UpcomingEvents

19
Oct

Lee Konitz Quartet (friday)

Lee Konitz, alto sax
Frank Kimbrough, piano
Jeremy Stratton, bass
George Schuller, drums

Alto Saxophonist Lee Konitz has enjoyed one of the most creative and prolific careers in modern jazz. Spending much of his early career with the orchestras of Claude Thornhill and Stan Kenton, the innovative small groups of pianist Lennie Tristano, and the Miles Davis Nonet (“Birth of the Cool”), Konitz became the consummate freelancer and has remained on the cutting edge of post-bop improvisation ever since.

While occasionally leading a nonet along with various quartets and trios over the past 60+ years, his exceptionally vast and varied discography also includes an early unaccompanied saxophone solo album, several innovative albums of duets that span several jazz styles, and other collaborations which reads like a “who’s who” of the Jazz world. Lee Konitz is the only still active musician to have played all three past and present Birdland clubs in New York City.

Like Gil Evans or Coleman Hawkins, Lee has always been open to playing with younger musicians and participating in exciting new musical projects (such as the Lee Konitz “New” Nonet or the Lee Konitz-Ohad Talmor String Project). A recent book about Lee Konitz (by Andy Hamilton) was published in 2007, and he also received the coveted NEA Jazz Masters Award back in 2009. Lee was voted “Alto Saxophonist of the Year” by Downbeat Magazine Critics Poll in 2010 and numerous times before that. In July 2013, he was awarded the “German Jazz Prize” for his life in music.

To this day, Konitz and his side mates continue to explore the old standards of his day, often heightened by his own unique melodic sense of line and structure. Whether performing in a duo setting with pianists Dan Tepfer or Florian Weber or fronting his long-standing quartet (with bassist Jeremy Stratton and drummer George Schuller added), Konitz is always keeping one foot in the tradition while the other leans heavily towards the vast unknown.

20
Oct

Lee Konitz Quartet (saturday)

Lee Konitz, alto sax
Frank Kimbrough, piano
Jeremy Stratton, bass
George Schuller, drums

Alto Saxophonist Lee Konitz has enjoyed one of the most creative and prolific careers in modern jazz. Spending much of his early career with the orchestras of Claude Thornhill and Stan Kenton, the innovative small groups of pianist Lennie Tristano, and the Miles Davis Nonet (“Birth of the Cool”), Konitz became the consummate freelancer and has remained on the cutting edge of post-bop improvisation ever since.

While occasionally leading a nonet along with various quartets and trios over the past 60+ years, his exceptionally vast and varied discography also includes an early unaccompanied saxophone solo album, several innovative albums of duets that span several jazz styles, and other collaborations which reads like a “who’s who” of the Jazz world. Lee Konitz is the only still active musician to have played all three past and present Birdland clubs in New York City.

Like Gil Evans or Coleman Hawkins, Lee has always been open to playing with younger musicians and participating in exciting new musical projects (such as the Lee Konitz “New” Nonet or the Lee Konitz-Ohad Talmor String Project). A recent book about Lee Konitz (by Andy Hamilton) was published in 2007, and he also received the coveted NEA Jazz Masters Award back in 2009. Lee was voted “Alto Saxophonist of the Year” by Downbeat Magazine Critics Poll in 2010 and numerous times before that. In July 2013, he was awarded the “German Jazz Prize” for his life in music.

To this day, Konitz and his side mates continue to explore the old standards of his day, often heightened by his own unique melodic sense of line and structure. Whether performing in a duo setting with pianists Dan Tepfer or Florian Weber or fronting his long-standing quartet (with bassist Jeremy Stratton and drummer George Schuller added), Konitz is always keeping one foot in the tradition while the other leans heavily towards the vast unknown.

