carter, and grooves they like. Some people feel comfortable sions and won four Grammy Awards as a producer. and many others, and I’m dealing with musical scores playing Latin music. I don’t, because I don’t know He taped our rehearsals and we would listen and fig- and musicians and jazz masters. Yesterday I was that music. Some players like mainstream music. ure out the right tempos, the right arrangements. speaking with Bob Wilber, and three days ago I went Some people like odd meters. I adjust my repertoire to visit Ahmad Jamal about his performance at the to try to get the best out of my musicians. That’s why JI: Talk about your role with Jazz at Lincoln Center. opening of the coming season in October. I have tunes where Kengo is playing the melody. I hate the stereotyped roles of instruments, where the AC: The first six months of my year at Jazz at Lin- JI: Could you talk about integrity in the music, and horn is playing the melody all the time, and the bass coln Center, I tried to explain to musicians that Jazz show versus substance? at Lincoln Center is not a jazz festival where you is playing 4/4. I like the bass to be in the spotlight on one tune, and the next tune is maybe going to be a can bring your band and we give you a stage. We are AC: I carefully choose the people that I want to be solo piano, featuring him on intros. producers. Our Artistic Director, Wynton Marsalis with – and the people I want to be with are people gives us ideas for us to implement. My job is to find like Wynton Marsalis, Benny Golson, and Ahmad JI: How did your relationship with Motéma develop? the right actor who can implement his visions and his Jamal. These are people with a total devotion to this ideas. So, we hire musicians who can work on specific music. When I meet somebody and I see that they AC: Part of my role as Director of Programming projects. There is no point for us to present what the confuse the word quality with popularity, I stop the at Jazz at Lincoln Center is to go out and scout tal- JVC Jazz Festival does, or what any other festival conversation right there. One of my heroes was Her- ent to present at our three venues. I went to hear a does. What is the point of putting on the stage a trio bie Nichols. Nobody knew him. Monk was dropped gentleman from Detroit named Calvin Sholar, who that is playing in every other club in the city? So, I’ll by Blue Note because he couldn’t sell records. I come is a brilliant piano player, who happens to know very get calls from people who will say, “I sent you a CD from a part of Europe, in Italy, where we know the well the contemporary hip-hop scene. He has played two days ago. Can I get a gig?” So I have to explain difference between quality and popularity. If you tell with Wallace Roney, Sonny Rollins and others. I me that popularity in itself means something is qual- Photo Courtesy Motéma Music thought it was worth it for me to go check him out, Antonio Ciacca’s new CD is entitled Rush Life, ity, I’m not with you. In some cases, like with Louis because here’s someone who knows enough about the Armstrong and Nat King Cole, they were popular on Motema Music, and will be available June 24. music to be respected in what he does. Since I had no and they were quality artists performing quality idea about what hip-hop and rap is, and since I think Hear Antonio Ciacca on Thursday evenings at music. So the musicians have to make a choice. Ei- that we have to deal with it because it is out there, I ther they want to be loyal to their art form and have felt it was important. So instead of criticizing it and Roth’s West Side Steakhouse. Continued on Page 47 40 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Jana Herzen on … Roni Ben-Hur: “He is Motéma Music very dedicated into giv- ing back to the commu- Turns Five nity. I see him as a bridge from the older masters. He came here from Israel By Annie Simmons to play jazz and learned with Barry Harris.” As the music industry is going through its para- a label. I sometimes jokingly say I am the label for digm shift, independent labels are abundantly sprout- 50-year-old artists. They are not all there, but I have Antonio Ciacca: ing up and are giving the old guard — the record in- been finding people who are mid-career artists who “Antonio represents a dustry as we knew it — a run for their money. Artist are really phenomenal players that have never really true renaissance man—a owned labels are another genre altogether because had a team behind him. Truthfully, one of the true wonderful businessman, often it’s not about the bottom line. That’s not to joys of doing this has been watching what happens fabulous pianist, great say making a profit wouldn’t be nice, but it’s usually to an artist when they get a team behind them,” said composer and quite the not the first priority. What drives most artist-owned Herzen with delight. family man.” labels, in most cases, is to have their artists authenti- So how does a folk singer wind up running a cally and fully express themselves, while having their label filled with jazz artists? In a roundabout way, Ba- music be heard by the masses. Singer, songwriter and batunde Lea, brought Herzen into the jazz world due KJ Denhert: label owner, Jana Herzen, allowed her own musical to their shared love of African music. “I have always “She’s for me, quintes- journey to take her around the world, eventually loved some jazz like Ella Fitzgerald and Miles, but I sential Motéma in the culminating in the launching of a label, Motéma Re- wasn’t a jazzer at all,” said Herzen. “I personally had a sense of someone who’s cords, five years ago. transformation of both musical and life outlook from just thoroughly real. In her quest to make an album of her own studying African drumming. It opened up another And singing right from songs, Herzen took on a sort of musical magical mys- perspective to me. I had been a folk singer—playing her heart and soul.” tery tour around the world, landing in such places as my guitar and focusing on the words. It was hard Australia, Bali and Japan. Along the way, she devel- for me to hear these different poly-rhythms working oped a passion for African drumming. When it came against each other. Once I heard them and started Babatundae Lea: time to start putting the record out, Herzen started playing them, I discovered this uplift that comes from “Babatunde is so enter- asking the questions that most independent artists playing call and response music. The groove to me is taining. it’s a show when do, “How do I do this and how can I get this music the most magical thing. Musicians get together in a he puts on a show. He out to people?” The record eventually was produced room and it’s quiet. And then everyone starts play- has actually just started a by a French African producer. “It was sort of an in- ing we’re all riding the groove. I don’t know if it’s the teaching situation in the ternational project in and of itself, Herzen reflected. heart beat or where it comes from, but if everybody South of France” “I’m a little bit mystical because things happen and gets into it, it lifts up the whole room. For me, I see I tend to follow things that happen in my life. You the roots of jazz and all popular music as having come go down a trail, and it creates adventure and that is from as far back in Africa. Jazz started out as popular Rufus Reid: the adventure of Motéma Music. The name Motéma music and it’s actually getting more popular now by “Rufus just recently won even comes from singing in that African producer’s inter-breeding with other forms of popular music. I a Guggenheim fellowship band for quite awhile and always singing the word refuse to look at it as this little 2.5% of the market- so he gets to exclusively ‘motéma-inguy’, which means ‘I love you’ in Langala, place. It’s about hooking in—if you can get in front of concentrate on writing a language from Central Africa. Because Motéma people in a way that’s going to engage their imagina- music, which is his big means heart, or love.” tions, it will make them feel good, or be entertained. passion. He has the most The beginning wasn’t easy and Herzen didn’t I came from a theatre background and I need there to youthful spirit…” have experience in the record industry. “I worked for be an emotional connection going on while the music a while and frankly I was almost ready to give up. It is happening, and a connection between the artists. For me it’s almost like a sitcom. All the musicians Ryan Cohan: just seemed like, ‘wow, I don’t how to get from here “Be on the lookout for to there.’” She hooked up with drummer and per- on stage — they’re all characters. If they’re really en- some really great things cussionist, Babatunde Lea, in California. “We were gaged and really expressing themselves then it will be from this wonderfully playing music together. He was playing drums in the a really great show because everyone’s listening really inventive Chicago pia- band that I was having and we began talking about well and they’re responding to each other because it’s nist.” the process of launching a label. He had made a cou- a conversation. That’s what attracts me. People think ple of records and had a certain amount of success as of Motéma as a jazz label, but I’m not a jazz artist. I’m a musician. We talked about what it takes and how into the tradition of jazz.” to get into the community, working with publicists; One of the hallmarks of Motéma Music, is that the artists