Live Music in NYC

Wed, Nov. 30th - Went to B Flat in Tribeca and heard Akiko Tsuruga on the organ.  Jordan Young was there on the drums and he was schooling me on different styles of drumming. I know what I like, but don't always know why. In the world of dirty and clean drummers, he's dirty, and I like it.
Heard Tony Hewitt sing at Zeb's Vocal Jazz Series. Love him. He said he might stop by An Beal Bocht again on Dec. 7th.

Friday, Nov. 25th - I went down to Smoke for the second set. My friend Eric Alexander killed it with that mournful, fervent, powerhouse, put-me-on-my-knees sound of his on Monk's "Ask Me Now."

Up Jumped Spring

Last Wednesday, Nov. 2nd, Mike DiRubbo was on sax, Joe Farnsworth on drums, and John Webber on bass at An Beal Bocht Cafe.  Joe just returned from literally circling the globe on tour with McCoy Tyner, and he brought us back a beautiful original piece...

They opened the second set with a swinging, soulful "I remember you."   John Webber played a solo that was utterly mesmerizing.  Tony Hewitt showed up and kicked it up with "Up Jumped Spring", click here to see it.  He then delivered a sensual "Body and Soul."  I stood in the back of the bar infused with energy from these extraordinary musicians.  They never cease to bring it -- their great love for the music and their ability to throw themselves headlong into the moment and see what's there.

Alive in the Bronx

A friend of mine came to the gig on Wednesday night and said she had to take off before it was over, get home, lots to do...  The second set ended, she was still sitting there, and she said to me, "I just didn't want to leave."  I said, "I know."  There's something about these guys, when they're playing, doing their thing, living it, up on stage, you can't walk away.

They opened the show with "Willow Weep for Me."  I haven't heard it in a while and I loved it.  Eric Alexander's sax, strident, unforgiving, pushed into the sadness, gave into it, ripped it out, told us how it is, and kept moving. They played a swinging, sultry "Misty," and a new piece Joe Farnsworth (on drums) wrote on his recent trip to Japan titled "Recover," a duet for himself and Eric -- restrained and reverent.

Rale Micic, Serbian jazz guitarist, showed up and sat in on "Sugar."  It was cookin'.  Click below.

  
Eric and John Webber (on bass) played "You Don't Know What Love Is," moving and lyrical.  They ended the night with "Parker's Mood," a big bluesy stunner.  Eric's colossal sound and major skill burned it up.  Click here.  It was some serious fun.

Last Night of Summer

Wednesday night Eric Alexander, Joe Farnsworth, and John Webber took the stage and opened their set with a driving piece they call "Bronx Jazz Session Blues," born out of the last year and a half of doing gigs up here in our neighborhood. This was our second gig at An Beal Bocht Cafe and we are so pleased to be there. The acoustics are brilliant.

On "They Say Falling in Love is Wonderful" Eric's sax started with that big, rich sound of his and then he artfully threaded himself through the song -- sweet and seductive. Joe gave us one of his eclectic, precise, dazzling solos on "The Song is You." (See the video below.) John played a solo piece, filling the room with his voice, vibrations, tones, moans, murmurs, and hums -- an entire band in his hands.

I loved their rendition of Bluebird, with penetrating, irresistible swing. Click here to hear it.  These guys are dedicated, masterful, and love to play.  Their individual decades of experience, along with their intimate knowledge of each other's musicianship, makes this trio incredibly tight, but also free to move to unexpected heights.

They closed the night with a ripping "A Night in Tunisia." The guys will be back at An Beal Bocht Cafe on Wednesday, Oct. 5th.

Join me Wednesday, September 7, for a night of live jazz at An Beal Bocht Cafe.
Featuring:
Eric Alexander on sax
Joe Farnsworth on drums

John Webber on bass

Joe Farnsworth and John Webber spent early August at the Orsara Musica Jazz Festival in Italy.

Click here to hear one of Joe’s killer solos.