26
Oct

Eric Alexander Quartet (friday)

Eric Alexander – sax
Joe Farnsworth – drums
Isaiah Thompson – piano
Ari Roland – bass

Eric Alexander started piano lessons at the age of six. He took up the clarinet at nine and switched to alto sax three years later. The tenor sax became his obsession at Indiana University Bloomington (1986-87). After transferring to William Paterson College in New Jersey he studied with Harold Mabern, Joe Lovano, Rufus Reid, and others.

“The people I listened to in college are still the cats who are influencing me today,” Eric says. “The legacy left by Bird and all the bebop pioneers, that language and that feel—that’s the bread and butter of everything I do.” George Coleman is a big influence because of his very hip harmonic approach. And I’m still listening all the time to Coltrane because I feel that—even in the wildest moments of his mid- to late-60s solos—I can find these little kernels of melodic information and employ them in my own playing.”

In 1991 Eric competed against Joshua Redman and Chris Potter in the Thelonious Monk International Jazz Saxophone Competition. Placing second, this launched him into the whirlwind life of a professional jazz musician. He played with organ trios on Chicago’s South Side, made his recording debut with Charles Earland (Muse Records, 1991), and cut his first album as a leader, “Straight Up” (Delmark, 1991). More recordings followed for numerous labels, including Milestone. In 1997 he put out “Man with a Horn.” The following year saw the release of “Solid!”—a collaborative quartet session with George Mraz, John Hicks, and Idris Muhammad—as well as the first recording by his sextet One for All.

Eric has appeared on record as a leader, sideman, producer, and composer. By now, he has lost count of how many albums feature his playing; he guesses 60 or 70. He has earned praise from critics and, even more important, established his own voice within the bebop tradition.

In 2004, Eric signed an exclusive contract with HighNote Records, an independent jazz label based in New York City. There he has amassed a considerable discography of critically acclaimed recordings. Most recent among them is “Don’t Follow the Crowd,” and “Friendly Fire” with Vincent Herring.

Eric continues to tour the world and play to capacity audiences. Making his home in New York City, he performs regularly in clubs around the city and appears frequently at Smoke on the Upper West Side.

The Eric Alexander Quartet features the legendary pianist Harold Mabern, drummer Joe Farnsworth, and bassists John Webber and Nat Reeves. The quartet has toured extensively around the world and has released seven recordings on the Milestone and Alfa (Japan) labels.

Eric’s sextet One for All also includes Joe Farnsworth along with pianist David Hazeltine, trombonist Steve Davis, trumpeter Jim Rotondi, and bassist John Webber. One for All has recorded ten albums for various labels including Sharp 9, Criss Cross, and Venus (Japan).

Additionally, Eric plays frequently with Pat Martino and McCoy Tyner and is a member of Chasing the Trane, an all-star group made up of Bobby Watson, Curtis Fuller, Cedar Walton, Jimmy Cobb and Ray Drummond.

27
Oct

Eric Alexander Quartet (saturday)

Eric Alexander – sax
Joe Farnsworth – drums
Isaiah Thompson – piano
Ari Roland – bass

Eric Alexander started piano lessons at the age of six. He took up the clarinet at nine and switched to alto sax three years later. The tenor sax became his obsession at Indiana University Bloomington (1986-87). After transferring to William Paterson College in New Jersey he studied with Harold Mabern, Joe Lovano, Rufus Reid, and others.

“The people I listened to in college are still the cats who are influencing me today,” Eric says. “The legacy left by Bird and all the bebop pioneers, that language and that feel—that’s the bread and butter of everything I do.” George Coleman is a big influence because of his very hip harmonic approach. And I’m still listening all the time to Coltrane because I feel that—even in the wildest moments of his mid- to late-60s solos—I can find these little kernels of melodic information and employ them in my own playing.”

In 1991 Eric competed against Joshua Redman and Chris Potter in the Thelonious Monk International Jazz Saxophone Competition. Placing second, this launched him into the whirlwind life of a professional jazz musician. He played with organ trios on Chicago’s South Side, made his recording debut with Charles Earland (Muse Records, 1991), and cut his first album as a leader, “Straight Up” (Delmark, 1991). More recordings followed for numerous labels, including Milestone. In 1997 he put out “Man with a Horn.” The following year saw the release of “Solid!”—a collaborative quartet session with George Mraz, John Hicks, and Idris Muhammad—as well as the first recording by his sextet One for All.

