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UpcomingEvents

14
Dec

Marcus Strickland Twi-Life

When last we heard from Strickland on 2016’s Nihil Novi , he was experimenting with hip-hop-inspired production, blending genres with a little help from album producer Meshell Ndegeocello. In the process, something big happened: “I was no longer concerned about what is or isn’t jazz,” he says. “I got rid of those barriers and was like, ‘Well, who the fuck am I?’ That’s when I started on this path.”

On People of the Sun , Strickland blazes down that trail fully at the helm of his music—performing, writing, and producing with his outrageously able Twi-Life band on deck—even as he sonically and socially traces the African diaspora from present to past in an effort to unpack his identity. “I’m thinking about where we came from,” says Strickland, “and how that clashes and goes hand in hand with what we’ve created here as Black Americans.” The result is an album that’s busy and beautiful, inventive and contemplative, an amalgam of influences from West Africa (griot culture, Afrobeat, percussion) and America (post-bop, funk-soul, beat music) performed in the key of revelation. Another facet that sets the album part is Strickland’s lesser-known woodwind obsession with the bass clarinet, which adds its noirish hues to so many of these songs.

Growing up in Miami, Strickland always thought of music “in a very mixed up way.” He heard Haitian sounds, Afro-Cuban rhythms, and southern rap in the streets, while at home his dad would jump from Stevie to Coltrane to P-Funk on his reel-to-reel deck. Meanwhile, his mom put Marcus and his twin brother E.J. into art school so they’d be surrounded by proper “music nerds.” The talent they nurtured there on saxophone and drums (respectively) propelled the pair on to The New School at just the right time: college was basically one wild jam session with like minded upstarts like Robert Glasper, Keyon Harrold, and Bilal Oliver—guys who’d go on to remake jazz (and more) in their own post-modern musical image. To hear People of the Sun , that backdrop feels more like fate than chance.

15
Dec

Corcoran Holt Quintet

Corcoran Holt – Bass and Djembe
Stacy Dillard – Tenor and Soprano Sax
Josh Evans – Trumpet
ELEW – Piano
Kush Abadey – Drums

As a keeper of the rhythm, Corcoran began his study of upright bass at the age of 10 with the renowned DC Youth Orchestra (DCYOP). Soon he learned that his great- grandfather, with whom he shares a birthday, was a bass player who grew up in High Point, NC and lived next door to a very young John Coltrane. Legend has it that he gave Trane music lessons. Corcoran feels called to the bass and his work is about honoring the ancestors.

While continuing his classical training at DCYOP, Corcoran attended the prestigious Duke Ellington School of the Arts in Washington DC from 1996 to 2000, where he studied classical bass with Carolyn Kellock and jazz music with educators Davey Yarborough, the late great Keter Betts and Steve Novasel. During these high school years, Corcoran realized his affinity for the jazz and honed his performance skills by working frequently on the Washington DC jazz scene.

Always performing, he completed a Bachelors of Arts in Jazz Studies from Shenandoah Conservatory in 2004, where he studied bass with Michael Bowie. He received his Masters degree in Jazz Studies from Queens College in New York City in 2006 under the tutelage of Buster Williams, Michael Phillip Mossman, and Antonio Hart.

Corcoran feels blessed and gives thanks to the many jazz legends and greats he has worked with which include:

Trombonists: Curtis Fuller who gave him his first real break, Slide Hampton, Benny Powell, Steve Turre, Wycliffe Gordon, Robin Eubanks, Fred Wesely, Delfayo Marsalis, amongst others

Saxophonists: Jimmy Heath, Benny Golson, Kenny Garrett, the late Frank Morgan, Red Holloway, Billy Harper, Bobby Watson, Azar Lawrence, Charles Davis, David Murray, Joe Ford, Tim Warfield, Javon Jackson, Renee McLean, Antonio Hart, Steve Wilson, Vincent Herring, Greg Osby, Donald Harrison, Hamiet Bluiett, amongst others

Trumpeters: Nicholas Payton, Roy Hargrove, Terell Stafford, Randy Brecker, Wallace Roney, Marcus Printup, Jeremy Pelt, Freddie Hendrix, Josh Evans, Duane Eubanks, Michael Phillip Mossman, amongst others

Guitarists: Bucky Pizzarelli, Russell Malone, Ed Cherry, amongst others

Pianists: the late John Hicks, the late Hilton Ruiz, Ronnie Mathews, Larry Willis, Mulgrew Miller, Eric Reed, Benny Green, amongst others

Drummers: Jimmy Cobb, Al Foster, Louis Hayes, Albert “Tootie” Heath, Billy Hart, Carl Allen, Winard Harper, Billy Drummond, amongst others

Flutist: Dave Valentine, Brother Ah (Robert Northern), and others

Vocalists: Carmen Lundy, Vanessa Rubin, Diane Shur, Kevin Mahogany, and others

Corcoran performs regularly at many of the top music festivals and venues around the world. Some have included The North Sea Jazz Festival, Monterey Jazz Festival, Newport Jazz Festival, The Village Vanguard, The Blue Note, Dizzy’s Club Coca Cola to name a few. Corcoran has performed through North, Central and South America, Europe, Asia, Africa, and the Caribbean. In 2009, he toured the Middle East as a Jazz Ambassador representing the United States, under the US State Department with Alvin Atkinson & the Sound Merchants. In September 2010, he traveled part of The Rhythm Roads tour with Nasar Abadey and Supernova to East Africa, a collaboration between the U.S. State Department and Jazz at the Lincoln Center.

