winning spins by George Kanzler It's hard not to like crowd- pleasers, those jazz musicians who grab you by preening and parading their wares like conjurers or carnival pitchmen. After all, that's what JATP (Jazz at the Philharmonic), as well as all-star jam sessions, were all about. This Spins edition catches two crowd-pleasers, Joe Zawinul and James Carter, in their natural element, before appreciative audiences at jazz clubs. Vienna Nights: Live at Joe Zawinul's Birdland, a two-disc set on the Birdjam label by Joe Zawinul & The Zawinul Syndicate present the latest versions of the veteran keyboardist and Weather Report co-founder's multi-culti band. On it, Zawinul conjures up the sounds of a variety of instruments on his omnivorous keyboards, from organ and piano to African kora and Argentinean bandoneon. He's joined by musicians, singers and percussionists from Africa, Latin America and the Near East as well as the U.S. Afro-pop seems to be at the top of Zawinul's latest list of musical interests, and the album begins with "Y'Elena," a tune from the book of one of West Africa's superstars, Salif Keita, sung here by Sabine Kabongo. A versatile singer equally at home in African languages, scat and English, she's heard on the second disc doing a fervent rendition of Duke Ellington's "Come Sunday." Her vocals, and her voice in the choruses, add a needed other dimension to Zawinul's music throughout. Although most of the tunes are credited to Zawinul, they often feature lyrics, or lyric improvisations, in African or Near Eastern languages, giving the whole album a sort of World Music character. On "Two Lines," Zawinul's synth has a piping concertina sound, while on "Borges Buenos Aires," it mimics the bandoneon of classic tango. On Karim Ziad's tune "Louange," it morphs into the sound of the lute-like kora. Like much of Zawinul's work since Weather Report, the emphasis here is more on ensemble textures, interplay and overall conception than on individual solos. And though the multi-percussionists employ various hand drums and polyrhythms from far-flung areas of the world, they are often led by Zawinul's favored propulsive high-hat cymbal ticking off time in a straight 8/8, as on his signature classics "Birdland" and "Spain." Out of Nowhere: Live at the Blue Note by the James Carter Organ Trio (Half Note) features the multi-reed player (soprano, tenor and baritone saxes here), along with organist Gerald Gibbs and drummer Leonard King, plus guest appearances by baritone saxist Hamiet Bluiett and guitarist James "Blood" Ulmer. With his modified zoot suit/gunslinger/literate pimp attire, his command of showboating techniques and his ferociously huge sound, Carter is the Stagger Lee or John Henry of jazz, a myth-aspiring Muhammad Ali of the bandstand. This organ trio, with Gibbs playing a subdued straight-man role to Carter's top banana, is a perfect showcase for the saxophonist's flamboyance. The opening track of the album is the best. On tenor sax, Carter unfurls all the stops, beginning with a gruff, heart-on-sleeve parsing of the "Out of Nowhere" melody, then swaggering through it before launching his improvisation into the horn's highest registers, incorporating circular breathing for a performance that could stand as homage to such robust JATP balladeers as Ben Webster, Flip Phillips and Illinois Jacquet. Carter the trickster is at the fore on Benny Golson's "Along Came Betty," bringing forth an amazingly rich, febrile tone and sound on the soprano sax, as if blowing up the instrument way beyond its size and heft, and deconstructing his second solo into a hilarious near cacophony of squawks, bleats and gargled cries, all carried along by seamless stretches of circular breathing. There's more swaggering and squealing, as well as rich timbres, as Carter is joined by Ulmer (who also sings the blues "Little Red Rooster") and Bluiett for the final four tracks, with Carter matching baritone sax overblowing with Bluiett, and bent, wah-wah like phrasing on tenor with Ulmer. And like crowd-pleasers of yore, Carter ends with a pop hit, in this case a robust version of R. Kelly's "I Believe I Can Fly." The Blue Note hosts James Carter's Organ Trio (with guests Ulmer and Bluiett) on September 13-18. Joe Zawinul & The Zawinul Syndicate appear at B.B. King's on September 22 and at the Blue Note on September 27-29.   