Eric has appeared on record as a leader, sideman, producer, and composer. By now, he has lost count of how many albums feature his playing; he guesses 60 or 70. He has earned praise from critics and, even more important, established his own voice within the bebop tradition.

In 2004, Eric signed an exclusive contract with HighNote Records, an independent jazz label based in New York City. There he has amassed a considerable discography of critically acclaimed recordings. Most recent among them is “Don’t Follow the Crowd,” and “Friendly Fire” with Vincent Herring.

Eric continues to tour the world and play to capacity audiences. Making his home in New York City, he performs regularly in clubs around the city and appears frequently at Smoke on the Upper West Side.

The Eric Alexander Quartet features the legendary pianist Harold Mabern, drummer Joe Farnsworth, and bassists John Webber and Nat Reeves. The quartet has toured extensively around the world and has released seven recordings on the Milestone and Alfa (Japan) labels.

Eric’s sextet One for All also includes Joe Farnsworth along with pianist David Hazeltine, trombonist Steve Davis, trumpeter Jim Rotondi, and bassist John Webber. One for All has recorded ten albums for various labels including Sharp 9, Criss Cross, and Venus (Japan).

Additionally, Eric plays frequently with Pat Martino and McCoy Tyner and is a member of Chasing the Trane, an all-star group made up of Bobby Watson, Curtis Fuller, Cedar Walton, Jimmy Cobb and Ray Drummond.

02
Nov

Alexander Claffy Quartet

Alexander Claffy – Bass
Kurt Rosenwinkel – Guitar
David Kikoski – Piano
Adam Arruda – Drums

From birth, Alexander Claffy was raised in a musical household (his father is a pianist, his mother, a vocalist), and had many of his earliest lessons on bandstands in the heart of Philadelphia. As a teenager, Claffy was fortunate enough to find a mentor in many Philly natives, and has continued his study of the double bass with some of the world’s finest musicians, including Ron Carter, Dwayne Burno and Orin O’Brien. Since moving to New York City in 2011, he has had the honor of working with many of his living heroes, including Jimmy Cobb, Louis Hayes, Harold Mabern, Kurt Rosenwinkel, Christian Scott, Joey Alexander, Wallace Roney and many more. In the past 3 years he has recorded for the Verve, HighNote, Positone, RopeADope and LaReserve record labels.

03
Nov

Sanah Kadoura Quintet

Electrifying Lebanese-Canadian drummer, Sanah Kadoura has received a Diploma, Bachelors Degree and a Masters Degree in Jazz performance. Sanah has performed and toured the world with masters of the music as well as young up and comers. Sanah has shared the stage with the legendary Kirk Lighstey (Dexter Gordon, Sonny Stitt, Chet Baker), Philip Harper (Art Blakey), Ed Cherry (Dizzy Gillespie), Mark Whitfield (Herbie Hancock), Joe Locke, Pat Bianchi, Tivon Pennicott, Roy Hargrove, Sullivan Fortner, among many others.

In January of 2017, Sanah Kadoura sustained a Traumatic Brain Injury, which forced her to learn how to walk, talk and breathe again. HAWK EYES tells this story. A journey through fear, but also a journey through healing, love, strength and gratitude.

09
Nov

Javon Jackson Quartet – Release Celebration

Javon Jackson – Tenor Saxophone
David Williams – Bass
Jeremy Manasia – Piano
McClenty Hunter – Drums

Tenor Saxophonist Javon Jackson came into international prominence touring and recording with the legendary drummer Art Blakey as a member of his band, Art Blakey and the Jazz Messengers. Symbolizing a new generation of musicians that blended tradition with neo-jazz, Jackson went on to release 16 recordings as a band leader and tour and record over 135 CDs with jazz greats including Elvin Jones, Freddie Hubbard, Charlie Haden, Betty Carter, Cedar Walton, Ron Carter, Donald Byrd, Dr. Lonnie Smith, Richard Davis, Bobby Hutcherson, Curtis Fuller, JoAnne Brackeen, Stanley Turrentine, and Ben E. King.