Eric will be playing on Wednesday, September 7th, at An Beal Bocht Cafe. For reservations email LindasJazzNights@gmail.com.

“If jazz today has a brand, then saxophonist Eric Alexander is its standards bearer.”

All About Jazz, 2011, for more about Eric’s new album click here:

An Beal Bocht Cafe

Last night was my first gig as producer of Linda's Jazz Nights with Eric Alexander on sax, Joe Farnsworth on drums, and John Webber on bass. The guys were on fire playing to an enthusiastic, ripe, sold out crowd at An Beal Bocht Cafe.

The best art gets inside you and changes you, gives you a new way to experience your own life. That's what happened to me when I first heard these guys which is why I'm doing this and it happened again last night.

They opened up with a bluesey, swinging original tune. Then Steve Davis, who stopped by for the first set, lead a melancholy, beautiful "The Nearness of You." His trombone is smooth and subtle, and then the depth of it catches up with you.

Joe Farnsworth's solo on on the next tune was explosive and hypnotic. He has tremendous presence as a musician. He is enticing and commanding while simultaneously leading you into a song and taking care of his audience. His distinctive, wide-ranging, nuanced voice comes through on those drums creating a whole world suspending me in the moment.

They opened the second set with a screaming version of "Night in Tunisia." Eric's playing was right on the edge, huge, insistent, and undeniably passionate. Joe hit it with his ravenous appetite and then all three of them dug into the music and took off flying.

Eric moved into "The Man With The Horn," graceful, lilting, click here to listen.

John Webber played a solo that was stunning in it's complexity. Jazz moves in oblique and unexpected patterns beyond my conscious control. It dives past all my logical reasoning and I have no choice but to let it happen. When I watch John play I feel his composure and pure concentration while his fingers race across the strings responding to the impulses of that particular time and place. He embodies the contradiction of control and risk, and it is endlessly fascinating to experience.

The guys killed it at the end of the night with a bluesy, sexy "Parker's Mood." The crowd was loving the swing and hard drive. It was a great night of music and I am thrilled to say we will back at An Beal Bocht Cafe on Wednesday, September 7th.

Grant Stewart Quartet at Smalls

I sat on a bar stool in Smalls Sunday night waiting for the music to start, watching the crowd come in ... one guy sat against the wall opposite me behind the piano and closed his eyes and danced in his seat during the entire set. A young woman sat behind the piano player, David Hazeltine, and shook his hand glowing when he said hello to her. Another young woman was taking notes. I get off on the sense of community, everyone in that room there for the live experience, which demands your presence and gives you so much if you can open to it.

Grant Stewart started out the first set with "Theme for Ernie" and I waited for the music to take me, to throw me, to land me somewhere else (looking for an escape maybe, huh?), but it didn't. It held me right there in that room with those guys -- Grant was joined by Hazeltine on piano, Joel Forbes on bass, and Quincy Davis on drums -- and then I remembered that was the point.

His next tune was a seductive, dazzling ballad, "Maybe September," each note longing, lingering, promising something. Grant is an elegant, powerhouse of a player. His spontaneity, wit, and charm came through in his music, and when he spoke to us about his song choices for the night.

I have heard David Hazeltine play many times and I am always completely hooked by his effortless playing -- cool, assured, and balanced.

Later in the set they did a knock out version of "Paradox," and I was enchanted, harpooned by "Shadow of Your Smile." Check out Grant's new album "Around The Corner" here.

Coming Up . . .

My next gig will be Wednesday, June 22nd at An Beal Bocht Cafe, 445 West 238th Street, in the Bronx, 8:00 p.m., two sets, $15.00 cover. For reservations, tickets, or information email LindasJazzNights@gmail.com.

The night will feature world-renowned jazz musicians Eric Alexander on sax, Joe Farnsworth on drums, and John Webber on bass.

