MARY - LENI STERN - The New York City Jazz Record
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FEBRUARY 2018—ISSUE 190 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM
E
R
ISS U
MARY
HALVORSON
I TA BOLD AS JAZZ
G U
IN MEM
ORIAM
ROSWEL
RUDD L
LENI SHERYL MONNETTE MARY
STERN BAILEY SUDLER OSBORNEManaging Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East FEBRUARY 2018—ISSUE 190
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628 New York@Night 4
Laurence Donohue-Greene:
ldgreene@nycjazzrecord.com
Interview : LENI STERN 6 by alex henderson
Andrey Henkin:
ahenkin@nycjazzrecord.com Artist Feature : SHERYL BAILEY 7 by elliott simon
General Inquiries:
info@nycjazzrecord.com
Advertising:
On The Cover : MARY HALVORSON 8 by john pietaro
advertising@nycjazzrecord.com
Calendar:
Encore : MONNETTE SUDLER 10 by donald elfman
calendar@nycjazzrecord.com
VOXNews:
voxnews@nycjazzrecord.com
Lest We Forget : MARY OSBORNE 10 by scott yanow
US Subscription rates: 12 issues, $40
LAbel Spotlight : the beak doctor 11 by clifford allen
Canada Subscription rates: 12 issues, $45
International Subscription rates: 12 issues, $50
For subscription assistance, send check, cash or
money order to the address above
VOXNEWS 11 by suzanne lorge
or email info@nycjazzrecord.com
Staff Writers
obituaries 12 by andrey henkin
David R. Adler, Clifford Allen,
Duck Baker, Stuart Broomer,
Robert Bush, Thomas Conrad,
IN MEMORIAM : ROSWELL RUDD 14
Ken Dryden, Donald Elfman,
Phil Freeman, Kurt Gottschalk,
Tom Greenland, Anders Griffen,
CD Reviews 16
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Matthew Kassel,
Marilyn Lester, Suzanne Lorge,
Mark Keresman, Marc Medwin,
Miscellany 33
Russ Musto, John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Andrew Vélez, Scott Yanow
Event Calendar 34
Contributing Writers
Marco Cangiano, Jim Motavalli
Contributing Photographers
Scott Friedlander, Peter Gannushkin,
Tom Greenland, Alison Hasbach,
Sandrine Lee, Rozanne Levine, This issue marks our first dedicated to the guitar since October 2011. However, a quick scan of
Alan Nahigian, Robert I. Sutherland-Cohen the features will show that this is not the typical testosterone-drenched fare, with the instrument
used as a stand-in for a certain piece of genitalia. No, the guitar is no longer the sole province
Fact-checker of men, even in the jazz world, which is still one of the last outposts of gender inequality in the
Nate Dorward music industry. We are also happy that this issue isn’t being done in March for Women’s
History Month as it demonstrates that gender celebration shouldn’t be limited to a single page
of the calendar. (We do give the guys some love in a special CD Review section on pgs. 16-19.)
Mary Halvorson (On The Cover) is the second musician to go in these pages from a Listen Up
(our former column on up-and-comers) to an Artist Feature to a Cover subject; she continues
her ascent with a curated week at The Stone. Leni Stern (Interview) has taken jazz on the road,
mixing it liberally with the musics of the world; she will appear at various locations. Sheryl
Bailey (Artist Feature) has been an NYC mainstay for 20 years and plays all around town. And
going a bit further back, we explore the careers of Philly stalwart Monnette Sudler (Encore) and
nycjazzrecord.com the late pioneer Mary Osborne (Lest We Forget), who died in 1992.
On The Cover: Mary Halvorson (Peter Gannushkin/DOWNTOWNMUSIC.NET)
In Correction: In last month’s NY@Night on Bill Easley, the saxophonist played “Stompin’ at the Savoy”, not “The
Continental”; Cover story Tsyhawn Sorey received his first drumkit from his grandfather, not his parents, and first
recorded with Anthony Braxton in 2002, not on Trillium E, which was from 2010; in the 2017 In Memoriam list, the
name should have been John Buckingham; in Best of 2017, Vic Juris played in place of an ailing John Abercrombie
in the Inspired Jim Hall tribute; and in On This Day, Eric Kloss’ Doors was released on Cobblestone.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.
2 FEBRUARY 2018 | THE NEW YORK CITY JAZZ RECORDFEBRUARY 2018
W W W. B LU E N OT E JA Z Z . CO M
JOOLS HOLLAND “PIANO, KERMIT RUFFINS
JOSE JAMES: & THE BBQ SWINGERS
VOCALS AND DRUM FRENZY” THE DREAMER’S 10TH ANNIVERSARY MARDI GRAS CELEBRATION
FEBRUARY 1 - 4 FEBRUARY 5 - 8 FEBRUARY 9 - 11
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THU-SUN FEB 1-4 JOHNATHAN BLAKE [2/20 ONLY] - OBED CALVAIRE [2/21 ONLY]
JAMISON ROSS RICK LOLLAR - CHRIS PATTISHALL
CORY IRVIN - BARRY STEPHENSON
CARMEN LUNDY
THU-SUN FEB 22-25
TUE FEB 6 JON COWHERD
TOM GUARNA QUARTET
PATRICE RUSHEN - ANDREW RENFROE - KENNY DAVIS - KENDRICK SCOTT
JOHN PATITUCCI
BRIAN BLADE TUE FEB 27
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JOHN RAYMOND & REAL FEELS GILAD HEKSELMAN
COLIN STRANAHAN the leadbelly project
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BILLY HART QUARTET
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MARK TURNER - ETHAN IVERSON - BEN STREET
CHRIS BERGSON BAND
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MINGUS BAND MINGUS orchestra
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Valentine’s Day WITH kate mcgarry KEITH GANZ
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J ustice Is Compassion—the six-week festival held in M ike Stern’s regular Monday night (Jan 8th)
December and January at Arts for Art outpost Clemente residency at 55Bar didn’t begin auspiciously: the PA
Soto Velez—is probably New York’s most community- system was feeding back; his pre-amp wasn’t behaving,
oriented music happening, recalling the spirit of loft requiring ongoing adjustments; and, at the end of the
jazz and similar downtown encounters. The first number, a string broke on a new guitar he was
penultimate evening (Jan. 11th) began with guitarist trying out. Moreover, he’s still recovering from an
On Ka’a Davis’ trio; he was joined for two pieces by accident last July that broke both arms and left nerve
electric bassist Diallo House and drummer Lami Istrefi, damage in his right (picking) hand. Backed by bassist
Jr., the latter also making use of Jackson Krall’s sculpted Edmond Gilmore and drummer Richie Morales, Stern
bell installation in addition to drumkit and hand had begun with “Alone Together”, one of his standby
percussion. Davis is an ecstatic player out of the Black standards, initial frustration transforming (visibly and