In 1992 Jackson made his recording debut with Me and Mr. Jones, featuring James Williams, Christian McBride and master drummer and NEA Jazz Master Elvin Jones. Jackson also recorded six projects for Blue Note Records featuring collaborations with Betty Carter, Dianne Reeves, Cassandra Wilson, Kenny Garrett, Jacky Terrason, John Medeski and Vernon Reid. Among his later recordings for Palmetto Records, Javon explored funk-based jazz, incorporating the sounds of Fred Wesley, Dr. Lonnie Smith, Lenny White, Mark Whitfield and others. Javon’s current musical group, The Javon Jackson Band, blends many styles including jazz, funk, R&B and rock.

In 2012, Jackson released two self-produced recordings, Lucky 13 and Javon Jackson and WE FOUR, Celebrating John Coltrane. These CDs marked his return to acoustic jazz. For Lucky 13, Javon covers music by Stevie Wonder as well as newly composed original material and is joined by a special guest, Les McCann, for three selections. Javon Jackson and WE FOUR, Celebrating John Coltrane, is a tribute to the iconic saxophonist, composer and bandleader. The release is highlighted by an appearance by NEA Jazz Master Jimmy Cobb, drummer for both Coltrane and Miles Davis.

In live performances, The Javon Jackson Band is occasionally joined by special guest Les McCann, the iconic soul jazz pianist, vocalist and composer. Known as one of the godfathers of soul jazz, Les is recognized as a founding force for the genre known as funky jazz established in the mid 1960’s.

In 2010, Javon was commissioned by the Syracuse International Film Festival to compose a full-length score for the Alfred Hitchcock film, The Lodger, a silent movie based on the hunt for Jack the Ripper. The original score had its debut at the festival, performed live by Jackson at the film’s screening on October 2010.

In 2012, Javon was the recipient of the prestigious Benny Golson Award from Howard University in Washington, DC, for recognition of legendary excellence in jazz.

In addition to his performance schedule, Javon Jackson is a highly sought after jazz educator, conducting clinics and lectures at universities throughout the United States and abroad. He served as Assistant Professor of Jazz at Long Island University (NY)1996-1998, and in the Conservatory of Music at Purchase College (NY) 1999-2007. In 2013, Javon accepted the position of Director of the Jackie McLean Institute at the University of Hartford.

Also, Javon currently serves as a Chair of Jazz for the National YoungArts Foundation. He is also a member of JEN (Jazz Education Network) and lends support as JENerations Jazz Festival Artist and Clinician Coordinator. Jackson has a Bachelor in Music from the Berklee College of Music (Boston, MA) and a Master of Music from State University of New York College at Purchase.

10
Nov

Joey Calderazzo Trio

Joey Calderazzo – piano
Ben Wolfe – bass
Donald Edwards – drums

Finding opportunities for growth and development are important aspects in the process of evolving as a creative musician. Discovering and tackling new challenges helps to keep music-making a fresh and exciting occupation for many, including pianist Joey Calderazzo, who found his latest challenge in the form of the piano trio.

Since the beginning of his illustrious career, Calderazzo has mainly played in quartets led by remarkable saxophonists, namely Michael Brecker and Branford Marsalis. As a musician and composer, the pianist had become comfortable in this format, developing an intensity in his playing and predilections in his composing that those ensemble’s sizes demanded.

Calderazzo saw the establishment of his trio as a means to strengthen his craft by working on material and musical concepts that he would not ordinarily work on. He’s approaching things with a fresh and hard-won perspective, one informed by the peace of his North Carolina home for the past decade, years spent gigging and recording around the world, an unquenchable desire to just get better, and a keen awareness of what sort of project will get him there.