collaborate with each other a lot. Percus- Amy London: working with a team. It really does take a team. We sionist Kevin “Bujo” Jones was on Babatunde Lea’s “The reviews for her keep had a really good opportunity where some money record. Then Kevin recorded his own record and he coming in—people are came to the table that we were able to start making just loving this record some records. He made a record and then we hooked sometimes works with Herzen’s band. Bassist Rufus Photos Courtesy Motéma Music so her career is really tak- up with Suzi Reynolds in New York City to produce Reid works with guitarist Ron Ben-Hur. “It is kind ing off…” that record and she helped me hook up with some of like a repertoire theater company,” muses Herzen. different people in the industry. I just decided, ‘Well, “Each person has their own point of view and creates let’s just do this!’” They signed pianist Lynne Arri- their own thing, but it is nice to step into some body ale who had a nice career going in Europe with the else’s point of view and play together. It is something idea to help her expand her career here. “We became that I foster in performances and things like that and Continued on Page 47 To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 41 Interview Esperanza Spalding By Eric Nemeyer ES: The new record objective, Esperanza, on Heads recording different kinds of music. Not — I’m saying Up records, was to choose songs and arrangements different kinds of — like he would have experience that would have the essence of jazz, like improvisa- recording a different style of music that we were do- tion and capturing the live interaction that happens ing that day. So the kind of advice that I was getting — the harmonic and melodic content and form. It’s would be like someone like Jamey whose part wasn’t packaged and arranged in such a way that it might set in stone yet. So we’d record — we play the track be more palatable for someone who doesn’t have a few times — the song a few times. And he’d say, the type of jazz vocabulary that an avid jazz listener “Hey, what if I put this at the go-go here. Or I put might have. So there’s an array of some jazz tunes like like this the stump down here, like the bongos here.” “Body and Soul” where we changed the arrangement, And of course when ever Jamey thinks as long as it and most of the tunes are my own compositions that works, I’m totally into it. So, it was more like that. It I wrote with that intention. They are fused with jazz, was a lot of input from the musicians just like, “Man but they have a lot of genres mixed in that maybe the what if I do this? What if I do that? Like wouldn’t more average music listener would be familiar with. it be cooler if I do this?” That’s totally — that’s the The personnel that I chose were people like Horacio idea. And once you give them the charts, it’s out of “El Negro” Hernández, Jamey Haddad, Otis Brown, your hands. They’re going to play it how they play it Donald Harrison, Leo Genovese, Ambrose Akin- and though I trust those musicians a 100%. So it was musire and Gretchen Parlato. All of them combined really beautiful to have all those different perspec- cover a huge array of styles and genres. They bring so tives on the music, on my music. In your brain you like an instrument, and still being able to deliver the much to the table — each one of them brings a dif- have this concept and then of course they just run melody in the lyrics as a singer. This is much deeper ferent slice of the musical pie, so together with those with it. than just a chorus, with the intention that you put guys, we tried to create that sound on the record. behind what you’re saying and how you deliver. JI: For your compositions, what were some of the JI: Can you talk a little bit about your singing. sources of inspiration? JI: Why don’t you talk a little bit about the concept ES: The singing thing had kind of evolved into an of improvisation? As jazz players we take the vocabu- ES: In general, I have this philosophy about music approach to how I play — it developed in its own lary that we have - creating melodies, creating chords, being accessible to the average listener and still have way along with the bass lines. But now, particularly creating rhythms and so on and so forth. That’s one integrity and truism to it that’s based on your own when I’m writing, I’m always thinking like, “How aspect of improvisation. Could you talk about your creative path. So typically, the songs just kind of cre- do I want to emphasize the counterpoint that exists approach to improvisation musically and how you ate themselves within this framework — following between the voice and the bass?” When I’m leading, apply it in life? what comes next. The big goal is music that has my it’s really one - I’m already covering the core in a way… own creative sound and integrity, but it still acces- the main two roles, the main counterpoint roles, I’m ES: Cool. Well, that’s a great one. I love that topic. I sible to the average listener. Those two things are al- already taking. I’m getting more into it the way that love that zone. Actually, I’ll go the other way first. I’ll ways going on when I’m writing. Outside of that, it’s a pianist has these two complimentary lines in differ- answer the life way first because practicing the art of just the songs take on kind of a life of their own, and ent ranges. Counterpoint is amazing - the things that improvisation — just music in general because really then I just follow the character of the song and shape you can create, emotions and the colors and the ten- improvisation happens in every art form all the time. it into a complete piece. sions and the release. More and more people are sort Really, it does. Even though it may not seam like it. of asking me to present the voice which is a totally I’ve played in orchestras for years and years and years. JI: Have you find yourself writing down little motifs different vibe, which is like if you’re like second saxo- And it’s even how you — you know, how you dig in. here and there and then developing them either at phone player in the band, or it’s a quartet and you’re … this is suppose to be lighter … then right there you the piano maybe on your bass? the leader. You know, there’s more presentation nec- make it more staccato based on the chart. I mean, im- essary. You have to deliver this thing in a different provisation is everywhere. It’s in every style of music. ES: Definitely, yeah, actually most — I don’t know way. So that’s really been challenging. It’s still very I would be hard pressed — to find a style of music about other people but definitely for me most songs new to me and I’m having to study different aspects that it doesn’t happen at least in some point in the start off as motifs, either a bass line which is a motif of delivery. I’m actually having to study like a vocal- process. of course. Or, sometimes you wake from a dream and ist now and I’ve never did that before. I was thinking there’s like that last little melody ringing in your head like how a singer does it because in a way, you’re a line JI: Well, we’re improvising our conversation here. and you go like — so you go to the piano and write in an arrangement. If you’re one line in this density Neither of us pre-scripted it. And so this is some- it down. And of course, there’s those times where it’s of counterpoint, you actually can’t act like a leader thing that is emerging on the spot and defying any like magic and for me, I’ll just be sitting practicing singer. You’ve got to act more like a section player. I’ve efforts we might have had to pre-script it. and a baseline comes and a melody comes. You sit at got to learn how to find that balance - functioning the piano and the whole thing just, you know, comes ES: And check it out. Why would this be a good Photo Courtesy of Heads Up International out and there’s your chart. It’ll — yeah, yeah. conversation? Are the same qualities that are impor- Hear Esperanza Spalding and her quartet as part of tant in good improvisation with music, which is lis- JI: What kinds of suggestions or direction did you the JVC Jazz Festival, Wednesday, June 25, at 8:00 PM tening…I mean really listening…paying attention to receive in the studio while you were developing at The Concert Hall at The New York Society for Ethical what’s coming out of the other person’s mouth. And the album? Culture, 2 W 64th St, New York, NY 10023. being aware of what’s coming out of your mouth. And Visit Esperanza Spalding on the internet at as the other persons communicating what they’re say- ES: Well, not a lot. I was the producer and I was ing, you’re ready to catch. You’re receptive. And then working with an engineer who had a lot of experience www.esperanzaspalding.com you wait. And you form how you’re going to respond 42 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 related to what the person has said to continue on the peat it if you start talking in the middle. Only when communication, right? And that’s so important in they’re done talking, you get to respond. But it has to any type of improvisation and in anything. But since relate with what they just said. And it’s funny how we’re talking about music, the best analogy I like to that changes how they communicate with me by the use is kind of like a game that I play sometimes with next week. That analogy to communicating verbally students, or in a master class. We’ll have the front is something that you see with a