HARLEM JAZZ BOX @ MT. MORRIS ASCENSION PRESBYTERIAN CHURCH / OCTOBER 4
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Known for his deep, resonant tones and unparalleled skill on the double bass, Curtis Lundy has been a key figure in the jazz community for decades. Not just a performer, Lundy is also a composer, arranger, and choir director, bringing a wealth of experience and passion to every note he plays. Born in Miami in 1956, Curtis began his musical journey as a drummer before discovering his true calling with the bass. He initially pursued music through electric bass in his teenage years before transitioning to the acoustic bass in high school. Lundy's prolific career includes collaborations with jazz greats such as Bobby Watson, Betty Carter, Art Blakey, and Pharoah Sanders. Notably, he formed the New Note label with Watson and was a key figure in Betty Carter's Jazz Ahead Program. Lundy's discography includes albums like "Just Be Yourself" and "Against All Odds." Known for his deep sense of groove and ensemble leadership, Lundy continues to inspire with his rich and soulful performances. - CLR
CLOSE UP / OCTOBER 4
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The trio of bassist Stephen Crump, with intrepid soprano saxophonist Sam Newsome and drummer Eric McPherson promises to swirl in the currents governing the expansion and contraction of unflinchingly dramatic phrases. With the soprano saxophonist exploring the furthest limits of his instrument breath is guaranteed to equal magnitude here. Experience candidly declared, dynamics spanned across musical elasticity, stretched and snapped back and forth into a pulse that never sags or loses grip. Experience the three-way polyphonic and polyrhythmic cartwheels as each musician performs their tumbling grooves through every song. And fall prey to the charms of musical audacity by this richly rewarding performance. RDG
MANCHESTER CRAFTSMEN'S GUILD / OCTOBER 4
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You may not know the Miami-born, Howard University-trained keyboardist, arranger, composer and producer Ray Angry by name, but you’ve heard his sonically sterling work with many of today’s music stars since 1994, including Alicia Keys, Q-Tip, Wynton Marsalis, D’Angelo, and The Roots. Selected as
the Manchester Craftsmen's Guild’s first artist-in-residence, Angry will take his talents to the Steel City, where he’ll debut his new commissioned opus, to be performed with the 17-piece Pittsburgh Jazz Orchestra that pays tribute to that city’s jazz legacy. Add a trio selection, a solo piano piece and dance number choreographed by local dancer Kaylin Horgan, and it all adds up to an elegant evening of beyond category music that will make Angry’s anonymity a thing of the past. EH
THE CUTTING ROOM / OCTOBER 4
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There has always been a wide range of African-descended music throughout the Americas, and Afro-Peruvian music is no exception. Their music is similar to the mambo of Cuba and the samba/bossa nova of Brazil, albeit with some differences. Percussion-wise, the primary Black Peruvian beats: the festejo, lando, zamacueca and Marinera rhythms are played on several instruments unique to the nation, including the quijada, the jawbone of a donkey, the cajita, a wooden box worn around the neck with a lid and the Cajon, a self-standing box with a hole in the middle. The Peruvian trumpeter Gabriel Alegría and his Afro Peruvian Sextet expertly addsthe jazz swing into the spicy South American mix. The result is a dancing music that is complex as it is contagious. - EH
NJPAC / OCTOBER 4
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When bassist, composer, bandleader and vocalist Meshell Ndegeocello dropped her debut album Plantation Lullabies in 1993, the world knew that there would be a new musical force to be reckoned with. 14 albums and a Grammy award later, Ndegeocello has more than lived up to her potential. With her robust, contralto vocals, penetrating lyrics and ebullient basslines that marry James Jamerson and Jaco Pastorius, Ndegeocello has put her distinct sonic signature on jazz, spoken word, pop, rock, go-go, Afropop and reggae. And nothing aurally illustrates that more than her new release, No More Water: The Gospel of James Baldwin, which celebrates the centenary of Baldwin’s birth. See Ndegeocello and her young cohorts live in this multimedia setting, and hear the fire, this time. -EH
JAZZ AT LINCOLN CENTER / OCTOBER 4-6