In light of the progress he has made in the trio format, Calderazzo views his new recording, Going Home (Sunnyside) as a snapshot of a work in progress, an experiment that continues to progress and wield an abundance of intriguing results. The recording provided an opportunity for Calderazzo to step away from his natural inclinations and approach the music in a new exciting way. He no longer felt the need to prove anything at the piano. He describes shedding both competitiveness with his contemporaries and a proclivity to sound like his idols. He simply doesn’t want to get in his own way — and the musical results are outstanding.

While a number of musicians have been featured in his trio, Calderazzo employed two musicians this time around whose contrasting strengths pushed the ensemble into fascinating new areas. Bassist Orlando Le Fleming was the instigator, continually challenging the group with his harmonic drive. Drummer Adam Cruz was a perfect foil as his controlled intensity and beautiful tone helped to refine the group’s musicality.

The music generated by the ensemble showed the musicians’ desire to balance freedom and responsibility. To stimulate this, Calderazzo intentionally wrote pieces and arranged two standards without too much structure, which created a focus on improvisation and group interplay, features that do not ordinarily stand out in studio recordings. The originals were generally sketches, moods or vibes, which provided a starting point for the ensemble’s explorations.

The program begins with “Manifold,” a ruminative piece based on twelve-tone composing techniques, utilized most notably in the bass notes being a part of the tone row, thus creating an ambiguous harmony allowing melodic freedom for the right hand. The distinctive Branford Marsalis is featured on “I Never Knew,” a ballad Calderazzo had begun for Marsalis’ soprano but was played on tenor, making it the first time Marsalis had played tenor on one of Calderazzo’s ballads. “Why Me?” is an exploratory, re-harmonized take on the Marks and Simons classic “All of Me,” which is built on a 6/8 over 4/4 pulse allowing Calderazzo to bounce freely over the time.

Perkins and Parish’s “Stars Fell on Alabama” is performed by the trio here for the first time, with Calderazzo focusing on playing melancholy melodic lines through the harmony, rather than focusing on every change of chord. One of Calderazzo’s older pieces, “Legend,” is performed open allowing the amount of information the tune provides to spur on an intriguing, in-the-moment performance. Originally presented on his duo recording with Marsalis from 2011, the spirited “One Way” is revisited here with an offbeat, New Orleans-oriented rhythmic swagger.

Having played it regularly in the past four years, Calderazzo reinvestigates one of his favorite standards, Young and Washington’s “My Foolish Heart,” in a somber, introspective mood. Written for his former bandleader, “Mike’s Song” is a piece that Michael Brecker would have destroyed and the trio’s performance does its best to live up to the saxophone legend’s tremendous musical spirit. “Going Home” closes the recording with an incredibly heartfelt and honest piece written in memory of someone who passed away too soon.

The fact that Joey Calderazzo views his recent performances and recordings with a trio as an experiment should highlight the fact that he wants to continue to hone his craft and progress as a musician. Going Home is a tremendous document of his musical process and a milestone of his progress, synthesizing his decades of creativity into something new, sublime, and supremely centered as a composer, improviser and bandleader.

16
Nov

Melissa Aldana Quartet

Melissa Aldana – saxophone
Sam Harris – piano
Pablo Menares – bass
Tommy Crane – drums

“…cultured, emotionally weighted, purposeful.” — Boston Globe
“.. one of the more exciting young tenor saxophonists today” — New York Times
“… savvy subversions to jazz’s modern mainstream”— JazzTimes Magazine

Aldana was born in Santiago, Chile. She began playing the saxophone when she was six, under the influence and tuition of her father Marcos Aldana, also a professional saxophonist. Aldana began with alto, influenced by artists such as Charlie Parker, Cannonball Adderley and Michael Brecker. However, upon first hearing the music of Sonny Rollins, she switched to tenor; the first tenor saxophone she used was a Selmer Mark VI that had belonged to her grandfather.

