Picks of the Week: Nov. 30 – Dec. 5

November 30, 2010

By Don Heckman

Los Angeles

– Dec. 1. (Wed.) A Celtic Christmas.  Irish Storyteller Tomaseen Foley creates a traditional night before Christmas, filled with dancing, music-making and holiday joy.  Cerritos Center for the Performing Arts. (562) 916-8501.

John McLaughlin

– Dec. 1. (Wed.)  John McLaughlin and the 4th Dimension. The ever-exploratory guitarist performs with a group reaching across genres, styles and generations: multi-instrumentalist Gary Husband on percussion and keyboards, Mark Mondesir on drums and Etienne Mbappe, a young Cameroonian, on bass.  A UCLA Live concert at Royce Hall.   (310) 825-2101.

– Dec. 1 & 2. (Wed. & Thurs.)  Raga Bop Trio.  With Steve Smith, drums, George Brooks, saxophone and Prasanna, guitar and vocals.  The name says it all for this high octane trio that cruises convincingly in the territory between Indian ragas and bebop.  Catalina Bar & Grill (323) 466-2210.

Jackie Ryan

– Dec. 3. (Fri.) Jackie Ryan.  She’s one of a kind, a vocal artist who’s traveled her own musical path, escorting her many fans through one unique musical adventure after another.  Making one of her too-rare performances in the Southland, she sings with pianist Jon Mayer, bassist Carlito Del Puerto and drummer Dean KobaThe Culver Club for Jazz at the Radisson L.A. West Side Hotel.   (310) 649-1776 Ext. 4137.

– Dec. 3 & 4. (Fri. & Sat.)  6th Annnual Filipino-American Jazzfest. The list of impressive jazz artists with Filipino roots grows longer every year.  Highlight of this year’s Jazzfest is a CD release celebration on Saturday for jazz singer Charmaine Clamor’s stellar new CD, Something Good. Also on the schedule, Abe Lagrimas, Annie Brazil, Johnny Alegre, JP Maramba, Bo Razon and introducing Carlo David Catalina Bar & Grill. (323) 466-2210.

– Dec. 4. (Sat.)  “Holiday on Broadway” Raymond Saar, Diane Ketchie, Valerie Perri and Scott Harlan celebrate the holidays with a program of festive music from Broadway, film and television, with a few whimsical twists and seasonal classica.  CSUN Valley Performing Arts Center.  Plaza del Sol Performance Hall.  (818) 677-3000.

– Dec. 4 (Sat.)  “Music and Conversations” A convivial interface between classical music, jazz and interesting people.  Featuring Susan Greenberg, flute, Alyssa Park, violin, Timothy Loo, cello, Delores Stevens and Alan Broadbent, piano, Putter Smith, bass.  Performing the music of Ravel, Brahms and Jane Brockman, with jazz improvisations by Broadbent and Smith.  Music and Conversations.  High Profile Productions, Culver City.  (310) 876-1188.

Bill Cunliffe

– Dec. 4. (Sat.)  Bill Cunliffe.  At 8 p.m.: “A Jazz Compass Christmas” featuring Cunliffe’s piano with drummer Joe LaBarbera, guitarist Larry Koonse and bassist Tom Warrington playing selections from their Jazz Compass CD Snowfall.  At 9 p.m.  The Bill Cunliffe Big Band, playing holiday and jazz selections, including the Grammy-winning West Side Story. With special guest vocalist, Daniela SpagnoloVitello’s.   (818) 769-0905.

– Dec. 4 (Sat.)  Tapestry.  The elegant sound of the four voices of Tapestry soars through a collection of music illuminating the common ground between Christian, Jewish, Muslim and Tibetan cultures.  Presented in the atmospheric setting of the St. Basil Catholic Church. Chamber Music in Historic Sites.   (213) 477-2929.

– Dec. 4 & 5. (Sat. & Sun.) Symphonic Mariachi ChristmasJose Hernandez and Latin Grammy nominated Mariachi del Sol join with Sinfonia Mexicana in an evening of grand arrangements of Mexico’s holiday classics.  Cerritos Center for the Performing Arts.  (562) 916-8501.

Alice Coltrane

– Dec. 5. (Sunday) Alice Coltrane Tribute.  The life, music and philosophy of the late pianist and musical and spiritual explorer is celebrated by a diverse line up of musical artists: McCoy Tyner, Kyp Malone, Nels Cline, Han Bennink, Daniel Carter, Michael White & Leisei Chen, Radha Botofasina, Flying Lotus and special guests.   A UCLA Live concert at Royce Hall.   (310) 825-2101.