Corcoran was semi-finalist in the Thelonious Monk Bass Competition in 2009 and recorded on Jamison Ross’ “Jamison”, Concord Records 2015, which was Grammy Nominated Best Jazz Vocal.

Currently, Corcoran leads his own group and is the regular bassist in the Kenny Garrett Quintet, which received a Grammy nomination for the 2013 recording “Pushing the World Away” recorded on Mac Avenue Records.

Corcoran also works with numerous bands throughout the world and he is based in NYC and also serves as a djembe drummer/music therapist at Greater Harlem Nursing and Rehabilitation Center, where he plays for his elders.

21
Dec

Christian Sands Trio (friday)

Not yet 30, Christian Sands is currently one of the most in-demand pianists working in jazz. In the last few years he has toured around the world as a bandleader and recently appeared as a sideman on records by Christian McBride and Gregory Porter. After the one-two punch of Reach and Reach Further – EP, Sands’ dynamic 2017 Mack Avenue debut and his live/unreleased studio tracks EP follow-up released earlier this year, Facing Dragons is Sands’ return to the recording studio with an indestructible band and an unwavering allegiance to the groove.

“I like the freedom of the trio format,” says Sands. “It’s more dramatic to me. It’s a smaller entity but with a big personality. I can fit it into different situations dynamically, compositionally.” Opening track “Rebel Music” features Sands’ wide-ranging scope at its most elegant, nimbly jetting through single unison lines and bright block chords. Here and throughout the record he is joined by bassist Yasushi Nakamura and drummer Jerome Jennings, the band that Sands has been relentlessly touring with. The two sensitive accompanists are locked in sync, joined occasionally by a powerhouse pair of horns, a sinewy guitarist and a fiery pair of percussionists.

Saxophonist Marcus Strickland strikes first on the hard swinging “Fight For Freedom,” unleashing a throaty cry over the churning band. “Marcus Strickland brings a certain fire to the band,” says Sands. “Especially on this track. He’s got a rich and deep tone, so it was perfect for the earthy theme of the song.” Trumpeter Keyon Harrold shares the frontline with Strickland, playing in effortless harmony on the melody before getting a little solo space near the tune’s close.

Harrold takes centerstage later on “Frankenstein,” a churning meditation reminiscent of Herbie Hancock’s seafaring journeys of the 1960s. Sands is spacious in support and patient on his solo, the tune an energetic workout for all involved.

Earlier this year Sands was named creative ambassador to The Erroll Garner Jazz Project, a non-profit organization dedicated to the legacy of the late great pianist Erroll Garner. After inheriting the position from the late Geri Allen – one of Sands’ mentors – he is a natural fit for the role. Sands has that same affable understanding of the audience as he recognizes their innate desire to be entertained as well as enlightened. He tackles the Beatles’ “Yesterday” with a soulful saunter. “Pop music is essential in jazz. It’s new melodies, it’s new stories, or same stories told in different ways. Jazz is about storytelling and pop music has a unique story to tell.”

Sands has yet to bring his band to Venezuela but when he gets there, he’ll be more than ready for the infectious polyrhythms found on the shores of Choroni Beach. On “Sangueo Soul,” Sands bounces above the churning South American rhythms, with Caio Afune doubling the piano lines on guitar. It alternates between the two sounds, blending them at will, a sprightly dash of octaves on the piano cross paths with intergalactic vibrations. The tune is impossible to resist as a battery of rhythm pushes Sands’ piano into a righteous jaunt; clear the dancefloor. Percussionist Cristian Rivera appeared on Sands’ Mack Avenue Records debut, and the two formed a tight bond over a decade ago in Bobby Sanabria’s Afro Cuban Big Band. Percussionist Roberto Quintero, a native Venezuelan, brings the fire and authenticity to the party.

“Samba da Vela” appears later, continuing the South American travelogue with a trip to Brazil. Guitarist Caio Afune first played with Sands’ brother Ryan, a drummer who studied at the New England Conservatory. Afune has been playing with the pianist for over a year now, finding his voice in the tight-knit ensemble. His solo is an energetic but controlled centerpiece of the performance but becomes even more effervescent when he heads to church.

“Church music is key in not just my sound but most jazz musicians I look up to. It’s a culture that most of us have gone through so it’s embedded in what we do,” says Sands. “Jazz can be a religious experience and for me my playing is my gift to God.” Sands began formal lessons at the age of four but picked up his sense of swing and soul at church well before that. “Sunday Mornings” is Sands tribute to the beginning of the week. He employs soulful clusters of chords and a lackadaisical slide off the beat, aided and embedded by an oscillating organ. The transition to a backyard reggae groove is hip, propelled by Afune’s scratchy accents.