She started performing in Santiago jazz clubs in her early teens. In 2005, after meeting him while he was on tour in Chile, she was invited by pianist Danilo Pérez to play at the Panama Jazz Festival, as well as a number of auditions at music schools in the USA. As a result of these introductions she went on to attend the Berklee College of Music in Boston, where her tutors included Joe Lovano, George Garzone, Frank Tiberi, Greg Osby, Hal Crook, Bill Pierce, and Ralph Peterson

Aldana graduated from Berklee in 2009, relocating to New York City to study under George Coleman. She recorded her first album, Free Fall, released on Greg Osby’s Inner Circle Music imprint in 2010. Her live shows in this period included performances at the Blue Note Jazz Club and the Monterey Jazz Festival, and her second album, Second Cycle, was released in 2012. In 2013, aged 24, she was the first female musician and the first South American musician to win the Thelonious Monk International Jazz Saxophone Competition, in which her father had been a semi-finalist in 1991. The prize was a $25,000 scholarship, and a recording contract with Concord Jazz. Reporting her win, the Washington Post described Aldana as representing “a new sense of possibility and direction in jazz”.

17
Nov

Benny Green Trio

Benny Green – piano
Kenny Washington – drums
David Wong – bass

Throughout his career as one of the world’s premier living Jazz musicians, legendary bebopper Benny Green has established himself as a powerhouse pianist and bandleader, boasting concert appearances and recording credits with giants of the industry over the past 35 years. But prior to his forthcoming record Then And Now (his 20th album as leader), Green has never featured either vocals or flute on any of his albums. Painting with rich aural colors and textures, Green boldly steps into new musical space for Then And Now, featuring both vocal sensation Veronica Swift and flautist Anne Drummond.

Jazz sensibility comes naturally to Green, the NYC-born son of a jazz saxophonist and a Berkeley, California native. At a young age Green’s ear became fine-tuned to the art form, and he soon found himself invited to perform alongside Jazz icons like Betty Carter, Freddie Hubbard and Ray Brown. Art Blakey found Green’s swinging musicality to be the right ingredient and invited Green to join the ranks of his elite Jazz Messengers – this relationship would prove deeply influential to Green, who has since dedicated his career to straight-ahead hard bop.

Although featured in a wide variety of performance arenas, Green is in his element and shines as the leader of the Benny Green Trio. With drumming master Kenny Washington and revered bassist David Wong completing the piano trio, Green commands the stage, delighting international audiences in his 38th year as a bandleader. It was only natural that this trio would become the springboard for Green’s recent new musical adventures.

A recording session led by prodigy vocalist Veronica Swift made such an impact on Green that he expanded his own generally instrumental traditions and began collaborating with both Swift and his trio. Green’s authoritative skill at the keyboard and hard-swinging ensemble were the perfect sonic landscape for Swift’s masterful musicianship and organic approach to scat singing, with Swift proving her voice was the perfect soloing instrument to complement Green’s stylistic swing.

Swift, like Green, grew up in a musical family – her father a world-renowned bebop jazz pianist Hod O’Brien, along with her mother, vocalist Stephanie Nakasian, had made Swift’s young life rich with Jazz tradition. Swift and Green were a well-matched pair, each dedicated to bebop and swinging Jazz styles. When Swift began performing together with the Benny Green Trio, they discovered a dynamic element of interactive group synergy and interplay. They regularly perform together still, celebrating the musical vision they share.

With Then And Now, Green explores yet more new ideas and soundscapes, delving into the rich sounds of a Rhodes electric piano on a few tracks. The vintage Rhodes, with Green at the helm, becomes a new and darker sonic foundation for Swift’s voice. Flautist extraordinaire Anne Drummond joins Green on the new record as well, after having previously performed some of Green’s own original music on her recording Revolving.