lot of young play- row of the audience, and someone just starts with a ers when they’re improvising musically. There’s not a phrase and then each person builds a story about a dialog, not a true dialogue. Its two monologs. topic - kind of like what we’re doing now. You know your objective which you want to get to and together JI: They’re playing their formula or their thing that we’re building towards that story which will be this works…but what they are saying or playing doesn’t interview. It is like having the freedom and the self- necessarily apply to this tune, or conversation at all. lessness in a way and also having confidence in your vocabulary, which the analogy, of course, in jazz ES: That’s right. It’s funny actually that now it applies would be the music that you’ve ingested…the skills or everything like I remember being on a plane recently the records or technique, whatever, being confident and having a — you know, start conversations with with your vocabulary…so that if someone throws people you don’t know on the plane because it can you this line you’ll be able to respond with this line. scary really fast. But I was talking about an article And of course that happens on every level of the band in the newspaper. We were talking about and then between the rhythm section…with the soloist in the I kind of started to realize that the guy I was talking rhythm section, with the singer and the soloist. I of- to, he kind of stopped talking about — at a certain ten find when I teach the students that are my age point he wasn’t really responding to me anymore. He and this is a problem that I’ve noticed…with people was reiterating his point, his point. And I would say born in the 80’s. It’s this individualistic, “I know something like “Yeah, this is interesting, this aspect everything” kind of attitude. And so sometimes the of it” and he would go, “Yeah, like” and then refer first thing I do with my students if they’re studying back to his point he already made. And that is exactly with me to be better improvisers, is this assignment: what happens a lot like what you were just saying. Every time you talk to somebody, you have to shut Like when the 251 comes and you might of just said, up your brain, shut up your mouth and just listen to “Hey how’s the weather” and he goes like “Oh my what they say. Really listen and even ask them to re- shoes untied.” You know, totally unrelated. Enzo’s Jazz Club Wednesday, June 25 2 Sets: 8pm & 9:30pm Jolly Hotel Madison Towers 22 East 38th Street at Madison Avenue In the Whaler Bar located in the lobby of the hotel $15 Cover ♦ 1 Drink Minimum with John di Martino, piano David Mann, saxophone Chris Higgins, bass Eric Halvorson, drums Pamela will be releasing her 3rd album “Magnet” on High Note / Savant Records With Special Guests Houston Person & Freddy Cole Pre-orders are available now on amazon.com www.PamelaLuss.com To See Pamela perform on live television: YouTube.com To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 43 Interview John Fedchock By Eric Nemeyer JI: Could you talk about how your relationship with exclusively in the idiom. It became more apparent to Woody Herman developed? How did that fortuitous me once I started my own band. The logistical and experience impact your performing and arranging financial aspects are certainly trying, and many times pursuits? seem completely daunting, but the tough moments have always been balanced out by the good ones. JF: Working with Woody Herman’s band was some- My writing and playing have both evolved over the thing I had wanted to do since I first heard his band course of the band’s four CDs, and receiving a 2003 perform at my own high school in 1974. I became a Grammy nomination for arranging has confirmed to big fan of the band, listening to their recordings, and me that the work I’ve put into the JFNYBB hasn’t attending any nearby gigs. By the time I joined the gone unnoticed. I think the key to my success in the band at age 22, I was already well versed in it’s his- genre has been that I’ve never intended the band to tory, it’s repertoire and it’s unique “sound”, as well be a project based upon financial goals, only artistic as the rich legacy of great players that went through ones. I never pursued a commercial writing career. I that band since 1936. Once Woody was aware of think if I had been writing music for dog food com- tleties. I learned a lot about how to shape a chart from my passion for the band, I felt that our relationship mercials or sports TV, some of those commonplace, my time with Gerry. He wanted the band to reflect became more than that of just leader and sideman. commercial sounds would have crept into my music, the sound exactly as he had envisioned it in his head. My early playing was inspired by the great trombon- and taken away from the individual sound I have al- He did not want any outside input, and when we per- ists that went through his band over the years, spe- ways wanted to create. The band has given me an op- formed at major jazz festivals, would try to discourage cifically Urbie Green and Carl Fontana. As it turned portunity to express a variety of musical views us from hearing other performing groups. He didn’t out, those two, along with Bill Harris, were Woody’s want any outside influences to affect his players, pos- all-time favorites. Because Woody was comfortable JI: You worked in bands led by Gerry Mulligan, sibly changing their performance approach in a way my “voice”, there were no problems when I wanted Louie Bellson and Woody Herman. Could you com- that was incongruous to his stylistic concept. Louie to stretch things melodically or harmonically. I never pare their leadership styles? Bellson had worked with many of the all-time jazz felt like I was boxed into an overly stylized way of greats, and it was immediately apparent that he was playing, so I was able to grow and evolve as a player JF: Three very unique situations and three very sensitive to the sideman. He was completely comfort- over the seven years I spent with the band. When unique men. Woody Herman led very democrati- able trusting his players to the job at hand. He had a I began writing for Woody, I was once again at an cally, trusting the players would take care of business beautiful, relaxed vibe about him, and the environ- advantage in knowing the band’s history. I knew the from within. The result was that everyone felt as if ment of the band was a beautiful and relaxing experi- sound of the band, and it was present in my charts. I it was “their band”. No one was hovering over, yell- ence. He treated us all like the professionals that we ing orders or imposing their will upon the group. never felt like I had to “try” to get the band’s sound. were, just assuming we’d all play are asses off for him, Woody accepted my writing immediately, and never If Woody didn’t like what we were doing, he would and we did everything we could to do so. Other than imposed his infamous editing style on any of my never say, “Do it this way”, he would say, “Try it an- “roadmap” type issues with the charts, there was lit- charts. He trusted my opinion and my knowledge of other way”, giving us the freedom to interpret things tle he felt he needed to request of us. The players took the band, and gave me responsibilities like running organically, and not forcing an agenda. Unlike Duke care of business, and Louie dictated the basic concept recording sessions and overseeing mixes. I was also Ellington, who crafted his writing around personnel, of the band through his dynamic drumming. This able to stretch my writing concept within the context Woody needed to select players that would comple- was a revelation to me because, outside of an occa- of the band, bringing in new elements that helped ment his diverse book, which stylistically spanned sional two-or-three-week tour, this was not a road the band evolve during my tenure as chief arranger over 50 years. The only time Woody would get ada- band. Many times charts were being read for the first and musical director. When I first joined the band in mant about something specific would be concerning time by some of the players, yet Louie was confident 1980, it was still on the heels of experimenting with energy levels. There was always an element of excite- we’d all take care of business, and we did. pop music and fusion. I’m proud to say that, by the ment in Woody’s bands, and he wanted that present time I left the road, the band was back to more of a in every chart. This was indicated mostly in his body JI: How did these experiences guide you in your own straight-ahead jazz focus with a modern tinge, bring- language, and as long as the band responded ap- leadership style? ing Woody full circle with two Grammy-nominated propriately, regardless of how, Woody was content. recordings that brought the band quite a bit of noto- Gerry Mulligan was extremely fastidious about how JF: I think that my style of leadership is an amal- he wanted his music interpreted, and would give ex- riety before the end of his life in 1987. I feel that my gam of the styles of all three men. Most prevalent own big band has continued that tradition. plicit instructions to the smallest nuance. When on is Woody’s influence. I give my players freedom to tour, he would regularly schedule talk-throughs when interpret things their own way, and many times it JI: Talk about the John Fedchock New York Big Band a rehearsal space was not available, giving us specific