– Dec. 5 & 12. (Sundays) Los Angeles Childrens’ Chorus.  The 25th Annual Winter Concert by an enthusiastic collection of children, aged 6 to 18, singing the music of 20 composers from 10 nations.  Pasadena Presbyterian Church.  http;//http://www.lachildrenschorus.org.  (626) 793-4231.

San Francisco

– Dec. 3 – 5. (Fri. – Sun.)  Ravi Coltrane Quartet.  Saxophonist Coltrane has moved far beyond the shadow of his iconic father, into an expressive and adventurous musical world of his own making.Yoshi’s Oakland.  (510) 238-9200.

– Dec. 3 – 5. (Fri. – Sun.)  Mike Stern Band. Guitarist Stern, one of his instrument’s most eclectic stylists, performs with a group of equally enterprising players: trumpeter Randy Brecker, drummer Dennis Chambers and bassist Anthony JacksonYoshi’s San Francisco.  (415) 655-5600.

New York

– Nov. 30 – Dec. 4. (Tues. – Sat.)  Frank Wess Quintet.  Approaching his 88th birthday, Wess is still one of the flute’s most masterful practitioners, as well as a tenor saxophonist who keeps the spirit of early bebop alive.  He performs with special guest Kenny Barron and Roni Ben Hur, guitar, Victor Lewis, drums, Santi Debriano, bass.  Birdland.   (212) 581-3080.

Fred Hersch

– Nov. 30 – Dec. 5 (Tues. – Sun.)  Fred Hersch, solo piano. After enduring a life threatening two months in a coma in 2008, Hersch literally had to work his way back to playing the piano again.  And he did so magnificently, as his listeners will realize in these evenings of challenging, but expressive, solo performances.  Village Vanguard.  (212) 255-4037.

Dec. 2 – 5 (Thurs. – Sun.)  Tango Meets Jazz Festival. The tenth annual celebration of the linkages between American jazz and the music often called Argentina’s blues.  Featuring Latin Grammy winning Pablo Ziegler with his Quartet.  With guest stars tenor saxophonist Prometheus Jenkins (you’ll immediately know who it is when you see him) and violinist Regina Carter. Jazz Standard. (212) 576-2232.

An Appreciation: Mario Pacheco

November 30, 2010

By Fernando Gonzalez

Spanish producer and photographer Mario Pacheco, an influential figure in contemporary Spanish music, especially Nuevo Flamenco, died Friday at his home in Madrid after a long illness. He was 60.

He was the soul of  Nuevos Medios, the independent label he founded in 1982 and which, at one time or another, featured groups such as Ketama, Barbería del Sur, and Pata Negra, and influential artists such as singer Martirio, composer, arranger, and keyboardist Joan Albert Amargos, bassist Carles Benavent, and reedman Jorge Pardo. Many of those groups and artists went on to greater commercial, if not artistic, success in bigger, richer record labels.

At the time of his death, Pacheco was the president of the Unión Fonográfica Independiente (UFI), the association of Spanish independent labels.

Nuevo Flamenco is an umbrella term popularized in the 1970s for fusions of flamenco with pop, jazz, blues, and African styles. These fusions revolutionized the genre, took it beyond traditionalist enclaves and the tourist postcard trade, and made it popular well beyond its natural audience. But under Pacheco, Nuevos Medios had an eclectic and creative bent, and also released recordings by  Joy Division, New Order, Pat Metheny, Robert Wyatt, Steve Reich, Bill Evans, legendary Peruvian singer songwriter Chabuca Granda, and Cuban pianist, singer and songwriter Bola de Nieve, among others.  Quality was the common thread.

Still, Pacheco´s true impact was in Nuevo Flamenco with releases such as Los Jovenes Flamencos, Blues de la Frontera (by flamenco-blues group Pata Negra), Quien No Corre Vuela by Ray Heredia, and Songhai — an exceptional meeting of flamenco pop and African tradition featuring Ketama and Toumani Diabate, released in the United States by Hannibal Records.

In a recent interview published posthumously by El País, a national newspaper in Spain, Pacheco called Nuevos Medios “the Motown of Flamenco.” It is a fair claim.