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Over the last three decades, Amina Figarova has forged her place as one of jazz’s premier composer-arrangers and bandleaders. The Azerbaijani-born pianist has established one of the most distinctive-sounding combos, a sextet with a front horn line that features the flute of her husband Brad Platteau, along with trumpet/flugelhorn and tenor saxophone. Her compositions inventively weave horn ensemble and solo parts seamlessly into musical tapestries pairing them with her own piano parts and solos. An impressively deft example is “Paper Kites,” a track on her new album. At these concerts (2 each day) she will be featuring the Matisko World Orphan Choir from Liberia in her Suite for Africa, the centerpiece of her latest album of the same name on the Amfi Records label. GK
CAFFE LENA / OCTOBER 5
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Tenor saxophonist Paul Carlon has successfully been wearing two divergently-styled jazz hats lately. His
own, eponymously named, Quintet has a new album, Blues for Vita (Deep Tone), that celebrates the
sound of the mid-20th Century hard bop heyday, his tenor paired with the equally vibrant trumpet of
Eddie Allen. And he also brings his tenor sax and arranger’s hat to Nation Beat, the New Orleans/Brazil-
inspired rhythm and brass street-style band of drummer-leader Scott Kettner. which also has a new album
out: Archaic Humans (Ropeadope). The band - drums with tenor sax (Carlon), trumpet (Mark Collins),
trombone (Tom McHugh) and sousaphone (Heather Ewer) - captures the spirit of Carnival and Mardi
Gras parade dances and struts, the brass prancing over samba, bomba and two-beat Big Easy stomps. GK
RICHARDSON AUDITORIUM / OCTOBER 9
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Cécile McLorin Salvant is a generational artist who pierces the soul with her vocals. Angela Y. Davis says that her artistic vision as “…always urges us to apprehend complexity and contradiction—that which can be simultaneously beautiful and a reminder that historical promises of expanding freedoms often reside within what has been marginalized as bizarre or even evil..” McLorin Salvant explores such themes on Mélusine (Nonesuch), which features a mix of originals and interpretations of evanescent songs dating as far back as the 12th century, mostly sung in French, Occitan, English, and Haitian Kreyòl. She will weave her sublime spells of dark magic with pianist Sullivan Fortner, bassist Yasushi Nakamura, flutist Emi Ferguson, percussionist Keita Ogawa, and lutenist, therbo player and guitarist Dušan Balarin. RDG
JAMAICA PERFORMING ARTS CENTER / OCTOBER 10
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Makaya McCraven and Shabaka will perform at the Jamaica Performing Arts Center on October 10. McCraven, a drummer and composer, will present pieces from his latest album, "In These Times," which blends jazz, folk, and hip-hop. Shabaka, known for his work with Sons of Kemet, The Comet is Coming, and Shabaka and the Ancestors, will showcase his new flute-focused album, "Perceive its Beauty, Acknowledge its Grace." This event offers a chance to experience innovative contemporary jazz from two influential musicians. - CLR
JAZZ AT LINCOLN CENTER / OCTOBER 11-12
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One of the many splendored things Roy Hargrove did in his all but too brief life, was to occasionally front a big band. Hargrove’s large ensembles were made up of an interesting generation mix of Gen Xers and seasoned veterans. The current members of this big band represent the best of today’s musicians on the scene. They include: trumpeters Freddie Hendryx and Duane Eubanks; alto saxophonists Bruce Williams and Mark Gross and drummer Quincy Phillips, to name a select few. The big band will perform Hargrove’s “ Love Suite in Mahogany,” originally recorded in 1993, and released last year as an album. The 2024 edition of this big band will no doubt sign its swinging signature on this extended work from the man from Texas we miss so much. -EH
SMALLS / OCTOBER 16
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When Rachel Therrien plays trumpet the gleaming bravura of her music seems to issue from the very nuclear corona of the sun [the sound of her flugelhorn ebbs and flows like the sensuous flow of a proverbial moon-tide]. The most beckoning facet of her playing is her sense of rhythm, high sprung and exquisite articulation, which is light and incisive and entirely secure. All of this pays its way throughout any repertoire that she chooses to play. Listening to her navigating through the massive architectural inventions of her soli and their flaming grandeur is also a thing of beauty. Be prepared to be amazed as Therrien dazzles with pianist Camila Cortina, bassist Raul Reyes, drummer Juan Carlos Polo and conguero Murphy Aucamp. RDG