exceeds the vision I had in my head. As Woody did, you organized and lead? How has your conception details he wanted fine-tuned, or notes regarding the I have an aspect of energy in my writing that needs and the band evolved over the years? What are the previous day’s performance. Because of his detailed to be addressed, and after almost 20 years, my band challenges and benefits? approach, the band did in fact have a unique sound members know how to find that energy in their own that was strongly based in nuance and phrasing sub- ways. I chose my soloists based upon how they’d fit JF: After the great experience I had with Woody, I with my writing style, most specifically concerning Hear John Fedchock and his New York Big Band on Photo Courtesy of Artist wanted to continue on. Many of those who wrote for harmonic concepts. I write with a lot of upper ex- that band in the past went on to successful careers June 9, at Cachaca, 35 West 8th Street, New York, NY tensions and alterations in my voicings, and prefer in commercial writing, and while their talents for 10011, Phone: 212-388-9099; www.cachacajazz.com. to have soloists that can reflect those sounds. With big band writing were surely a benefit in that, I al- that said, I give the soloists absolutely no indication ways wondered why they never continued on more Visit John on the internet at www.johnfedchock.com. as to how to interpret my music when improvising, 44 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 and over time have adjusted my writing to showcase in New York, I was already on the way to becoming doing so, set new short-term goals. There were things their special qualities. Gerry Mulligan’s influence independent as a solo artist. The fact that the studio I wanted to pursue in my playing, my writing, and comes in my attention to detail. I’m very meticulous scene was changing was not a concern of mine. I had my career, and I was always aware of where I stood in about what I am looking for when I write, and every already made the decision to move in my own direc- relation to those ultimate goals. I’ve never lost sight voicing, melody and rhythm is seriously scrutinized tion. It paid off. The changes in the business have of that, and continue to pursue a developmental pro- before the music is even put before my players. Then had no significant effect on me, and I’m doing what cess in all aspects of my career. In a life of music, it’s I let them interpret things as they see fit. Like Louie I’ve always wanted to do. Venues in New York are all what has helped to keep me driven, positive, focused Bellson, I am very sensitive to the sidemen in my pretty small, with the exception of a few, so perfor- and grounded. band. Each player is a seasoned pro, and I do every- mance opportunities for my big band can sometimes thing I can to treat them as such. I also am cogni- be select. I’ve opted to only have the band perform in JI: What have you discovered about human nature zant of everyone’s abilities as soloists, and go to great venues where things are comfortable and conducive in your journey as an improvising artist? lengths to make sure everyone has an opportunity to for what we do, and not put my players in awkward solo, and is offered vehicles that showcase what they positions that will hinder the music. This somewhat JF: That true jazz players find a way to reflect their do best. I believe this has contributed to the loyalty limits our opportunities, but whenever we do play, personalities in their playing. I spent a lot of time I’ve received from all my players over such a long the band knows it will be a great experience. soul searching in regards to how I wanted to play, time. Many times they’ll drop more lucrative work to and eventually came to the conclusion that the solo perform with the band. I truly appreciate that, and JI: It is said that many people who achieve success in style that was truest to my heart and my personality never take it for granted. their business, career, personal, and creative lives can was one that was atypical of the trombone. The gen- attribute that to following conscientiously and con- eral public, as well as a lot of musicians, have come JI: How have your activities changed over the years tinuously a plan for self-development and growth. If to expect a very extroverted style from that instru- given the changing nature of the business and chang- this is relevant for you, could you talk about how that ment, but it never felt comfortable to me. Not that ing nature of venues? might have been instrumental in your own life? I’m introverted, but I’m more of a soft-spoken guy with complex thoughts and ideas that are better ex- JF: I’ve been very fortunate. Since taking a leap of JF: At age sixteen, I set my sights on Woody’s band. I pressed through a more intimate style coming from a faith to pursue a jazz career, I’m now in the position set a lot of short-term goals that eventually got me the place a bit more close to the vest. Once I came to this of being my own boss. I travel as a soloist, conductor gig. That band was on a bus most of the day, so I had realization, making the connection between emo- and clinician, performing my own music with various to adopt a very efficient way of practicing my instru- tional thoughts and musical ideas came very quickly, groups around the world, as well as performing with ment, and an organized approach to music and life, and both personal and critical success in the business smaller groups in clubs across the U.S. and abroad. which has served me well to this day. As I went along, came soon after. The lesson I Iearned was be true to At about the time that the scene began to change I continued to readjust my long-term goals, and in yourself, and the music will take care of itself. To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 45 Interview Norma Winstone By Eric Nemeyer Norma Winstone is an English jazz vocalist, well but about distance – about one particular form of known for her five albums that she recorded with distance, the distance between people in a relation- Azimuth, which featured John Taylor and ship. A lot of people thought that songs were chosen Kenny Wheeler. She writes the lyrics to many of with the title in mind, but they weren’t. There were the songs she performs. a number of things we recorded that didn’t get onto the CD. Manfred [Eicher, the Producer] tends to JI: Could you talk about your new CD album en- choose things in terms of mood. titled Distances, on ECM Records? JI: What kinds of suggestions did he provide during AC: The album features Glauco Venier on piano and your recording? I learned all of Paul Desmond’s solos on that record, reedsman Klaus Gesing. We got together to decide not knowing what they were doing, not knowing on tunes. Glauco has done folk music before, from AC: Unusually, he doesn’t give any direction. I say that they were improvising. I just loved it and I loved his region in Italy. He’s interested in the music and unusually because he normally likes to be at the re- singing. I didn’t know syllables. If I sang them I made the culture from his area. One of the pieces we re- cording sessions and take part. This was what hap- up my own kind of syllables. So, I can’t really say corded was … he had found this Pasolini poem and pened when we recorded with Azimuth which in- that there was any singer who influenced me in that he realized that it fit another song that he brought cluded John Taylor on piano and Kenny Wheeler broader sense of imprrovisation. It was my wish to be involved in a music that I loved; but not in a way that to us by Erik Satie. He liked the melody and the on flugelhorn. He didn’t tell you what to do, but you I sang a song, and then everyone else did something chords and he thought it would be nice for us to do know he has an opinion. He might offer some guide- and then I sang a song again. I liked hearing that but I it. He taught me the poem and that became one of lines, like “Why don’t you do it like this?” or “Why don’t you have the voice at the end, or the voice at the knew wasn’t the approach for the kind of music I was the pieces. I like to read poetry a lot. There is one beginning, and then not again?” It was that kind of thinking of. It was really when I met a pianist over poem by a French writer called “Distances” and I was there named Michael Garrett, when I was working input. But on this CD, he was ill when we did the re- listening to Glauco’s piece of music, which he origi- with a big band named the New Jazz Orchestra. In cording, and he couldn’t make the session. He didn’t nally called “Yaccapo.” It was about his son. I liked this band, I was singing songs. Michael Garrett used want to cancel the session, so he told us to just go and the piece but I didn’t want to write words about a to write his own songs. He gave some of them to me, do what we like. That’s what we did, and we recorded child. So I started writing words not about distances, and I went along to one of his gigs one night. He said, a lot of material. Then we had a mixing a day later. His main input is about the sound. We thought we “Do you want to sing one of the songs I sent you?” So had a great sound on the rough mix. He also has an I sat in and sang one of the songs, and then he said, opinion about the way things are placed – left, right “Stay on and just join in the next piece.” Well, the or center. It made a helluva difference to the over- next piece had no words. It only had