“[Flamenco producer] Ricardo Pachón had already recorded Pata Negra for Polygram,” Pacheco is quoted as saying, downplaying his own role as the champion of Nuevo Flamenco. “What was a big deal was explaining that phenomenon (Nuevo Flamenco) to a payo (non-gypsy), urban, educated audience. It was easy: these were young gypsies who listened to Prince. I used to say that we were the Motown of Flamenco: the Carmona family was the greatest rhythm section, then the sessions might come out as Ketama, La Barbería, Ray Heredia or Aurora. It was something magical. With some hand clapping, cajón (wooden box) and guitar, that thing was already working.”

Maybe it was, but it took Mario Pacheco’s vision and dedication to put it before the world.

Live Jazz: Jack Sheldon’s Birthday Bash at Catalina Bar & Grill

November 29, 2010

By Tony Gieske

Jack Sheldon began his birthday serenade to himself Saturday night with one of his favorite rousers, “Yo Mama,” his 16 piece band riffing behind him in their boisterous way, the crowd at Catalina’s cheery and full of good wishes for the guy celebrating the first moments of his 79th year.

Jack Sheldon conducts

Naturally, he was being risque.  His listeners expected as much. They had been around for many previous such fetes, but tonight they were about to be wowed by a relative newcomer, the drummer Ray Brinker.  From his drum set came not only rattles and rolls, but a kind of parallel serenade to whatever the other 15 guys were doing, whether tutti or soli.

Ray Brinker

You should have heard him when Ron Stout took one of his magnificently adept trumpet solos: Brinker was his shadow and his headlight.  And when trumpeter Stan Martin made a romantic bouquet from “Beauty and the Beast,” presumably for the many silver haired grandfathers and grandmothers present.

Brinker stoked the fire for tenor man Brian Williams on a jump chart; he lit blue flames beneath Scott Whitman during “Cherokee,” (although Sheldon forgot to war whoop in his customary slot), and he subtly gave an overall shape when Whitman played fellow trombonist Juan Tizol’s classic “Caravan.”

(The latter forms, if I’m not mistaken, the basis for Dizzy Gillespie’s equally classic, “Night in Tunisia,” from the forgotten Oscar Pettiford adaptation, “Interlude.” Bet Brinker knew that.)  Neither the rap spectre nor the rock spook dared visit on this night.

Jack Sheldon sings

No, the tunes rolled down the lanes of memory for the seniors present: Gravelly vocals struggled from Sheldon’s 78-year-old throat on “They Can’t  Take That Away From Me,” “I Can’t Give You Anything  But Love,” “Don’t Worry ‘Bout Me” and “I’ll See You In My Dreams.”

Jack Sheldon plays

Then would come his incomparable trumpet sound, rich and full as something I wish I could think of to compare it to — a bunch of dewy green grapes?

But that band! One big voice — never  noisy — that just ambled amiably along with such grand old charmers as “When You’re Smiling” and “Tangerine.” And why was that?  Brinker. Although everyone helped, bassist Bruce Lett and pianist Joe Bagg, to name two.

Photos by Tony Gieske.  To read and see more of Tony’s essays and photos at his personal web site click HERE

Here, There & Everywhere: A Few (More) Things I’m Thankful For

November 24, 2010

By Don Heckman

Here’s my annual, continual and growing list of the many musical reasons I have to be thankful.

– Every note Charlie Parker ever played.

– Ditto for Louis Armstrong.

Bebop, Dizzy Gillespie, Bud Powell, Tadd Dameron, Ray Brown, Art Blakey, Dexter Gordon, Clifford Brown and more.

– The magical spells of Duke Ellington and Billy Strayhorn.

– Ditto for Don Redman, Sy Oliver, Benny Carter, Neal Hefti, Ralph Burns, Gil Evans, George Russell, Bill Holman, Thad Jones, Oliver Nelson and Maria Schneider.

– Count Basie‘s rhythm section (with Freddy Green, Jo Jones, Walter Page).

Billie Holiday

– Billie Holiday‘s “Strange Fruit.”

– Nina Simone‘s “I Loves You Porgy.”

– Ella Fitzgerald‘s Song Books.

– Joe Williams‘ “Here’s To Life.”

Frank Sinatra and Nelson Riddle.

– Coleman Hawkins playing “Body and Soul.”

– Ben Webster playing a ballad – any ballad.

– Sonny Rollins playing “St. Thomas.”

– Almost anything by Miles, Herbie, Wayne, Ron and Tony.

Charles Mingus

– Ditto for Charles Mingus, Cecil Taylor, Ornette Coleman,

– Ditto for Thelonious Monk.

