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WINNING SPINS BY GEORGE KANZLERBoth Nicholas Payton and Delfeayo Marsalis are brass players from New Orleans who are well-versed in that city's musical traditions. Trumpeter Payton has taken the role of Louis Armstrong in tributes to that Crescent City icon. And trombonist Marsalis, as a member of New Orleans' current first family of jazz, knows all about gutbucket and second line. However, on the two albums considered in this Winning Spins, the traditions and musicians honored - namely Wayne Shorter and Elvin Jones - come from post-bop, hard bop and modal jazz that sprang up mainly in the 1960s.
Mysterious Shorter (Chesky Records) gives equal billing to a collective quintet featuring Payton, saxophonist Bob Belden, guitarist John Hart, B3 organist Sam Yahel and drummer Billy Drummond. Offered as "an investigation and exploration of the groove music of Mr. Wayne Shorter," a project overseen by Belden as arranger and de-facto leader, it features eight Shorter compositions that Wayne recorded between 1964 and 1974. Although none were done with Weather Report, the influential jazz-fusion group Shorter co-founded with Joe Zawinul in the 1970s, there's a definite Weather Report influence on this CD. Belden says in the notes that "People like to play Shorter's songs exactly like on the record, which drives him nuts." Well, there's no chance of that happening if Shorter listens to this album.
Take "Footprints," Shorter's best-known tune, as well as the one most likely to be called at jam sessions. At many of those sessions, the tune's singularity is lost. Not here, where the album title is an apt description of the mood. B3 organ opens with burbling notes that seem to be coming up out of water, joined by quicksilver cymbal and drum patter racing along in double time, with trumpet and tenor sax keening the theme's familiar long notes like a steady sail wafting over a turbulent sea. Solos offer contrasts and accents to the momentum. Payton's trumpet shakes and punches; Belden's tenor sax lags behind the time, as if leeward; and Hart's guitar adds some echoing reverb to the mix. After the theme sweeps by again, Yahel's organ offers a final solo coda. It's a version of "Footprints" you'll not soon forget.
The "groove" promise of the album comes through most forcefully in the sprung and funk rhythms prominent on "Montezuma," "Tom Thumb" and "Masqualero," that last one a part of the repertoire Shorter contributed to Miles Davis' quintet of the late 1960s. But all three feature solos that push or stretch, rather than conform to, the groove. "Witch Hunt," contrastingly, is done in a swinging 4/4 groove, while "Beauty and the Beast," from Shorter's collaboration with singer Milton Nascimento, Native Dancer, rides on a samba beat. Meanwhile, "Teru" and "Miyako" are lyrical ballads, the first featuring Payton and the second Hart and Yahel.
The 1960's jazz giant who's the inspiration on Delfeayo Marsalis' Minions Dominion (Troubadour Jass) is drummer Elvin Jones, whose last recording sessions with horns were these. (He died in 2004, less than two years later.) Five of the seven tracks are Delfeayo compositions, mostly in a mainstream modern hard-bop vein, and he's joined on all tracks by either Donald Harrison's alto sax or his brother Branford's tenor or soprano sax, along with Mulgrew Miller's piano (five tracks) and one of three different bassists. With Jones stirring the rhythm pot impeccably, the leader's tempi are unerringly, righteously swinging, making for a rewardingly enjoyable album.
As a player, Delfeayo isn't as distinctive nor as creative as his more famous siblings Branford and Wynton. But his forthright sound, his penchant for riffs and signature phrases, and his right-on rhythmic sense all make for comfortably crowd-pleasing solos. He also instills variety with adept use of mutes, especially on Duke Ellington's "Just Squeeze Me," during which he also quotes "Have You Met Miss Jones" to good effect. What's more, he's surrounded himself with soloists who more than complement the proceedings. Both saxophonists consistently provide vivid, compelling passages; and Miller's piano solos are exemplary. Don't miss his deft blending of graceful and punchy on the uptempo title track. But it's Elvin Jones' spirit and drive that catapult this album above the common mainstream modern fray.