Green’s compositions for Then And Now exemplify the album’s title: this record is musically distinct from any of his previous records. Longtime fans of Green’s will immediately recognize his unparalleled mastery and swing, but will also hear him stretching out comfortably in these new colors. The juxtaposition of Green’s familiar trio format and the new voices and textures on Then And Now create a heartfelt program, anchored in the swinging tradition that’s always been so central to Green’s heart. The new album is definitively, authentically Benny Green – but it conveys a side of Benny Green you haven’t heard before.

Then And Now begins with Green’s salute to revered soul singer, pianist, composer Donny Hathaway which quotes both the singer’s “Valdez in The Country” and his duet with Roberta Flack, “The Closer I Get to You; Green’s “Donny Hath A Way” is a hard-grooving tune featuring flute, percussion and Green on Rhodes.

Swift joins Green on Dexter Gordon’s “For Regulars Only,” a childhood favorite of hers, and performs her own stunning vocal transcription of Freddie Hubbard and Dexter Gordon’s original trumpet and tenor saxophone parts. For Cedar Walton’s “Latin America,” Green explores the duality of the keyboard itself, playfully balancing the Rhodes and acoustic piano as two characters: the Latin character and the gringo character, respectively.

Swift’s touching lyrics about life lessons, set to Green’s “Naturally,” feature Swift exploring her own sonic comfort zone, with her voice eventually layered over itself in delicious triple texture. Driven by Washington and Wong, Green and the trio lay down a hard-hitting arrangement of Hank Jones’s “Minor Contention”, followed by a meditative dedication to California wildlife, Green’s calming “Enchanted Forest” as chamber trio of flute, piano and bass.

Washington plays a classic Art Blakey-style 4-bar introduction out front on Horace Silver’s “Split Kick,” for which Swift rejoins the trio, covering the original trumpet and alto saxophone parts as played by Clifford Brown and Lou Donaldson with her voice. Green pays tribute to Duke Pearson, one of his favorite composers, with “Say You’re Mine”, and along with Swift recalls his mentor Walter Davis, Jr. with “Humphrey”, first recorded by Green in 1991 on his album Testifyin’. Swift’s vocals follow the trio’s opening chorus on “Something I Dreamed Last Night,” harkening Anita O’Day’s classic ballad style.

But the crowning moments of the album are the “then” and the “now.” With “Hipsippy Blues” Green calls to mind his greatest musical influence, Art Blakey, and the time they’d spent playing together: a mindful musical glace back to “then.” Then Green turns to the “now”, celebrating the 25th anniversary of the release his own composition “Wiggin” (first recorded in 1993 on Green’s That’s Right. Green stands firmly in the present, surrounded by fascinating musical colors, textures, collaborators, and ideas.

With the release of Then and Now, listeners get a rare glimpse of Benny Green, a giant of Jazz in his own right, both then and now.

23
Nov

Katie Thiroux Trio

Katie Thiroux – bass/voice
Glenn Zaleski – piano
Matt Witek – drums

“The skyrocketing young star is an enchanting singer, a poised and polished acoustic bassist, and an accomplished composer.” – The Boston Globe

“Split brain virtuosity” – Downbeat

“This girl is IT!” – Quincy Jones

A multitasking talent who swings her bass with a Mack-truck-powered lilt that would make her hero Ray Brown proud, and who transforms her smallish voice into a thing of delight” (The New Yorker), Katie Thiroux has become a bold standard-bearer for the emerging generation of jazz singer/instrumentalists. Following her prodigious beginnings on bass at age 8 and studies under renowned vocalist Tierney Sutton at 12, Thiroux was mentored by the legendary bassist John Clayton and was awarded a Phil Ramone Presidential Scholarship to Berklee College of Music while gaining experience on the bandstand with artists including Terrell Safford, Terri Lyne Carrington, Branford Marsalis, Larry Fuller, Jeff Clayton, Patti Austin, Geri Allen, Helen Sung, Charles McPherson, and dozens of others.