SPOTLIGHT BY PAUL BLAIR, George Kanzler & elzy kolb MARK SOSKIN KITANO/SEPTEMBER 15 A Brooklyn-born pianist who's probably best known for backing Sonny Rollins on recordings and concert dates between 1978 and 1990, Soskin had loads of early experience in R&B bands, honed his classical chops at Colorado State before transferring to Berklee, then relocated to the Bay area, where he worked through the 70s with leaders like Billy Cobham, Tom Scott and Joe Henderson. So who's he play like? Well, he's often cited Cedar Walton as a continuing inspiration. The trio teammates joining him at Kitano are Jay Anderson (bass) and Matt Wilson (drums), both appearing on his 2001 TCB disc entitled 17. PB DAVID BINNEY 55 BAR/SEPTEMBER 9-11 Alto saxophonist Binney, possessor of a memorably tart, whiskey sour tone, has developed quite a following through his long-running Tuesday night sessions at this Christopher Street throwback to the casual Village jazz bars of three to five decades ago; hence this weekend gig. He's also developed a distinctive repertoire and band sound with young players who've been his regulars for over two years. Band and repertoire can also be heard to good advantage on Bastion of Sanity, Binney's first Criss Cross CD, a quintet date notable for Binney's extended form compositions - and that also features Jazzpar winner Chris Potter on tenor saxophone. GK PAUL MOTIAN VILLAGE VANGUARD/SEPTEMBER 6-11, 13-18 When the wondrously subtle drummer Paul Motian brings his favorite trio into New York's most hallowed jazz cellar again this month, the names of his bandmates - Bill Frisell and Joe Lovano - will likely be somewhat better known to the casual jazz listener than his own. That's odd, considering the drummer's resume: work with Bill Evans, Keith Jarrett, Don Cherry, George Russell, Charles Lloyd, Carla Bley, Lee Konitz, Tim Berne and a host of others. With Motian, don't expect pyrotechnics. He specializes in tonal richness, impeccable timing and the sort of gentle polyrhythmic prodding that tends to bring out the best in his colleagues. PB RALPH PETERSON SWEET RHYTHM/SEPTEMBER 30 At Dizzy's during August, drummer Peterson drove Charles Tolliver's 17-piece big band to triumphant heights on a series of uptempo tunes. Still, we're more used to enjoying Peterson's work in small group settings, particularly those of his own creation. His Fo'tet (actually, successive quartets using that name) has recorded provocative albums for Blue Note, Evidence, Sirocco and Criss Cross labels. His latest for Criss Cross - The Fo'tet, Augmented - again includes vibraphonist Bryan Carrott, a longtime Peterson colleague with much to offer. At press time, it's unclear who'll be joining Peterson for this appearance, or even how large a group he'll lead. Go anyway. PB KEELY SMITH TRIBECA PERFORMING ARTS CENTER/ HIGHLIGHTS IN JAZZ/OCTOBER 6 Many of us old enough to recall Ms. Smith's 50s TV appearances with then-husband Louis Prima had crushes on her, the calm and undeniably sexy foil to his wildness. And she could really sing, too. Her Louis-less Capitol albums, boasting arrangements by Billy May and Nelson Riddle, proved it. Now, after years out of the spotlight, Keeley's back and sounding great. A series of recent releases on the Concord label - on which she enjoys splendid big band backing - proves that her warm voice is every bit as intact as her sense of humor. This concert at Tribeca Performing Arts Center begins at 8:00 PM. PB CARLA BLEY IRIDIUM/SEPTEMBER 1-4 Pianist/composer/arranger Bley once said she hopes that her former high school will some day award her an honorary diploma. But even a quick listen to her brilliant, heartfelt music (including piano and arrangements on the brand new Verve disc Not In Our Name by Charlie Haden's Liberation Music Orchestra) leaves no doubt that she belongs right at the head of the class. Her websiste - www.wattxtrawatt.com - offers insight into her points of view, but nothing beats hearing her live. Her band, Lost Chords, includes bassist Steve Swallow, saxophonist Andy Sheppard and drummer Billy Drummond. EK MARTY EHRLICH JAZZ STANDARD/SEPTEMBER 15-18 Perhaps you ought to catch at least two evenings of this four-night booking. For the first three, versatile composer and reed player Ehrlich brings a sextet to present music from his new Palmetto CD News on the Rail. Playing with him: James Zoller (trumpet), Howard Johnson (tuba and baritone saxophone), James Weidman (keyboards), Greg Cohen (bass) and Allison Miller (drums). Then for Sunday, it's the return of Marty's much-praised Dark Woods Five, already documented on several older albums: his woodwinds blending with Mark Feldman's violin, Eric Friedlander's cello, Mark Helias' bass and Alan Jaffe's drums. It's a typically outstanding Jazz Standard booking. PB JOE FONDA THE STONE/SEPTEMBER 6 AND 8 Steel-fingered bassist Fonda hangs with an adventuresome crowd: guys like Anthony Braxton, Wadada Leo Smith, Hans Bennick, for instance. He's also played behind tap dancers and poets, contributed to a pair of CDs by an ultra-startling quartet named Conference Call and recorded (with Barry Altschul and Billy Bang) as The Fab Trio. Hear him on at least three new releases: the Michael