– John Coltrane playing “A Love Supreme.”

– Ravi Coltrane playing — right now   Along with Charles Lloyd, Branford Marsalis, Christian Scott, Jason Moran, Brian Blade, and more.

Antonio Carlos Jobim, Joao  Gilberto, Elis ReginaGal Costa, Caetano Veloso, Ivan Lins, Eliane Elias, Heitor Villa-Lobos and all the rest of the creators of the marvelous music of Brazil.

The life, accomplishments  and music of Michael Jackson.

The life and music of Eva Cassidy.

The life and music — especially “Imagine” — of John Lennon.

The life, music, and ideas of George Russell.

The life, music and teaching of Ali Akbar Khan and Ravi Shankar.

The life and music of Blossom Dearie, Louie Bellson, Maurice Jarre, Les Paul, Mary Travers and Mercedes Sosa.

The poetry of Bob Dylan and Leonard Cohen.  The songs of Joni Mitchell, James Taylor, Brian Wilson, Paul Simon,  Carole King, Elton John, Paul McCartney, Bacharach and David, and Sting.

The music of Elvis Presley, the Beach Boys, the Beatles, Crosby, Stills, Nash & Young, Joan Baez, The Who, David Bowie, Nirvana, Kanye West (among others).

Selmer saxophones and clarinets, Fazioli pianos, Pro Tools and Logic Pro.

The composers and the lyricists whose music will live forever in the Great American Songbook.

Wolfgang Amadeus Mozart

– The madrigals of Gesualdo.

– Everything and anything by Mozart, but especially the Clarinet Concerto and the Clarinet Quintet.

Beethoven‘s Piano Sonata No. 32.

– The songs of Schubert.

Chopin‘s Etudes, Preludes and Waltzes.

– Beethoven‘s 3rd,  Schubert‘s 8th, Mendelssohn‘s 4th,  Brahms‘ 4th,  Tchaikovsky‘s 6th, Prokofiev‘s 1st.

– Stravinsky‘s Sacre du Printemps.  His Three Pieces for Solo Clarinet.

– The String Quartets of Debussy and Ravel.

– The Bartok Concerto for Orchestra. His String Quartets No. 3 and 4.


– The Bach Sonatas and Partitas for Solo Violin, the Goldberg Variations, the Cello Suites and almost everything else.

– The Magic Flute, The Barber of Seville, Falstaff, Madam Butterfly, Die Fledermaus, Three Penny Opera, Porgy and Bess, Hair, Pal Joey, West Side Story and many more.

Live Music: Richard Thompson’s “Cabaret of Souls” at Royce Hall

November 24, 2010

By Mike Finkelstein

Richard Thompson gave a memorable performance of his folk oratorio Cabaret of Souls in a UCLA Live concert at Royce Hall on Friday night.   Perhaps it was the tall stone walls and arches of the building, and perhaps it was the layers of costuming on everyone working at the venue, but as the audience simply walked into Royce Hall they just knew something different was awaiting them.   The usher who checked my ticket was wearing a long cape and a wolf mask, and all the other ushers, too, had their own unique set of late 1800’s English togs and a different mask.   Think of the masquerade party in the movie Eyes Wide Shut and you’ll get the vibe.

Richard Thompson

Cabaret of Souls began as a project that Thompson was commissioned to write by the International Society of Bassists for bass player Danny Thompson (no relation).    It evolved from a suggested 6 minute passage into an hour and a half-long presentation of songs and narration.    One hugely impressive aspect of the production was that on every level the concert hall was turned into the In Between — not heaven or hell, but a rather boring place with no chance of escape.   With so much time on their hands the waiting souls in the In Between sang about their mortal lives and we listened.  Everyone who was part of the show, onstage or off, in the lobby or in the theater, was in costume and it surrounded the audience to marvelous effect.

The evening began as the Idyllwild Arts Academy Orchestra took the stage, some with gigantic teased hair, all dressed in vivid black and red, no two alike, with painted and sequined faces.  It was an elegantly astounding image and they were conducted with panache by Peter Askim.  Then came the band in period costumes, led by Thompson in a long double-breasted overcoat and top hat.   They proceeded to play 23 songs that portrayed the lives of characters ranging from, but not limited to, a glutton, a love-lorn broken heart, a gangster’s moll, an art critic, a religious hypocrite, and a war financier.  Projected images on a backdrop advanced the stories in the songs and effectively reinforced the fact that we were in the In Between.  There was also one great lighting effect that bathed the upper part of the hall in angular, dappled light to magnify the dankness.