DIZZY'S / OCTOBER 16
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Vocalist Sheila Jordan brings unique insight into jazz standards. Sheila made her debut during the height of the bop era, though that is only one facet of her impressive stylistic range. Now 95, Sheila’s musical storytelling and whimsical scat vocals are still a centerpiece of her sets, though she enjoys exploring ballads from the swing era, modal works, post-bop vehicles or even pop songs. Honored as a NEA Jazz Master in 2012, Sheila is truly a national treasure. While Sheila has frequently included a pianist for her recordings and live sets, she excels with much sparser accompaniment, which gives her more freedom to roam. Bassist Harvie S and guitarist Roni Ben Hur, both of whom have long played with Sheila, join her for a memorable evening.—KD
SMOKE / OCTOBER 16-20
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Cyrus Chestnut is a veteran jazz pianist who is engaging and full of joy, whether recording in the studio or performing for an audience. Cyrus’s distinctive approach to piano is immediately recognizable due to his often soulful sound, but he is hardly a musician who can be easily labeled. Cyrus is known for his love of hymns and gospel music, along with standards and jazz classics, but the Baltimore native’s musical interests as heard on his recordings constantly surprise his fans, which include classical music and a salute to the music of Elvis Presley. His wide-ranging repertoire is reflected in his compositions as well, as his rich, introspective melodies bring out listeners’ emotions. Cyrus’s quartet features three seasoned musicians, tenor saxophonist Stacy Dillard, bassist Gerald Cannon and drummer Chris Beck.-KD
CITY WINERY NYC / OCT 17
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A native New Yorker born to jazz-singing parents, Lincoln's artistic journey has seen him share stages with tap dance luminaries like Jimmy Slyde and Savion Glover. He has also collaborated with renowned artists such as The Hot Sardines and Mercedes Ellington. Not just a singer, but also a tap dancer, Lincoln’s performances are a blend of swinging jazz standards and dynamic dance rhythms. Expect a captivating evening where Lincoln, alongside his All Star Jazz Band, delivers sultry ballads and vibrant renditions of classic jazz infused with the great Black American art form of tap dance. - CLR
BRIC JAZZ FEST BROOKLYN / OCTOBER 17
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The New York Times called Milena Casado a revelation. The Spanish composer, trumpeter, and flugelhorn player is swiftly gaining recognition for her distinctive and deeply personal musical approach. Casado seamlessly merges tradition with innovation, creating a sound that is both familiar and refreshingly new. She has performed alongside jazz luminaries like Terri Lyne Carrington, Aaron Parks, and Vijay Iyer, and has graced stages at prestigious venues such as Carnegie Hall, the Village Vanguard, and the Kennedy Center. Currently leading her own quintet, Casado has also appeared at top festivals including North Sea Jazz Festival and Montreal Jazz Festival. She is now working on her debut album, establishing herself as a notable bandleader. - CLR
BRIC JAZZ FEST BROOKLYN, NY / OCTOBER 19 & EXIT ZERO JAZZ FESTIVAL CAPE MAY, NJ / OCTOBER 25
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3x GRAMMY-nominated saxophonist, arranger, composer, and educator from New York City, Lakecia Benjamin blends R&B, various jazz styles, and funk in her work. Her acclaimed albums include "Retox," "Rise Up," and "Phoenix," showcasing her versatility and innovative approach to jazz and beyond. She has played with notable artists such as Clark Terry, Terri Lyne Carrington, Robert Glasper, and Stevie Wonder. Educated at New School University, she has also contributed to the world of jazz education through her work with Jazz at Lincoln Center and Jazz House Kids. Benjamin's latest project, "Phoenix," produced by Carrington, has earned high praise and further solidified her place as a rising star in the jazz world. - CLR
BLUE NOTE / OCTOBER 21-22