one chord, so it all sound. He immediately focused on some pieces. made it easier for me to sing in this case. Before that I There were others he liked, but might have said, “This had also been asked to join John Stevens, a drummer would be better for live performance.” The ones that who started this spontaneous music ensemble. Free are on the CD are the ones that he liked the most. improvising hit London in the late 1960s. I was just He’s looking for an overall mood or feeling, which is asked if I’d come along. He had heard me sing a song what he likes to do on a CD. and he liked what I did. The others were already im- provising. What I did was to write my own words or JI: Some of your music has been characterized as being use someone else’s to “Joy Spring,” for example, and experimental, as mentioned at your website, and that then I would improvise new melodies but using the your music has evolved into a wordless form of impro- words and altering them slightly. That was really how visation. This is by comparison to so many other vo- I started to improvise. I don’t really think about syl- lables. I think about musical lines that I’m trying to calists who have taken a more traditional route, with sing. They have to have a shape and you have to use influences such as Ella Fitzgerald, and Betty Carter consonants to make the shape and to make the ac- and others, and the traditions of scat singing. Could cents. My whole idea as it transpired was to use the you talk about some of your influences? voice as a sound, like an instrument – not trying to copy an instrument, or to do what an instrument AC: It is really difficult to name vocalists who have does but to try to make the voice as a sound. I wanted influenced me in that way. I was influenced very to be involved in the music as a part of it, rather than much by vocalists like Sinatra in the beginning, un- as somebody who sings a song and custom-tailors the til I heard jazz. I heard Ella Fitzgerald scat singing. I tune. But I love that too. I think there is a great deal think her whole spirit, singing syllables…I was very in someone who just can sing a song. Someone like taken with that. When I began singing and trying to Shirley Horn is just wonderful – what she did. do it seriously, I was influenced by people like Ella. But, it was more instrumentalists. I heard Miles and Hear Norma Winstone, Thursday, June 26, 7:30 pm, the Kind of Blue album. When I heard that I realized that I would love to be involved with the voice, some- at Joe’s Pub, 425 Lafayette Street , New York, NY how, with this kind of music. But, I didn’t know how. 10003, 212-539-8770, www.joespub.com. Photo: David Redfern But, I was very influenced by Miles Davis, the atmo- Her latest album on ECM Records is entitled Distances, sphere, and the coolness, and the way he improvised. www.ecmrecords.com. Visit Norma on the internet I was also very influenced by the Dave Brubeck Quar- tet, Jazz Impressions of the USA. I used to sing along. at www.normawinstone.com. 46 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Antonio Ciacca Continued from Page 40 Motéma Records Continued from Page 41 integrity or not…and quality sometimes won’t go to- gether with popularity. The reason Wynton Marsalis is Wynton Marsalis is not because he is very popular, but because of the great artist that he is. Record labels want to sell records. So they don’t care how you get to sell a record. They just care about selling the record. So if that’s the level of the conversation, if you want to deal with them, you have to sell records. But, if you want to do music, if you want to talk to me, then you have to be a great musician – with integrity and not sell out your art for a few hundred dollars. I like that family feel of people coming in to pitch in on each other’s projects. We are sort of out-of-the-box JI: Tell us about your background and how you be- thinkers here at Motéma. We’re always looking for came interested in this music. ways to expand the market for jazz and to reach out to communities that are maybe not aware that they AC: I was studying mechanical engineering in Bolo- would love jazz, and to get the jazz in front of those gna, Italy, studying mathematics and physics. When people and therefore expand its market. There is a lot I was 20, a friend of mine, Lucio Ferrara, took me of gloom and doom about the music industry, and to the Bologna Jazz Festival. I had never heard jazz sometimes I fall into it too because it is definitely chal- before in my entire life. There were about 4,000 to lenging, but my focus is very often on working with 5,000 people, and the Artistic Director was Max the community. Right now, in fact, we are producing Roach. Wynton Marsalis was playing with Marcus an event with the Harmony Festival in Santa Rosa, Roberts, Wycliffe Gordon, Wess Anderson and that California. This is traditionally a jam band and folk whole episode turned me upside down and changed and world beat Festival where they focus on health my whole life. I felt something that I had never in my issues and green living and that sort of thing. It’s a life felt before. Up until that moment, for me, music 30-year-old festival, actually. We are doing the first was entertainment. After that, for me, music became ever jazz attraction at this Harmony Festival and it art. The level of virtuosity, and the feelings, and the is happening June 6th and 7th. We have Roni Ben-Hur presentation was a shock. So that’s where I got the and KJ Denhert who is our current release which we virus. Every time after that, when I would see the are very excited about. And also my band will play. word jazz, my heart connected to the emotion I felt We are bringing Charnet Moffit out and he’s going to at that performance. As luck would have it, one of the show a variety of different sides to himself.” greatest saxophone players, Steve Grossman, had just This sense of community is the essence of Mo- moved to Bologna. So the second concert I heard after téma, and for label’s artists like Roni Ben-Hur, it’s all Wynton was Steve Grossman, live in a small club. He about giving back. Roni is involved in a duo project blew me away like Wynton did. Prior to that, I had with Gene Bertoncini to raise money for the Dizzy just had some basic piano lessons. I told him I want Gillespie Fund that’s associated with the Jazz Foun- to play the piano and I want to play this music. And, dation of America. Dae Bennett of Bennett Studios he said, “Come home. I’ll teach you.” Steve, Wynton, is donating his mixing and recording skills and stu- Benny Golson and Steve Lacy have been the most dio. The photographer, John Abbott, volunteered generous people I have met in my whole life. his photography and Herzen is volunteering Mo- téma’s marketing arm. They are all working together JI: Could you tell us about some of the ideas that to raise money for the Dizzy Gillespie Fund over at some of these artists shared with you. Englewood Hospital in New Jersey that is for musi- cians that don’t have the means to afford the kind of AC: At one time I was very concerned about forms in healthcare that they need. “We’re calling the album writing my music. After we had played “Stablemates” by Benny Golson, we were in the dressing room and Jazz Therapy, Vol. 1,” said Herzen. “So that’s a project I asked him how he developed that unusual form. He that we’re really excited about because it gives us the said, “Let the melody tell you the form. Don’t try to opportunity to really put our hearts into something force the melody into a set form.” After that, every- and create something with the community.” thing was pure gold. He used to tell me that when At five years young, Motéma Music has an excit- he would write assignments for composition class, he ing roster of artists from different genres of music. “I would use all sorts of different forms. His teachers consider myself a citizen of the world and I’ve been would routinely give him “F’s” and mark up his com- to so many places,” shared Herzen. “The one way I’ve positions in red. He called me a couple of weeks ago been able to communicate was through my music, so and said, “You know those people who use to fail me my hope is for Motéma to reach out to many different all the time? They just gave me an honorary degree. cultures—not necessarily in the jazz idiom. Reaching Steve Lacy was a big influence too. One time I asked out and expanding in ways little by little. For me the him, “How do I know if I played well on a gig?” He message of the label is about music that comes from said, “As long as you play something that you’ve never the heart and it comes from the essence of the peo- played before, it is going to be great.” So, every time I ple. It’s very organic. M artists are the A&R people. play, I try to play something that I have never played They’re out there and they talk to people and they before. send things in. It sort of forms itself.” ’Nuff said. To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 47 CD Reviews Tito Carrillo, Trumpet, Flugelhorn; James Cam- including “Double Agent,” a showcase for Sheppard’s mack, Acoustic Bass; Lorin Cohen, Acoustic Bass; flute, and more pyrotechnic Cohen solo work. Jean- Kobie Watkins, Drums, Ruben Alvarez, Shekere; Christophe Leroy joins the fun on congas. “Easy Jean-Christophe Leroy, Congas. For You to Say” kicks off with a simple-to-complex piano intro in the spirit of Bud Powell. The rest of By John Cizik the band comes in when the song