Harry Shearer and Judith Own

Vocalist Judith Owen shone all evening long, and her vocal on “The Linnet” was gorgeous.   Pete Zorn sang backups and played flute, adding several interesting layers to the band’s sound.  And then there was Harry Shearer, who did not actually play an instrument but who — with his warm and familiar witty sensibilities — made the In Between a very entertaining place to listen to music.   He had something witty to say after every soul had sung, never going any farther than drollness with his critiques.

Most of all, the playing was impeccable.   Thompson has a long-standing reputation as one of the tastiest and expressive guitar players around.   His breaks on Friday were beautiful examples of how to say something musically meaningful in a concise but ornate style.  His solos featured a remarkable mix of multi-string arpeggios and clever linear phrases, never getting too busy and always giving the music some room to breathe.

Each member of the band was given several showcases, pumping up the dynamics and pace of the show.  Percussionist Debra Dobkin played a very crisp trap kit with a light feel, and added embellishments as well as singing harmonies.     Bassist David Piltch played a standup bass for the whole show with a sound that was superb, filled with the lows were pronounced but never excessive.  When Piltch soloed, the tone was tremendously clear and warm for peak effect, serving as a showcase for just how good an acoustic bass can sound.

Many people who went to see Richard Thompson perform Cabaret of Souls likely had little idea of what they would actually see.   Bu it’s hard to imagine anyone attending this show walking out with anything other than a feeling of being pleasantly surprised and hugely entertained.

Richard Thompson photo courtesy of UCLA LIVE.

To read more reviews by Mike Finkelstein click HERE.

Live Jazz: The Billy Childs Jazz Chamber Ensemble at Vitello’s

November 23, 2010

By Tony Gieske

I was thinking all night that nobody at Vitello’s could possibly deserve, much less grasp, all the wonders that Billy Childs and his ensemble were bestowing on us last Saturday.

Billy Childs

Childs was playing in his flawless and bounteous way on the piano, in front of which sat Larry Koonse, listening to him with a smile on his face and occasionally playing flawlessly if not bounteously.

Caroline Campbell

Just beyond them onstage was the beautiful Caroline Campbell, first violin in the Sonus String Quartet, whose every solo chance was Paganinian, and very pretty as well.

Supplying hard swinging drive or elegant harmonicism, whichever the Childs pen had bidden, were the bassist Hamilton Price and the drummer Marvin “Smitty” Smith. Carol Robbins got her harp into the rhythm-section work, although it was sometimes imperceptible within the aural avalanches.

Bob Sheppard

Saxophonist Bob Sheppard stood about as far away from the Childs keyboard as you could get in Vitello’s vast upstairs room, but he got more work than anybody else, since he had to enunciate the fiercely complex themes that Childs had written for him, then proclaim his grasp of the gnarls by improvising on them at length.

Up against the wall, he was never less than authoritative and enjoyable in that task.

Authoritative and enjoyable will do as adjectives for Childs’s playing, too, but the reader must endure many more.

Larry Koonse

He calls this group the Jazz-Chamber Ensemble, and its first CD was nominated for three 2006 Grammy awards, winning for the vast and ambitious Into the Light.  The latter was the salient feature of the Vitello night. I won’t attempt to bore you with a verbal map, there’s just too much to go over. It wowed me.

So did the other works, such as “Hope in the Face of Despair,” which he began with merry Satie-like piano triplets in the right hand and ominous deep chords in the left.

Then Sheppard played a supersmart soprano sax chorus, among other delights. Childs returned with a songlike passage preceding some Ellington sounds.

All night, the strings were darling, the jazz sector just as cool, and the writing  more intelligent and effective than anything Gunther Schuller, Charles Mingus, John Lewis or any other Third Streamers had offered us previously.

Billy Childs Jazz Chamber Ensemble

I haven’t heard the Laura Nyro-Alice Coltrane work Childs cites as an influence, “Christmas and the Beads of Sweat,” if it actually exists. And I saw no foreshadowing of this night in Childs’ pastoral output for Windham Hill Jazz.

Said Childs at the end: “There was a lot of music to work on tonight…and a lot to listen to.”