Rock tradition and his telescoping lines and distorted, audibly) into inspiration as, during the outro blowing
close-valued strums echo saxophonic squalls and in section, he finally exacted a satisfactory sound from
the densest parts Istref’s tendency to fill in available his recalcitrant equipment. That’s when his string
space upended the potential for detail. That suppleness broke. To cover the time, Gilmore played a solo cover
was found in the following set, drummer Nasheet of Jaco Pastorius’ “A Portrait of Tracy”, followed by
Waits and poet-vocalist-performance artist Julie a string-popping funk jam with Morales. Stern,
Ezelle Patton in a tour through spontaneity and apologetic but undaunted, soon returned for “Avenue
empathy, Waits beginning unaccompanied and B”, a catchy calypso theme with heavy riffs, capped by
channeling Max Roach, Andrew Cyrille, Denis Charles an eardrum-rattling drum solo. “All You Need”,
and later Ed Blackwell and Kenny Clarke. Patton’s equally catchy in an AfroPop vein, saw Stern scatting
poem-songs developed out of word fragments and the falsetto melody, then lofting his solo to an exciting
sounds with humor and rigorous, dry complexity and plateau, which ended with a dramatic drop-off. Two
at times the pair seemed more like a reeds-percussion young, tough-toned tenor saxophonists—Ye Huang
duo. The evening closed with a powerful post-Coltrane and Danny Walsh—joined for the slow-funking
arc led by drummer Gerald Cleaver, with saxophonist “A Wing and a Prayer” and the up-uptempo “Straight,
Chris Potter, pianist David Virelles and bassist Trevor No Chaser”. Stern graciously cheered on his guest
Dunn, invoking halcyon all-night sessions at Studio horns before delivering mighty solos of his own. By
We and Sunrise Studios. —Clifford Allen then, all was forgiven. —Tom Greenland
R.I. Sutherland-Cohen / jazzexpressions.org
TOM GREENLAND
On Ka’a Davis @ Clemente Soto Velez Cultural Center Mike Stern @ 55Bar
Can an audience be too captivated to move? That was D r. Lonnie Smith, besides being a consummate organ
the question posed and perhaps answered by pianist player, is a master of making connections, possessed of
Vijay Iyer’s sextet and their stand at Birdland in early an offhand yet palpable charisma that routinely
January. Joined by trumpeter Graham Haynes, alto elevates his concerts from mere gigs to transformative
saxophonist Steve Lehman, tenor saxophonist Mark experiences. His early set at Jazz Standard (Jan. 11th)
Shim, bassist Stephan Crump and drummer Tyshawn was no exception. Resplendent in a long, tapering
Sorey and performing in support of their newest ECM snowy beard set off by a black turban and suit, blessed
disc Far From Over, the group meted out an unflagging with some of the most animated eyes in the jazz
groove for the second set of their Jan. 10th performance. business, Smith regaled the crowd with stories of
Bookended by low rhapsodic solo piano filaments, the angels as guitarist Jonathan Kreisberg hastily changed
group presented a suite of works that rollicked and a broken string. Slowly, surely, the set was up and
heaved through deliberate framing devices and subtle running with “Back Track”, then turned up the funk
transitions; and while a preconception of aridness isn’t for a cover of “50 Ways to Leave Your Lover”, during
unfounded, the economical shove of Sorey’s kit and which Kreisberg’s burning runs and lucid melodies
Crump’s gutsy motoring helped grant this music and came to the fore. Smith’s gossamer touch on the tender
its systemic nods to forebears and fellow travelers an “On a Misty Night” echoed Melvin Rhyne’s work with
ass-shaking insistency. Across several interlocked Wes Montgomery while Kreisberg shone once again
compositions, the frontline was particularly impressive, with his soulfully stuttered ballad reading and less-is-
cornet and flugelhorn a conical incision matched with more ethos. Completing the trio, drummer Johnathan
pensive openness while tenor was a gutsy and forceful Blake played emphatically but unobtrusively—and
nod to players like Joe Henderson and Tyrone always on point. Perched high above his distinctively
Washington. The charge of drums and horns made low-slung drum kit, he was the quiet eye in a storm of
Iyer, seated at stage left, a little difficult to hear, but his swing, a wonderful accompanist. Smith, always up for
presence was more than felt, anthemic whorls and a bit of experimentation, punched in a trumpet patch
Kwela-like downbeats anchoring spiraling flights or on his synthesizer to open “Alhambra”, an Iberian
delving with rhythm players into clipped romantic coast-flavored lament, which segued into a fast samba.
ululations. Certainly the sextet’s music is dense and On “Pilgrimage”, the closer, he conjured up the
rewardingly complex, but the band swings with an moaning sound of a Memphis church choir, gently
infectiousness one would hope is contagious. (CA) leading the audience back ‘home’. (TG)
4 FEBRUARY 2018 | THE NEW YORK CITY JAZZ RECORDW H AT ’ S N E W S
It is easy to forget, what with all his guest appearances F ollowing a weekend with drummer Ali Jackson’s
around town (Mars Williams, Matt Wilson, Larry Ochs band at Dizzy’s Club and an afternoon recording
just last December), that guitarist Nels Cline actually session with Mike LeDonne’s Groover Quartet, Peter
leads bands and does a pretty good job of it too. And Bernstein settled into Mezzrow (Jan. 8th) for a relaxed
even though the erstwhile West Coaster has been an Monday evening, playing guitar duets with Lage February marks the final month of programming at The
NYC resident since 2010, he hasn’t really had an Eastern Lund. Seated side by side, Bernstein, eyes closed
Stone, founded by John Zorn in April 2005. Over the past
year, Zorn has partnered with The New School,
vehicle equivalent to his Nels Cline Singers. That could peering downward, and Lund, unblinking gazing presenting concerts under the banner of The Stone at
change with a trio he presented Jan. 4th at Bar Lunàtico, upward, engaged in a series of intimate improvisations, The New School on weekends. Starting Feb. 27th,
part of the club’s third anniversary celebration and exchanging occasional approving glances at moments programming will take place six nights a week at the new
packed to the gills (bulky winter coats not helping). of unexpected harmonic confluence and striking location. For more information, visit thestonenyc.com.