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When pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade formed a quartet with tenor saxophonist/composer Wayne Shorter in 2000, little did they know that they would not be mere jazz musicians: With Shorter leading the way, they became time travelers; playing a kind of instantaneous, 22nd century style of group improvisation, where musical telepathy is the norm. Wayne and his fantastic foursome would travel the world, and record live Grammy-winning albums. Pérez, Patitucci and Blade still play Shorter’s concept of Zero Gravity jazz after Shorter died. When this triad plays at the Blue Note, they will be joined by elliptical tenor saxophonist Mark Turner, an exquisite improvisator who understands the musical language Shorter and company bequeathed to us. - EH
VILLAGE VANGUARD / OCTOBER 22-27
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Acclaimed saxophonist Ravi Coltrane, son of jazz legends John and Alice Coltrane, Ravi has carved out an impressive career of his own. He has released six albums as a leader, with "Spirit Fiction" being his latest, and is known for his role in the Saxophone Summit alongside Joe Lovano and Dave Liebman. Ravi has collaborated with jazz greats like Elvin Jones, Wallace Roney, and McCoy Tyner. Raised in Los Angeles, he has been a key figure in reviving his mother's music, notably producing Alice Coltrane's "Translinear Light" album in 2004. Based in Brooklyn, Ravi remains active in performance, recording, and preserving his family's musical legacy. - CLR
3PM MORRIS MUSEUM NEWARK, NJ / OCTOBER 27
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A renowned clarinetist and saxophonist, Levinson has been a staple in the traditional jazz and swing music scene for over 30 years. He has collaborated with legends like Wynton Marsalis and Mel Tormé, and his musical versatility spans various ensembles, from his Canary Cottage Dance Orchestra to his Benny Goodman tribute acts. Levinson's contributions to soundtracks like "Boardwalk Empire" and "The Marvelous Mrs. Maisel" further underscore his prominence. This performance promises to be an enchanting evening of jazz, featuring Levinson alongside Friends, delivering timeless standards and vibrant melodies that celebrate the golden era of jazz. - CLR
SMOKE JAZZ CLUB / OCTOBER 30 - NOVEMBER 3
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Grammy Award-winner Nicholas Payton’s Nouveau Standards project features straight-ahead, improvisational music showcasing the virtuoso multi-instrumentalist exclusively on trumpet. Backed by an all-acoustic quartet of renowned instrumentalists, including pianist Kevin Hays, bassist Vicente Archer, and drummer Bill Stewart, Payton explores a repertoire steeped in tradition but with a nod toward the future. This quartet honors the greats through fresh takes on standards but also through original “nouveau” classics. Payton is a master trumpeter who brings insight, inspiration, and passion to a wide spectrum of Black American Music.
Ron Carter: Contrabass, Bow Tie and Gravitas
by Raul da Gama
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At 87 years of age (and counting), when the powers of many musicians—even those in the upper echelons of their art—begin to diminish, some ever so slowly and others as if plunging off a precipice, the musical prowess of the iconic bassist Ronald Levin Carter is propelling itself like a comet in the other direction. Onwards and upwards. Yet, it is easy to attribute to Ron, as he is known to his closest musical associates, less-edifying reasons for his fame than the most important one of all. For instance, chatter in most plebeian chatrooms and corners of social media suggests Ron is famous because he is probably the most recorded bassist, even musician, with more than 2021 recordings "under his belt.”
What a superficial reason to judge Ron Carter, who is one of the genuinely great and probably one of the last, masters of the contrabass—an instrument that once inhabited the shadows of music ensembles, in philharmonic and jazz orchestras—until it was brought into the forefront of musical performance.
Surely, any aficionado of music will recall how great virtuosos such as Red Callendar, Jimmy Blanton, Oscar Pettiford, and the maestro Charles Mingus brought it into the forefront of jazz. Their achievements mirrored the great Frenchmen Édouard Nanny, a bassist who wrote Enseignement Complet, a collection of pedagogical works including the 2-part Méthode complète pour la contrebasse à quatre et cinq cordes, the Vingt études de virtuosité (Paris, 1920), and composed his Dix étude-caprices. Similarly, François Rabbath's legendary works included A Carmen Fantasy and Nine Variants on Paganini, both for double bass and orchestra.