Musillami trio's Dachau (Playscape); Forever Real (482 Music) and his latest collaboration with singer Katie Bull, fetchingly titled Cup of Joe, No Bull. Catch him at The Stone, a fairly new East Village venue, and be surprised at the fresh music he brings along. PB RICHIE BEIRACH BIRDLAND/SEPTEMBER 14-17 Quest lives! This cooperative quartet, with Beirach's piano and Dave Liebman's saxophones intertwining over the patterns laid down by bassist Ron McClure and drummer Billy Hart, cut its first recordings together twenty years ago. Their musical interplay is intense and lyrical. Beirach, who used to accompany Chet Baker and paired with Leibman in that 70s group called Lookout Farm, has always been keen to meld jazz traditions with those of modern classical music. Liebman's more recent work, you've likely heard. But if you're not familiar with this pianist's talents, here's an opportunity to catch him in the midst of a special musical environment. PB DONALD HARRISON SATALLA/SEPTEMBER 30 Alto saxist Harrison should feel right at home in the polyrhythmic ensemble led at Satalla by trumpet player Brian Lynch. After all, Harrison hails from New Orleans, the country's Caribbean gateway port. And over the years since he first came to prominence with Art Blakey's Jazz Messengers in the 1980s, Harrison has delved into jazz's musical heritage from New Orleans and the Caribbean in his own albums and groups. Because this ensemble will also feature trombonist Conrad Herwig, don't be surprised if some of the music from his The Latin Side of John Coltrane and Another Kind of Blue: The Latin Side of Miles Davis, get an airing. GK NEW JERSEY JAZZ BY FRED McINTOSH Chip White Cecil's/September 16-17 For this gig, percussionist Chip White says his group will focus primarily on his originals. Joining him on the bandstand will be vocalist Gail Allen, woodwinds whiz Patience Higgins, pianist Keith Sanders and bassist Per-Ola Gadd. (White, just back from a performance tour of Portugal with Houston Person, also penned "Time Stood Still," one of the songs on Person's latest CD, All Soul.) Chip's own new disc -- Music and Lyrics on the Dark Colors label - is set for release this month. And Chip's about to publish "I'm Just the Drummer in the Band," a volume of his poems with our music as their subject. 3D The Priory/September 16 The evening will serve as a party of sorts, to celebrate the release of 3D's new album, Ritmo De Vida. Co-founded by drummer Michael Tate and guitarist Chris Amelar, 3D blends timbres and rhythms from Africa, Latin America, the West Indies and New Orleans into its own unique music. Other players aboard include keyboardist Lenny Underwood and singer Herman Olivera. They appeared recently at NJPAC and will also play at the Savoy Grill in Newark on September 25. So what to call this confabulation? "Caribbean/Salsa/Bolero/Soca" will have to do for now. They've already recorded their next CD, too. Jambalaya's due out in 2006. The Stein Brothers Shanghai Jazz/September 11 Alex Stein is the one on tenor saxophone. His brother Asher, also Maplewood-reared, plays alto. And they've been at it since childhood. Ask them about their primary musical influences and you'll hear names like Parker, Rollins and Young. They've studied at the Jazz Institute of New Jersey and William Paterson. They've also taken part in workshops run by Barry Harris, whom they credit with steering them in the direction their music has taken. Call it modern-day bebop. Their co-conspirators are usually Mferrghu (piano), Chris Brown (bass) and Doug Largent (drums). Bob Seeley Bickford Theater/September 12 Bob Seeley - boogie-woogie pianist extraordinaire - doesn't often appear in our area. You're more likely to catch him at Charley's Crab Restaurant in Troy, Michigan, his steady gig for years. He's also a popular concert attraction in Europe these days. What brings him to Morristown this month is a centennial celebration honoring Meade Lux Lewis, one of the moving forces behind the 1930s boogie-woogie craze. In his later years, Meade was Seeley's mentor and friend. Is Seeley the greatest living practitioner in this demanding style? Fans say yes and call him "a force of nature." When it comes to Harlem stride, too, Bob's a monster. SQUEEZE PLAY: EDDIE MONTEIRO by Paul Blair Considering that his playing and singing have been lauded by Mabel Mercer, George Shearing, Alec Wilder, Gene Lees, Dick Hyman, Johnny Mandel, Whitney Balliett and Tony Bennett, it's remarkable how low this master musician's profile remains on the New York jazz scene. Maybe it's because, fed up with the uncertainties in the nightclub and recording biz, he happily took a middle school teaching job in New Jersey several years ago. Or perhaps it's due to the fact that Eddie Monteiro's instrument of