Nicholas Payton leads a group at Iridium on January 10-14. Delfeayo Marsalis' nights at Dizzy's are January 2-7.SPOTLIGHT BY PAUL BLAIR AND GEORGE KANzler
LESLIE PINTCHIK
KITANO/JANUARY 25
She's a fine pianist, Leslie is, and a writer of tunes which take all sorts of intriguing harmonic turns. This was apparent on the first CD under her name: So Happy To Be Here, on the Ambient label. Released in 2004, it featured Scott Hardy playing bass and Satoshi Takeishi handling percussion chores. There's another disc coming soon, too. Quartets will also showcase Mark Dodge's drumming and Steve Wilson's work on alto and soprano. Here it'll be the Pintchik/Hardy/Dodge threesome. By the way, one of Leslie's biggest boosters was the late bassist Red Mitchell, whose recommendations were always worth noting. PB
DAVID MURRAY
JAZZ STANDARD/JANUARY 22-24
There's no word yet about what sort of group or which sidemen Murray will bring along, so expect just about anything. This tenor saxophonist and bass clarinetist (a World Saxophone Quartet founding member) has done it all during his prolific three decades-long recording career, from a cappella solo recitals to duos, trios and octets to big bands and orchestras, as well as collaborations with African and Caribbean musicians. Through it all, he's been an explosive force as an improviser, pushing the limits of his horns from sub-basement to stratosphere, often invoking the testifying fervor of the Pentecostal church wherein he grew up. GK
STEVE ELMER
BIRDLAND/JANUARY 3-6
Before heading off to Japan for three weeks of appearances - following up on critical plaudits for his new CD, I Used to Be Anonymous - pianist Elmer will be part of the ensemble for a four-night "Birdland Jazz Tribute to Sinatra." And a promising lineup of band members it is, too: saxophonists Tommy Morimoto and Leo Green, trombonist Eddie Bert, guitarist Howard Alden, bassist Calvin Hill and drummer Klaus Suonsaari, along with vocalist Betsy Ann Faiella. Steve's CD, by the way, includes tributes to several of the pianists who've most inspired him over the years: Monk, Bud Powell, Bobby Timmons, Wynton Kelly and McCoy Tyner. PB
CHRIS WASHBURNE
SMOKE/JANUARY 7, 14, 21 AND 28
Converted to MP3s, the tracks on Paradise in Trouble, the next-to-newest album by trombonist Washburne's S.Y.O.T.O.S. septet (that's "See You On The Other Side") makes for splendid listening aboard the New York subway. Check out the generous samples available on Chris' website. His newest CD, entitled Land of Nod, also under the Jazzheads imprint, is just as exhilarating. It's far better, though, to hear this crack band live. They're regulars at Smoke, where they more or less own Sunday nights. Here's some of the very best live jazz being played around New York. And if you haven't caught them at least once or twice, you're missing the boat. PB
SEBASTIAN NOELLE
BOWERY POETRY CLUB/JANUARY 14
Some of the best recorded jazz we've heard lately is on CD from the Spanish company called Fresh Sound-New Talent. Noelle's new Across the River disc provides one such experience. This German-born guitarist, active on the NYC scene since 2002, plays in a style that may remind some of John Scofield's. Sebastian can be heard in at least three musical circumstances this month: with the 17-member Secret Society big band playing Darcy James Argue arrangements; with the BMI Jazz Composers Orchestra, under Jim McNeely's leadership, at IAJE on January 12; and with his own organ trio at Charley O's (Eighth at W. 45th) on January 24. PB
BILLY COBHAM
CUTTING ROOM/JANUARY 10-12
The explosive Mr. Cobham leading a string quartet? It's technically true, since the other three instruments involved are violin (played by Didier Lockwood), guitar (Sylvain Luc) and bass (Victor Bailey). This leader was one of the highest-profile drummers on the scene during fusion's heyday, working with Miles, Tony Williams, the Mahavishnu Orchestra and even the Dead. There've been hot-selling albums under his own name, too. But he certainly possesses non-electric credentials as well; Horace Silver, Stanley Turrentine and the Brecker Brothers have all benefited from the rhythmic drive he provides. PB
MARK HELIAS
CORNELIA STREET CAFE/JANUARY 19
Don't confuse Helias with Mark Dresser, another bassist of merit on the scene (though to confound matters, they've actually recorded some wonderful duets together). Perhaps best known for his involvement with Ray Anderson and Gerry Hemingway in the band called BassDrumBone, Helias has also been heard with Don Cherry, Anthony Davis, Ed Blackwell and Muhal Richard Abrams. Albums of his own for Enja are worth seeking out as well. At this 10:30 PM Cornelia St. set, you'll catch the long-running trio he calls Open Loose; Tom Rainey is the drummer, while Tony Malaby handles saxophonics. Verbs of Will (Radio Legs) is their latest recording together. PB