turns to swing, and Cohen and Carillo take solos. For “Six Fortunes,” Ryan Cohan wears the tri-cornered hat of com- Ruben Alvarez plays the shakere, an African shaker RYAN COHAN poser/arranger/pianist well, and shows it off on his instrument, a nice compliment to the band, and Le- latest release, One Sky. This is a CD of mostly origi- roy’s congas, in a song with a snake-charmer sound. ONE SKY – Motéma Music, 584 Castro, #426, San nals, the one cover being a stunning solo piano ar- The rhythmically and tonally intricate “Checkmate” Francisco, CA. 94114 www.motema.com, www.ry- rangement of Billy Strayhorn’s “Lush Life.” Cohan gives the horns a workout with some fast unison and ancohan.com. Double Agent; Easy For You To Say; gives the tune new life, full of chords, runs, and harmony lines. Six Fortunes; Checkmate; Lush Life; one Sky: Tone Po- arpeggios worthy of Gershwin. Not many of the 88 Ryan Cohan has assembled a wonderful ensem- ems For Humanity: I. Into Being [part 1]; I. Into Being keys go untouched during this performance, com- ble to perform these compositions, and shows his ver- [part 2]; II. Wonder & Response; III. Awe; IV. Hope. bining jazz and classical piano technique. satility and talent as a pianist, jazz soloist, writer and PERSONNEL: Ryan Cohan, Piano; Bob Sheppard, The centerpiece of the album is the five-part arranger. I suspect we’ll be hearing a lot more from and about him in the years to come. Tenor & Soprano Saxes, Flute, Alto Flute; Geof suite” One Sky: Tone Poems for Humanity.” Inspired Bradfield, Tenor & Soprano Saxes, Bass Clarinet; by the writings of Rabbi Abraham J. Heschel, Cohan was guided “to examine humanity from a musical point of view,” according to the liner notes. The first movement, “Into Being,” is divided into two parts. Part One begins with the sounds of the band tuning, not unlike Toshiko Akiyoshi’s big band chart “Tun- ing Up.” The horn section consists of Bob Sheppard’s soprano sax, Geof Bradfield’s bass clarinet, and Tito Carillo’s trumpet, playing around each other and LAINIE COOKE Cohan’s piano. Kobie Williams’ drums have a huge sound, like the percussion section of an orchestra. IT’S ALWAYS YOU–Harlemwood Records, 253 Throughout this CD, Cohan’s arranging makes the W 138th Street, New York, NY 10030. It’s Always sextet sound like a much bigger ensemble. As this You; Too Close For Comfort; The Very Thought of You; movement moves into Part Two, Cohan doubles I Will Wait For You; Tuesdays in Chinatown; An- Lorin Cohen’s bass part on piano for a nice effect. swer Me; Waiter Make Mine Blues; When A Woman “Wonder & Response” is the second movement, Loves A Man; I Want To Talk About You; Take Me and the ballad begins with piano and bass. Sheppard In Your Arms; Meet Me Where They Play The Blues; plays a pretty flute and adds soprano sax, Bradfield After You. picks up the tenor in addition to his bass clarinet, PERSONNEL:Lainie Cooke, vocals; Cameron and Carillo plays both trumpet and flugelhorn. Co- Brown, bass; Roland Barber, trombone; Tedd Firth, han’s piano solo is simple and understated, and his piano; Marvin Horne, guitar; Joel Frahm, sax; Matt arrangement mixes the horns well. Particularly in- Wilson, drums. teresting is the combination of flute and bass clari- net joining on the melody line. There are some film By Bob Gish scores on Cohan’s resume, and you can feel that sort of emotion in his writing here. The third movement, Here’s a delightful assembly of musicians hold- “Awe” opens with a staccato riff before settling into a ing forth on a cool dozen ditties new and old. It’s a more traditional swing. The staccato chorus returns, winning CD all around: Lainie Cooke’s vocals are Cohen using his piano as the percussion instrument smooth and comforting, filled with that old heart- that it is, then Carillo has a turn as a soloist. He has ache blues feeling (e.g., check out “When A Woman an excellent grasp of the improv job here, following Loves a Man” as a kind of epitome of how to sing a the groove from swing to a double-time bebop before torch song). This is so whether she sings a ballad or giving way to the familiar theme. The final move- swings out on tunes like “It’s Always You.” Cameron ment is “Hope,” described in the notes as “Light out Brown supplies just the right pulse and phrasing for JULES BISTRO of darkness, possibility, faith, energy.” Notable is the first introductory phrases. After a chorus, Tedd Cohen’s acoustic bass solo, a tremendous piece of im- Firth takes over establishing the fulsome jazz creden- provisation backed by the rest of the rhythm section. tials of the group with Matt Wilson’s cymbals ring- Sheppard also delivers an excellent flute solo as the ing out we’re here to play. Brown ends things appro- flavor turns slightly Latin. The suite ends with every- priately enough with a few measures of goodbye. one holding a chord, which fades into the darkness. Take “I Will Wait for You”–there’s plenty of The other songs on the CD should not be over- sadness and longing in each and every word, enun- looked. James Cammack is the bassist for these four, ciated and held in just the right way to wring out 48 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 every metaphorical tear. Even, or especially, Cooke’s demonstrating the almost universal versatility and accompaniment to Cooke’s slow and strong singing intermittent scatting is just right, so natural so fit- appeal of Noble’s perfect lyrics. Cooke’s voice here is of “Answer Me,” a tune so worthy of the magical ting, so beautiful. Every vocalist should be so lucky so tender, so touching, so heartfelt that you’re con- talents of this duet (as is the concluding tune, “Af- to have sidemen like Brown, Firth, and Wilson. Not vinced she truly knows the meaning of the words she ter You”). Firth’s solo is simple and beautiful, just everyone knows the ins and outs of accompaniment, so mellifluously delivers. Those words are echoed by the right touch and sensibility for the lyric and for and vocalists often pay the price–or at times deserve the loving, longing lines of Joel Frahm on alto sax. Cook’s compelling plea. Who couldn’t answer this “Too Close For Comfort” has all the right punc- kind of sweet-sorrow? a kind of carelessness from the backup personnel. tuation and lyricism, again with the bass, drums, And…if you want some swingin’, funky trom- Here, however, there’s more than enough mutual re- piano trio backing up Cooke as she struts her stuff, bone playin’ just order up some Roland Barber when spect to go around and you can hear it. never missing a beat, always hitting her mark, ever you say “Waiter Make Mine Blues,” a kind of great Then there’s a companion “You” lyric, the fa- strong, typically enunciating each and every word foot-tappin’, happily melancholy tune that with lesser miliar but always special “The Very Thought of You,” as if some kind of advocate for actually pronouncing talent might go unnoticed. Here, it’s appetizer, entre, words. She scats just enough to avoid crossing over and dessert all in one. The aforementioned “When into another mood. a Woman Loves A Man” is a superb confluence of “Tuesdays in Chinatown” begins with the ex- lyric, vocalist, and musicianship–with Frahm’s alto otic strains of Frahm’s soprano sax and sets the mood, sax ringing forth again, matching the downright a la a latter day Grover Washington, for the plangent strength of Cooke’s voice, and the mindful feeling of narrative Cooke tells about Sammy and Billy and her singing. Eckstine’s “I Want to Talk about You” their train ride rendezvous in a dead end but ecstatic is another fine bluesy ballad, here again with Roland escape each Tuesday in China Town. It’s a variant of Barber’s trombone winning the day with purity and tunes like “Frankie and Johnny” or “Me and Mrs. grace. His solo here is simply flawless: sustained be- Jones,” age old archetypes of illicit love. In the story, yond belief amidst sophisticated tempo changes. the couple engages in a slow dance away from exter- As for the Latin aspect of a love song . . . “Take nal responsibilities in a drawn out weekly moment. Me In YourArms” is so wonderfully alluring that Frahm and Cooke do their own kind of slow dance– the listener merges completely with the music, and with Cooke’s forceful, full-ranged vocal lament, an- is more or less left breathless from the strategic sighs swered by Frahm’s obbligato lines, each note resonat- and rhythmic syncopations, all matching a lover’s flir- ing more fully with the sadness of the lyric. tations and hesitations. The final goodbye of the lyric More musical dancing occurs with Firth’s piano and long held breath of Cooke is downright erotic! Marvin Horne’s guitar and Barber’s trom- bone take to the fore in “Meet Me Where They Play The the Blues”–just as it should be. There’s some New Orleans here with Wilson’s strong back beat and Cooke’s wailing. This lady can sing the blues. And ballads, and . . . well just about anything. So here’s to Lainie Cooke! For this reviewer “It’s always you, See The Piers Lawrence Quartet live at gal, always you! THE KITANO LISA HEARNS I GOT IT BAD & THAT AIN’T GOOD–www. LisaHearns.com. I Got It Bad And That Ain’t Good; Easy Living; I Heard It Through the Grapevine; Cheek to Cheek; Plus Je T’Embrasse; Love For Sale; Lonely Woman; Wild is Love; On The Street Where You Live; Cry Me A River. PERSONNEL: Lisa Hearns, vocals; Howard Al- den, guitar, Kelly Friesen, bass, Keith Ingham, piano; Arnold Wise, drums. By Bob Gish Like your