GARY BARTZ

Gary Bartz: NTU The Future

by Eugene Holley, Jr.

If you could think of all the musical categories of jazz in the last six decades - straight ahead, hard bop, fusion and world music - as way-points in a large stylistic labyrinth, the serpentine fired, alto saxophonist and NEA Jazz Master Gary Bartz has effortlessly navigated that musical maze, with imagination, grit, integrity and dedication for the same length of time. He’s recorded over 30 albums as a leader, ranging from his 1967 debut LP Libra (Milestone) and his danceable, Mizell Brothers-produced 1977 classic Music is my Sanctuary (Capitol), to the conscious cadences of his 1972 recording Juju Street Songs (Prestige), and his memorable 1994 release, The Red and Orange Poems (Atlantic). His equally impressive work as a sideman includes working with Art Blakey, Miles Davis, Max Roach, the late Roy Ayers, Donald Byrd, Norman Connors, McCoy Tyner and Woody Shaw.

The Baltimore-born, Oberlin-based Gary comes to Le Poisson Rouge fronting an invigorating combo of mostly Washington-based musicians, including bassist James King, guitarist Paul Bollenbeck, keyboardist Marc Cary and drummer Kassa Overall. Gary and company will be celebrating the 55th anniversary of the leader’s 1970 albums, Home!, Harlem Bush Music - Taifa and Harlem Bush Music – Uhuru (Milestone), all featuring Bartz’s pioneering NTU Troop: an ensemble that fused jazz, soul and Afro-Swahili inspired music that reflected the revolutionary period of the ’70s.

JON FADDIS

Becoming Jon Faddis: From Being Son-of-Dizzy

by Raul da Gama

Once upon a time – as the musical not-so-fairytale goes – an incredibly young Jon Faddis was taken under the wing of the Co-Chief High Priest and Druid of Bebop – John Birks “Dizzy” Gillespie. Dizzy went even further to say that he had made Jon his adoptive son. A quick rewind is in order here:

Jon was a musical prodigy who picked up the trumpet to play with an uncommon degree of fluency when he was just seven years old. Legend has it that he was inspired by an appearance by Louis Armstrong on the Ed Sullivan Show. Doors magically opened quite soon after. Bill Catalano, an alumnus of the Stan Kenton band, hipped Jon to the music of Dizzy. But Jon was shy to even speak to his idol when, at 12 years of age, he first met Dizzy at a club called Basin Street West in San Francisco.

DANNY SIMMONS

Danny Simmons: A Multi-talented Griot

by Raul da Gama

You cannot have “Danny Simmons the Poet” without “Danny Simmons the Neo-African-Expressionist Painter.” And you certainly cannot have either artistic personae without “Danny Simmons the Heart-Soft Philanthropist.” The three are so closely interlinked that often you cannot tell them apart. Danny is one of the three wise men. His journey is like a magus – or more appropriately – as this eldest brother of the Simmons family, who is, in everything he does, a modern-day Black American Griot, and a truth-teller who holds extraordinarily little back; and he is a patrician, albeit self-deprecating, gentleman.

Danny is the very epitome of a human prism, and to that extent he represents life itself: the white beam of light – that light of life – appears to have passed through his mind’s eye as he began to perceive the gifts he inherited from his father, Daniel Simmons Sr., who was, among other things, a poet and black history professor, and Evelyn Simmons, a teacher who painted. “Mom taught me to look beyond what was visible,” Danny says. “She taught me that it was possible to paint a dream in color. Still, I never really thought I’d be a painter. I had been writing poetry since I was eleven years old. However, one day, I had a bad case of writer’s block. The blank canvas filled faster with colors and sweeping lines, circles, and figures instead of the blank page with words.”

Remember the analogy of the human prism, into which passing white beams of light turned out to be life itself? Now think of the colored bars that emerged on the other side that reflect Danny’s wisdom, turning life experiences into poetry and painting. Danny’s life seemed to unravel just like that.

LYNNE ARRIALE

Lynne Arriale: Worshipping at the Altar of Originality
by Raul da Gama

Lynne Arriale is a keyboard-playing storyteller, a poet of the piano (and an electronic keyboard that she has added to her armory) driven by her inner beating of the heart and the murmuring of her soul. In that regard, she sometimes recalls Shirley Horn. Whether Lynne is aware of that lineage doesn’t seem to matter to her. After all, she is a stylistically singular artist who has chosen to follow her own path. Hers is what you might call what the iconic Yusef Lateef referred to as “heart music,” that is, music with a depth of emotion that stems from an effort to indulge in “deep song,” albeit not necessarily emanating from the same indigo blues root that gave us her soul sister, Horn.