CHARLES McPHERSON
ROSE THEATER/JANUARY 26 AND 27
Charles McPherson, alto in hand, blew into NYC from Detroit in 1959 and quickly found work with Barry Harris' quintet. Soon he was also a member of various Charles Mingus ensembles, too (he's heard to good effect with Mingus' big band on just-released recordings of a 1965 UCLA concert) and elsewhere around town, playing in a fiery style built on Parker-like foundations. He's since been featured in tributes to Bird on the national and international jazz festival circuit - and was even prominent on Clint Eastwood's Bird soundtrack. At this Rose concert, he goes head-to-head with tenorist James Moody in a program called "Music of the Masters: Bebop Lives!" GK
BILL WURTZEL
TOKYO POP/JANUARY 4, 11, 18 AND 25
One of Wurtzel's early guitar teachers warned his parents that young Bill was "unteachable," then actually asked the 14-year old if he could assist him on a duo gig that weekend. He's come far since then: years of strong playing with vets like Jo Jones, Benny Waters, Claude "Fiddler" Williams, Jimmy Witherspoon, Big Nick Nicholas, Ruth Brown, Clark Terry, Benny Powell, Gloria Lynne and Jimmy McGriff; sustained memberships in both the Harlem Jazz & Blues All-Stars and the Basie alumni band called the Countsmen; and uncountable trio and duo jobs around town. These Thursday evenings on the Upper West Side pair him with a bassist. PBEDWARD SIMON WITH BOBBY WATSON
DIZZY'S/JANUARY 2-7
The current edition of alto saxophonist Bobby Watson's long-running Horizon quintet includes this Venezuelan-born pianist, who's been a member since 1989. But Simon has also been leading several parallel musical lives: as a sideman with Paquito d'Rivera, Terence Blanchard and Kevin Eubanks; providing sensitive backup on recordings by singer Luciana Souza; doing a bit of teaching; and cutting at least eight CDs as a leader himself. The most recent of these - Unicity on the CAM Jazz label - has earned lauditory reviews. Others Horizon regulars slated for this gig are trumpeter Terell Stafford, bassist Essiet Okon Essiet and drummer Victor Lewis. GK
JAZZ IN JERSEY BY FRED McINTOSHHERB GARDNER
BICKFORD THEATRE/JANUARY 29
The multi-talented Mr. Gardner plays stride piano as well as trombone. (He cites Fats Waller, Teddy Wilson and Vic Dickenson as particular favorites.) And he writes witty songs, too. In the past, he's shared bandstands with the likes of Wild Bill Davidson, Kenny Davern, Dick Wellstood, Red Allen, Roy Eldridge, Gene Krupa, Bobby Hackett and Jimmy Rushing. At the Bickford, he'll join what's being billed as "The Groundhog Jam," in the company of trumpeter Randy Reinhart, reedman Dan Levinson and other like-minded musical adventurers. His daughter Abby will sing, too. You can catch the same group at OCC in Toms River, NJ on January 31.BILL CROW with Tomoko Ohno
CORNERSTONE/JANUARY 5
Bass man Crow has lived the history of our music over the last half-century - and written about his experiences with great style and wit. A multiple instrumentalist who studied with Tristano and finally settled on bass in his twenties, he's since been with Marion McPartland at the Hickory House and Benny Goodman in Russia. He's also been heard at various times with Stan Getz, Claude Thornhill, Gerry Mulligan, Bob Brookmeyer, Dick Meldonian's big band and the well-remembered Al Cohn-Zoot Sims quintet. A veteran of numerous Broadway shows, Bill is also a long-serving American Federation of Musicians Local 802 official.JAY HOGGARD
CECIL'S/JANUARY 19 AND 20
"Swing 'em, Gates!" That's what Lionel Hampton once urged Hoggard to do, when the young vibist subbed for an ailing Hamp. It's also the title of Jay's latest CD. He'll be featuring music from that disc during this gig, as he trades friendly musical punches with organist Radam Schwartz. These days, Hoggard is a professor at Wesleyan University in Connecticut, where he also directs the jazz orchestra. Perhaps you've also enjoyed his earlier recorded work in the company of leaders like Tito Puente, Hilton Ruiz, Kenny Burrell, Billy Taylor, Muhal Richard Abrams, James Newton, Chico Freeman, Jerome Harris, Oliver Lake and Yoron Israel.
EDDIE PALMIERI
SOUTH ORANGE PAC/JANUARY 25
A Berklee honorary doctor and winner of 8 Grammy awards so far, Eddie Palmieri has been one of the leading lights in Latin jazz for decades. At a recent Rutgers concert, he was presented with the New Jersey Jazz Society's Lifetime Achievement Award. Eddie's an arranger and orchestrator (and sometimes a percussionist, too). But it's as a pianist that he's best known. His own keyboard favorites? He cites Art Tatum, Bud Powell, Horace Silver, Bill Evans and his own brother Charlie. He's recorded 32 titles (his Concord release Listen Here nabbed a 2006 Grammy) and partners with trumpeter Brian Lynch on Brian's superb new CD Sympatico.