The lilting “Her Song” features bassist Nakamura. “Yasushi has a great bass sound, great facility and is always easy to work with, which is why he’s still in so many other bands today besides mine,” says Sands. Regardless of Nakamura’s schedule, he is fully committed to Sands’ vision of a rhythm section, a noble accent to the sound, unobtrusive but always present. Jennings is equally sensitive. “What I love about Romey” says Sands, “is the soulful intellect he brings to the instrument. There are layers to what he does and that comes from study and practice and also just being him – a true soul brother.”

The album closes with “Rhodes To Meditation” featuring an electrified Sands drifting into the ether. “The Fender Rhodes adds a different tone to my imagination. It makes me hear and play different.” Sands evokes a spectral world without borders, drifting off like a satellite towards the next adventure. “Like all of my albums, I want people to feel connected through a story that I’m telling. On this record, I want to remind people to always push forward and move in positivity.”

22
Dec

Christian Sands Trio (saturday) SOLD OUT

Not yet 30, Christian Sands is currently one of the most in-demand pianists working in jazz. In the last few years he has toured around the world as a bandleader and recently appeared as a sideman on records by Christian McBride and Gregory Porter. After the one-two punch of Reach and Reach Further – EP, Sands’ dynamic 2017 Mack Avenue debut and his live/unreleased studio tracks EP follow-up released earlier this year, Facing Dragons is Sands’ return to the recording studio with an indestructible band and an unwavering allegiance to the groove.

“I like the freedom of the trio format,” says Sands. “It’s more dramatic to me. It’s a smaller entity but with a big personality. I can fit it into different situations dynamically, compositionally.” Opening track “Rebel Music” features Sands’ wide-ranging scope at its most elegant, nimbly jetting through single unison lines and bright block chords. Here and throughout the record he is joined by bassist Yasushi Nakamura and drummer Jerome Jennings, the band that Sands has been relentlessly touring with. The two sensitive accompanists are locked in sync, joined occasionally by a powerhouse pair of horns, a sinewy guitarist and a fiery pair of percussionists.

Saxophonist Marcus Strickland strikes first on the hard swinging “Fight For Freedom,” unleashing a throaty cry over the churning band. “Marcus Strickland brings a certain fire to the band,” says Sands. “Especially on this track. He’s got a rich and deep tone, so it was perfect for the earthy theme of the song.” Trumpeter Keyon Harrold shares the frontline with Strickland, playing in effortless harmony on the melody before getting a little solo space near the tune’s close.

Harrold takes centerstage later on “Frankenstein,” a churning meditation reminiscent of Herbie Hancock’s seafaring journeys of the 1960s. Sands is spacious in support and patient on his solo, the tune an energetic workout for all involved.

Earlier this year Sands was named creative ambassador to The Erroll Garner Jazz Project, a non-profit organization dedicated to the legacy of the late great pianist Erroll Garner. After inheriting the position from the late Geri Allen – one of Sands’ mentors – he is a natural fit for the role. Sands has that same affable understanding of the audience as he recognizes their innate desire to be entertained as well as enlightened. He tackles the Beatles’ “Yesterday” with a soulful saunter. “Pop music is essential in jazz. It’s new melodies, it’s new stories, or same stories told in different ways. Jazz is about storytelling and pop music has a unique story to tell.”

Sands has yet to bring his band to Venezuela but when he gets there, he’ll be more than ready for the infectious polyrhythms found on the shores of Choroni Beach. On “Sangueo Soul,” Sands bounces above the churning South American rhythms, with Caio Afune doubling the piano lines on guitar. It alternates between the two sounds, blending them at will, a sprightly dash of octaves on the piano cross paths with intergalactic vibrations. The tune is impossible to resist as a battery of rhythm pushes Sands’ piano into a righteous jaunt; clear the dancefloor. Percussionist Cristian Rivera appeared on Sands’ Mack Avenue Records debut, and the two formed a tight bond over a decade ago in Bobby Sanabria’s Afro Cuban Big Band. Percussionist Roberto Quintero, a native Venezuelan, brings the fire and authenticity to the party.

“Samba da Vela” appears later, continuing the South American travelogue with a trip to Brazil. Guitarist Caio Afune first played with Sands’ brother Ryan, a drummer who studied at the New England Conservatory. Afune has been playing with the pianist for over a year now, finding his voice in the tight-knit ensemble. His solo is an energetic but controlled centerpiece of the performance but becomes even more effervescent when he heads to church.

“Church music is key in not just my sound but most jazz musicians I look up to. It’s a culture that most of us have gone through so it’s embedded in what we do,” says Sands. “Jazz can be a religious experience and for me my playing is my gift to God.” Sands began formal lessons at the age of four but picked up his sense of swing and soul at church well before that. “Sunday Mornings” is Sands tribute to the beginning of the week. He employs soulful clusters of chords and a lackadaisical slide off the beat, aided and embedded by an oscillating organ. The transition to a backyard reggae groove is hip, propelled by Afune’s scratchy accents.

The lilting “Her Song” features bassist Nakamura. “Yasushi has a great bass sound, great facility and is always easy to work with, which is why he’s still in so many other bands today besides mine,” says Sands. Regardless of Nakamura’s schedule, he is fully committed to Sands’ vision of a rhythm section, a noble accent to the sound, unobtrusive but always present. Jennings is equally sensitive. “What I love about Romey” says Sands, “is the soulful intellect he brings to the instrument. There are layers to what he does and that comes from study and practice and also just being him – a true soul brother.”