standards sung in a relaxed yet swing- bass ing manner? Like a new tune covered in a new way a 50 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 bit beyond Motown? Like that mellow guitar played part because of the great solo by Keith Ingham who ics are so down, it’s hard to identify with the more by a master”? Like a jazz quartet that knows its way performs at a uniformly alluring level throughout, as sanguine advice of the observer/narrator. Things will not only around a chart but through the archive of the does Kelly Friesen who in trading fours with Arnold get better it is promised. But we can’t really be sure. great American song book? Well here’s a CD for you! Wise proves again that the bass can lead with the best Alden’s guitaristics pick things up with the Lisa Hearns has a young but vibrant voice of them. Latin rhythms of “Wild Is Love,” a tune so success- that navigates these oldies (the tunes, that is) and Hearns slows things down with “Lonely ful as to confirm the inclination to just skip a track more contemporary standards such as “Grapevine,” Woman,” portraying a sad, brooding state– of af- like “Lonely Woman.” Ah, for more selections like with a staunch directionality that gets going so it fairs–the poor soul described too depressed to cry. this one–a fresh, imaginative, uplifting arrangement cal get back. Howard Alden plays guitar on three More blue than blue what seems called for here is more in the mood of affirmation than utter despair. of the tracks and it’s almost like reviving the sound track for “Sweet Low Down” where Alden supplies anti-depressant medication. Here Friesen takes to Some tunes such as “Cry Me a River are just the Django-like licks to Sean Penn’s prestidigita- the bow to underscore the sorrow. For many the lyr- owned by Julie London, so much so that it’s impos- tions. The title track, plus “Easy Living,” “Plus Je T’Embrasse,” and “Wild is Love” are Alden’s contri- butions. “Plus Je T’Embrasse” is a highpoint for both Alden and Hearns, leaving one to want more of these kinds of swingin’, fresh continental tune. Hearns’ renditions of “I Got It Bad,” “Easy Liv- ing,” “Cheek to Cheek,” “Love For Sale,” “On the Street Where You Live,” and “Cry Me a River” might at first seem familiar, sharing certain traits with Pa- tricia Barber, for example. However, there’s a sweet- ness that carries through to the likes of Stacey Kent. Notwithstanding such comparisons, Hearns is very much her own person, unique in her timbre and tone. “Grapevine” is a swell cover, claimed and marked for Hears’ ownership. “Love for Sale” is another tune recorded so often as to tempt triteness. Here though it shines forth, in Real New York Style Latin Jazz Photo by Kathy Lord©2008 Available Now! The Brand New Release Celebrate Spring! with La Familia Sextet www.williemartinez.com To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 51 sible to not hear her in and behind any other perfor- Cheesecake is filled with almost an hour of propels them with assurance and provides tasteful ac- mance. Hearns comes through though in a daring straight ahead acoustic jazz by a swinging trio of ac- companiment and apropos accents and syncopation. way, as she does with Lerner’s exuberant “On the complished players. Upon first listen, I thought this There have been a number of jazz vocalists and Street Where You Live.” Kelly Friesen’s bass makes was a guitar player led date. For one thing the melo- instrumentalists who have released albums featuring this tune move and the élan carries over. dies and the bulk of the solos are played by guitarist their baby pictures on the cover. Leto’s Cheesecake is Tim Siciliano. Siciliano is a consummate guitarist. It’s not an easy thing to choose just the right one such album. It’s a cute picture, and probably is His sense of time, rhythm his intonation, and his tunes for one’s voice, whether it be Frank Sinatra or best appreciated by parents, friends and relatives. fluency and abundance of well-articulated ideas at Jack Jones. And as noble as this play list is, one has Nonetheless, the selection of nine standards all tempos lead the way throughout the recording. the feeling that as promising as Hearns is on this out- and well known jazz tunes are highly enjoyable. They ing, for her the best is yet to come. It’s true that this is the drummer’s album, and he’s a open with Dexter Gordon’s “Cheesecake,” the title fine drummer. However, the fact that Leto is appar- track, at a tempo that is somewhat brighter than the ently not a composer (all of the songs are composed original version that Dex recorded for Blue Note in by others) and that he does not put himself in the solo the 1960s. It’s a spirited opener and sets the delight- spotlight often (as can be the case with drummer-led ful and upbeat tone that characterizes the entire bands such as Art Blakey’s, Buddy Rich’s…), the al- set. Highlights include a brisk-tempo “Seven Steps bum is less musically-identified as his date. Further, To Heaven.” Wayne Shorter is represented by two guitarist Siciliano is such a strong player, and has such tunes, his beautiful ballad “Infant Eyes” and “This Is a beautiful sound, bolstered by the array of vocabu- For Albert.” The album concludes with an energetic lary and techniques (octaves, block chords, single version of Joe Henderson’s “Inner Urge”, as the com- BOB LETO lines, incredible swing) that it is difficult not to be poser originally played it, and likely intended it. If magnetized first and foremost by his contributions. you’re a fan of straight ahead jazz, you will find Leto’s CHEESECAKE—Consolidated Artists Produc- Leto is nonetheless an accomplished drummer. As album Cheesecake to be a spirited set of well known tions. Cheesecake; Question & Answer; Nightwings; is typically the case, especially in a guitar trio of this tunes, with which you will easily connect. Seven Steps To Heaven “For Tony”; Infant Eyes; Six configuration, the drummer’s role is that of accom- On Four Years; Waltz For Ruth; This Is For Albert; panist. That is pretty much what Leto’s role is here Inner Urge. – accompanist. He does solo though, and he demon- PERSONNEL: Bob Leto, drums; Dominic Duval, strates that he has developed the necessary technique upright and electric bass; to create dynamic solos, getting around the drums with finesse. And, of course, Leto functions splen- By Clive Griffin didly as accompanist. He locks in with the trio and MEM3 PENNSYLVANI GREY—Produced by MEM3. Skydral; Tragic Interruption; Pennsylvania Grey; The Voice; Pending; Cerebrau; Silence the Melting Light; Our cover is $20 this includes a drink Sunday – Thursday Thankfulness; Mashishi; Abide with Me. June 2008 Schedule PERSONNEL: Michael Cabe, piano; Mark Lav, 6/1 Kurt Rosenwinkle Group w. David Tronzo, J. Anthony Granelli, bass; Ernesto Cervini, drums. Matt Wilson 6/2 Craig Wuepper “Earsight” Trio / Ari Hoenig with Jean-Michel Pilc 6/3 Naoki Iwane Group / Grant Stewart w. Joe Cohn By Dave Miele 6/4 Hayes Greenﬁeld Group / Harry Whitaker Group /Ken Fowser Jam 6/5 Ehud Asherie Duo / Joe Martin Group with John Ellis / Ari Roland Trio 6/6 Dwayne Clemons Qt / Pete Malinverni w. Tim Hagans & Rich Perry / Jam Pennsylvania Grey is certainly one of the most 6/7 Bob Leto / Pete Malinverni w. Tim Hagans & Rich Perry / Jam Session unusual piano trio CDs I’ve recently received. Not 6/8 Myrna Lake w. Jon Roche / Spike Wilner Ensemble 6/9 Issac Ben Ayala Trio / Ari Hoenig “Punkbop” w. Gilad Hekelsman your usual piano trio; probably not what you might 6/10 Justin Sorensen “Das Vibenbass” / Ralph Lalama & “Bop Juice” expect. Perhaps that’s exactly what the art of the jazz 6/11 Walter Blanding Quartet / Joe Magnarelli Group / Ken Fowser Jam 6/12 Ehud Asherie Duo / Elliot Zigmund Group / Ari Roland Trio & Jam piano trio needs right about now—something unex- 6/13 Doug Munro Group / Spike Wilner Ensemble / Jam Session pected. Pianist Michael Cabe, bassist Mark Lav and 6/14 Andrew Emer Group / Spike Wilner Ensemble / Jam Session drummer Ernesto Cervini each bring something 6/15 Vocalist Myrna Lake w. Jon Roche / Dwayne Clemons Quintet 6/16 Simona Premazzi Trio / Stephane Wrembel Group unique to the band. Each brings original composi- 6/17 Will Sellenraad Group / Grant Stewart Group w. Joe Cohn tions in addition to their musical sensibilities. To- 6/18 Alan Ferber Group / Joe Magnarelli Group / Ken Fowser Jam 6/19 Hans Groiner Trio / Larry Goldings Group / Ari Roland Trio & Jam gether they are MEM3, a piano trio that is perhaps 6/20 Dwayne Clemons Qt / Jonathan Kreisberg Group w. Will Vinson / Jam best described as not what you might expect. 