choice is the accordion. Monteiro's current accordion definitely isn't the one he began studying at age five, at home in Newark, where he was raised by Portuguese-born parents. Instead, what you'll see balanced on his knee these days is a MIDI-controlled electronic marvel capable of generating a virtual kaleidoscope of hip sounds: anything from a tightly muted trumpet to an entire string choir. A lesser player thus equipped might be tempted to overuse such onboard wizardry. Eddie never does. Want to enjoy a bit of Monteiro in full flight? To hear one entire cut (Bob Dorough's "Just About Everything," a nifty tune to begin with) from a 1991 Denon CD entitled The Real Thing, on which Monteiro is paired with Nancy Marano, another superb singer, go online to:  http://realserver.earthlink.net/~www.swingstreets.com/MaranoMonteiro.rm. Remember, while you're listening, that all the instrumental backing is being provided by Eddie in real time. The performance is typical of what this duo used to present when they worked area clubs together during the Eighties and early Nineties. If you've managed to get this track pouring from your computer speakers, you'll hear, about 2:06 into it, a remarkable chorus on which Eddie scats in union with the boppish line he's playing. (He recalls first being astounded by that trick on recordings not by bassist Slam Stewart but by the famed Brazilian accordionist Sivuca.) As a youngster, Eddie studied with local hero Charles Nunzio, whom he remembers as a stern taskmaster; and subsequently enrolled at New York College of Music (later absorbed by NYU) as a composition major with a concentration on piano, since the school offered no accordion courses. His keyboard skills allowed him to work casuals in orchestras led by Peter Duchin, Ray Bloch and Skitch Henderson. Yet jazz also grabbed his attention early on, as the result of hearing accordionists like Joe Mooney, Art Van Damme and Leon Sash. Over the years, he's guested on recordings by Claudio Roditi, Gerry Mulligan and Roger Kellaway, among others. Left to his own devices - and yes, he does do wonderful unaccompanied sets - Monteiro tends to emphasize a broad Brazilian repertoire, with which he's extremely comfortable. If you can't make it up to Westchester on the tenth, your best chance of hearing him live is at one of his Friday evening gigs at the Short Hills Hilton in New Jersey, where his regular trio includes guitarist Lenny Argese and drummer Joe Cocuzzo. They'll likely be joining him in Port Chester, too. But he may also be adding percussionist Guilherme Franco. Take a close look at Eddie's accordion, too - the one he's been using since the mid-90s. Made in Boston by Dr. Ray Cavicchio, there are only seven others like it in the world. Eddie Monteiro plays at 4:00 PM on September 10 at Lyon Park in Port Chester. This free concert also includes a set by Mark Morganelli and the Jazz Forum All-Stars. HOT FLASHES BY PAUL BLAIR WEST COAST JAZZ GETAWAYS THE WEST COAST JAZZ PARTY Over the first four days in September, they'll be good-timing at yet another Southern California Marriott - this one in Irvine. The roster of musicians posted at www.westcoastjazzparty.com includes no fewer than ten different pianists, eight bassists and six drummers, along with several dozen hornmen and hornwomen. Vibists Terry Gibbs and Peter Appleyard will get plenty of solo space with various ensembles. THE SWEET & HOT MUSIC FESTIVAL Traditional jazz and swing are the attractions drawing throngs to this one, held annually at the Los Angeles Airport Marriott. The 2005 edition (taking place on September 1-5) includes the Jack Sheldon Orchestra, Jim Cullum's Jazz Band, Banu Gibson's New Orleans Hot Jazz outfit, The Chicago Six, Big Mama Sue, Page Cavanaugh, The Yankee Wailers, Janet Klein & Her Parlor Boys, Yoshio Toyama & The Saints and...well, you get the idea. www.sweethot.org will give you the complete list. THE 11th VAIL LABOR DAY WEEKEND JAZZ PARTY As you'd expect, given its name, this gala takes place on September 2-5. All performances are held in a ballroom at the Vail Cascade Resort. Kurt Elling and the Clayton Brothers will be on hand, as will Bootsie Barnes, Stefon Harris, Johnny O'Neal, Roberta Gambarini, Jeremy Pelt, Terell Stafford, Renee Rosnes, Bill Cunliffe, Russell Malone, Steve Wilson and Joe LaBarbara. In fact, there are even more names posted at www.vailjazz.org. THE 48th ANNUAL MONTEREY JAZZ FESTIVAL This one lays claim to being the world's longest-running jazz festival (and we presume that means "longest without a break in continuity"). It's taking place over three days - September 16-18 - at the Monterey Fairgrounds, with over 500 artists set to appear on seven stages. Tony Bennett will be making his first-ever appearance at this one, while Sonny Rollins