The album closes with “Rhodes To Meditation” featuring an electrified Sands drifting into the ether. “The Fender Rhodes adds a different tone to my imagination. It makes me hear and play different.” Sands evokes a spectral world without borders, drifting off like a satellite towards the next adventure. “Like all of my albums, I want people to feel connected through a story that I’m telling. On this record, I want to remind people to always push forward and move in positivity.”

28
Dec

Houston Person with the Emmet Cohen Trio (friday)

Emmet Cohen – Piano
Houston Person – Tenor Sax
Joey Ranieri – Bass
Kyle Poole – Drums

Since the early-1960’s, Houston Person has done his soulful part to keep the bluesy, thick-toned tenor saxophone tradition alive. A soul-jazz giant, Person has spun blues, ballads, and R&B classics with a Who’s Who of jazz, including Johnny Hammond, Etta Jones, and Charles Brown. Dynamic and multifaceted American pianist/composer Emmet Cohen’s elegant introspection, neo-classical flourishes, and bravura bebop chops are “guaranteed to make the walls sweat” (WGBO). Possessing a fluid technique, innovative tonal palette, and expansive repertoire, this young superstar plays with the command of a seasoned veteran and the passion of an artist fully devoted to his craft. Mr. Person and Mr. Cohen unite to establish a fresh, intergenerational perspective on the American Songbook.

29
Dec

Houston Person with the Emmet Cohen Trio (saturday)

Emmet Cohen – Piano
Houston Person – Tenor Sax
Joey Ranieri – Bass
Kyle Poole – Drums

Since the early-1960’s, Houston Person has done his soulful part to keep the bluesy, thick-toned tenor saxophone tradition alive. A soul-jazz giant, Person has spun blues, ballads, and R&B classics with a Who’s Who of jazz, including Johnny Hammond, Etta Jones, and Charles Brown. Dynamic and multifaceted American pianist/composer Emmet Cohen’s elegant introspection, neo-classical flourishes, and bravura bebop chops are “guaranteed to make the walls sweat” (WGBO). Possessing a fluid technique, innovative tonal palette, and expansive repertoire, this young superstar plays with the command of a seasoned veteran and the passion of an artist fully devoted to his craft. Mr. Person and Mr. Cohen unite to establish a fresh, intergenerational perspective on the American Songbook.

04
Jan

Ed Cherry Trio

Ed Cherry – guitar
Kyle Koehler – organ
Jason Tieman – drums

Born in New Haven,Connecticut, Ed moved to New York in 1978 to play guitar with jazz legend Dizzy Gillespie from 1978 to 1992 performing in Gillespie’s quartet, big band and with The United Nations Orchestra which recorded the Grammy Award-winning Live at Royal Festival Hall! Gillespie died in 1993, and Cherry released his first recording as a leader. Since then Ed has continued to be one of the most popular & prolific performers on the International Jazz Scene, and one of the most Groovin’ and sought-after Guitarists on the New York City Jazz Scene!

05
Jan

Caroline Davis Quintet

Caroline Davis – saxophone
Marquis Hill – trumpet
Julian Shore – piano
Chris Tordini – bass
Jay Sawyer – drums

Mobile since her birth in Singapore, composer, saxophonist, and educator Caroline Davis now lives in Brooklyn, New York. After making her mark on the Chicago jazz community during her 8-year stint, she moved to New York in 2013, and has proven to be an active leader and sidewoman in the national jazz scene.

She has shared musical moments with a diverse group of musicians, from jazz to mainstream, including Matt Wilson, Lee Konitz, Ellis Marsalis, Matt Mitchell, Randy Brecker, Victor Goines, Bobby Broom, Greg Saunier, Ron Miles, Dennis Carroll, Erin McKeown, Allison Miller, Jenny Owen Youngs, and Billy Kaye. Aside from her own quintet, she collaborates regularly with R&B indie band, Maitri, and has been a regular member of many outfits including Whirlpool, Fatbook, Deep Fayed, Matt Mitchell’s Sprees, Billy Kaye Quintet, Paul Bedal Quintet, Orso, Chicago Jazz Orchestra, Dion Kerr Group, Elliot Ross, and Materials and Their Destiny.

Her debut album, Live Work & Play, was featured on All About Jazz’s best releases, and she was named one of JazzTimes’ Best New Artists in the 2012 Expanded Critics’ Poll. Her second album, Doors: Chicago Storylines, was just released as an audio documentary that uniquely sets stories from Chicago’s jazz scene from the 80s and 90s alongside her original music. In 2018, she won the Downbeat Critic’s Poll “rising star” in the alto saxophone category. Caroline’s third album, Heart Tonic, written and recorded in New York, was released in March on Sunnyside Records, to much critical acclaim in NPR, the New York Times, and DownBeat.

As an educator, Caroline brings her unique knowledge of music and psychology to her teaching, as she acquired a Ph.D. in Music Cognition at Northwestern University in 2010. She has been on the faculty at Litchfield Jazz Camp for the past 10 years, and has been a guest educator at Northwestern University, University of Colorado at Boulder, St. Xavier University, Columbia College, DePaul University, University of Texas at Arlington, Loyola University, Texas Tech, New Trier High School, Evanston Township High School, Denver School of the Arts, Newman Smith High School, and Jazz at Lincoln Center. She has also participated in several jazz mentorship programs, including IAJE’s Sisters in Jazz and the Kennedy Center’s Betty Carter Jazz Ahead Program.