Photos by Tony Gieske.  To read and see more of Tony’s essays and photos at his personal web site click HERE

Picks of the Week: Nov. 22 – 28

November 22, 2010

By Don Heckman

Los Angeles

Nov. 22. (Mon.)  Judy Wolman’s Thanksgiving Sing-a-longGreat American Songbook. Here’s a chance to be thankful for Cole Porter, the Gershwins, Rodgers & Hart, etc.  While having a lot more fun singing than you ever could in the shower.  Vitello’s. (818) 769-0905.

– Nov. 23. (Tues.)  Jimmy Branley Quartet.  Drummer Branley combines versatility, musicality and a rare degree of subtlety in his playing.  He usually displays those skills for other leaders.  This time, he’s the front man.  With Walter Smith, saxophone, Dennis Hamm, piano and Jorge Sawa, bass.  Charlie O’s.   (818) 994-3058.

John Pisano

– Nov. 23. (Tues.)  John Pisano Guitar Night.  Every guitar night is a night worth experiencing.  And this one’s no exception, with Pisano exchanging musical ideas with the busy, veteran guitarist Jim Fox. Bassist Bob Bain keeps the rhythm cooking. Vitello’s.   (818) 769-0905.

– Nov. 24. (Wed.)  Ron Kalina.  Jazz on the harmonica isn’t something one hears frequently.  So don’t miss Kalina – an authentic jazz harmonica player – in this too-rare club appearance.  Backing him, the solid duo of bassist Pat Senatore and guitarist Barry Zweig.  Vibrato Grill Jazz…etc.   (310) 474-9400.  http://www.vibratogrilljazz.com

– Nov. 24. (Wed.) 17th Annual Turkey Bash.  Featuring Evan Stone and the Translucent Ham Sandwich Band. Don’t let their whimsical title fool you.  The Ham Sandwich Band has some interesting things to say musically.   Steamers (714) 871-8800.

– Nov. 26 & 27. (Fri. & Sat.)  Jack Sheldon Orchestra celebrating Jack’s Birthday.  Sheldon, the Southland’s own trumpet-playing, vocalizing, sardonic raconteur, turns 79 on the 30th.  Help him celebrate.  Catalina Bar & Grill. (323) 466-2210.

– Nov. 27. (Sat.)  Janis Mann.  Mann’s deep, dark-toned voice and far-ranging musical ideas bring new life to everything she sings.  She’s backed by John Heard, bass, Roy McCurdy, drums, tba piano.  An additional benefit: the performance celebrates McCurdy’s birthday.  Charlie O’s.  (818) 994-3058.

Anna Mjoll

– Nov. 28. (Sun.)  Anna Mjoll.  Iceland’s gift to smooth and sultry jazz singing displays her skill with the subtleties of the Great American Songbook.  Backing her: Ed Zach, piano, Pat Senatore, bass, Bob Leatherbarrow, drums.   Vibrato Grill Jazz…etc. (310) 474-9400.

San Francisco

– Nov. 26 – 28. (Fri. – Sun.)  Tuck & Patti.  The inimitable guitar and voice duo continue their 11 year tradition at Yoshi’s San Francisco. (415) 655-5600.

– Nov. 26 – 28. (Fri. – Sun.)  Ahmad Jamal.  Miles Davis credited Jamal with his use of rhythmic time, and the veteran pianist is still demonstrating the essentials of how to swing.  Yoshi’s Oakland.   (510) 238-9200.

New York

– Nov. 23 – 25. (Tues. – Thurs.)  Monty Alexander Quintet.  Pianist Alexander continues to invest his impressive jazz chops with a healthy seasoning of sounds and rhythms from his native Jamaica.  With singer James De FrancisBirdland.   (212) 581-3080.

– Nov. 23 – 28. (Tues. – Sun.)  Ken Peplowski/Bucky Pizzarelli Quintet.  Clarinetist Peplowski and guitarist Pizzarelli, masters of their instruments and their musical art, team up for a seminar in world class jazz.  Dizzy’s Club Coca-Cola.   (212) 258-9595.

Kendra Shank

Nov. 26 (Fri.)  Kendra Shank.  Vocalist Shank, always a fascinating performer, always opening new musical possibilities, is never better than she is when she’s in a cozy room with empathic musical backing.  Her partners are Ben Monder, guitar, Cameron Brown, bass, Tony Moreno, drums.  55 Bar. (212) 929-9883.

– Nov. 26 – 28. (Fri. – Sun.)  Bill Charlap Trio.  Continuing his exploration of the still unrevealed possibilities of the jazz piano trio, Charlap embarks into new territories with the support of Peter Washington, bass and Kenny Washington, drums.  The Blue Note. (212) 475-8592.


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