LEW SOLOFF: PLAYING ON HIS OWN TERMS by Ken Franckling
The working philosophy for many a jazz musician goes something like: "When the phone rings, I say 'yes.'" But trumpeter Lew Soloff is at the stage of life, and career, where he's far more selective about when, where and with whom he works. It's one of many lessons learned from late bandleader Gil Evans, with whom he worked for 22 years.
"Gil was almost unmaterialistic and didn't care about money, just about what he wanted to do," Soloff says. "I didn't have the courage to do that when I was younger. Now I've rearranged my life so I can do it that way. I'm no longer dependent on the phone ringing. It was to my advantage when the commercial work dropped off for me. I felt my playing grow faster without it. I enjoy any setting where I feel that I can have creative freedom. That's what I love to do - and I have dedicated myself to. You have to be in situations constantly where you need to be challenged, regardless of whether you play really great each night. Those are rare nights, but it's always about honesty; about meaning what you play. If you can't enjoy the situation where you're not comfortable, how can you enjoy what you play?"
One of the challenges he has accepted is as special guest of Trio da Paz at Jack Kleinsinger's Highlights in Jazz series. The February 8 concert at Tribeca Performing Arts Center comes two weeks before Soloff's 63rd birthday. Trio da Paz features three veteran musicians originally from Brazil: guitarist Romero Lubambo, bassist Nilson Matta and drummer Duduka Da Fonseca.
"I've never heard them, but I have heard nothing but raves about the trio. I'm looking forward to it," Soloff said. "What a wonderful mystery. I really like mystery and spur-of-the-moment. There are easier ways out, but that's what I really enjoy."
The biggest challenge faced by an American-born jazz musician playing Latin, including Brazilian jazz, Soloff says, is understanding the rhythms. "The experience of having played those rhythms is important, because they are a little different. If you can listen to Joao Gilberto or Astrud Gilberto and be moved, or Caetano Veloso and be moved, or feel what they are doing, you have a greater shot of something great coming out of you. I just feel it is going to be terrific."
The concert in some ways also brings Soloff full-circle. He says he began his career heavily influenced by Latin music and got one of his first jobs in Machito's band. He also worked later with Tito Puente and Eddie Palmieri. "I loved the music and I miss it. I don't play it often enough to suit me. One of these days, I really want to make a Latin recording."
When the classically trained trumpeter first hit the New York jazz scene after his student years at the Eastman School of Music in Rochester and a year of graduate school at Juilliard, he says he immersed himself in "some amazing jam sessions," as well as working and rehearsal bands "with virtually everyone," naming, among others, Kenny Dorham, Joe Henderson, Thad and Elvin Jones, and Dizzy Gillespie.
His Gil Evans Orchestra work (Lew calls it "the greatest experience of my life") began two years before his best-known gig - five years in the popular Grammy-winning rock group Blood, Sweat and Tears. After leaving BS&T in 1973, he embarked on a busy eleven years as a first-call studio player working with notables like the Rolling Stones, Sting, Marianne Faithful and Paul Simon. In addition to varied special guest performances and some teaching, Soloff leads his own trio and quartet, most often featuring bassist Francois Moutin and vibes player Joe Locke. He also co-leads a band with saxophonist Ernie Watts and plays in a classical music-focused brass quintet called the Manhattan Brass.
He's also residing in the Big Apple again, after years in suburban Westchester County. "I live in New York because so many of the incredible musicians live here. Anything can happen at any time. Doors open and you can sit in and hang. As long as I can take care of my responsibilities, I'm going for it."
Lew Soloff guests with Trio da Paz on February 8 at Tribeca Performing Arts Center. His trumpet/vibes/bass trio plays at the Knickerbocker on January 25-27.
STEVE COLEMAN: A PERSON OF INTEREST by Paul Blair
At the most popular online music repositories, you'll likely be charged 99¢ per track to purchase jazz cuts. Surprisingly, though, a large proportion of alto saxophonist Steve Coleman's recorded output over the past two decades is available for downloading - at absolutely no cost - from his own website at www.m-base.com. Why? So many long-time admirers questioned his business judgment that he's even included a statement of his rationale on that site.