11
Jan

Stacy Dillard Trio

Stacy Dillard – saxophone
Ryan Berg – bass
Sanah Kadoura – drums

Stacy Dillard of Muskegon Heights, Michigan, attended college at Central State University in Wilberforce, Ohio to study music with Dr. William Denza. Very quickly, Dillard acquired the necessary knowledge that would soon spread his name through out the local music scene. After a fated run-in with Wynton Marsalis in Dayton, Ohio, Stacy would turn his attention to the New York Scene.

“Hey man, this (censored) can play. This (censored) can PLAY!” Wynton Marsalis

Stacy has caught the attention of many with his large and rich tone, developed ideas, accurate technique, work ethic and patience. Dillard has played with Winard Harper, Cindy Blackman, Lenny White, Frank Lacy, Wycliffe Gordon, Eric Reed, Roy Hargrove, Stephon Harris, Terrell Stafford, Herlin Riley, John Hicks, Frank Wess, Mulgrew Miller, Clark Terry, Victor Lewis, Steve Wilson, Johnny O’neal, Antonio Hart, Russell Malone, Lewis Nash, Mark Whitfield, the Mingus Big Band, and a host of others in different genres of music, including Stevie Wonder, U2, Shirley Ceasar, Alex Bugnon, Stephanie Mills, Pete Rock & C.L. Smooth, and more.

Stacy Dillard is the perfect example of fusing tradition and innovation. The combination of organic energy and authenticity is why Stacy leads the jazz scene today.

“Stacy is a one-of-a-kind musician. Seriously.” Roy Hargrove

12
Jan

Craig Brann Quartet

Craig Brann – guitar
Stacy Dillard – sax
Nick Morrison – bass
Sanah Kadoura – drums

Arriving in New York City in 1996, guitarist Craig Brann has steadily established himself as one of the elite players of his generation. Craig has recorded with Mark Gross, Freddie Hendrix, Greg Tardy, etc. On Craigs latest release, Lineage, his fourth album on record label SteepleChase, Craig unfolds his expansive musical dimension.

“Guitarist Craig Brann’s blazing chops, rich tone, and stellar band immediately demand attention, as do his compositions; Fans of jazz guitar will undoubtedly love this show, and those less enthusiastic about guitar in a lead role might just find themselves swayed by Brann’s hornlike phrasing and improvisational flexibility.” – Ben Mickelson, Jazz at Lincoln Center

“The cream always rises to the top. So it follows that guitarist Craig Brann, in a discipline in which one cannot fake it to make it, would then be the crème de la crème. Lineage, his fourth release as a leader, firmly establishes his place at the table of NYC jazz cats.” – Mark Corroto, All About Jazz

“There’s something for everyone here – and that’s just a way of describing New York guitarist Brann’s versatility. With invention and wit, he remodels the classic guitar trio to suit multi-sourced inspiration…It’s a veritable treasure shed of homage, freewheeling and compositional flair.” – Nigel Jarrett, Jazz Journal

“Brann is an enormous guitar talent…this is his second album and will not be the last.” – Henrik W. Iversen, JazzSpecial

“A beautifully sweet setting for guitarist Craig Brann.” – Rick Wojcik, Dusty Groove

“…which inexhaustibly bubbles with ineffable beauty.” – MC, AAJ

18
Jan

Josh Lawrence & Color Theory

Josh Lawrence – trumpet
Caleb Curtis – alto sax
Anwar Marshal – drums
Zaccai Curtis – piano
Madison Rast – bass

A New Jersey native, Josh Lawrence was born in 1982 in Princeton and raised in Browns Mills, a community just outside of Fort Dix in the Pine Barrens. At age 10 he picked up the trumpet but his formal training didn’t begin until his family moved back to Princeton and he enrolled in the public high school. There he studied with Dr. Anthony Biancosino, a celebrated educator whose Studio Band dominated national band competitions throughout the 80s and 90s. Biancosino’s music program would later be immortalized in fellow alumnus Damien Chazelle’s film Whiplash.

In 2000 Lawrence won a scholarship to the University of the Arts in Philadelphia. There he studied with John Swana, Charles Fambrough, Trudy Pitts, and Jimmy Bruno while cutting his teeth after hours at Ortlieb’s Jazzhaus, the now defunct club where young musicians could sit in and jam with Philly’s jazz elite. Lawrence tapped into the city’s burgeoning neo soul scene recording with Erykah Badu, members of The Roots, Jazzyfatnastees, Jazmine Sullivan, and Boyz II Men among others. He also formed his first band The Monday Quintet with vibraphonist Behn Gillece, although the unit never released a commercial recording.

Upon graduation Lawrence moved to New York working as a sideman across a range of genres while studying improvisation with pianist Barry Harris and sitting in at jam sessions in the city. In 2008 he met his future wife Ola Baldych, a graphic designer and photographer, who encouraged him to move to Europe to pursue his career as a bandleader and recording artist. The following year Lawrence released his debut trio album Roots, moved to Poland with Baldych, and took his new band on the road. He also collaborated with a handful of Polish, German, and Norwegian artists on performances, recordings, theatrical plays, and films.