returns after an extended absence. Carla Bley will premier a new MJF commission called "The Black Orchid." John Scofield and Mavis Staples will join in a tribute to Ray Charles. In fact, Scofield will be heard in several different instrumental contexts, as will Artist-in-Residence Branford Marsalis. The quintet that John Handy brought to the festival forty years ago will reunite. And those attendees dashing back and forth between stages can catch sets by Pat Metheny, Madeleine Peyroux, Christian McBride, Miguel Zenón, Claudia Acuña, Andy Bey, Joey Calderazzo, Doug Wamble, Donnie McCaslin, Denny Zeitlin, the New Orleans Jazz Vipers, the Spanish Harlem Orchestra and two especially worthy duos: Sheila Jordan with Steve Kuhn and Benny Green with Russell Malone. As a visit to www.montereyjazzfestival.org will prove, there's more going on, too. THE ROCKY MOUNTAIN JAZZ PARTY This year's blowout, once again taking place at the Marriott City Center in Denver over the October 7-9 weekend, boasts a long list of distinguished participants: John Allred, Dan Barrett, John Bunch, Dick Hyman, Frank Capp, Kenny Davern, Jake Hanna, Jay Leonhart, Ken Peplowski, James Chirillo, Randy Sandke, Joe Temperly, Ross Tompkins, Warren Vaché, Ricky Woodard and Greg Cohen. Visiting hornmen include Australian cornetist Bob Bernard and Danish tenor player Jesper Thilo. For more information, call Sunnie Sutton at 303-838-4240. FESTIVALS CLOSER TO HOME The Oskar Schindler Performing Arts Center in West Orange, NJ hosts two days of jazz on September 10-11. The organizers will soon list performers and groups on their website (www.ospac.org). But the truly impatient can phone 973-669-7385 right now ... The 8th Annual Jazz at Chautauqua, put together again this year by the Allegheny Jazz Society, promises musicians from New York, Michigan, Florida, Louisiana, California, Texas, Oregon and Australia. They'll be present on September 15-18 2005 for 27 full hours of good stuff inside the Athenaeum Hotel, which has been entertaining visitors in royal style since 1881. Visit www.chautauqua-inst.org/jazz to download the entire story ... The Second Annual Willie The Lion Smith Jazz Festival in Goshen, NY on September 17 (named to honor the stride piano specialist born there in 1887) presents Pucho & His Latin Soul Brothers plus Judi Silvano's Let Yourself Go Septet. The information number is 866-468-7619. A WOMEN-IN-JAZZ FESTIVAL AT DIZZY'S Asked when she first started gigging, pianist Bertha Hope has to stop to think. A trip to Paris in 1978 with Evelyn Blakeley and an all-women's band comes to mind, as does playing with the likes of Vi Redd and Teddy Edwards in L.A. in the 1950s, when Bertha was fresh out of high school. Since those days, her motto has been, "Find as many ways as possible to make a jazz-filled living." But even after almost a half century of the musical life, it's not the great memories that stand out for her, it's excitement about the next time. In every venue, "There's kind of a pulse in a roomful of people, the connection you hope to make, the place the band is hoping to reach," she says. "I'm always aware of how a room crackles when I walk in. It's kind of an unknown each time." Bertha next takes the stage on September 29, as part of the Diet Coke Women in Jazz Festival at Dizzy's Club Coca-Cola. The festival, which runs from September 6 through October 2, offers a stellar lineup from old school to cutting edge, from long-time faves to upstarts. Included on the bill are Angela Bofill, Marian McPartland, Nnenna Freelon, Lenora Zenzalai Helm, Barbara Carroll, Helen Merrill, Claudia Acuña, the DIVA Jazz Orchestra, Toshiko Akiyoshi, Lynne Arriale, Tessa Souter, Terri Lyne Carrington, Joanne Brackeen, Jane Ira Bloom, Lenore Raphael, Rita Coolidge and others. "I'm really looking forward to leaving my vibe in that room," Bertha Hope says of Dizzy's, "and having a lot of fun." Go to: http://www.jalc.org/dccc/women_in_jazz/index.html for rundown. WHAT DIZ LEFT BEHIND A curiously bent horn...a Hollywood Walk-of-Fame plaque...a birthday telegram from Louis Armstrong...a thank-you note from Robert Kennedy...a Grammy statuette...several unique pieces of size 7 3/8 headgear...a hand-blown glass sculpture of himself...a Babs Gonsales LP inscribed to him...a favorite conga drum...a hand-carved chess set...autographed baseballs...three sets of binoculars...two trumpet mouthpieces...his New Jersey driver's license...and a red stool he liked to sit on. These items - and a whole lot more - from the Englewood home that Dizzy and Lorraine Gillespie shared for decades will be auctioned off on September 14 at Dawson & Nye Auctioneers in Morris Plains, NJ. For a more complete listing plus photos, check www.dawsonandnye.com. Auction previews beginning on September 11 