"The idea that everything is owned is a relatively recent idea in the West," he says on the phone from his home in eastern Pennsylvania. "But can someone really own an idea? I've never been too comfortable with that thinking, even when I was younger. I've traveled off the beaten track through non-Western countries like Indonesia, Cuba, India and Brazil where no one knows me or my music. In such places, jazz CDs are either really expensive or totally unavailable. And if people can't afford 'culture' as it's usually packaged, they simply can't participate. My idea is that since we get so much from music, we ought to give something back. Anyway, trading hard-to-get items by Coltrane and Rollins is what we always used to do as youngsters. In fact, musicians still do that kind of thing among themselves all the time. The Internet merely makes this sort of communication quicker and more efficient."
Although Coleman, reared in Chicago, is a leading figure of what might be termed the musical left wing of jazz, his mainstream credentials are solid indeed. These include gigs with the Thad Jones-Mel Lewis orchestra, membership in Dave Holland's original quintet, and work with Abbey Lincoln, Michael Brecker, Von Freeman, Tommy Flanagan and Ed Blackwell. He's also participated in big band projects under Sam Rivers' and Cecil Taylor's leadership. Fellow members of the loose-knit M-Base collective, formerly associated with a unique surge in Brooklyn-based jazz, have included Greg Osby, Geri Allen, Robin Eubanks, Graham Haynes and Gary Thomas.
Another outlet for Coleman's enthusiasm and musical curiosity has been a series of programs he's run at the Jazz Gallery for the past three years. "These Monday sessions aren't performances," he notes. "Instead, they're workshops in which we go over musical ideas and concepts related to music. Occasionally, they're quite philosophical in nature. At other times, they're highly practical. Mostly, the subject matter is somewhere between those two poles. It all depends on who shows up in terms of audience members. Sometimes I have other artists come play. Other times, it's my own group. It’s always a very open thing - hard to define but really what we always used to do privately as musicians. For the past three years, the Gallery has been inviting anyone who's curious to take part. Really, though, we're just dealing with the music."
Of these Monday evening workshops - billed as "Steve Coleman Presents" - Jazz Gallery director Dale Fitzgerald enthuses, "There's really nobody else like Steve on the scene today. Nobody with as broad a range of influence. So many of the musicians we've presented - guys like Vijay Iyer, Jason Moran, David Gilmore, Lonnie Plaxico and literally dozens of others - are quick to point out what they gained through playing experiences with him. If you ask them what factors helped to move them from one step to another musically, they always cite their past associations with Steve. And busy as he is elsewhere, whenever he offers these Monday sessions at our place, he's always fully present and fully engaged, talking about things I don't hear anyone else talking about."
January will be particularly busy for Coleman, since he's also curating an entire month of music at the East Village new music outpost called The Stone. In that role, he's pulled together a schedule of nightly performances involving his own Five Elements group (a quintet that's sometimes a sextet) on several evenings, along with other sets featuring, among others, trumpet players Jonathan Finlayson and Ralph Alessi, drummer Tyshawn Sorey, trombonist George Lewis, pianist Iyer, altoist John Zorn, guitarist Eric Vogler and singer Cassandra Wilson. "Actually, I'll be involved at The Stone every evening except those Mondays when I'm at the Jazz Gallery," says Coleman. "The whole month is structured in terms of a ritual celebrating the animation of life and what that means to us."
"I guess a large share of our audience is now in Europe," says Coleman. "The last tour took us to France, Italy, Austria and Spain. We've also played in Poland, Yugoslavia, Bulgaria, Hungary and the Scandinavian countries." The four most recent CDs by Five Elements have been issued by the French company called Label Bleu. "No, they're not available as free downloads from my website," he says. "I don't always want to bump heads with what people are doing commercially."
Upcoming "Steve Coleman Presents" sessions take place at the Jazz Gallery on January 15, 22 and 29. Five Elements plays at The Stone on January 3, 7, 11, 14, 18, 21, 25 and 31.
HOT FLASHES BY PAUL BLAIRTHE IAJE CONFAB
The mammoth International Association of Jazz Educators conference - the 33rd edition of the world's most enjoyable (and pleasurably fatiguing) jazz carnival - rolls into New York on Jan. 10-13. Note that you needn't be an educator nor a musician to participate. A visit to www.iaje.org will give you at least some notion of what's scheduled: specially commissioned works, marketing workshops, instrument seminars, research papers, award presentations, instruction in new electronic technologies, a cacophonis 75,000 square-foot music industry exposition, commission premieres, technology presentations - and performances by at least 500 of the world's most respected professional musicians and groups, along with music from top school ensembles from around the world. This year, special emphasis is being given to the French scene. In addition, a number of top school groups from other countries are scheduled to perform. Once again this year, all action centers around two midtown hotels (the New York Hilton and the Sheraton New York Hotel & Towers). But many local clubs are offering discounts on admission to those with IAJE credentials. Registration at the event itself is possible, but so is pre-registration online. In order to take full advantage of nearly everything on offer, you'd really have to shut down the rest of your professional and personal life for four full days. Ah, but what a memorable time you'll have, in the company of 8,000 other people who love this music as passionately as you do. Check that website!