Joining Cline in what may be the tallest band in town melodic inventions. Bernstein got things started with
were bassist Chris Lightcap and drummer Tom Rainey, a tender solo introduction to “Who Can I Turn To”, The ASCAP Foundation has announced the recipients of
the 2018 Herb Alpert Young Jazz Composer Awards:
the latter part of a trio with Cline and accordion player brightening the tempo with the entrance of Lund, who Lucas Apostoleris, Mariel Austin, Benjamin Barson,
Andrea Parkins, the former featuring Cline as a guest comped spare harmonic underpinnings before Enrico Bergamini, Owen Broder, Estar Cohen, Alexander
on a forthcoming release by his Superette. Despite switching roles. This set the tone for the rest of the Hurvitz, Gene Knific, Sara McDonald, Zachary Rich,
Cline’s inimitable style, he is clearly a student of guitar evening’s interpretations of jazz classics and Great Elijah Shiffer, Billy Test, Garrett Wingfield, Sam Wolsk
history and two of the pieces played—on an old American Songbook standards, which highlighted and Drew Zaremba. For more information, visit ascap.
Harmony guitar outfitted with a pickup and run each player ’s appealing lyricism. Swinging com/press/2018/01/01-18-herb-alpert-award-recipients.
through effects—in the first set were elements in his straightahead on Bobby Hutcherson’s “Teddy” and Trumpeter Dave Douglas has announced the 2018
aesthetic: “Peace One”, from John McLaughlin’s My slow and sweet on “We’ll Be Together Again”, the duo Subscriber Series UPLIFT, featuring music composed
Goal’s Beyond, and “Blues 2”, dedicated to late guitarist wrapped their sounds around each other, so as to and played by an ensemble of Douglas, Joe Lovano,
Jim Hall and recalling his tune “Careful”. The former sound as one, while on Wayne Shorter ’s Jazz Mary Halvorson, Julian Lage, Bill Laswell and Ian Chang
had an electronic tamboura drone running through it Messenger-era waltz “United” they exchanged and focusing on timely issues such as “voting rights,
and a psychedelic feel while the latter was chunky a series of inventive lines in a manner worthy of that racial equality, women’s rights, LGBTQ rights, welcoming
before fragmenting into a light squall, Cline still never song’s title. A stirring reading of guitarist Fred Lacey’s
immigrants, wealth equality, diplomacy, science and
education, humanities and culture, sensible gun laws,
abandoning his lyricism. The guitarist’s two originals Coltrane-associated “Theme For Ernie” was followed love of our environment and our culture, love for each
were reflective and lovely and the closer, drummer by a lively rendition of “You Stepped Out Of A Dream” other.” For more information and to sign up, visit
Paul Motian’s “The Owl of Cranston”, bobbed and before the set closed with a nod to Wes Montgomery, greenleafmusic.com/subscriber-series-2018-uplift.
weaved like composed free jazz. —Andrey Henkin Milt Jackson blues, “S.K.J.”. —Russ Musto
Prior to the Juilliard Jazz Orchestra’s concert dedicated
to pianist/composer Mary Lou Williams at the school’s
Peter Jay Sharp Theater (Feb. 6th), there will be a panel
R.I. Sutherland-Cohen / jazzexpressions.org
discussion on the influence of her work. For more
information, visit juilliard.edu.
The Robert D. Bielecki Foundation has announced its
most recent spate of grants. Included among the
largesse are: a $25,000 three-year renewable grant in
support of the “Braxton75” project—a two-year initiative
building up to Anthony Braxton’s 75th birthday celebration
in June 2020; and a $3,000 grant in support of a
forthcoming AUM Fidelity recording by Daniel Carter,
© scott friedlander
Matthew Shipp and William Parker. For more information,
visit rdbf.org.
Photographer and recording engineer Jimmy Katz
announced the launching of Giant Step Arts with two
nights of performances by Johnathan Blake at The Jazz
Gallery last month. The non-profit organization will
present concerts, facilitate live recordings, produce short
Nels Cline @ Bar Lunàtico Peter Bernstein & Lage Lund @ Mezzrow films and create gallery exhibitions with the goal of giving
musicians “the support they need for their most creative
It wasn’t until the final piece, a rousing 13-minute take Closing out this year ’s Winter JazzFest weekend Ravi work.” For more information, visit jimmykatz.com.
of Raymond Scott’s “Celebration On The Planet Mars”, Coltrane, paying tribute to his mother, unveiled Trumpeter Sean Jones has been named Chair of the Jazz
that Brian Carpenter ’s Ghost Train Orchestra (GTO), a special project, “Universal Consciousness: Melodic Department for the Peabody Conservatory of Johns Hopkins
celebrating its latest CD Book of Rhapsodies Vol. II Meditations of Alice Coltrane” at Le Poisson Rouge University after the controversial ouster of saxophonist Gary
(Accurate) at Dizzy’s Club (Jan. 2nd), played something (Jan. 14th). Leading an expanded ensemble featuring Thomas, who founded the program in 2001. For more
that wouldn’t fit on a 78. OK, maybe the other 10 pieces the harp of Brandee Younger and the Wurlitzer organ information, visit peabody.jhu.edu.
weren’t quite that short but their pithiness was a and piano of David Virelles, Coltrane explored the
As a complement to his blog Do The Math, pianist Ethan
reflection of the band’s purpose: reimagining tunes musical legacy of his mother in a program traversing Iverson has launched Do The Gig, which will provide
from an era in the late ‘30s when classical forms and her repertory, from her earliest works as a leader listings of concerts and reviews of performances. For
jazz innovations were being fused into an early and through to her final devotional pieces. The evening more information, visit dothegignyc.com.
far-more entertaining breed of Third Stream. began dramatically with Coltrane blowing dark
Carpenter ’s hendectet of strings, reeds, brass and cavernous tenor tones alone, followed by the Blue Note Entertainment Group, owners and operators
rhythm section performed music by Chopin, Charlie incantation of conguero Roman Díaz calling out to the of the world’s Blue Note clubs as well as B.B. King’s
Shavers, Reginald Foresythe, Morton Gould and Alec spirits. The energy level slowly intensified with the
Blues Bar and Subrosa, has added Randy Henner and
Jen Lyon to its stable of talent buyers.