Why those musicians? Why does Ron belong to that powerful tribe of musicians that include trumpeter Louis Armstrong, alto saxophonists Charlie Parker and Ornette Coleman? Perhaps you might first consider, or ask: “What is a virtuoso?”
To read more, visit https://heyzine.com/flip-book/ff95be7989.html#page/16
Embracing the Earth Through Jazz: Andromeda Turre’s ‘From The Earth’
by Joyce Jones
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One crisp evening, I found myself mesmerized by the hauntingly beautiful imagery in Andromeda Turre's new music video for “Finger on the Trigger.” This striking piece, from her latest album From The Earth (Starbilt, 2024), depicted a world where people were cloaked in spacesuits, shielded from the toxic air, and navigating an unrecognizable, dystopian environment wrought by corporate greed. Intrigued, I dialed Andromeda's number, eager to delve deeper into her creative process.
Crafting a Visual Masterpiece
When I shared my impression of the song being the highlight of her release, Andromeda’s response was filled with palpable pride and a hint of exhaustion. "I made it entirely by myself," she revealed, a statement that instantly amplified my respect for her dedication. She went on to explain the complexities of the production. "I directed it. I generated all of the images. I animated it. I added the text. The whole thing was my creation."
The arduous task didn’t end there. Andromeda described how she used artificial intelligence to conjure the visuals. "It's much harder than it sounds. For scenes where you have an astronaut in the foreground and smokestacks in the background, I had to generate each element—the field, the smokestacks, the astronaut—then piece them together and animate the entire sequence." This was Andromeda’s first foray into such a challenging medium, a project she'd been devoted to since April.
To read more, visit https://heyzine.com/flip-book/ff95be7989.html#page/6
Odean Pope: The Philadelphia Musician
by Eugene Holley, Jr.
For more than 60 years, Odean Pope has been the prototype of the Philadelphia tenor saxophonist: blessed with a robust tenor tone that is both down home and up south. He has a narrative improvisational style that tells a story, whether he’s playing bebop, post-bop, fusion, the avant-garde and beyond, mostly as a sideman with the legendary Max Roach, and with his ensembles and recordings as a leader.
Pope has chosen to mostly remain in his hometown, which makes his debut at Jazz at Lincoln Center, as part of their Hometown Series, the rare event that it is. Joining Pope will be his quartet consisting of long-time Philly cohorts, featuring bassist Lee Smith, Christian McBride’s dad; drummer Craig McGiver; and pianist Tom Lawton. “We’ll be playing my original compositions,” Odean says. “I will be playing ‘To the Roach,’ my tribute to Max Roach. I also will be playing ‘Phrygian Love Theme.’ I’ll be playing ‘You and Me,’ which is dedicated to my wife and myself, and ‘Framed in a Picture.’ We're doing two sets, so I will be playing about five or six compositions for each set.”
Born in Ninety Six, SC, Odean grew up listening to the gospel music of his church. He moved to Philadelphia when he was 10, and was immersed in that city’s diverse music scene. Odean grew up with some of Philadelphia's finest jazz musicians including Lee Morgan, McCoy Tyner, The Legendary Hassan, Jimmy and Percy Heath, Bill and Kenny Barron, Benny Golson and Dizzy Gillespie. Odean was especially close to John Coltrane, who, like him, came to Philadelphia from the south, with a love for Black church music and bebop.
To read more, visit
Reggie Workman
“Reflections on a life’s journey, on John Coltrane, and on his own musical evolution”
by John Zaff
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Reggie Workman is one of the greatest living bass players in the jazz world today. He hails originally from Philadelphia, a city that has spawned so many other jazz legends. Playing throughout his career in multiple genre styles, including bebop, hard bop and avant-garde, his discography contains a veritable who’s-who list of jazz greats. Early collaborations with John Coltrane in the sixties, including appearances on almost a dozen Coltrane albums, catapulted him to prominence, and since then, the caliber of artists he has accompanied as a supporting artist is incredibly deep and includes work with Art Blakey, Gary Bartz, Art Farmer, Max Roach, Eric Dolphy, Pharoah Sanders, Freddie Hubbard, Gigi Gryce and numerous other jazz icons. To boot, Reggie has made a prodigious number of acclaimed recordings as a leader. Not just by dint of association, but through his inimitable style and creative musical vision, this artist has earned his stellar reputation.