In 2010 Lawrence was offered a position at his alma mater and relocated with his new wife back to Philadelphia where he struck up a friendship with Orrin Evans and joined the pianist’s Captain Black Big Band. With a new album and high profile gig under his belt, Lawrence became a stalwart of the Philly jazz scene working with saxophonist Bobby Zankel’s Warriors of the Wonderful Sound, bassist Anthony Tidd’s PACT, guitarist Matt Davis’ Aerial Photograph, trumpeter Terell Stafford’s Jazz Orchestra of Philadelphia, and singer Laurin Talese. In the subsequent years he released his second trio album One Night in Atlanta, scored filmmaker Dave Jannetta’s documentary Love & Terror on the Howling Plains of Nowhere, and composed The Harlem Suite, a five-movement work for the Captain Black Big Band commissioned by Revive Music and premiered at the Metropolitan Museum of Art in New York.

In 2012 Lawrence was selected with drummer Anwar Marshall and bassist Jason Fraticelli for a commissioned performance celebrating the anniversary of Philadelphia’s Painted Bride Art Center. They formed the 10-piece Fresh Cut Orchestra, an electro-jazz ensemble with new music composed by the three leaders. The band released two albums, From the Vine and Mind Behind Closed Eyes, on Ropeadope Records, won grants from the Pew Center for Arts & Heritage and the American Composers Forum, and the inaugural jazz residency at the Kimmel Center for the Performing Arts.

In 2016 Lawrence formed his current band Color Theory, recorded an album that would be released on Posi-Tone Records the following year, and moved back to New York. Since his return he has established himself as a creative artist of the highest caliber, recording a second Color Theory album Contrast (out March 2, 2018 on Positone), winning a New Jazz Works grant from Chamber Music America for his suite Lost Works that premiered at the 2018 Winter Jazzfest, cutting albums with Orrin Evans, bassist Eric Revis, and drummer Nasheet Waits’ collective Tarbaby, saxophonist Caleb Curtis’ quartet, bassist Jon Michel, and the Positone collective New Faces, and touring internationally as a leader, collaborator, and sideman.

19
Jan

Darryl Yokley & Sound Reformation

Darryl Yokley & Sound Reformation
Darryl Yokley – saxophone
Zaccai Curtis – piano
Mike Boone – bass
Wayne Smith Jr. – drums

Saxophonist Darryl Yokley came onto the New York scene in 2009 and has established himself as a unique voice that sounds like no other. Whether he is performing locally or internationally, he is always looking to communicate to audiences through his playing no matter what genre it is. Yokley has performed for music legend Quincy Jones as well playing with motown legends The Four Tops, The Temptations, The O’ Jays and singer songwriter Rhonda Ross. He performs as a classical soloist and chamber music and leads his own jazz quartet, Sound Reformation, which is comprised of Zaccai Curtis on piano, Luques Curtis on bass, and Wayne Smith Jr. on drums. He has also worked with many great jazz musicians such as Orrin Evans, Nasheet Waits, Ralph Peterson, Jack Walrath, Frank Lacy, Valery Ponomarev, Eddie Allen, and Camille Gainer Jones to name a few. His most recent recording Pictures at an African Exhibition has received favorable reviews from the New York Times, Downbeat magazine, and was a top 10 jazz album on BandCamp the month it was released. Joining him on this recording project is his working band Sound Reformation, special guest Nasheet Waits on drums, a twelve piece wind ensemble, and London based visual artist, David Emmanuel Noel. Darryl continues to enjoy an active career performing nationally and internationally, as well as an active career as an educator.

25
Jan

Ben Wolfe Quartet

Ben Wolfe – bass
Joel Ross – vibes
Victor Gould – piano
Donald Edwards – drums

As Wynton Marsalis said, “Ben Wolfe swings with authority.” Including his recent Posi-­‐Tone Records release “The Whisperer”, bassist-­‐composer Ben Wolfe has released eight CDs comprised solely of his original music. Of the music on his MAXJAZZ debut “No Strangers Here” The New York Times says, “In this music Mingus and Miles Davis meet Bartok and Bernard Herrmann”. Chamber Music America awarded him the 2004 New Works: Creation and Presentation Program Grant, funded through the generosity of the Doris Duke Charitable Foundation. As a result of this award, Wolfe was able to compose his extended composition Contradiction: Music for Sextet. Wolfe also recently made his mark as a film composer, working with Matthew Modine on the film short, I Think I Thought. At the 2008 Tribeca Film Festival, The New York Sun reviewed his work on this film as, “a standout music score.” Born in Baltimore, Maryland and raised in Portland, Oregon, Wolfe has gained a large following from his performances with Wynton Marsalis, Harry Connick Jr., and Diana Krall. Early on in his career, he formed a Duo with Harry Connick Jr. and went on to record over a dozen albums and soundtracks. During his years with Connick, he performed on numerous world tours as musical director. He then joined the Wynton Marsalis Septet and remained until it disbanded. Wolfe also became an integral part of Diana Krall’s touring band and played on many of her recordings, including the Grammy Award winning CD, “When I Look In Your Eyes.”