will include a set by the Dizzy Gillespie All-Star Band, film showings and more. Bids will be accepted in advance and (during the actual sale) in person, by phone and live via eBay. Diz himself will not be present, except in spirit. But he'd surely have gotten a huge kick out of the hoopla surrounding this event. AT THE JAZZ GALLERY In tune with its tenth year of success, the Jazz Gallery - a pleasantly intimate downtownish venue boasting great sound and reasonable admission fees - presents several stellar trumpet masters early this month. Over five successive nights, Roy Hargrove, for whom this club serves as a kind of home base, will be joined by a second trumpeter: Darren Barrett (9/7), Claudio Roditi (9/8), Tom Harrell (9/9), Nicholas Payton (9/10) or Marcus Belgrave (9/11). Backing each evening's pair will be a rhythm section that includes Danny Grissett on piano, Reuben Rogers playing bass and Greg Hutchinson doing the drumming. Also coming up on September 22-24 is a big band co-led by saxophonist Oliver Lake and pianist John Hicks. Check www.jazzgallery.org for details. ADDED ATTRACTIONS At a September 25 concert up in Irvington, the Westchester Jazz Orchestra recalls the days when the Lunceford, Webb, Goodman, Basie and Dorsey bands ruled the airwaves and pop charts. Details and ticket info: 914-861-9100 or www.westjazzorch.org ... Since we really enjoyed bassist John Lindberg's new CD Winter Birds, we're pleased to note that the same quartet can be heard on September 24 at the Rosendale Cafe (434 Main St. in Rosendale NY) and on September 25 at The Stone in the East Village ... Bassist Henry Grimes plays The Stone on September 17 in company with William Parker. He's also part of a September 21-24 Coltrane birthday celebration at Birdland featuring Joe Lovano, Steve Kuhn, Andrew Cyrille and others ... Another Coltrane tribute - this one at Cornelia Street Cafe on September 23 - features George Garzone and friends ... Kavehaz in Chelsea seems to have committed to a jazz-every-night policy; their programming is varied and imaginative - and there's no cover charge. Lots of useful biodata is posted at www.kavehaz.com ... Heard violinist Jenny Scheinman yet? If not, you're in for a treat. She'll officially debut material from her latest CD 12 Songs (Cryptogrammaphone) at both Tonic (on September 12) and the Jazz Standard (on September 22). Bill Frisell's presence is an important musical element on the disc. But the guitarist being billed for these live gigs is, uh, a personage named "Moe Hawk." Jenny also plays at Barbés in Park Slope one night per week ... The Creole Restaurant & Jazz Supper Club (2167 Third Ave. at E. 118th St.) hosts what's being billed as a Young Giants Jam on September 12, with winners determined by a panel of celebrity judges. Hammond B3 master Seleno Clark performs on September 23; hand drummer Daud David Williams on September 27; and guitarist Romero Lubambo (along with bassist Nelson Matta) on September 30. See www.creolenyc.com ... A group whose repertoire includes interpretations of gospel songs, traditional synagogue melodies, cantorial pieces and Ellingtonia? That'd be The Afro-Semitic Experience. They're playing at the Jewish Community Center in Manhattan on September 22; at the Milford (CT) Center for the Arts on September 23; and at Temple Israel in New Rochelle on September 24 ... This month's bookings at Zebulon in Williamsburg include Gebhard Ullman on the 5th, Grachan Moncur III on the 8th, and Peck Allmond's Kalimba Collective on the 12th ... Our music's alive and well in Brooklyn. For example, that friendly neighborhood venue righteously named The Jazz welcomes visitors at 375 Kosciuszko St. (just off Marcus Garvey Blvd.) and posts its up-and-coming list at www.thejazz.8m.com. You can also get the good word by phoning 718-453-7825 ... Be aware, too, that a rotating crew of Monk enthusiasts play Thelonious' tunes every Tuesday evening at Sputnik, a new spot at 262 Taaffe Pl. in Brooklyn. Someone at 718-398-6666 will provide directions. JAZZWOMEN! BY ELZY KOLB Woman on the verge Singer Lisa Sokolov reports that lately she has been "incredibly optimistic about music life and life in general." During an improv at a musical summit in Mexico this year, she came up with "Snow in Spring, a poem about a woman on a precipice, on the portal, stepping into the unknown," she says. "It evolved into taking a leap into life and how that opens the doors." The poem will be the title track of her new CD, which is now in preproduction. Besides Lisa's originals, the CD will include "a really famous standard we're not going to mention yet. I'm not giving away the set list till it's all set." Her most recent recording, Presence, was DownBeat's 2004 CD of the year. "That CD received lots of support, which