If her many albums did not convince you that her inward-looking evocations combined with her gorgeous simplicity of melodic line, which makes Lynne not a singular voice amid the often-overcrowded world of pianists, then Being Human (Challenge Records, 2024) most certainly will. Her repertoire is meditative, its one-word titles make for glorious miniatures that seem like vortices of emotion. Lynne is also known to be socially conscious, with music such as on Chimes of Freedom (Challenge, 2020). The Lights Are Always On (Challenge, 2022) examined her place as an artist in our troubled world and dictated how she chose to respond, first as a flesh-and-blood human being with an aching heart.

CHUCHO VALDES

Chucho Valdes: Irakere Forever

by Eugene Holley, Jr.

If the Cuban-born, 83-year-old, 6’4”, NEA Jazz Master Jesus “Chucho” Valdes were known only for his promethean pianism that combines Art Tatum’s impossible technique, McCoy Tyner’s towering touch and Bill Evans’s romantic impressionism, his keyboard wizardry alone would grant him jazz immortality. But Chucho is more than a piano virtuoso. He was the founder of Irakere: a Havana-based supergroup that for five decades fused folkloric Afro-Cuban rhythms and song forms with jazz, R&B and classical stylings. Along with Chucho, many Irakere founding members - including trumpeter Arturo Sandoval and clarinetist/saxophonist Paquito D’Rivera - have become exceptional leaders of their own.

Chucho comes to the Kupferberg Center for the Arts to perform Irakere 50, which celebrates five decades of the group’s innovation and influence, leading a cadre of young musicians who grew up listening to Irakere. They include: drummer Horacio Hernandez; bassist José A. Gola; percussionists Roberto Jr. Vizcaino and Julian Valdes; alto saxophonist Luis Beltran; tenor/soprano saxophonist Carlos Averhoff Jr. (whose father was a founding member); trumpeters Osvaldo Fleites and Eddy D’Armas and vocalist Emilio Frias. Valdes and company will perform many of Irakere’s greatest hits, including “Juana 1600,” “Zanaith,” “Lorena’s Tango,” “Stella Va a estallar,” “Iya,” “Por romper el coco,” “Lo que va a pasar” and “Bacalao con pan.”

JOE LOVANO

Joe Lovano: Paying Tribute

Ken Dryden

Joe Lovano has been one of the top tenor saxophonists for decades, though he credits mentors who helped him along the way. Growing up in Cleveland, OH, Joe’s father, Tony “Big T” Lovano, was a leading tenor player who played with Gene Ammons, Tadd Dameron and others. His father’s influence proved infectious, Joe recalls: “I was learning about the saxophone and its history, listening to his records and hearing him play. His sound and tone vibrated the house.”

Joe initially played alto saxophone around the age of five, progressing to C-melody in fifth grade, followed by tenor in seventh grade. Joe recalls, “All my lessons were about the fundamentals on the instrument and repertoire. When Big T taught me things in the key of A flat, he taught me songs in that key and melodies, not just the scales and arpeggios. Everything was related to melody, rhythm and harmony.”

Several other locals inspired Joe, including Hank Geer, a Benny Carter disciple who played trumpet, alto, and the B3 organ, who also owned a private club hosting jam sessions. Joe shares, “That was one of the first places that my dad took me. There were local greats, rhythm section players, saxophonists, and horn players. I would sit in and explore music with some amazing musicians and cats who were playing in my dad's bands.”

BILL PIERCE

The Quiet Fire: Bill Pierce and the Unsung Brilliance of Modern Jazz
by Chrys L Roney

There are artists who demand the spotlight, and then there are those who become the spotlight — steady, consistent, illuminating everything they touch. Bill Pierce is the latter. He doesn’t shout. He doesn’t posture. But listen closely, and you’ll hear a voice that’s been quietly guiding modern jazz for over five decades.

Born in Hampton, Virginia, and raised in Florida, Bill grew up surrounded by a rich cultural and musical backdrop. He attended Tennessee State University, playing in the school’s celebrated marching band, before continuing his studies at Berklee College of Music in Boston. At Berklee, Bill became immersed in the heart of jazz education, yet his trajectory was never about flash — it was about feel. His tenor saxophone sound is unmistakable: warm, firm and patient. It doesn’t rush to make its point; it walks alongside you, revealing its truth.

Bill’s musical journey placed him in elite company from the very start. He toured with Art Blakey and the Jazz Messengers, held the tenor saxophone chair in Freddie Hubbard’s band, played alongside Stevie Wonder and made his mark on more than 90 recordings. He even dipped his toes into the world of Motown-style gigs, enjoying the boundary-blurring exuberance of those gigs with equal gusto. Yet, Bill never drew attention to himself. Instead, his horn spoke with a quiet eloquence that required no fanfare.