THE FRENCH ARE COMING
In fact, by the time you read this, many will already be here. An alliance of organizations, including the Embassy of France, the French Ministry of Culture and the French Music Export Office is presenting a French Quarter jazz event involving 25 concerts at several of the metro area's top venues: Dizzy's, the Blue Note, Iridium, Trumpets, Joe's Pub, the Cutting Room, Enzo's Jazz Room, 55 Bar, the Knitting Factory, Webster Hall and elsewhere. Among the multitude of musicians and ensembles performing are Les Pimitif du Futur and the Orchestre National de Jazz; singers Mina Agossi and Anne Ducros; bassists Richard Bona, Remi Vignolo and Riccardo del Fra; percussionists Mino Cinelu and Stephane Huchard; accordionist Richard Galliano; violinist Didier Lockwood; saxophonists Pierrick Pedron, Jérôme Sabbagh and Géraldine Laurent; trombonist Hervé Sellin; pianists Michel Legrand, Jacky Terrasson, Jean Michel Pilc, Bojan Z, Baptiste Trotignon, Dan Tepfer and Thomas Enhco; guitarists Louis Winsberg and Sylvain Luc; harmonica player Olivier Ker Ourio; and vibraphonist Franck Tortiller, along with serveral especially promising student groups. Some of these musicians are already living and working in New York, while others will be getting their first local exposure. The significant French component built into this year's IAJE conference accounts, in part, for the timing of French Quarter 2007. But even if you're not attending IAJE, there'll be plenty of other opportunities to hear what the French are playing these days. Want the full schedule? You’ll find it at www.frenchculture.org.
FESTIVAL MADNESS
January, it turns out, always seems to offer a special abundance of intriguing jazz possibilities around town. Perhaps it's the IAJE influence. Here's word on several other large-scale events taking place this month ... The Brooklyn Jazz Underground, a newly formed collective, introduces several composers and players worth knowing and hearing at Smalls over the course of four nights (Jan. 11-14). We've heard ten of these BJU groups on a recently released sampler CD and were most impressed by all. At their website (www.brooklynjazz.org), you'll find bios and MP3s, along with a complete sked. Highly recommended! ... Meanwhile, under the Knitting Factory banner, NYC Winter Jazzfest 2007 offers two expositions of brave new talent: a Jazz Alternatives Showcase on Jan. 10 and an Arts Presenters Showcase on January 20. All told, at least 33 groups from across the U.S. and Canada as well as Europe, Africa and Asia will get a hearing. It all takes place at the Knit. Those with IAJE credentials can enter at no charge, while others pay a modest fee. For the whole story consult www.knittingfactory.com ... Of course, you could always flee the city's snow to take in the Fourth Annual Panama Jazz Festival, taking place in Panama City - not the one in Florida - on January 18-20. Once again this year, Panamanian pianist Danilo Pérez, serving as artistic director, brings in a host of fine musicians: Carlos Garnet, Jorge Sylvester, Santi Debriano, Renato Thomas, Nneena Freelon, Edmar Castaneda and Billy Cobham will all be featured. See www.panamajazzfestival.com.
MUSIC AND MEDICINE
The Tenth Annual Benefit Jazz Benefit for the Leukemia & Lymphoma Society at the Blue Note on January 1 features singer Deborah Davis backed by pianist James Weidman, bassist Essiet Essiet and drummer Greg Hutchenson ... And here's a note of special interest to musicians themselves: The Louis Armstrong Center for Music and Medicine, based in the Beth Israel Medical Center near Union Square and associated with NYU, is now offering a new care program for performing artists, with special emphasis on advanced techniques in pain management, breathing modalities for healing and several other areas. A more complete rundown on their services is viewable online at www.musicandmedicine.org.
HOW-TO
The open-to-the-public workshops at David Gage's renowned Soho bass depot continue with a session centering around Charlie Haden at noon on January 12. Phone 212-274-1322 or check www.davidgage.com for particulars ... Guitarist Michéle Ramo has just opened his own music school (profiled at www.ramosmusicschool.com) in Manhattan. By the way, Michéle - on violin this time - heads up a trio to celebrate the birthdays of guitar idol Bucky Pizzarelli and bassist Jerry Bruno on Jan. 10 at Triad.