6/21 Nick Bockrath Group / Jonathan Kreisberg Group w. Will Vinson /Jam Each member of the band contributes three 6/22 Vocalist Myrna Lake w. Jon Roche / Spike Wilner Ensemble 6/23 Adam Birnbaum Trio / Ari Hoenig Group w. Gilad Hekelsman original compositions. Michael Cabe’s include 6/24 George Dulin Group / Ralph Lalama & “Bop Juice” “Skydral”, a vamp-laden poppish piano tune, with a 6/25 John Escreet Project w. Dave Binney / Joe Magnarelli Group / Ken Fowser Latin-esque rhythmic vamp at the end of the form. 6/26 Ehud Asherie Duo / Diego Urcola Quartet w. Manuel Valera / Each member is featured in extended solos. Cabe Ari Roland also contributes the title track which is character- 6/27 Dwayne Clemons Quintet / The Flail (record release) / Jam Session 6/28 Ryan Oliver Group / The Flail (record release) / Jam Session ized by a persistent bass drone from the piano. The 6/29 Vocalist Myrna Lake w. Jon Roche / Spike Wilner Ensemble band plays in a quasi-Latin style during the middle 6/30 Roberta Picket Trio / Ari Hoenig Trio w. Jean-Michel Pilc of the tune, while Cabe plays unaccompanied at the 52 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 beginning and end. The final tune written by the pia- Clear of the Closing Doors; Disheveled Waltz; With nist is “Silence of the Melting Light”, which features You in Mind; Tales from the Head; Waiting; Diatoni- bassist Mark Lav during the introduction. This tune, cus; Naima; By the Way. with its straight 8th note bassline and the gradual PERSONNEL: Russ Nolan, tenor and soprano crescendo throughout each solo, is one of the most saxes; Kenny Werner, piano; Johannes Weidenmuel- entertaining on the disc. ler, bass; Ari Hoenig, drums. Drummer Ernesto Cervini also contributes three original songs. “Tragic Interruption” is an up- By Mark Lomanno tempo waltz, which again features all three members in extended solos. “The Voice” is a feature for MichaelIn his acknowledgements, saxophonist Russ Nolan discusses how influential and life-changing his Cabe, who plays the ballad with grace and elegance. Finally, “Cerebrau” is a rhythmically captivatingassociation with Kenny Werner has been. Nolan calls Featuring: Chip Shelton Lou Volpe Marcus McLaurine Nate Shaw Dwayne Cook Broadnax tune which mixes funk and swing styles. Werner’s current group one of the most important Mark Lav penned the last three originals ontrios in the last thirty years. One might expect that Chip Shelton & Peacetime introducing a fourth member into a trio known for its 2007 Soul-Patrol Award Winner Best Jazz Release Pennsylvania Grey. “Pending” begins with a bass in- CD Release Mini Tour Celebrating Release #8 symbiotic cohesion could create an imbalance. To the tro. Percussion adds another dimension to this som- IMBUED WITH MEMORIES “A Masterpiece” – Dr. Nick, XM Radio contrary, after listening to this album (over and over ber ballad. Another ballad written by Lav is “Thank- June 2 Cool Mondays Barnes & Noble again!), I hear a seamless quartet in which Nolan— fulness”, set in a waltz tempo. His final original is 1972 Broadway, New York, NY 6 - 6:30PM for both his performance and composition—should the eclectic “Mashishi”, an intensely interactive tune June 7 Studio 281, 281 Peters St., SW, Atlanta, GA earn high marks. The Werner trio, as an accompany- which has a spirit of collective improvisation about Info: 404-524-7274 / Show at 9PM - 12AM ing ensemble, is nothing short of remarkable, propel- it. A funky version of the traditional “Abide With June 14 Minton’s Playhouse - New York, NY Me” closes the disc. ling Nolan to the heights of artistic achievement. 3 Shows at 10PM, 11:30PM, & 1AM Each member of MEM3 is equally important— A native of the Chicago area and graduate of the June 28 Creole Jazz Restaurant - 3rd Ave. at E 118th St. jazz program at North Texas State, Nolan relocated equally influential. Each is presented as a composer New York, NY / 2 Shows at 8PM & 9:30PM and a performer; a soloist and an accompanist; a to New York City in 2002. Active as an arranger and July 1 John Birks Gillespie Auditorium / Bahai Center leader and a supporter. Each role is handled withclinician, Nolan travels around the country, balanc- 53 E. 11th St. bet. Univ. Pl. & Broadway, NY, NY ing his commitment to education with a steady per- delicacy and intensity; taste, style and a sense of ex- Info: 212-222-5159 / 2 Shows at 8PM & 9:30PM formance schedule. His debut recording, Two Colors, ploration. It is the contrasts between their contribu- www.ChipShelton.com www.SummitRecords.com earned rave reviews and garnered critical praise. With tions as well as the homogenous nature of all that contrast that makes Pennsylvania Grey such an en-You in Mind not only fulfi lls the promise that those gaging CD. reviews foresaw, but, moreover, ought to earn Nolan a reputation as one of today’s most talented practi- tioners on his instrument. This album delights from the first note to the final cadence, bestowing on its listeners a truly transformative experience rich with impassioned, polyphonic organicism. With You in Mind opens with “Kilson’s Groove” toward the end of the piece, Ari Hoenig an- nounces his presence as an improvisational force on a solo over an ensemble vamp. There are few percus- RUSS NOLAN sionists who can create improvisations as melodically sophisticated as Hoenig’s. “Stand Clear of the Clos- WITH YOU IN MIND—Rhinoceruss Music. ing Doors” is a very satisfying piece of jazz program Web: www.russnolan.com. 41-42 42nd Street, Suite music, complete with sampled sound from the New 1-0, Sunnyside, NY 11104. Kilson’s Groove; Stand York City subway. Its quick tempo is navigated mas- Real NewYork Style Latin Jazz WillieMartinez LaFamiliaSextet williemartinez.com Photo by Kathy Lord©2008 The Priory FB LOUNGE Thursday,June 12th Thursday,June 26th 169East106thStreet 236 E.3rd St. Friday, June 27th Shows Start @ 9:00 PM Shows Start @ 9:30 PM 233 Market St.Newark,NJ fondaboricua.com nuyorican. org Shows Start @ 8:00 PM To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 53 terfully, with Nolan and Werner executing clean and The title track “With You in Mind” is a finessed route—before handing the 6/8 groove to Weiden- well-articulated melodic statements in unison. ballad, artfully composed by Nolan, in which the mueller who shines on this track. Werner’s sensitive accompanying style is a high- Trio allows the leader to make a definitive case for Nolan continues his display of compositional light of “Disheveled Waltz.” His choice to comple- his status as one of the jazz world’s premiere saxo- skill on “Waiting,” where angular and disjunct me- ment Nolan (here on soprano sax) with interwoven, phonists. On “Tales from the Head,” Nolan toys lodic content is framed by the more gentle contours of imitative lines draws the piano into the compositional with the audience, suggesting and hinting at—then the main theme. During the piano improvisation, the Trio shines, needing only the subtlest suggestion from space, facilitating a sympathetic and rewarding dia- finally delivering—a postmodern, blues-inflected Werner before changing directions instantaneously, logue between the musicians. The piano solo that fol- solo that, for all its anticipation, leaves one very satis- transitioning into and out of a double-time samba- lows unfolds in a most natural way, driven by rich me- fied. Werner immediately tears the structure down, esque feel before the restatement of the final melody. lodic development, and punctuated with empathetic deconstructing the changes only to restore them “Diatonicus” is called a homage to a Monk contributions from both Weidenmueller and Hoenig. once again—though, through a completely different “vibe.” Once again, Nolan performs on soprano sax, while the ensemble projects confidence and great en- ergy through the asymmetrical rhythmic phrases that propel this piece. Johannes Weidenmueller’s solo is of particular note: this is one of the bassist’s finest mo- ments on the album. On “Naima”, the only standard offered here, Nolan acknowledges his avowed debt to Coltrane. However, rather than fi lling his improvi- sation with a catalog of ‘Trane’ figures, by his artful reinterpretation, Nolan shows that he has absorbed the vocabulary and made it his own. With You in Mind is an exceptional album. In its richness of content and artistic excellence, one will continually uncover new elements on each subsequent listen. In his liner notes, Nolan says he moved to New York City in order to pay more dues. With the release of his latest recording, it’s time for him to start cashing in. New from Blue Bamboo Music! Woody Witt Fred Hamilton Ed Soph A Conversation A compelling, modern, improvisational trio. 8 original compositions. www.bluebamboomusic.com _________________________________________ Also available from Chris Cortez Awakenings 54 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 The Jazz Billboard Introductory Ad Rates for Indie Artists 20% Discount for Inependent Artists Per Word Minimum Specify heading All ads pre-paid Crescendo Music School Is Now Open For Business MUSICAL INSTRUMENTS Avenue Esmeralda #29 Guaynabo, Puerto Rico 787-463-4000 787-385-4781 www.crescendomusicpr.com To Advertise CALL: 212.889.0853 June 2008 Jazz Improv® NY www.jazzimprov.com 55 INSTRUCTION EDUCATION DAVE FRANK SCHOOL OF JAZZ Located at Frank and Camille's Pianos on 57th St., the Dave Frank School of Jazz is a unique center of learning in the heart of Manhattan, offering private instruction for musicians of all levels, and monthly free public concerts and master classes. 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Route 94 Warwick, NY 10990 www.jazzpromoservices.com p: 845.986.1677 f: 845.986.1699 e.m: email@example.com 56 June 2008 Jazz Improv® NY www.jazzimprov.com To Advertise CALL: 212.889.0853 Bottled Bebop… brother thelonious “Think of One” ® carpe diem vita brevis “Raise Four” Introducing brother thelonious in a handy new 12 oz. 4-pack as a companion to the big 750 ml bottle. This rich, robust beer is released in association with the Thelonious Monk Institute of Jazz. For every case of Brother Thelonious Belgian Style Abbey Ale sold, North Coast Brewing makes a contribution to the Institute in support of Jazz education. www.monkinstitute.org www.northcoastbrewing.com
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