And then came Tony Williams.

DAVE KIKOSKI

Dave Kikoski: Happy to Entertain // Making Connections // From Milltown to Mingus and More

by Matty Bannond

Remember hearing a piano whiz-kid around Central Jersey in the late ’70s? Perhaps it was Dave Kikoski. The GRAMMY Award winner from Milltown shaped his chops playing in local rock bands and gigging in bars with his dad. “My father’s Polish and he worked as a mailman, but had steady jobs as a reed player on weekends,” he says. “My mother is Italian and I had 36 cousins on her side of the family, so we formed a cousin rock band in high school. But none of them play anymore.”

Dave kept playing, though. He completed the jazz program at New Brunswick High School before heading to Berklee College of Music. That formal education meshed with the pianist’s street smarts to make Dave a popular figure for jazz groups around Boston. He shared the stage with saxophonist Bob Mover, trumpeter Tom Harrell, drummer Les Demerle and plenty more big names at the time.

Les helped Dave make a life-changing connection. “We were playing at the Burgundy Café in Long Island,” Dave says. “Lester got Roy Haynes’ number and invited him to the show. Roy lived right around the block, and he came to hear us. The next day, he asked me to come to his house. He took out the original, handwritten chart of a new Chick Corea tune called ‘Mirror, Mirror.’ It hadn’t come out yet, but I had taped it off a special on the radio and transcribed it. That really impressed him.”

DANILO PEREZ

Danilo Perez: Comprovisation and Jazz Globalization

by Eugene Holley, Jr.

58-year-old pianist, composer, bandleader and educator Danilo Perez has played a lot of music from the world and around the world, from the time he played in Dizzy Gillespie’s United Nation Orchestra in the late ’80s to his historic run as a member of Wayne Shorter’s quartet from 2001 to 2023 with drummer Brian Blade and John Patitucci. His 12 albums as a leader include the music of Thelonious Monk, Cuban clave and Brazilian baiao rhythms and folkloric musical genres from his native Panama.

Danilo comes to Smoke with a quicksilver triad consisting of John on bass and longtime collaborator Adam Cruz on drums, who recorded with Danilo on several of his recordings including…Till Then (Verve, 2003), Live at the Jazz Showcase (ArtistShare, 2005), Providencia (Mack Avenue, 2010) and Panama 500 (Mack Avenue, 2014). The trio will be performing new material for a forthcoming album that will feature Danilo’s experiments in odd-meter claves, interpretations of Latin American standards, Stevie Wonder’s “Overjoyed” and two tributes to Dizzy Gillespie and Shorter. This live date pairs Adam with the language John and Danilo created with Shorter.

“Adam and I have had a long relationship since the ’90s,” Danilo says. “Adam and [bassist] Ben Street were my longstanding trio, and we developed a language that I think Adam managed really well: that bilingual expertise, where he could cross over from jazz to the Pan-African roots of this music. Adam brings a perspective of the Caribbean Pan-African language, which is what I'm made out of. I wanted to [merge] that language with the other language that I have developed with Patitucci; the zero gravity experience we developed over the years through the Wayne Shorter Quartet … This is pure magic.”

EMILY KING

Emily King: Music Born of Heart and Soul
by Raul da Gama

Some people come to music from a cerebral place. They sit at a piano or pick up their chosen instrument, and the right notes seem to fall in line—a song emerges, crafted almost mechanically. That is not Emily King. Truth be told, Emily feels music with every fiber of her being—body, mind and soul. It's this all-encompassing connection to sound and emotion that makes her one of the most extraordinary R&B singer-songwriters of our time. She has elevated the genre in ways few others have, and even the skeptics—those who might shy away from acknowledging her artistry—cannot deny there is something undeniably special about Emily’s music.

Emily was born into a tapestry of musical brilliance. Her parents, Marion Cowings and Kim Kalesti, are prodigiously gifted vocalists, their artistry often likened to the legendary jazz duo Jackie and Roy. As the younger child of this remarkable pairing, Emily was steeped in the rhythms of music from the start. Her brother, AC Lincoln, is an equally talented artist—a tap dancer, songwriter, and vocalist—who forged a musical bond with his sister early on. Recently, Lincoln penned a song for Emily titled “Medal,” which has garnered wide acclaim across digital platforms. The track’s stunning ostinato and rippling jazzy rhythms resonate deeply, and its emotional core digs into the raw and uneasy truths that pierce the heart.

STACEY KENT

Stacey Kent: A Jersey Girl with a Global Compass

by Chrys L. Roney

In a jazz world where some singers need a wall of sound just to hold your attention, Stacey Kent does the opposite—she dials it all the way down. No fireworks. No vocal gymnastics. Just clear, conversational phrasing that somehow says more by doing less.