Wilder, the latter probably the exemplar of the GTO’s entrance of bassist Rashaan Carter and drummer
ethos. On a few pieces, the band expanded by six Marcus Gilmore and then guitarist Adam Rogers and The Louis Armstrong House Museum has announced
vocalists who, by singing orchestrated wordless tones, Virelles, before sliding harp glissandos introduced the retirement of its founding Executive Director Michael
functioned as another section, thickening the already “Rama Rama”, which had Coltrane blowing piercing Cogswell. Also, the second volume of the Louis Armstrong
toothsome stew. Carpenter himself only played soprano in unison with organ over pulsating rhythms. Legacy Series, produced in partnership with Dot Time
occasional trumpet, otherwise occupying himself A beautiful bass interlude led into a spellbinding Records, has been released, with previously unissued
recordings from Bop City in New York in 1950, Club
honorably as conductor and, more importantly, music medley of “Journey In Satchidananda” and ”Blue Hangover in San Francisco in 1952, Storyville in Boston in
historian, placing the tunes in a context lost to anyone Nile”, which featured Younger and Coltrane. Rogers 1953, Basin Street in New York in 1955 and the Brant Inn
not a nonagenarian. Yet lest the band veer into mere and Virelles’ prelude to “Jagadishwar” set the tone for in Ontario in 1958. Finally, the exhibition “What a Wonderful
nostalgia or kitsch, the GTO’s component members— Coltrane’s poignant solo, which at times recalled World!”, celebrating the 50th Anniversary of Armstrong’s
most leaders in their own right—updated the music Pharoah Sanders. Virelles propelled the futuristic funk iconic song (reviewed in our October 2017 issue) has been
with solos firmly grounded in 21st century advances. anthem “Los Caballos” on Wurlitzer before switching extended through the first quarter of 2018. For more
information, visit louisarmstronghouse.org.
Of those, violinist Mazz Swift was most effective at to piano for a stirring reading of “Turiya and Rama
looking forward while playing backwards, or maybe it Krishna”. The show ended with Coltrane playing Submit news to info@nycjazzrecord.com
was the reverse. (AH) sopranino on the wildly astral “Affinity”. (RM)
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2018 5I NTERVIEW
LENI
before they decide which aunt or uncle that baby is
going to be named after. Then there is a party where
the name of the baby is announced. You have drinks,
presents, cakes and food at the baby-naming ceremony.
And when I learned the ngoni in Africa, I played at
those parties.
STERN
TNYCJR: How about “Spell”?
LS: There are original spells that I learned in Africa.
I was initiated into the African traditions. They don’t
just teach you how to play the ngoni; you have to learn
the whole tradition. And I studied all that...being a
(CONTINUED ON PAGE 42)
sandrine lee
by alex henderson
When Leni Stern recorded her first album as a leader, unlike your last album, Dakar Suite, from 2016—it
Clairvoyant (Passport, 1985), she established herself as a maintains a strong Senegalese influence.
lyrical and melodic jazz-rock fusion guitarist whose influences
included Pat Metheny, John McLaughlin, Bill Frisell and Jim LS: The compositions are based on African rhythms.
Hall. Stern has also embraced everything from pop-rock to Two-thirds of the trio are from Senegal. So, the album
world music and her exploration of West African rhythms has a very strong West African influence. And all jazz
continues on her latest recording 3, due out in April on her does come from Africa, originally.
LSR label. It features Stern on guitar, ngoni
avaIlable vIa
(a traditional West African string instrument) and vocals TNYCJR: One of the songs, “Colombiano”, has some “the voIce and the download &
and spotlights her working trio of bassist Mamadou Ba and South American influence as well. guItar Is lIke a match streamIng
made In heaven” worldwIde!
percussionist Alioune Faye. Born Magdalena Thora in
Munich, Germany, Stern moved to Boston in 1977 to attend LS: South America was very heavily influenced by “I am touched and deeply Impressed by tenderly…
one of the recent year’s best danIsh vocal jazz albums”
Berklee College of Music and has been based in New York African rhythms because the Spanish guys could not êêêêê—danIsh musIc magazIne
City since 1981. Stern discussed her passion for African have conquered South America without the African “a symbIosIs, a deep conversatIon, not chItter-chatter.
poetry sung tenderly””
music and some of the highlights of her long career in a recent slaves. The African rhythms came to South America êêêêê—allaboutjazz.com
interview. and “Colombiano” is actually an homage to a
Colombian percussionist, Samuel Torres, who comes www.lIllysongs.com
The New York City Jazz Record: 3, unlike some of and sits in with my band sometimes. We would say,
your other African-influenced projects, was recorded “Samuel Torres, the Colombiano, is going to come and
in New York City but sounds like it was recorded in play with us today.” Also, “Colombiano” is a tribute to
West Africa. the influence of Africa in South America and the
Colombian sense of melody and harmonic movement.
Leni Stern: I guess I’ve learned, from all the great We just did a tour of South America and we really
African engineers in the African studios I’ve recorded strongly felt the connection to African music.
in, how to get that type of sound—and how that sound
is produced. I’ve learned how to make that acoustic TNYCJR: What was the inspiration for “Khavare”?
sound come out of the African drums and the ngoni.
The African engineers know how to get that type of LS: Khavare literally means party. The song uses a
sound because they record those instruments every traditional rhythm of Senegal called mbalax and it’s
day but over here people don’t record those instruments called “Khavare” because anywhere in the world you
every day. find Senegalese people, you find sabar parties—even
here in New York. Actually, all over the world. It starts
TNYCJR: When did you learn to play the ngoni? usually at midnight and they dance until the sun comes
up. That’s what inspired that song “Khavare”: the
LS: I learned it about 11 years ago in Mali when I went Senegalese sabar parties that go all night long. You
to play the Festival in the Desert in 2007. I had an ngoni have to play your drums six hours or so. The rhythm of
teacher, Bassekou Kouyate, who I have featured on “Khavare” is based on the call to the sabar party. That’s
many of my records. The ngoni is like a little brother to how you start a sabar party: with that kind of rhythm
the guitar. and that kind of call.
TNYCJR: You’ve been singing in various African TNYCJR: And “Wakhma”?
languages, including Bambara and Wolof, and sing in
different languages on 3. LS: The scale used on “Wakhma” is a little bit Arabic.
In Mali, they sing so many beautiful love songs that
LS: On this album, I only sing in two: English and have that type of Arabic scale, which you find in
Wolof. I don’t sing in Bambara on this album. Altogether, Spanish music also. In Spain, flamenco is based on
I don’t sing that much on this record. This is more like Arabic scales as well and “Wakhma” is played on the
a guitar-playing and ngoni-playing record than a vocal ngoni and is dedicated to that scale. I tried to create
record. It has six instrumental tracks and two vocal one of those longing songs that shows the Arabic
tracks. I’m only singing in two languages on this album influence on West Africa. The Moors conquered West
because there was less opportunity to sing. This record Africa and brought Islam to West Africa; Islam is not
is a little bit of a return to my instrumental angle. the original African religion.