CORNUCOPIA
Han Bennick, that most extraordinary of drummers, performs at Tonic on Jan. 9-10. Joining him will be Dave Douglas, Thomas Heberer, Marcus Rojas, Anthony Coleman, Ellery Eskelin and other pals. Be forewarned; these 8:00 PM shows are likely to sell out ... It's trumpeters blowing high and wide at Joe's Pub this month, with Terence Blanchard at 9:30 PM on January 11 - and then Christian Scott and Leron Thomas at 11:30 PM on January 12 ... Clarinetist Don Byron duets with a pair of pianists (Kenny Barron and Ursala Oppens) at Merkin Hall on January 22 ... Pianist Jacky Terrasson headlines at Iridium on January 17-21; while pianist/organist/singer Amina Claudine Myers is part of Blood Ulmer's ensemble at the same club on January 24-28 ... Saxophonist Bob Rockwell will blow at the Blue Note's midnight show on Jan. 12 ... Jazz at Lincoln Center's Rose Hall hosts "Cubana Be, Cubana Bop" on the evenings of Jan. 12-13, with the Afro-Latin Jazz Orchestra under Arturo O'Farrill's direction as the stellar attraction ... Following up on his immensely pleasurable 2006 CD Waits & Measures (Playscape), alto saxophonist Pete Robbins leads a quintet at Cornelia Street Cafe on Jan. 5 ... An exhibition of Lourdes Delgado entitled "Jazz in Brooklyn: A Community of Visions" continues through February 11 at the Brooklyn Public Library's main facility on Grand Army Plaza. Visit www.brooklynpubliclibrary.org/events/exhibitions/2006 for more on this enthralling show.
JAZZWOMEN! BY ELZY KOLB
Advice and dissent
Early in Rene Marie's singing career, another vocalist recommended, "Don't let people know who you are, they'll suck you dry." But Rene didn't take that advice to heart. Holding back is not her style. She believes that the audience deserves a more intense experience than they'd have sitting at home listening to a CD. At a club, "They're not there just to hear music, they want to be touched," Rene says. "Their emotional G-spot, that's what I want to touch, the part they keep covered up every day. Why sing standards that have been done to death and have become clichés?" Instead, Rene sings about topics like domestic abuse, her move away from her religious faith, and women who have lost themselves in trying to make a go of marriage. "Afterward I'm exhausted, I'm worn out, but it's an exhilarated exhaustion," she says. Vocalists are doing "a terrible disservice to themselves if they think the work they put into their hair, makeup and nails is going to make up for singing a song like a robot." Experience Rene Marie at Dizzy's on Jan. 16-21.
It's the New Year …
And pianist Lenore Raphael's resolution is to "have a good time." She may have to work that into her calendar: 2007 is already packed with gigs in New York and on the road, plus her duties as musical director of a new jazz series starting next month at St. Michael's Church at 99th and Broadway. Lenore books her own gigs, using skills she picked up from "Cold Calling Techniques," by Stephan Schiffman. "I read it and thought, let's see how this works. I've been booking myself ever since," she says. Lenore thinks she "must have been a public relations person in a past life. And I will be one in my next life," she says, laughing. "I enjoy reaching out to people and knowing them on a first-hand basis." Lenore plays the Kitano on Jan. 17 and Eighty-eights in Rahway on Jan. 27. Keep an ear out for her new live CD, which should be available any day now.
Trans-Atlantic visitor
French singer Anne Ducros will get her year off to a good start with a trip to New York. She'll hit the studio while she's here, recording tunes including "Sexy Sadie" and "You and the Night and the Music" for a new CD. "To me, jazz is a way of playing music, certain harmonies and rhythms, not a play list," Anne says. "All of the tunes I really love, I sing because of the harmonic opportunities." Bassist Essiet Okon Essiet, drummer Bruce Cox, pianist Olivier Hutman and saxophonist Ada Rovatti will join Anne in the studio. "I'm so excited to record with them. I want to play with them for the next years of my life," she says. "It's unbelievable, making music with this rhythm section. And Ada is really creative and has so much energy. It's a great pleasure to share the stage with her. I like that shared sensitivity with female musicians." Anne and the band appear at Enzo's on Jan. 10, at Trumpets on Jan. 13, and at a Blue Note brunch on Jan. 14.