Aside from being a remarkable bass player and composer, Reggie has devoted himself to education and to helping to nurture the next generation of jazz artists. He has taught in the New School’s prestigious jazz program since its inception. Virginia Mayhew, a New York-based virtuoso sax player, was in the New School’s program at its founding, along with classmates such as Larry Goldings and Brad Mehldau. Speaking about the amazing educational experience she had there and getting to work with teachers like Reggie, she says, “He was such a positive presence at the New School! One of the highlights of my time there was getting to play with him. I had never experienced playing with a master bass player of his caliber, and I can still remember the incredible feeling in my soul. The fact that I still remember those moments thirty years later says it all … what a remarkable feeling.”
To read more, visit https://heyzine.com/flip-book/ff95be7989.html#page/11
NIKKI GIOVANNI NJPAC JAZZ GROOVE
By Ronald E. Scott
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You have to understand Nikki Giovanni’s status, let’s be clear - she is a living legend! A prolific writer, commentator, activist, and educator. Fundamental in the 1960s Black Arts Movement fueled by the flames of the Black Power Movement. Maybe you missed her fiery poetry so intense the pages still sizzle in books like “Black Judgement” (1968) and “Black Feeling Black Talk” (1968). You had to see her standing there on any stage in the USA, or university campus, or some community center, with her Afro blowing in the revolutionary wind and the words, the words sprouting out like a muted Miles Davis solo laying out the truth-written lines like music tells no lies.
On October 19, this brilliant author of over 20 collections of poetry will make a welcomed appearance at NJPAC where her flowing words will be accompanied by saxophonist Javon Jackson and NJPAC Jazz Advisor and bassist Christian McBride, along with pianist Jeremy Manasia. In this performance, the poems of the seven-time recipient of the NAACP Image Award will be paired with new takes on traditional spirituals selected from her and Jackson’s collaborative album “The Gospel According to Nikki Giovanni” (Solid Jackson records 2022).
“Nikki has a creative spirit and mind,” says Jackson. “And her vast knowledge and appreciation of Lester Young and Billie Holiday is part of the love of having her onstage with me. It’s always a joy to perform with her and Christian.” The collaborative duo have recently released their new album entitled “Javon & Nikki Go To The Movies.” The album reflects their shared interest in American cinema with some of Giovanni’s favorite standards from the Great American Songbook, originally composed for Hollywood classics, and some Jackson-original compositions.
To read more, visit https://heyzine.com/flip-book/ff95be7989.html#page/38
BILL DIXON VOICE OF AN AVANT-GARDIST
By Ronald E. Scott
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In the pantheon of jazz innovators, trumpeter Bill Dixon stands as a unique and transformative figure. Heralded as the next technical extension of the trumpet following Dizzy Gillespie, Dixon's career spanned profound musical innovation, unfaltering advocacy for artist rights and pioneering educational contributions. A figure locked on the progression of black music, Dixon's artistry and ideology made lasting impressions on both the avant-garde movement and the broader jazz landscape.
Bill Dixon was a trumpet revolutionary, breaking new ground with what's known as 'extended technique.' These included multiphonics, whistle tones, and a distinctive non-pressure approach. His proficiency allowed him to extract sounds from the trumpet that previously seemed otherworldly, such as playing sounds in between the notes—a hallmark of his avant-garde contributions. Dixon's style was groundbreaking, caught between the immediate percussive attack of his predecessors and a more fluid, explorative approach.
Bill Dixon was an instigator of the 1960s avant-garde movement, an era that refused to adhere to the established jazz norms. As a key figure in the progression, Dixon's work in this period saw him delve into the deepest recesses of music's potential. Avant-garde, a term from French meaning 'advance guard' or 'vanguard,' signifies experimental works that initially challenge the artistic establishment. Dixon epitomized this concept, being entrenched in the black music movement and pushing the boundaries of what jazz could be.
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