This week highlights a happily frequent dilemma for the avid listener in New York: too many good choices of exciting, exploratory, street-smart and unbounded American music — “the real blues, the new blues,” as Albert Ayler called jazz-beyond-jazz back in 1964. All on Friday, May 9:
- The Association for the Advancement of Creative Musicians (AACM) celebrates favorite son George E. Lewis‘s epic new book with high class talk and promising improv;
- Miles Davis alumni meet Southeast Asian virtuosos at Town Hall to attempt Bob Belden‘s arrangements from the fascinating cd Miles From India,and
- urban-ethno percussionist Adam Rudolph and nu-jazz electronica trumpeter Graham Haynes will balance a similarly ancient/future sound.
- There’s much more. Jazz-beyond-jazz bustin’ out all over; it must be spring.
- alto saxophonist-clarinetist-composer-improviser Marty Ehrlich (a frequent collaborator of Muhal Richard Abrams’, knowing if not affiliated with the AACM) has a sextet at the Jazz Standard;
- lyrical inside-outside alto saxophone-and-flutist James Spaulding (hear his solos on so many great Blue Note albums of the ’60s) leads a quartet at Harlem’s Lenox Lounge;
- tenor saxophonist Tony Malaby, an under-hyped but very affecting tenor saxophonist, plays in trio with his pianist-wife Angela Sanchez and drummer Tom Rainey at the Cornelia Street Cafe in the Village;
- Soul at the Hands of the Machine drummer-with-electronics Guillermo E. Brown performs solo, for free, at Brooklyn’s BAM Cafe;
- mult-reeds/pan-genre jazz hero Joe Lovano‘s sextet plays Dizzy’s Club Coca-Cola in the Jazz at Lincoln Center complex; pianist Greg Burk, in from Rome, leads his trio for the 1 a.m. set;
- bassist Charlie Haden meets pianist Ethan Iverson of the Bad Plus and Jazz Journalists Association Jazz Awards Drummer of the Year Award nominee Paul Motian at the Village Vanguard.
- RUCMA (Rise Up Creative Music and Arts), an organization affiliated with the Vision Festival, has guitarist Mike Gamble and drummer Simon Lott in the first of a series of benefits at the Living Theatre (21 Clinton St., between Houston and Stanton at Ave. B), at 10:30.
People must listen to this music because they’ll be hearing it all the time. Because if it’s not me it’ll be someone else that’s playing it. The majority of the younger musicians I’ve heard in New York ,they’ve begun to play this way because this is the only way left for musicians to play, all the other ways have been explored, in the time past.