But don’t get it twisted: behind that understated delivery is an artist with deep roots, major co-signs and a global career that’s anything but small-scale.

Born in South Orange, New Jersey, Kent didn’t grow up in a jazz dynasty. No club circuit pedigree. No big family name. What she did have was an early obsession with stories, lyrics and languages. She studied comparative literature at Sarah Lawrence College—a solid literary foundation that shows up in how she treats a lyric: like something to be unwrapped, not just performed.

She didn’t start out thinking she'd be a jazz singer. But after college, she moved to the UK and enrolled at London’s Guildhall School of Music and Drama. That’s where everything started to click. That’s also where she met saxophonist Jim Tomlinson—her future husband and long-time musical partner. Between the two of them, they crafted a sound that blends jazz, bossa nova, chanson and American standards without feeling like a sampler platter. It’s cohesive. It’s international. And it’s unmistakably Stacey.

ROSCOE MITCHELL

Black to the Future: Roscoe Mitchell and the Liberation of Sound
by Raul da Gama

For decades, African American artists have protested tirelessly against the limits imposed by the term “jazz”. While the label has become a convenient shorthand for an extraordinary genre of music, its origins are steeped in a Eurocentric framework that fails to capture the visceral, vibrant rhythms birthed from Black creative expression. In truth, this art form is more faithfully understood as Indigenous Black American Music. The same applies to all artistic forms that emerge from the boundless wellspring of Black creativity—be it poetry, painting, drama, or any other discipline.

At the forefront of this reclamation stands Roscoe Mitchell: a towering composer, multi-instrumentalist and sonic visionary whose life’s work exemplifies a categorical refusal to be confined. For Mitchell, sound itself becomes a way to reframe the Black experience while also challenging the very frameworks that define the continuum of American music.

GRACE JONES

Grace Jones: Statuesque, Iconic, and Timeless
by Raul da Gama

The legendary British-born, Jamaican-based producer Chris Blackwell (with Graeme Goodall as his initial partner) not only knew how to spend a 2000 pound stipend from his mother, but had an eye for the supremely-gifted and highly visible Jamaican artists for his newly-minted Island Records. Among his first signings for Island were Bob Marley and Grace Jones. Bob was riding the crest of the reggae wave - making it move to the beat of his own "riddim."

Grace always seems to be taller than almost any proverbial wave that would rise in Jamaica and crash in Britain. Even sitting on an interviewer’s couch, which she literally takes over as she drapes herself upon it. She is a celebrated supermodel, an actress, singer, a revolutionary presence, and is larger than life in each of the roles she plays.

Life? That began in Spanish Town, Jamaica, where Grace was born to Marjorie (née Williams) and Robert Jones, a local politician and Apostolic clergyman. “I grew up living in a bubble,” she says, gesticulating with both hands to the British ITV host Jonathan Ross, suggesting how small a space her life once occupied. Growing up in Jamaica, “…there was nothing except church and school which was in church and school which was church,” she continues, explaining the need to break on through to another side. That was not long in coming. Grace was always a singer, and being a striking presence, she naturally gravitated to the stage.

JANELLE MONÁE

From Afrocentric Roots to Android Futures: The Evolution of Janelle Monáe

by Raul da Gama

Somewhere in Janelle Monáe’s orbit, there’s a wall of accolades that reads like a mosaic of artistic triumphs. Among them: a Screen Actors Guild Award, a Children’s and Family Emmy Award, the ASCAP Vanguard Award, and Billboard Women in Music’s Trailblazer of the Year honor. Even more impressively, Monáe boasts ten GRAMMY nominations, including one for Album of the Year at the 66th Annual GRAMMY Awards for her groundbreaking 2023 project, The Age of Pleasure (Wondaland/Bad Boy/Atlantic).

But beyond the trophies, Monáe—the actress, songwriter, rapper, and cultural icon—might be even more proud of how her art has transcended boundaries. From her Afrocentric origins to the Afrofuturist universe of Cindi Mayweather, she has expanded not only her creative reach but also the representation of Black women in music, film, and speculative art. In her conceptual work, she becomes Mayweather: a crested android messiah confronting belonging, alienation, identity, and power in a world few artists dare to imagine—let alone embody.