About Eric --
During the 1990's after placing second behind Joshua Redmond in the Thelonious Monk International Saxophone Competition, Alexander threw himself into the whirlwind life of a professional jazz musician. In the last twenty years he has amassed a considerable discography of critically-acclaimed recordings. He has appeared on countless recordings as leader, sideman, producer, and composer. His latest, "Don't Follow the Crowd" has received a tremendous response including a rave review from All About Jazz. Eric continues to tour the world over and play with numerous jazz legends. He is considered one of the greatest saxophone players of his generation. I am thrilled to have him.

I hope you will join us and spread the word.

Eric Alexander at the Artists Quarter in St. Paul over Memorial Day

CLICK HERE for video of his latest gig.

John Farnsworth Quintet

At Smoke last night they closed the third set with a reckless "Night in Tunisia." I loved it. Joe Farnsworth on drums hit it hard at the top, Andrew Beals on alto sax and John Farnsworth on tenor sax jumped on it, and I fell right into the music, right into the center of things, unable/unwilling to resist -- swept along careening down the side of the mountain. Dwayne Burno was on bass and Mike LeDonne on piano. The whole set had a loose, free flying feeling. Mike, Dwayne, and Joe played a wistful, gorgeous "For All We Know." Mike's skills are renowned and he never ceases to catch my ear, my interest, and sometimes he lets me into his undiscovered country. He reminds me of a great singer who hits the top of their voice and holds you there, tempting you, letting you know there is more, but you aren't going to get it - not this time. John's sax on Wes Montgomery's "So Do It" was swinging and full of John's wit and tenacity. Andrew's sax was subtle and scorching. And Dwayne, a soft-spoken, brilliant guy inhabits that bass. Click here to read an insightful, candid interview with Dwayne about his life and music. I will be at Smalls Sunday, June 12th, to see Grant Stewart. And don't forget my gig coming up on June 22nd in the Bronx. Go to my Facebook page for more info.

Miles Davis from Birth of Cool . . .

George Cables, the band leader and piano player, took the stage first and arranged his music. Then Lonnie Plaxico started working the bass. Vincent Lewis sat down at the drums, and Eric Alexander on sax, Jeremy Pelt on trumpet, and Eddie Henderson on trumpet completed the band. It was Friday night at the Iridium. I went to hear the second set of their tribute to Miles Davis. They opened the set with "So What" from Miles Davis' 1959 album "Kind of Blue." The song opened with a contemplative bass solo, and Lonnie Plaxico was all still, cool, lone wolf up there filling the room with his pulse. Jeremy Pelt's trumpet came in elegant and bright. I love the vulnerable sound of Miles Davis, and on "'Round Midnight" Jeremy captured it. He was haunting. And Eric Alexander burned it up on "81" by Ron Carter with his incredible speed and penetrating sound. This week there is another tribute to Miles Davis at Smoke on Fri., Sat. and Sun. with George Coleman, Eddie Henderson, Harold Maburn, Dwayne Burno and Joe Farnsworth.

SMOKE

I've heard Joe Farnsworth play many, many times and have marveled at his virtuosity, but something special happened last night. He burrowed down deep and released himself. I could see it happening as he played, the effortless exhilaration when there is no separation between the artist and their medium. When musicians like Joe, who also bring phenomenal skill and discipline, connect there is nothing better. That five or seven minute drum solo (I lost track of the time) was epic in scope, power, variety, and expression.

Mike LeDonne was on the organ, Vincent Herring on sax, and Peter Bernstein on the guitar. The whole second set had a driving, bluesy feel which I love. I asked LeDonne about it after and he said that is often what the organ brings to the music. They opened the second set with a crazy fast version of "Backstabbers." It jumped off the stage, lyrical, rousing and shaking the place up. LeDonne's organ on "Someday We'll All Be Free" was aching and moaning with serious passion.

On the third set of the night the legendary George Coleman came up on stage and sat in with the guys. His presence changes the room. Giddiness and anticipation takes over on stage. He played "You've Changed" -- simple, elegant, perfect. It was a lucky night for me. Joe Farnsworth will be at Smoke this weekend playing with his brother John. I will be at Iridium Friday night.