When a member of The Jazz at Lincoln Center Orchestra (JLCO), Wolfe performed with Joe Henderson, Doc Cheatham, Jon Hendricks, Harry “Sweets” Edison, and Billy Higgins, among others. Other artists he has also recorded with include Branford Marsalis, Orrin Evans, James Moody, Eric Reed, and Benny Green. In addition to the CDs mentioned, Ben’s other recordings as a leader include “13 Sketches” (1996) and “Bagdad Theater” (1997), both released on Mons Records; “Murray’s Cadillac” (2000) on Amosaya Music; “My Kinda Beautiful” (2004) on Planet Arts Records; “Ben Wolfe Quintet: Live at Smalls” (2011); and “From Here I See” (2013) Maxjazz.

Ben is currently on the teaching faculty at The Julliard School: Jazz Division.

26
Jan

Phred & Friends

Jazz vocalist Phred Mileski has been described as “amazingly talented” and “one of New England’s finest song stylists.” Her astonishing range and engaging stage presence have earned her friends all over the world. A busy and versatile freelance singer and multi-instrumentalist, she is also in demand as an arranger for performances and recording projects in a wide variety of genres.

She regularly sings with jazz ensembles of all shapes and sizes, including her own group, Phred&Friends, whose style runs the gamut from classy cocktail standards to full-on swing and soul. Performing with her at The Side Door are three of the area’s finest musicians: Fred Fagan (bass), Bil Groth (piano), and John Moore (drums).

VisitingTheSideDoor

LOCATED AT

OLD LYME INN
85 Lyme Street
Old Lyme, Connecticut 06371

Tickets

advance tickets
available online
or by calling
(860) 434-2600
general admission only,
no standing room

At The Show

Doors at 7:30pm for cocktails and seating
Shows begin at 8:30pm
unless otherwise advertised

::
Pre-show dinner reservations available at
The Old Lyme Inn
(food is not served at the club, full bar service available)

::
No unauthorized audio or video recording is permitted during performance. This includes cell phones. Photos restricted to first set per artist request.

Enjoy overnight discounts with your tickets


VOTED BEST LIVE JAZZ BY CT MAGAZINE 2014 AND 2015! Come check out why.....


PastEvents

Ricky Ford

TS Monk Sextet

Donald Vega Trio

Ravi Coltrane Quartet

Big Chief Donald Harrison

Bucky Pizarelli | Russell Malone | Ed Laub

The Cookers

Ken Kitchings | SideDoor Jazz

NEWS&MEDIA

FACEBOOK /THESIDEDOORJAZZCLUB

jazz is family... ... See MoreSee Less

Here's a jazz-filled moment from #MisterRogersNeighborhood when Ellis Marsalis and his sons Branford Marsalis, Delfeayo Marsalis, and Jason Marsalis interpreted Fred Rogers' original composition, "Sometimes Isn't Always."

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The SideDoor Jazz Club shared an event. ... See MoreSee Less

Vadim Neselovskyi Trio

May 19, 2017, 8:30pm - May 19, 2017, 11:00pm

Vadim Neselovskyi — piano, voice, melodica, compositions Ronen Itzik — drums, percussion Dan Loomis — bass "I don’t think I have ever met an improviser who has more surprises in store…a true Genius." Gary Burton "I truly believe that he is one of the greatest pianist/composers out there right now.” Fred Hersch “We all look forward to hearing much more from him, as he ventures further down the singular road he has found.” Steve Swallow Vadim Neselovskyi is a Ukrainian pianist and composer based in New York City. He joined 6-Time Grammy-Winner Gary Burton’s Generations Quintet of future all-stars including Julian Lage, Luques Curtis and James Williams in 2004 and has been working as Gary Burton’s pianist and arranger for more than a decade, touring US, Europe and Japan. Vadim grew up in Odessa, Ukraine, where he was the youngest student (fifteen years old) to be accepted into Odessa Conservatory, and then moved to Dortmund, Germany when he was 17 years old. Shortly after arriving in Germany, Neselovskyi established himself on the local jazz scene, taking part in the Dusseldorf Jazz Rally and Leipzig Jazz Days. After a few years he moved to the USA to further his studies at Berklee College of Music, where he was asked to play and compose for a Berklee’s promotional recording produced by Pat Metheny, which also featured Esperanza Spalding and Christian Scott. Next education stage took place at the Thelonious Monk Institute where he was awarded a Full Scholarship as the pianist of an ensemble handpicked by Herbie Hancock, Wayne Shorter and Terence Blanchard. During this time, he toured internationally with Herbie Hancock, Chaka Khan, Dee Dee Bridgewater and Terri Lyne Carrington and shared the stage with artists such as John Scofield, Terence Blanchard, Kurt Rosenwinkel, Benny Golson, Nicholas Payton and Steve Coleman. His solo piano CD Music for September (Sunnyside Records, 2013) was produced by Fred Hersch and received 4-star review in Downbeat. In 2010 German Neue Musik Zeitung (NMZ) included him into “Best Musicians of 2010” list. His compositions have been covered by jazz stars such as Randy Brecker,[19] Antonio Sanchez, Scott Colley, Julian Lage,[ Gary Burton and also by Symphony Orchestras in the US (Spokane Symphony[ and Lancaster Symphony, and Europe (Neue Philharmonie Westfalen and INSO Lviv Sympony[).