ANAT COHEN

ANAT COHEN - Leading the Resurgence of the Jazz Clarinet

By John Zaff

Virtuoso clarinet and tenor saxophone player Anat Cohen has traveled the world, both literally and figuratively, in her quest to expand her musical palette and hone her formidable improvisation skills. The figurative travels she’s embarked on have been musical forays undertaken with an international cast of musicians, with the ultimate goal of soaking up the wide array of styles and sub-genres of music that make up the larger jazz idiom. Throughout her journey, Anat has assimilated an encyclopedia’s worth of musical styles into her playing, drawing from such disparate sources as classical, New Orleans style, klezmer music and Brazilian Choro, all the while synthesizing her own unique personal style of playing.

Anat grew up in Israel, in a musical family, studying and learning music alongside brothers Yuval and Avishai, both great players in their own right. Older brother Yuval plays saxophone, which was also Anat’s first instrument, and Avishai plays trumpet. She frequently collaborates with them in a group called the 3 Cohens. Anat’s mom played the accordion and taught music to kindergartners. Her dad also had a great love for music, but Anat’s grandparents both made it clear to her parents that music would not be an acceptable career to pursue. Perhaps because of their denial, things worked out differently for Anat and her brothers. She says, “Unlike our grandparents, our parents never put any doubts in our minds that we could make music a major part of our lives. We went to special schools for the arts and our parents chauffeured us to music lessons. For me, it all started in junior high school.”

JALEEL SHAW

Shaw in the Raw
by Raul da Gama

Sometimes (not often), you can tell the depth and erudition of an artist in the first few notes they play. Music seems to flow with every breath they take. And not simply music but history – human history. This is just the special kind of music that Jaleel Shaw seems to create when he plays his alto saxophone.

Somehow, the air that he breathes into his lungs becomes hot – jazz hot – as it is channeled into the invisible cauldron inside his chest and gets infused with a large measure of uncommon wisdom that comes from a life of contemplation of the human condition. The result: when the air is expelled from his lips through the vibrating reed, it sings and dances with the beautiful struggle that spells life itself.

Jaleel is sharply focused on the struggle of life. However, he is quick to point out a few things about his preponderance of that “struggle of life” that sets him apart from the kind of negativism that is prevalent in the world around him, and around all of us.

CAMILLE THURMAN

THE TWO VOICES OF CAMILLE THURMAN

By Ronald E. Scott

In the arena of jazz, it’s extremely difficult to become proficient with just one instrument, but Camille Thurman has become a creative improviser on tenor saxophone and a versatile singer, boosting four octaves.

Nina Simone, Shirley Horn, Carmen McRae, Sarah Vaughan and Hazel Scott, all great pianists and singers, but Camille has blossomed on saxophones, flute and clarinet, and her inventive scats to swooning ballads make her a rare treasure.

As a finalist in the Sarah Vaughan Vocal Competition in 2013, Camille could have become a major force on the depth of her vocals or her tenor saxophone. She restructured Horace Silver’s instrumental “Love Vibrations” into a song dancing with bluesy rhythms, she then seamlessly picks up her sax and comps on the song with a beautiful melody. She once joked on stage that playing and singing can become a tongue twister when trying to introduce a song, because it requires two different movements from her tongue. Her dual diversity onstage has earned her the reputation as being a double threat.

Camille has shared stages with jazz luminaries like Benny Golson, Roy Haynes, George Coleman, Diana Krall, Dr. Lonnie Smith, Terri Lyne Carrington, Kenny Barron and Jon Batiste. On the R&B and hip-hop scene, she’s accompanied Alicia Keys, Missy Elliot, Ciara and India Arie.

BIG CHIEF DONALD HARRISON

Big Chief Donald Harrison: Sparks the Revolution of Unity
by Raul da Gama

Sing it and swing it: “There is a Big Chief down in New Orleans/They call him Donald Harrison/He plays his horn and wears his plume/The big blue one he was born to wear…” Yes, indeed, the inimitable alto saxophonist and alum of one of the last iterations of Art Blakey and The Jazz Messengers has earned the honorific in many more ways than one.

NEA Jazz Master Big Chief Donald Harrison Jr. says that he has his father, Big Chief Donald Harrison Sr. to thank for inculcating in him the study and knowledge and enabling him to pierce the enigmas of New Orleans's secret tribal culture and New Orleans's second-line culture. The sluice gates of music were not long in opening before Big Chief’s sound world came tumbling out like a flash flood, inundating the world of music. It’s something that Big Chief began to describe as “Nouveau Swing.”

All of this suggests that if anyone would be anointed as Big Chief of the Congo Nation Afro-New Orleans Cultural Group, it would be Harrison. No one could have predicted how far he would fly with New Orleans culture on the wing. True, he did cut his permanent teeth with Art, who never shied away from bringing a slew of new-generation players into the Messengers to rejuvenate the music; not ever.

