Source: The New York Times.
THE BAD PLUS at Jazz Standard (May 9-14, 7:30 and 9:30 p.m.). Thanks to its group chemistry (slyly combustible) and repertoire (dissected pop tunes; slap-happy original compositions), the Bad Plus has for nearly two decades been one of improvised music’s most reliable entities. But last month the band announced that Ethan Iverson, its pianist and de facto figurehead, would leave the group in January, to be replaced by Orrin Evans. These shows are the band’s first in New York since the news broke.
HARRIS EISENSTADT at Greenwich House Music School (May 6, 8 p.m.). Mr. Eisenstadt, a drummer, tends to write music with a steady rhythmic pulse and a feeling of open-air possibility. On “Recent Developments,” his 20th album, the compositions are detailed and multifaceted, but nothing feels nailed down or tightened up. His way of playing helps: Mr. Eisenstadt’s touch is emphatic but light, never aiming to fill a lot of space. He plays here with a nine-piece band that’s almost identical to the one on the record: Nate Wooley on trumpet, Jeb Bishop on trombone, Rubin Kodheli on cello, Anna Webber on flute, Sara Schoenbeck on bassoon, Joe Daley on tuba, Patricia Brennan on vibraphone and Eivind Opsvik on bass.
VIJAY IYER TRIO at the Village Vanguard (May 9-14, 8:30 and 10:30 p.m.). The pianist, MacArthur fellow and Harvard professor Vijay Iyer has been performing steadily with his trio for about a decade. The group’s urgent flow and turbid harmonic beauty have made it one of the few obvious answers to the question, “What’s exciting in jazz today?” But astonishingly, it has never before played the Village Vanguard, a rite of passage in the music. Appearing here with Mr. Iyer, in twice-nightly performances Tuesday through May 14, are the bassist Stephan Crump and the drummer Tyshawn Sorey (who does not typically record with the trio, but will play in a sextet on Mr. Iyer’s next album).
JOHN SCOFIELD RETROSPECTIVE at Jazz at Lincoln Center (May 5-6; 7 and 9:30 p.m.). Mr. Scofield, a guitarist, has a tartly confectionary sound that’s both bendy and biting. It’s served him well over a four-decade career, and it won him three Grammys in the past two years. For these weekend shows, he’s borrowing a strategy from his dad-rock contemporaries: He will revisit two old albums, the funky “Blue Matter,” from 1987, and the drifting, acoustic “Quiet,” from 1996. For the “Blue Matter” repertoire he’ll be joined by the bassist Gary Grainger and the drummer Dennis Chambers — both of whom appeared on the album — and the pianist Jim Beard. For “Quiet,” he’ll convene a large ensemble featuring six reed and horn players, including the tenor saxophonist Joe Lovano.
JOHN ZORN’S GAME PIECES at Roulette (May 6, 8 p.m.). Each of Mr. Zorn’s game pieces begins as a series of guiding cues and rules written on cards. They end as high-contrast splays of sound, ranging from melodic solo statements to coordinated wallops. Mr. Zorn, a saxophonist and seminal figure on New York’s improvising avant-garde, has staged “Cobra” and “Hockey” — the game pieces presented here — many times through the years. “Cobra” uses a large ensemble; “Hockey” will feature only Michael Nicolas on cello and Aaron Edgcomb on percussion, with Mr. Zorn conducting.