TNYCJR: You composed most of the songs? TNYCJR: Another track is “Barambai”.
LS: Most of them. Some of them we composed together. LS: Barambai is the name of a rhythm and it’s the
“Assiko”, for example, started with a drum break. rhythm that is traditionally played in Africa at the
ceremony for the naming of a baby. In Africa, after
TNYCJR: Even though 3 wasn’t recorded in Senegal— a baby is born, they wait ten days—or like two weeks—
6 FEBRUARY 2018 | THE NEW YORK CITY JAZZ RECORDARTIST FE ATURE
SHERYL
For more information, visit sherylbailey.com. Bailey is at
Fat Cat Feb. 2nd, Zinc Bar Feb. 19th with Strings Attached
and Bar Next Door Feb. 24th. See Calendar.
Recommended Listening:
• Sheryl Bailey 3—The Power of 3 (Pure, 2002)
BAILEY
• Sheryl Bailey—Live @ The Fat Cat (Pure, 2005)
• Sheryl Bailey—A New Promise (MCG, 2009)
• David Krakauer—Pruflas (Masada Book 2:
The Book of Angels, Vol. 18) (Tzadik, 2012)
• Sheryl Bailey—Meeting of Minds
(Cellar Live, 2013)
• Plucky Strum (Sheryl Bailey/Harvie S)—
alison hasbach
Departure (Whaling City Sound, 2017)
by elliott simon Bar Next Door (at La Lanterna)
G enre and context neither define nor confine guitarist and be inspired, but also when you go out you’re
Sheryl Bailey. Like all great jazz guitarists, she participating in the community, which is important 129 MacDougal Street
navigates a melody along a fascinating route from socially.” 212-529-5945 / lalanternacaffe.net
beginning to end. Elegant interplay with bassist Harvie Among the multiple milieus within which she Manhattan’s Premier Jazz Listening Room
S, burning releases with her Hammond B3 organ trio, champions her instrument, Bailey holds a special place Traditional Jazz with a Modern Twist
blistering bop runs and cutting edge world music for her tribute to the late guitarist Emily Remler Dining & Premium Bar
partly define her but as an Associate Professor at (A New Promise, MCG, 2009). As a teenager, Bailey was
Berklee College of Music and with respected online in the audience when Remler played the University of
and offline curricula she is influencing generations of Pittsburgh Jazz Festival and later took a lesson with
young guitarists. her, which proved to be inspirational. Released on the
As a teenager Bailey convinced her mother, a 20th anniversary of Remler ’s death and recorded at the
pianist and church organ player, to let her learn guitar. Manchester Craftsmen’s Guild in Pittsburgh, the
Pittsburgh’s WYEP, Sonny Rollins, Charlie Parker and album finds Bailey soaring over and running with the Jonathan Kreisberg Peter Mazza
Guitarist in residence every Music Director / Guitarist in
Wes Montgomery soon changed her life: “I heard Wes 16-piece Pittsburgh Jazz Orchestra. Wednesday night residence every Sunday night
and it was just this incredible thing,” Bailey recalls. “I met [producer] Marty Ashby,” she offers. “He
“He plays the hell out of “A Guitar Virtuoso”
Now a fixture on the NYC jazz scene, Bailey is rooted was very close friends with Emily Remler and we were the guitar” - John Scofield - Hank Shteamer
in a Pittsburgh jazz guitar tradition, which included sitting there talking and he has this beautiful oil
lessons with guitarists John Maione, Mark Koch and painting behind his desk [of Emily]. And I said let’s do
Joe Negri and seeing Joe Pass and Tal Farlow in concert. something for Emily. That was it, he just lit up. So then,
As such, Bailey advocates for melody in it was that’s what we’re doing. It took some time
composition. “I grew up in a family of professional because he had to get all the music arranged and he
musicians singing show tunes for fun. My mother was had a couple of my tunes and then obviously a couple
an amazing pianist and those songs are part of my of Emily’s tunes and a couple of standards and we just
childhood, so I find a melody that touches you and the went in and did it. It was an amazing experience.”
way I write is harmonizing melodies but it’s always Amazing and also one in which Bailey felt Remler ’s
about the melody first.” In performance though Bailey presence: “We were looking over her tune ‘Mocha
views melody, harmony and rhythm as equal partners. Spice’ and we had this song book on the music stand
As she puts it, “I pay attention to all three aspects at all just to check the melody. This whole session was really
times. One of my favorite musicians in the world is intense, I mean it was deep and that recording stands
Chick Corea, who is the epitome of that. I listen to him out in my mind. At the end of the session I turned over
every day for inspiration. As a teacher you see people the book and I realized the cover of that song book had
developing certain angles and then you go ‘wow’, you a picture of Emily and that it had been sitting there the
have a lot of nice harmonic ideas but rhythmically whole time and I just nudged Marty and I said look at
that’s really a drag so it’s definitely something that I’m that, she was here with us all day. There was definitely
always discussing with my students.” something going on with that session and we felt like
Bailey’s B3 trio is unmistakable when she strikes we had been visited and got her approval.”
a chord or rips off a run but she also views it as Plucky Strum, Bailey’s latest project with Harvie S,
“…part of the jazz guitar tradition going back to Wes is somewhat of a departure with its focus on acoustic
and Jimmy Smith and a natural sound with electric guitar. Bailey remembers that, “One of my favorite
guitar. Plus, I love to comp and with the organ I can recordings was one of his called In a Different Light
comp more. I also wanted to develop a unit that works [Blue Moon, 1990], which is all guitar players [Mike
together, hangs together and travels together because Stern, Mick Goodrick, Leni Stern, John Scofield and
I think there’s just a deep level that you get to that Gene Bertoncini]. I was playing with [guitarist] Jack
way.” In addition to her musicianship, leadership skills Wilkins up at a gig and Harvie walked in. Jack and
and resultant group dynamic, Bailey’s compositional I were in our little trance and Harvie said, ‘Oh my God
skill is on display on the trio’s releases. If you have we just got to get together and play.’ So I got this
never heard Bailey’s B3 trio, Live @ The Fat Cat (Pure acoustic guitar and we started playing with no amp
Music, 2005) is a great intro to all of these elements in and it just felt so good.