PAUL CARR AND VANESSA RUBIN

Paul Carr and Vanessa Rubin: Rawhide Blues Meets the Seductive Elegance of Jazz

By Raul da Gama

To say “the blues begat jazz” is like preaching to the choir. Although there can be no substitute for a universally songful, modern blues in the 12-bar arrangement, there is something quite unique about the blues bred in Texas. The air around the Lone Star State is steeped in the nuclear fusion of lowdown blues, sharp-edged, gloriously inventive jazz, and the high and lonesome whinge of country music. It is no wonder: Blind Lemon Jefferson used his acoustic guitar to charm and bend notes in a minor key, describing heartache with an anguished glissando. He sang quintessentially evanescent blues for lost love and described the social despair of being Black in America. The sorrow he spun in his narratives influenced the future creation of the hard-nosed, diamond-in-the-rough jazz musician—one who wailed in sharp rebuke of all that was wrong in society while joyfully celebrating all that was right.

From this fertile tradition emerged an extensive line of Texas bluesy jazz saxophonists. Giants like Arnett Cobb, Don Wilkerson (born in Moreauville, Louisiana, but raised in Houston), and Ornette Coleman paved the way. It is no surprise that the celebrated saxophonist Paul Carr should follow in the footsteps of those giants—and not just walk in their path but blaze a musical trail of his own. A Houston native, Carr graduated from Howard University. He studied music privately and performed as part of the Kashmere High School Stage Band, directed by the legendary Conrad “Prof” Johnson (aka Conrad O. Johnson).

BUSTER WILLIAMS

Buster Williams: Infinite Bassist

by Eugene Holley, Jr.

For seven decades, the GRAMMY Award-winning, NEA Jazz Master bassist/bandleader Charles Anthony “Buster” Williams, Jr. has been the standard-bearer on his instrument for generations. With contemplative, Buddha-like concentration – the very opposite of the grimacing, “stank face” images popular among musicians now – Buster quietly, yet powerfully, became a master at playing the right notes, at the right time for the right reasons; as evidenced by his gigs with Art Blakey, Betty Carter, Jimmy Heath, Wynton Marsalis, McCoy Tyner, The Jazz Crusaders, Miles Davis and Freddie Hubbard. Buster was a founding member of Herbie Hancock’s 1970s Afro-fusion Mwandishi ensemble, and he was a core member of the ’80s Thelonious Monk repertory group, Sphere.

Buster brings his group, Something More, to Jazz at Lincoln Center for an extended engagement from July 31 to August 2. The group consists of saxophonist Steve Wilson, pianist Brandon McCune (7/31 and 8/1), vibraphonist Stefon Harris (8/2) and drummer Lenny White. Some of the evening’s selections will include Buster’s wistful ballad, “Christina,” an uptempo number, “Where Giants Dwell," and Buster’s arresting arrangement of the Rodgers & Hart standard, “I Didn’t Know What Time It Was.”

Buster released their self-titled recording in 1989 (In & Out) and created the group shortly after. The ensemble was created by Buster to fulfill a growing need for more individual musical expression. “I had promised myself that I was not going to form a band that I would constantly lead until I was writing music that I wanted to play every night. And so I did this album with Herbie Hancock, Wayne Shorter, [the late] Al Foster, and Shunzo Ohno, the trumpet player.

RON CARTER

Ron Carter: Opus d’Solo, Duo, Trio, and d’Great Big Band
by Raul da Gama

Miles Davis, one of Ron Carter’s illustrious employers, is quoted by Quincy Troupe in Miles: The Autobiography as saying, “Legends are dead people.” Miles was also quoted by Legacy Records as saying, “A legend is an old man with a cane known for what he used to do. I’m still doing it.” Miles was dead wrong in both instances, certainly when it comes to Ron, one of his most celebrated alumni. At 88 years of age, the composer, musician, and bassist has no use for “a cane” nor known “for what he used to do. He’s still doing it” and being recognized for it.

Celebrated worldwide, Ron has been awarded France's premier cultural award, the medallion and title of Commander of the Ordre des Arts et des Lettres (2010). The Japanese government not only credited him with helping to popularize jazz in Japan, thereby facilitating cultural exchange between the U.S. and Japan, but also honored him with The Order of the Rising Sun, Gold Rays with Rosette in 2021. Stateside, he has won GRAMMY Awards and been inducted in the DownBeat Hall of Fame (2012) and the Alabama Jazz Hall of Fame (2024).

Ron has seven honorary doctorates. He was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester (2021) and he received the Satchmo Award from the Louis Armstrong Foundation for his lasting contribution to jazz as an educator. He has been judged the Most Valuable Player by the National Academy of Recording Arts and Sciences. Most intriguing of all, unbreakable too, in 2015 Ron earned a Guinness World Record as the most recorded jazz bassist with 2,221 recordings. Since that time, he has recorded hundreds more. Without using “a cane.”