She was a finalist in the 2015 Thelonious Monk International Vocals Competition, and her debut release as a bandleader from the same year, Introducing Katie Thiroux, received accolades from All About Jazz, the Huffington Post, the Jazz Journalists Association, and NPR Jazz, who listed the release among their Top 5 Debut Records of the Year. She was named “Rising Star” bassist in the 2018 DownBeat Critics Poll, is a traveling clinician for the Monterey Jazz Festival in the Schools program, and performed a three-month residency at Quincy Jones’ Dubai jazz club in 2017. Thiroux’s newest album with her quartet, Off Beat, was produced by eminent drummer Jeff Hamilton and made DownBeat’s list of Best Albums of 2017. For this date, Thiroux will be joined by her excellent working trio including drummer Matt Witek and pianist Glenn Zaelski.

24
Nov

Russell Malone Quartet

Russell Malone is one of the signature guitar players of his generation. The leader of ten albums since 1992, Malone is as well-known on the international circuit for helming a world-class quartet and trio as he is for his long-standing participation in Ron Carter’s Golden Striker Trio, and his recent consequential contribution to the musical production of the likes of Sonny Rollins and Dianne Reeves, who recruited Malone for his singular tone, refined listening skills, limitless chops, and efflorescent imagination. In all these circumstances, Malone addresses the tradition on its own terms, refracting the vocabularies and syntax of such heroes as Charlie Christian, Chet Atkins, George Van Eps, Johnny Smith, Wes Montgomery, Grant Green, Kenny Burrell, Pat Martino, and George Benson into an argot entirely his own. A master of all tempos, a relentless swinger, he spins his stories – in idioms ranging from the urban and downhome blues, country, gospel, various comers of the American Songbook, and hardcore jazz-with a soulful, instantly recognizable instrumental voice, and seasons them with sophisticated harmonies that are never “too hip for the room.”

“Obviously, we are in the capable hands of a master. Absolutely fluid touch and beautiful integration between moving lines and harmonic cadences. The sound of the instrument is well-balanced throughout the entire register. The relaxed quality of everything that ‘s being played gives it such a warm feeling. To play that stuff is extremely hard. This is an absolute master, the best of the best.“ –Kurt Rosenwinkel, responding to Russell Malone’s solo performance of “Remind Me” on Playground [MaxJazz, 2004], in a DownBeat Blindfold Test.

30
Nov

Rhythm Future Quartet

Rhythm Future Quartet breaks new ground for Gypsy jazz.” –The Boston Globe

“Jason Anick is a rising star in the world of jazz violin.” –Downbeat Magazine

Huffington Post calls Rhythm Future Quartet’s album Travels ‘One of the best Jazz albums of the year [2016].’ Read more…

The acoustic jazz ensemble, Rhythm Future Quartet has a straightforward agenda: to keep the spirit of Gypsy jazz alive and expanding in today’s musical universe. The virtuosic foursome, named for a Django Reinhardt tune, offers up a newly minted sound, influenced by the classic Hot Club of France, yet wholly contemporary. Led by violinist Jason Anick and guitarist Olli Soikkeli, the quartet performs dynamic and lyrical arrangements of both Gypsy jazz standards and original compositions that draw upon diverse international rhythms and musical idioms. With Max O’Rourke on second guitar and Greg Loughman on bass, Rhythm Future is dedicated to expanding the boundaries of a vital musical genre.

Where the band’s self-titled debut album re-visited classic jazz and Gypsy jazz favorites, Travels, the quartet’s current release, concentrates on group originals that make captivating use of musical sources from outside the conventional Gypsy jazz terrain. Travels reflects both the accumulated knowledge garnered from the groups world wide touring as well as the international influences that inspired new rhythmic and harmonic possibilities within their compositions and arrangements. Garnering critical acclaim, Travels was picked as one of the Best jazz albums of 2016 by All About Jazz and the Huffington Post.

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

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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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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

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