a sizzling live setting. “I love his writing and fortunately he loves my
Bailey loves the NYC jazz milieu and it allows her writing and we decided to go in a studio and capture
to cut across genres. Klezmer clarinetist David this. The second release came out [Departure, Whaling
Krakauer, AfroJazz bassist Richard Bona and AfroPolka City, 2017 after an eponymous 2015 debut] and we just
percussionist Maciek Schejbal invite Bailey in and she played it at Mezzrow and Jazz at Kitano and we’re
is electric in these contexts, putting her imprint on going to Japan in May. We’re working on some new
these ethnic musics. A proponent of preserving the stuff and hopefully there’ll be a third installment of
NYC jazz community, Bailey can be found in the Plucky Strum. There’s no one else I’d rather play duo
audience catching someone else’s gig in her precious with, he’s just there for you.”
free time. “What’s great about NYC is if I have a night And thankfully Sheryl Bailey is there also, to carry
free to go out and hear music I can hear amazing stuff on and expand the jazz guitar tradition. v
THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2018 7ON THE COVER
MARY HALVORSON
Peter Gannushkin/DOWNTOWNMUSIC.NET
BOLD AS JAZZ
by john pietaro
Barely off the plane following an Italian tour with an epiphany. “Once I’d met Anthony, so much changed. experimental music sphere. Her association with Zorn
Marc Ribot’s Young Philadelphians, Mary Halvorson is He is a magical person. I was 18 and didn’t necessarily has been fruitful. “John is a prolific composer, a
already preparing for the next gig. The guitarist’s know I was going to major in music, but he was so visionary who united a community of musicians with
reputation is built upon a race of increasingly faster encouraging. His lectures were incredible: one was the his label and with The Stone. The amount of stuff he’s
laps, a veritable cyclone of a career. A glance at her History of the Jazz Saxophone and another on Sun Ra made happen is incredible.” Halvorson has been a part
prolific discography—some 80 album credits over a 15- and Stockhausen. He was so open-minded about all of Zorn’s ensembles and recorded his works with her
year period—offers evidence of the pace she keeps. kinds of music. That was the first lesson.” Halvorson own bands. “And Marc Ribot. I met him in 2007 when
And yet, Halvorson remains New England nonplussed: was also in Braxton’s large ensemble classes, which he was at The Stone; we played together once that week”
“2018 is already proving to be one of my busier touring analyzed and played his compositions. “It was very yet in just a few years, their collaborations have been
years,” Halvorson states softly. “I just like playing with hard,” she recalled with a laugh. To become fully significant. Young Philadelphians play adaptations of
different people. It’s how I grow as a musician.” immersed in the environment, she read the book Forces Philly soul driven by bassist Jamaaladeen Tacuma and
Born in Brookline, Massachusetts in 1980, in Motion: The Music and Thoughts of Anthony Braxton by drummer Calvin Weston, the rhythm section for the late
Halvorson’s path to music wasn’t immediately Graham Lock and Braxton’s writings on Tri-Centric Ornette Coleman’s Prime Time. She is also a member of
apparent. “Neither of my parents are musicians. My philosophy (described as “a unique musical system Ribot’s Sunship band, which plays Coltrane repertoire.
mother played some piano and sang in a choir. My that celebrates the concept of global creativity and our An exhaustive list of Halvorson collaborations can
father is just a big music lover. I’m told that my shared humanity”). “It’s very rich and complex, plus approach the overwhelming—from Taylor Ho Bynum
grandfather, whom I never got to meet, had some kind he’s always coming up with new musical systems. and Ingrid Laubrock, Nels Cline and Weasel Walter,
of freakish thing in that he could play a song perfectly I was overwhelmed and had to practice constantly; this Elliott Sharp and Tom Rainey to Ikue Mori, Christian
after hearing it once.” But other than the grandpa is how I learned to sight-read,” she explained with Marclay, Tim Berne and scores of others. “Taylor and
prodigy legend, there was no model instrumentalist in enthusiastic recollection. I played with Yo La Tengo at Town Hall. They have
the young Halvorson’s life. In second grade, Halvorson While working with Braxton, Halvorson was also such a vibe. And then I was with them for a Hanukkah
followed the lead of her peers and briefly studied studying guitar with Joe Morris and playing summer show at the Bowery Ballroom.” The guitarist has also
violin, but the attraction was fleeting. “It wasn’t a nice jazz gigs in Boston restaurants with trumpeter Peter been active in collective ensembles like Thumbscrew
fit,” she recalled. However, by 11, the posthumous Evans. She was also introduced to the latter-day new with Michael Formanek (bass) and Tomas Fujiwara
inspiration of Jimi Hendrix led her to the guitar. music New York, still with a treasure trove of forward- (drums), multiple encounters with pedal-steel guitarist
“It was 1991. I don’t know how I discovered him, but looking guitarists. “Tonic and the Knitting Factory Susan Alcorn and a trio with trumpeter Nate Wooley
he has such a timeless quality. Hendrix is always featured artists like Joe Morris, Marc Ribot, Elliott and bassist Reuben Radding. But her band Code Girl,
there.” The drive of the music and the foundation from Sharp and Bill Frisell. And of course John Zorn. founded in 2016, stands as a truly unique thread within
violin study allowed the budding guitarist to teach I traveled down whenever possible. Over and over a disparate tapestry. Adding the vocalist Amirtha
herself the basics. Within a year she began to study the again, I was blown away by these musicians.” Instead Kidambi and trumpeter Ambrose Akinmusire to the
instrument with a Boston teacher, Issi Rozen. Rapidly, of her junior year at Wesleyan, Halvorson enjoyed a Thumbscrew lineup, Halvorson cast a bold new concept
Halvorson’s tutelage took her from rock to jazz, but the year-long stay in New York, taking courses at The New over the song form. This ensemble will tour throughout
latter wasn’t just standard fare. “I was taught Monk School and visiting the avant haunts. She returned to March and April, locally celebrating the release of their
and Coltrane and so was gradually pulled into that Wesleyan to complete studies, but “the day after debut disc at Jazz Standard Apr. 3rd-4th. Asked about
music.” Perhaps it was this initial focus on a legendary graduation in 2002, I moved permanently to Brooklyn.” other performance highlights to come, Halvorson spoke
pianist and saxophonist, but her initial approach The guitarist began performing with drummer of a week at the Village Vanguard in July with
wasn’t ‘guitar-like’ at all; she was focused on melody. Mike Pride and began a long-standing musical Thumbscrew in support of their two releases this year,
This early influence remains evident in her current role partnership with violist Jessica Pavone. She then one of which is a collection of standards. “Of course I’m
as a composer and her celebrated tone, described as founded the band People, a rather theatrical song- looking forward to my residency at The Stone. It’s
“spiky” and “spidery” with unexpected chordal drops based ensemble incorporating free improvisation and scheduled just before the site [on Avenue C] closes and
and slides, heartily recalls Monk’s touch. complex forms into its repertoire. “It was an experiment is fully folded into The New School. That corner on East
In high school, Halvorson came under the influence with me singing. I’m a terrible singer but it seemed to 2nd Street is a part of history.” Halvorson will hold
of another ‘60s guitar great, Wes Montgomery. “He work with the aesthetic of the band. I was writing these court, brandishing her vintage Guild guitar and leading
was the first jazz guitarist I actually listened to”, drawn arrhythmic songs and it seemed easier to not teach an array of ensembles only partially representative of
to his soft instrumental voice. Early on, she was marked someone else the melody.” Performances with the her already prolific career. v
by a special eclecticism. “My music is a little bit of Braxton aggregation followed (she has since recorded
everything, but it’s so hard to describe this. It depends ten albums with him) as did a series of tours with For more information, visit maryhalvorson.com. Halvorson
on the context. I care about composition, yet most of bassist Trevor Dunn’s Trio-Convulsant. Both helped is at The Stone Jan. 30th-Feb. 4th and Feb. 21st as part of
what I play is improvisational.” The wealth of forge the guitarist’s reputation. Her penchant toward John Zorn Improv Night. See Calendar.