WILLIAM PARKER

WILLIAM PARKER INSIDE THE MUSIC

by Ronald E. Scott

In William Parker’s five decades and counting, the innovative bassist and composer has released over 20 albums as a leader (most reaching #1 on the CMJ charts) and appeared on over 150 albums while publishing his ongoing hefty volumes of interviews with renowned musicians in the avant-garde arena. The Village Voice in 1995 named him “the most consistently brilliant free jazz bassist of all time.”

In response to his many accolades over the years, William responds, “I’m happy to be able to make a contribution to the music that reaches people, to play with all my heart every time, and don’t take any prisoners, set everybody free. I can’t name one bassist who didn’t make a great contribution, like Abdul Malik, Doug Watkins, or Paul Chambers and Henry Grimes; we are all family. We each have a role to play; some of us are delicate flowers and some of us are power kegs. Everybody is great in their own way, and some like Charlie Parker and Eric Dolphy stood out. I’m happy to be in the same room with established and aspiring musicians; we all have to find our own voice and keep it going.”

MALCOLM-JAMAL WARNER

Malcolm-Jamal Warner: The Rhythms of Humanity—A Legacy in Art, Literature, and Music

by Raul da Gama

Malcolm-Jamal Warner was a man whose life seemed predestined for greatness. Born into promise, his parents named him "Malcolm" after civil rights leader Malcolm X and "Jamal" after legendary jazz pianist Ahmad Jamal. From a young age, his life reflected the depth and creativity inherent in those names. Warner’s undeniable talent for the dramatic led to his enrollment in The Professional Children’s School in New York—a pivotal decision that would lay the foundation for his illustrious career in the arts.

Although Warner is undoubtedly best remembered for his role as Theo Huxtable—the lovable son of Dr. Heathcliff and Claire Huxtable—on the critically acclaimed television sitcom The Cosby Show, his artistic journey went far beyond this iconic role. The Cosby Show, which aired for eight seasons (1984–1992), became a cultural phenomenon, ranking among Variety magazine’s 100 greatest television shows of all time. Warner’s portrayal of Theo, blending humor, charm and relatability, left an indelible mark on American audiences.

VICTORY BOYD

Victory Boyd: Spiritual Colors of Jazz
by Raul da Gama

When Victory Boyd begins to sing, she is creating a sacred space. Each warm exhalation washes the air and is a fervent exhortation to her creator and ours to illuminate that sacred space now virtually manifest around her. Not so surprisingly, the young yet erudite Victory reveals herself to be an artist of the first order, broadening out from the spiritual repertory for which she is best known. Her instrument is gorgeous; lustrous, precise, and feather-light. Her musicianship is fierce as she digs into the meaning of each word, brings ceaseless variety to soft dynamics, and imbues every phrase with a very special grace.

Victory – one of nine children – was born to sing. And sing she did, from the age of four, nurtured by her musician-parents. Her father is composer and vocalist John Boyd, who founded The Rising Musical Family. The family website states John’s unique artistic vision: “The audiences will see what it’s like to have music as a refuge and shelter during times of family pain, trouble, and separation. For the large musical family, music is not just a hobby; it’s the proverbial family farm. It’s the means by which a family survives. Everyone has to make a contribution. Everyone has to plant in the fields and reap the harvest.”

ANAT COHEN

Anat Cohen: Virtuoso Clarinetist and Musical Polyglot

By John Zaff

When critics and music journalists consistently bestow honors on a musician, year after year, you can be certain that that musician has honed their talent and creativity to the highest of levels and reached a true pinnacle as a player. For an amazing 18 years in a row, multi-instrumentalist Anat Cohen has received the Jazz Journalists award for best clarinet player among her peers. That outstanding record may be unprecedented, and it surely is for good reasons.

Virtuoso clarinetist and tenor saxophone player Anat grew up in a musical family in Israel. Her two brothers are both accomplished jazz musicians. Older brother Yuval plays saxophone and brother Avishai plays trumpet. The three siblings are all highly regarded in the New York music scene and beyond. The siblings each received scholarships to attend the Berklee College of Music. It was while studying jazz there that Anat developed a lifelong fascination with world music, especially Latin and Brazilian Choro. Anat’s playing is eclectic and she draws on many influences, melding them into her own unique and creative style. In the music programs Anat attended in Israel, she first studied classical formats, but soon immersed herself studying and playing transcriptions of New Orleans jazz. She also grew up around Klezmer music, and like a polyglot who can easily switch from one tongue to another, she became a musical multi-linguist.