Alive music
For organist/pianist Trudy Pitts, "Music scans all of my relationships. Out of the bonding of music comes the bonding of spirits and of friendship." Trudy has played with the greats, including Ben Webster, Gene Ammons, Sonny Stitt, Pat Martino and Rahsaan Roland Kirk. "Rahsaan was special," she says. "I still feel his spirit with me after all these years. He was cautious who he became friends with, but that caution was thrown to the winds with me and my family." Some people might say Trudy herself throws caution to the winds by never preparing a set list. "I motivate best with spontaneity. I feel the audience, the vibe of the venue, the vibe floating through the air, then I tailor what I choose to fit that criteria." She'll be checking out the vibe at the Jazz Standard on Jan. 25-28, when she appears with Greg Osby's band. "You feel different things from different musicians," Trudy says. "That's as it should be. There's a different spirit, soul, imagination, priorities, a different set of fingerprints going on with each one. I'm impressed with Greg's musicality, creative spark, knowledge of his instrument and willingness to take chances with music. This will be like a homecoming. I'm looking forward to speaking the language of music together."
Condolences to …
Pianist Bertha Hope, on the loss of her husband, bassist Walter Booker Jr. A celebration of his life is scheduled for Jan. 14 at St. Peter's.
Congrats to …
Diane Moser, celebrating her Composers Big Band's 10th anniversary at Trumpet's on Jan. 31, with compositions by Rob Henke. The band will focus on the works of resident composers in 2007 … Grammy nominees Nancy Wilson, Karrin Allyson, Roberta Gambarini, Nancy King, and Diana Krall … Saxophonist Sharel Cassity, chosen for the IAJE's 2007 Sisters in Jazz Collegiate All-Star band.
Resolve to …
Reserve your Thursdays for baritone saxophonist Claire Daly's tribute to Rahsaan Roland Kirk at the Bowery Poetry Club on Jan. 4, 11 and 25 … Catch pianist Champian Fulton at Swing 46 on Sundays and Thursdays … Bassist Nicki Parrott plays Iridium every Monday with Les Paul … Saxophonist Sweet Sue Terry celebrates the release of The Blue.Seum Project (Qi Note) at the Blue Mountain Gallery on West 25th Street on Jan. 6 … Hilary Gardner sings with Mike Longo's New York State of the Art Ensemble at the John Birks Gillespie Auditorium on Jan. 9 … Nancy King sings at the Jazz Standard on Jan. 10 with Geoff Keezer's trio … The Knitting Factory's NYC Winter JazzFest features, among others, saxophonist Geraldine Laurent on Jan. 10 and violinist Jenny Scheinman on Jan. 20 … Violinist/violist Tanya Kalmanovitch's Hut Five plays Smalls on Jan. 11 … The Afro-Latin Jazz Orchestra, including alto player Erica von Kleist, plays Latin jazz classics at Jazz at Lincoln Center's Rose Hall on Jan. 12-13 … Pianist/composer/singer Deanna Witkowski and Mary Lou Williams biographer Dr. Tammy Kernodle are at St. Peter's on Jan. 12 … Catch vocalist Tessa Souter on the early shift at 55 Bar on Jan. 12 … Pianist/singer Mala Waldron and vocalist Barbara Sfraga trade sets at Enzo's on Jan 12 … Stevie Holland sings at the Metropolitan Room on Jan. 17-20, with a trio which includes pianist Kris Davis … Happy birthday to Andrea Wolper, who'll be singing and celebrating at Enzo's on Jan 19 … The Lascivious Biddies play Joe's Pub on Jan. 19 … Flutist Anne Drummond and cellist Louise Dubin appear with Stefon Harris at the Jazz Standard on Jan. 21 … Mary Foster Conklin sings at Mannahatta on Jan. 23 … and baritone sax player Lauren Sevian is part of Travis Sullivan's Identity Crisis at the Blue Note on Jan. 27.
Jazz anecdote by bill crowBill Crow's books "Jazz Anecdotes" and "From Birdland to Broadway" can be found at your favorite bookstore, and at www.billcrowbass.com along with many interesting photos and links.
When Wally Dunbar was young, he and a friend used to hang out looking for a place to play some jazz. One night they chose a small restaurant and asked the manager if they could play for a while. The manager was happy to have the free entertainment, and Wally and his friend played until they had satisfied their need to express themselves. As they packed up to leave, one of them asked a waiter for a cup of coffee. The waiter brought it, and said, "That'll be a dollar fifty." In those days that was a steep price for a cup of coffee. "A dollar fifty?" said Wally in disbelief. "Well," said the waiter, "it's usually seventy-five cents, but tonight we have entertainment."
Lee Evans spoke to his Jazz History class at Pace University about the Ellington-Strayhorn tune Satin Doll. On a Swing Era exam shortly thereafter, a student in that class referred to that tune in her paper as Sad and Dull. Lee is working on his enunciation.