influences remain a part of her arsenal, one not only composition led to the formation of the Mary Halvorson
widespread in genre but mood and dynamic; the Trio with drummer Ches Smith and bassist John Hébert. Recommended Listening:
whispered, barked, lamented, pierced, soaring. “I love working with bass and drums—it’s a wide-open • Anthony Braxton Quintet—Live at the Royal Festival
Halvorson’s reach into such expansive sounds terrain. I was probably not thinking about the Hendrix Hall (London) 2004 (Leo, 2004)
eventually brought her, on the cusp of adulthood, to [power trio] influence at that time, but it had to certainly • Mary Halvorson/Reuben Radding/Nate Wooley—
the concepts of Derek Bailey and particularly Anthony be there. The energy, the excitement. While I’ve never Crackleknob (hatOLOGY, 2006)
Braxton. “I’m not sure if I was quite ready for it but performed any of his music in that lineup, my duo with • Mary Halvorson Trio—Dragon’s Head
I became deeply involved.” So moved was she by the Jessica Pavone has played ‘Bold as Love’.” (Firehouse 12, 2008)
philosophical saxophonist that in selecting a college, it Recording and touring with her trio and subsequent • Mary Halvorson/Kirk Knuffke/Matt Wilson—
had to be Wesleyan, where Braxton was teaching. An quintet, septet and octet—necessary as new compositions Sifter (Relative Pitch, 2011)
eager student, but ironically one initially focused on required a wider scope—the guitarist has never ceased • Mary Halvorson—Meltframe (Firehouse 12, 2014)
biology, Halvorson’s elective course with Braxton was outside projects, particularly those in the free and • Thumbscrew—Convallaria (Cuneiform, 2015)
8 FEBRUARY 2018 | THE NEW YORK CITY JAZZ RECORDTHE BEAK DOCTOR
Suggests
THESE NEW RELEASES
& Limited Editions
BD 9
IN THIS LAND ALL THE BIRDS WORE HATS AND SPURS
Greg Goodman: Piano • John Gruntfest: Saxophone
BD 10
EXTRACTING FISH-BONES FROM THE BACK OF THE DESPOILER
Derek Bailey: Electric Guitar • Greg Goodman: Objets d’intérieur
thebeakdoctor.comENCORE
MONNETTE
versatility and open ears, got to play with a who’s who “Use Me” by Bill Withers as an instrumental and
of jazz, from Archie Shepp, Hamiet Bluiett, Dave lyrically interpreting Stanley Cowell’s “Equipoise”.
Holland, Reggie Workman, Philly Joe Jones and Odean Sudler does not really blame anyone for any
SUDLER
Pope to Hugh Masekela, Kenny Barron, Shirley Scott, difficulties she has faced as a woman jazz musician. In
Grover Washington, Jr. and Trudy Pitts. 2012, she and three other women—saxophonist/flutist
In 1976, Sudler made the first of three albums for Lynn Riley, organ player Noriko Kamo and drummer
Denmark’s SteepleChase label, Time for a Change. It Leesa Dawn Robinson—recorded First Born. Sudler
called the group Ladies Night Out and it’s a bold and
by donald elfman
remains a stunning set of original compositions—with
some lovely, soulful vocals—recorded with pianist forthright jazz statement with shades of Monk,
Oliver Collins, bassist Gerald Benson, drummer straightahead improvising, beautiful ballads and some
The arc of Monnette Sudler ’s life and career could be Newman Taylor Baker and percussionist William Duke gospel.
called a path towards freedom, one that involves acute Wilson and displays staggering maturity in Sudler ’s In 2016, Sudler was given a Jazz Legacy Award for
political consciousness as well as a personal journey in playing and writing. On the opening track, she Philadelphia artists—other winners that year were Pat
which forgiveness has sustained her and made her manages to combine a funky R&B groove with some Martino, McCoy Tyner, Jymie Merritt, poet Sonia
music more diverse, inclusive and vital. In her powerfully modern lines. Sanchez and Howard Carroll of the Dixie
Philadelphia home, she plays, teaches and continues to Along the way, Sudler faced a serious challenge, Hummingbirds. And what of her current activities?
seek new ways to express herself. which made her stronger and underscored the She worked on a play, Lights Out: Nat ‘King’ Cole,
There was music in Sudler ’s life from her earliest aforementioned notion of forgiveness. In March 1993 written and produced by Colman Domingo and Patricia
days; her parents both played and an aunt introduced she was convicted of vehicular manslaughter, the result McGregor; recorded a Live in Japan download with
the young girl to the recordings of Nat King Cole and of driving under the influence, and spent over two pianist Barry Sames; recorded original compositions
others. At 15, she took her first guitar lessons— years in a state correctional facility. “I have not let this with poet Beth Brandt on her play Retro Love; is looking
“I learned a lot of folk tunes”—and by 20 had met define me,” Sudler says, “but rather it has strengthened to record her new ensemble on music she wrote for the
vibraphonist Khan Jamal and through him, saxophonist my character and my music. I have made peace, been American Composers Forum; and will present Ladies
Byard Lancaster, both of whom were key players in the forgiven and forgiven myself.” Night Out with guest vocalist Tulivu-Donna
new music scene in Philadelphia in the early ‘70s. In 2013 came another challenge: a rare lung disease Cumberbatch at Sistas’ Place in March.