was encouraging on a very deep level," Lisa says. "It touched a wide range of people, and it was done without compromise. It was a struggle to get it finished. But uncompromised, it has a spot in the music world. Somehow this has made me rest easier at night." Lisa will preview music from Snow in Spring at Sweet Rhythm on September 20. The world on her strings Violinist Jenny Scheinman views her recordings as "documents of songs. I think of them as different from live concerts, especially in jazz where we're totally exploring, taking people who knows where. The CDs have improvisation but they're intentionally more concise." She's looking forward to the CD release parties for 12 Songs (Cryptogrammaphone), "two dates that will be a fun contrast: a big one and a really small one with the same music." The first, at Tonic on September 12, is dubbed a "CD Release Extravaganza." A string orchestra (10 players and counting at press time) will join the septet from the CD. The second, "CD Release Petite," at the Jazz Standard on Sept. 22, will be a violin/guitar duet featuring "Moe Hawk," that's "someone who's been a regular collaborator for the past four years, but we've never done a duo except in hotel rooms," Jenny says. These gigs are kind of a research project for her, a chance to "return to the music after a year to find out what are the good tunes, the ones you can play in wildly different situations, that's the test." You & the night & the (world) music A while back, bassist Ken Filiano told Andrea Wolper he thought she should try the standard "You and the Night and the Music." Her reaction? "Ewww! I don't like that song." However, she gave it a shot and the arrangement gradually evolved into the surprisingly exotic world music-flavored version she does on her new CD, The Small Hours (VarisOne Jazz). "We decided to really go for the essence of the song, and get deep into that arrangement, and I ended up really loving it. That taught me I have to listen to other people," Andrea says, laughing. "It's so personal to sing a tune, I have to connect with the words and music both. Strangely, I ended up connecting with that song." Check it out at Andrea's CD release party at Makor on September 7. Newest Yorker Though singer Michelle Walker gigs steadily and has a good following in Washington, D.C., she's moved up to the Apple. "It's really difficult to jump into New York and start all over again, but I welcome the challenge of introducing my music to people in the city," she says. She's delighted by the amount and quality of music to be heard here. "The reason to come to New York is to strengthen your chops," she says. "I'm bouncing around trying to hear as many people as possible, not just vocalists but anyone with a voice of their own on an instrument." She's recently caught singers Mala Waldron, Barbara Sfraga and Roseanna Vitro. "If I just wanted to hear what was done fifty years ago, I'd sit in my house and listen to records all day," Michelle says. "But jazz is such a living art form, you have to celebrate the people who are doing it now-it's constantly morphing, changing as we speak." Michelle plays Smoke on September 11. Live and kickin' Pianist Anat Fort is at the Cornelia Street Café on September 1; Angelica Sanchez follows with the Malaby/Sanchez/Rainey Trio on September 9 … Check out Rachel Z and others at the Williamsburg Jazz Festival in Brooklyn on September 8-11 … Pianist Linda Presgrave plays at Marie's on September 17 … Pianist Diane Moser's quintet plays "Music for the Last Flower," for which she received a Chamber Music America grant, at the Burgdorf Cultural Center in Maplewood, N.J. on September 17; the concert is part of the Modern American Composer series … Violinist Regina Carter is at Jazz Standard from September 27 through October 2 … Lourdes Delgado's photo exhibit Jazz in New York: A Community of Visions is on display at WBGO in Newark through September 29 … Singers, all: Judy Niemack (at Sweet Rhythm on September 13) has a new CD, About Time (Sony Jazz) … Joan Crowe marks the release of her first disc, Bird on the Wire, at Iridium's early set on September 16; Melody Breyer-Grell follows … Pianist Francesca Tanksley accompanies Gloria Yousha at Danny's Skylight Room on September 17 … Teri Rogier will do tunes from her new CD, Still Life (Maki), at the Colony in Woodstock on September 16; Jay Clayton follows her on September 17 … Judi Silvano is at the Goshen Jazz Festival on September 17 … Deborah Latz is at the Triad on September 23 … Tierney Sutton is at Shea Center for the Performing Arts in Wayne, N.J., on September 25 … Kathy Kosins is at the Jazz Standard on September 26 … and Sara Gazarek is Yours (Native Language) at Joe's Pub on September 27. JAZZ ANECDOTES BY BILL CROW Jazz bassist Bill Crow