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YOUTUBE /THESIDEDOOR

InTheNews

Articles /THESIDEDOOR

"A Beacon of Live Music!..."
Feb 27, 2015 | see full article
NY Times - "Its the Perfect Room....."
Nov 16, 2014 | see full article
CT Magazine - The Side Door Thrives!
May 7, 2014 | see full article
The Day - "A Lovely Spot To Listen"
November 14, 2013 | see full article
The SideDoor Announces Its Fall Line Up!
September 26, 2013 | see full article
Wine, dine, spend the night, and all that jazz!
September 17, 2013 | see full article
Old Lyme Inn opens the SideDoor
MAY 9, 2013 | see full article
Old Lyme Inn jazzed about new venue
MAY 6, 2013 | see full article
All About Jazz - Old Lyme Inn Goes Live At The Side Door Jazz Club
June 21, 2013 | see full article
Wallace Roney, Two Explosive Nights At The Side Door Jazz Club
July 21, 2013 | see full article
The SideDoor Opens to a Standing Ovation in Old Lyme
May 13 2013 | see full article
"A Great Jazz Weekend In Old Lyme CT!"
Jan 30, 2016 | see full article
"A Great Weekend Of Jazz In Old Lyme CT!"
Jan 31, 2016 | see full article

Partners

WPKN 85.9FM The Real Alternative

NEWPORT JAZZ FESTIVAL

Founded in 1954, the Newport Jazz Festival® was the first annual jazz festival in America. It has been host to numerous legendary performances by some of the world’s leading established and emerging artists.
VISIT NEWPORT JAZZ FESTIVAL

Garde Arts Center

Performing arts theater presenting Broadway shows, opera, film and other events. New London, Connecticut.
VISIT THE OASIS ROOM

JAZZREACH

Established in 1994, JazzReach is a nationally recognized New York City-based not-for-profit organization dedicated to the promotion, performance, creation and teaching of jazz music.

VISIT JAZZREACH

The Artists Collective

The Artists Collective is a cultural institution serving the Greater Hartford region, providing year-round professional training in dance, music, drama, visual and martial arts emphasizing the arts and culture of the African Diaspora.

VISIT ARTISTS COLLECTIVE

The Hartt School of Music

The Hartt School is the comprehensive performing arts conservatory of the University of Hartford. Hartt offers innovative degree programs in music, dance, and theatre.

VISIT THE HARTT SCHOOL OF MUSIC

Newport Festivals Foundation

To continue the Newport Jazz Festival® as it has been since 1954 in the presentation of the greatest jazz performers who follow the traditions of New Orleans, swing, bebop and modal as the core and heart of jazz music.

Visit http://www.newportfestivalsfoundation.org

 

Innovators of the finest musical instrument and mic stands for 35 years, The Music People! Inc. has been one of the nation’s leading suppliers of microphones and pro audio equipment.

OurStory

The SideDoor is quite literally a dream come true!

The Sidedoor jazz club is the realisation of a long cherished dream. Ken Kitchings has always been a true fan of jazz music and brought many great artists to The Garde Theatre in New London, CT during his time there.

In 2011 Ken and his wife Chris bought the beautiful, but sadly neglected, Old Lyme Inn and put their hearts and souls into bringing its former glory to life. Once the inn became an established part of the community, Ken set his sights on an unused “side door” space attached to the inn, visualizing the perfect jazz venue: Intimate, welcoming, elegant and a quality, great sounding room that the very best jazz artists would be happy to play in!

On May 10th, 2013 its door and stage was opened by none other than the venerable George Wein and his Newport All Star band, cutting the ribbon and giving his blessing to an awestruck Ken Kitchings! An incredible gala night opening to be remembered – setting the standard and placing The Sidedoor firmly on the jazz venue map!

PHOTO: DOLORES MAURISU, KEN KITCHINGS

KindWords

  • “Thank you for treating us so well. I’m happy that The Side Door brings quality, art and celebration to the community, thank you for inviting me to be a part of the magic! Sending love and wishing you health and joy, thank you. Benny”

    ~ Benny Green 4/18/14
  • “This is the real deal! You’re right in the cross hairs of the NY and Boston music scene… This is every bit as great as playing the Vanguard!”

    ~ Kenny Werner
  • This is the best thing to happen to the Connecticut shoreline since the Baldwin Bridge!

    ~ Robin Whitney, Side Door VIP
  • Intimate room, good bar service and superb jazz band! A great place to go after dinner on the weekend in Old Lyme or Essex near the CT shore.

    ~ TripAdvisor User: Glenn C
  • very excited to see this has opened – just what we need in this area!!

    ~ Facebook User: Carrie Leber
  • As shepherded by Ken Kitchings – who owns the Old Lyme Inn with his wife, Christine, and is a booking force at the Garde Arts Center – the SideDoor will be an intimate venue dedicated to showcasing the finest touring jazz musicians as they negotiate the I-95 corridor.

    ~ RICK KOSTER, The Day

UpcomingEVents

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860-434-2600