“After I met Khan he came to my home with a and a double lung transplant. But, the indefatigable And, Sudler says, “My health is good, I am
percussionist named Omar Hill,” says Sudler. “We Sudler says, “My recovery was rapid and without traveling, enjoying my grandchildren and am looking
started jamming regularly and after he added bass and complications. My friends, family and music forward to playing and recording more.” v
drums we began building a repertoire and a group community were amazingly supportive.”
called Sounds of Liberation. The bass and drums Sudler has held on to music and continued to play, For more information, visit monnettesudlermusic.com
became Billy Mills and Dwight James and later Khan write and teach even in the face of adversity. If you
added Byard to the group.” On the 1972 album New hear a rap musician or a South African instrumentalist Recommended Listening:
Horizons, the group played music reminiscent of the or rhythm or a poet in her music, it’s always offered • Sounds of Liberation—New Horizons
Pharoah Sanders recordings of the period and Sudler with a sense of openness and willingness to absorb (Dogtown-Porter, 1972)
offers everything from mild feedback and drone-like what she can. • Khan Jamal Creative Arts Ensemble—
strums to the cry of the blues in music she calls “modal 2011’s Let the Rhythm Take You finds Sudler playing Drum Dance To The Motherland (Dogtown-Eremite, 1972)
avant garde”. music that runs the gamut from crossover to African to • Monnette Sudler—Time for a Change
Sudler recalls that this group “morphed into some hip-hop by artist Abyss, joined by bassist Gerald (SteepleChase, 1976)
drummer Sunny Murray’s Untouchable Factor”, which, Veasley, saxophonist Odean Pope and pianist Doug • Sunny Murray’s Untouchable Factor—
she notes, was “avant garde all the way.” Being in this Carn. In 2008 in France, Sudler recorded the lovely Apple Cores (Philly Jazz, 1977)
environment led her to many of the players of the day Where Have All The Legends Gone, another foray into the • Monnette Sudler—Live in Europe
and found her a place, briefly, in saxophonist Sam roots of soul, jazz and the essence of black music, (SteepleChase, 1978)
Rivers’ big band. A long way, she says, from folk music. singing Carn’s lyrics to Wayne Shorter ’s beautiful • Monnette Sudler—Where Have All the Legends Gone?
Throughout the ‘70s-80s, Sudler, thanks to her “Infant Eyes”, playing the ever-funky and popular (Heavenly Sweetness, 2008)
LEST WE F ORGE T
MARY
his solos. She saw Christian play for a few straight drummer Jo Jones.
nights, they talked and jammed together and Christian Osborne gave birth to three children during 1955-
gave her some pointers. Osborne immediately went 59 and moved with her husband, now a sales
OSBORNE
out and bought an electric guitar. representative for a guitar manufacturer, to Bakersfield,
While still a teenager, Osborne went on the road. California in 1968. There they founded the Osborne
She worked with the Winifred McDonnell Trio, Buddy Guitar Company. She played locally, joined the faculty
Rogers Orchestra, Dick Stabile (she met and married of Cal State Bakersfield and maintained a quiet life.
In 1977 the guitarist performed at the first Women’s
by scott yanow
his trumpeter Ralph Scaffidi), Bob Chester, Terry
Shand, Joe Venuti and Russ Morgan. She also played Jazz Festival in Kansas City. That year she was on a
on Saturday afternoons at Minton’s Playhouse in the live album headed by Marian McPartland, her first
O ne of the top bop-oriented guitarists to emerge early ‘40s. In 1944 Osborne made her first jazz jazz recording since 1963. But there would only be one
during the ‘40s and a major player in the ‘50s, Mary recordings, four songs with violinist Stuff Smith. After more, a 1981 album for the Stash label, which was
Osborne has been largely forgotten. She was the only hearing bebop, she modernized her style and led a trio. combined on CD with A Girl And Her Guitar. She
major female jazz guitarist prior to the ‘70s, but that Osborne recorded 16 numbers for the Signature, performed at the 1990 Playboy Jazz Festival with
fact almost seems irrelevant. Osborne was simply one Aladdin, Decca and Coral labels, including several that Lionel Hampton and at the Village Vanguard in Aug.
of the finest guitarists around. feature her singing, and sideperson dates with all- 1991 but those were her final appearances. Osborne
She was born as Mary Orsborn on Jul. 17th, 1921 in female groups headed by Mary Lou Williams plus passed away from liver disease on Mar. 4, 1992 at 70. v
Minot, North Dakota. Her mother sang and father was sessions with Coleman Hawkins, Ethel Waters, Beryl
a barber by day and a guitarist-bandleader at night. Booker, Wynonie Harris, Big Joe Turner and Mel Tormé. Recommended Listening:
Osborne, started on ukulele at four and played banjo in In her short solos and accompaniment, Osborne holds • Mary Osborne—A Girl and Her Guitar [Memorial |
her father’s string band by ten. By 15, she played her own with these illustrious musicians. Now and Then] (Warwick-Stash, 1959/1981)
acoustic guitar, violin and bass in a trio in addition to Osborne received a steady paycheck during 1952- • Mary Lou Williams—The Chronological: 1945-1947
vocals and tap dancing, performing twice a week on 62 working on The Jack Sterling Show, a daily radio (Continental-Classics, 1945-47)
her own radio program. Early inspirations were Django program on CBS. She probably gained her greatest • Beryl Booker—The Chronological: 1946-1952
Reinhardt, Eddie Lang and Dick McDonough. notoriety for her appearances on TV’s Art Ford’s Jazz (Victor-Classics, 1946)
That changed in 1938 when she heard the then- Party, particularly during an episode in which she • Clark Terry Septet/Terry Pollard Septet—
unknown Charlie Christian playing with Alphonso accompanied Billie Holiday. In 1959 she recorded one Cats vs. Chicks (A Jazz Battle of the Sexes) (MGM, 1954)
Trent’s sextet. Osborne was amazed at both his sound of only two full albums as a leader, A Girl And Her • Tyree Glenn—At The Roundtable (Roulette, 1958)
on the electric guitar and the single-note horn lines in Guitar, a quintet set with pianist Tommy Flanagan and • Marian McPartland—Now’s The Time (Halycon, 1977)
10 FEBRUARY 2018 | THE NEW YORK CITY JAZZ RECORDYou can also read