Steve Davis Quintet at Smalls

Last night the Steve Davis quintet played two sets to an absolutely packed house at Smalls in the Village. I stood in the back talking to an Australian guy visiting New York on business. We kept laughing because no matter where we stood our feet seemed to be in the way of people trying to get in. The space is tight and personal. You walk down a steep flight of stairs, and come into one small room. It feels like a church, with chairs lined up in rows facing the stage, and people treat it that way in the best sense. Early in the set they played "Vibration Blues" by McCoy Tyner. Mike LeDonne opened the tune with a kind of mind blowing precise attack on the piano, then the rest of the band came in and kept it up all the way through, Tyler Mitchell on bass, Mike DiRubbo on sax, Steve Davis on trombone and Willie Jones III on drums. It was thrilling to watch these guys navigate the demands of the song and give it everything they had. Then Steve announced that they were going to slow it down and DiRubbo came in with his sweet, melancholy sax on "You've Changed." I love that song and DiRubbo, a very souful, interesting dude, did it up just right. I rode the melody all the way with him and never wanted it to end. Josh Bruneau, a young trumpet player, sat in later on the first set and he was so good the crowd gave it to him at the end of his first solo. His solo on "Spirit Waltz" in the second set was heart-wrenching in the way the trumpet can express a voice teetering on the edge of something painful, dangerous, exciting, but never giving in or letting up . . . no matter what the cost. This is the first time I heard Willie Jones III on drums and he had a rigorous, exacting, right on the edge of control style that I really liked.

I don't know Steve Davis well, but from the first time I met him I felt his genuine, open, welcoming spirit and that comes across in his playing. His trombone has an honest, effortless, warm tone. He reached out into the crowd and held us there note by note all evening as he told his story. They will be at Smalls again tonight, don't miss it.

Birks Works

Last night I went to Smalls Jazz Club downtown and heard Mike LeDonne on piano, John Webber on bass and Joe Farnsworth on drums. They are all at the top of their game, but it was Webber who drew me in with his magic hands flying up and down that bass, particularly on Birks Works. Webber's sound was dense and pulsating, unpredictable and soothing.

Birks Works is on a forthcoming duet album that LeDonne and Webber recorded in Italy earlier this year.

New Stuff

My blog is changing . . . while I am searching for the right place to re-start a weekly jazz night, I am going out to hear the great musicians and their music that I have fallen in love with, and I will be writing about my experience here. I knew very little about jazz when I first started promoting over a year ago. My background is in the theater as a writer and performer. What I found in the musicians I met is a group of artists who are relentlessly dedicated to the live experience, the chance to play, the connection with their audience.

Last night I stopped by Smoke where Mike LeDonne was playing along with Peppe Merolla on drums, Dwayne Burno on bass, and Andrew Beals on sax. LeDonne killed it on 'Round Midnight. Andrew introduced Mike, the room got still, and there was just the piano. It was simple, clean, inviting, then a rupture full of heart and abandon happened that tore away any lingering walls. I turned to the guy next to me, a complete stranger, to see if he was feeling it too, and he looked back and just said, "Yeah." It's the live experience I crave -- hot, serious commitment to the expression of the truest part of our human experience. It burrows deep into you and at the same time sets you free to be right there, not thinking about the moment before or the next one to come.

Last Saturday I heard One For All play their last set of the night featuring my good friends, Eric Alexander on sax and Joe Farnsworth on drums. Eric brought his muscular, elegant sound to Michael Jackson's "She's Out of My Life." It was a stunner. I wait for Joe's drum solos every time I go to hear him play and he didn't disappoint. His controlled, brilliant havoc was riveting. I never know where he is going or what is going to happen next, but I'm on the edge of my seat taking the ride with him. http://www.smokejazz.com/ Wednesday night I will be at Smalls.