has written two entertaining books, available in paperback from Oxford University Press: Jazz Anecdotes, a collection of stories about jazz and jazz musicians, and From Birdland to Broadway, a personal memoir of life in the jazz world. You can order them from your favorite bookseller. As he walked by the Hawaii Kai restaurant on Broadway, Johnny Morris recognized the midget doorman, Pee Wee Marquette, who had been the emcee at the original Birdland, farther up Broadway at 52nd Street. Johnny greeted Pee Wee, but could see that the diminutive doorman didn't recognize him. "Pee Wee," said Johnny, "Don't you recognize me? I used to give you two dollars every week at Birdland to say my name correctly." Pee Wee said, "Well, give me two dollars, and maybe I'll remember." Doug Ramsey attended a jam session with Paul Desmond where Jaki Byard was playing piano. After finishing an ebullient solo, Byard picked up someone's alto sax and continued to play brilliantly on that instrument. Paul looked at Ramsey and said, "I wish he'd mind his own business." Tony Sotos had a jazz club in Moline, Illinois, where he booked Rich for a one-night stand on his way to the west coast. After Buddy had played his feature number, a lady in the audience shouted out, "That was the world's greatest drum solo!" Buddy snapped at her, "Are you a drummer? Then how would you know?" Tony remonstrated with Buddy later in his dressing room: "Why did you have to insult that lady? She's one of my best customers!" Buddy said, "Yeah, if I accept her compliment this time, the next time she might say, "Not so hot, tonight." LOUIS HAYES: THIS TIME, THREE'S ENOUGH by Chris DiGirolamo Over a pair of evenings in the Upper West Side this month, drummer Lewis Hayes leads a pianoless trio for the first time in an illustrious career that stretches back fifty years. "It'll be interesting," he says. "I've never before played in a trio setting without a keyboard instrument or guitarist, though it's something I've always wanted to do." Those conscientious jazz listeners who pore over liner notes know Louis Hayes' name well. They've seen it on albums issued under the leadership of Kenny Burrell, Grant Green, Jackie McLean, Wes Montgomery, Cecil Taylor, Woody Shaw, Dexter Gordon and a host of other luminaries. It was fellow Detroit native Yusef Lateef who recruited Hayes for sideman duties early on and first took him on the road. Remember those sensational late-50s LPs by Cannonball Adderley on Riverside and Horace Silver on Blue Note? Hayes, already prominent the club and recording scenes - was an important part of those leaders' bands. He recorded with Freddie Hubbard during that trumpeter's earliest glory days (in fact, Hubbard occupied the apartment above Hayes in Bed-Stuy at the time). He was twice a member of Oscar Peterson's trio (1965-67 and 1971-73), then joined McCoy Tyner's unit around 1985. And Coltrane phoned more than once, too; as a result, Hayes' subtle percussion work is apparent on the Prestige classic called Lush Life. Past Hayes quartets have included notable alto/piano bass teams: Frank Strozier, Harold Mabern and Stafford James in one instance, and Bobby Watson, James Williams and Clint Houston in another. These days, he fronts a long-running quintet project he calls the Cannonball Legacy Band. Vincent Herring's the alto player, Jeremy Pelt is on trumpet, Rick Germanson plays piano and Vincente Archer is the bassist. If you missed this bunch at Newport during mid-August, enjoy their sparkling interplay on a fine 2002 CD called Dreamin' of Cannonball. If you catch Louis Hayes these days, will you be hearing the same drummer who helped define the hard bop movement of the 50s and 60s? Well, yes. The fire is still readily apparent in his work. Lately, though, his approach appears to focus more often on space-and-time elements within the music. "It is not about just playing two and four for the entire length of a composition," he says. "It can also be about trading fours and even striking the bell of the ride cymbal, then letting that tone ring out for four full bars." For his gig at Smoke, Hayes will bring along tenor saxophonist Javon Jackson, whom he recalls meeting years ago in Boston when Jackson was about to join Art Blakey's Jazz Messengers. The third member of this ad hoc trio is bassist Reuben Rogers. "No," admits Hayes, "I haven't yet heard Reuben play. In fact, we've never even met. But Javon assures me that he's perfect for this new configuration - and that's good enough for me!" A youthful 68, Hayes could easily choose to bask on past successes and merely coast. Instead, though, he'd rather continue to develop as a player - and bring along some younger lions on what continues to be a stimulating ride. Louis Hayes' trio plays at Smoke on September 29-30.