MARCUS GILMORE

Marcus Gilmore: Inheriting Rhythms, Forging New Paths

by Ronald E. Scott

Marcus Gilmore, the inventive drummer and composer, represents the third generation of creative artists from the Haynes family. He is the grandson of revered pioneer Roy Haynes, and the nephew of Roy’s sons: cornetist and composer Graham Haynes and drummer Craig Holiday Haynes.

“It feels great to be able to gain a significant historical perspective and knowledge of the music from my family, that’s pretty cool,” says Marcus. “Up until several months ago I had my grandfather still walking the planet, and he was still innovating until the end, so he was an incredible example for me in so many ways.”

Marcus knew at age 7 he wanted to be a professional drummer, but it wasn’t until his 10th birthday that his grandfather gave him his own set. “I never really felt any pressure from the family,” he recalls. “Once I realized I wanted to be a musician, I took it very seriously. Nobody ever had to tell me to practice—especially my grandfather. I did it automatically.”

At 16, while attending Manhattan’s famed LaGuardia High School for the Arts, Marcus landed his first professional gig: a European tour with Clark Terry. His mother and the school gave permission. “LaGuardia encouraged us to be professional musicians,” he says. “The teachers and community were always making sure students were aware of opportunities.” He also attended Juilliard’s Music Advancement Program and The Manhattan School of Music, and was chosen for the GRAMMY Band, which meant rehearsals in the host city, performances at official events, and attending the awards ceremony.

ABDULLAH IBRAHIM

Abdullah Ibrahim: Architect of South Africa’s Jazz Revolution

by Eugene Holley, Jr.

For an astonishing 75 years, the music of pianist/composer Abdullah Ibrahim, the NEA Jazz Master, paralleled South Africa’s struggle against apartheid, and the birth of a new multiracial, multi-ethnic and multicultural nation, with President Nelson Mandela as its leader. Abdullah’s sonic stew mirrored all his country’s cultural and artistic complexities: a mix of Black jazz, church melodies, African indigenous folk songs, chants and rhythms, played with a soulful synthesis of Duke Ellington and Thelonious Monk’s dark and lovely pianisms.

Abdullah is currently on a world tour, and his engagement at Jazz at Lincoln Center entitled Life of a Legend: a Birthday Celebration (October 9) befits the kingly nature of Abdullah’s legacy and status. Abdullah is backed by his longstanding group, Ekaya, which means “home” in the isiXhosa language, and features tenor saxophonist Lance Bryant; trombonist Michael Pallas; baritone saxophonist Josh Lee; Cleave Guyton on alto saxophone, flute and piccolo, bassist and cellist Noah Jackson and drummer Will Terrell. Special guests are Abdullah’s ex-sidemen, including trumpeter Terence Blanchard, alto/soprano saxophonist Kenny Garrett, and bassist Cecil McBee. “We honor the tradition of rites of passage: the concerts at Jazz at Lincoln Center October 3 & 4,” Abdullah proudly proclaims. “Our musicians are four generations – elders and current young.”

GOLDINGS-BERSTEIN-STEWART

Goldings-Bernstein-Stewart: Pioneers of the Modern Organ Trio Sound

by John Zaff

The legendary jazz groups, from Miles to Coltrane to the great Bill Evans trios, all had something in common beyond the sheer mastery of their instruments and the mind-boggling musical talent that went along with that. It was an almost preternatural ability to listen to each other and blend their voices in a way in which the musical whole became greater than the sum of its parts. The long-standing organ trio of Larry Goldings, Peter Bernstein and Bill Stewart have spent several decades honing and utilizing that same secret sauce in their music.

Each of these players are virtuosos. Larry was the DownBeat Critics Choice for best organist the last two years in a row. Guitarist Peter is known for his thoughtful solos, often compared to musical storytelling, as well as for his vast knowledge and understanding of harmonic structure. He’s consistently a top ten DownBeat Critics and Readers Choice in the guitar category. Drummer Bill is famous for his innovative approach to drumming and for the creative and soulful accompaniment he provides, that puts the focus on musical conversation. Guitar great Pat Methaney once called Bill “a bottomless pit of ideas.” Individually, they should be considered a “supergroup,” but collectively they prove to be much more.

ETHAN IVERSON

SALON 58 - NYC / NOVEMBER 2

Renowned jazz pianist and composer Ethan Iverson brings an unforgettable night of timeless music to Salon 58. Known for his inventive approach, Ethan presents the New York premiere of The Benny Goodman Sextet, a chamber work blending classical and jazz influences, performed alongside clarinetist Carol McGonnell and the rising string quartet Orange Road. The evening also features a duo performance of Playfair Sonata, one of Ethan’s celebrated compositions steeped in rich interplay between piano and clarinet. As a pianist and composer, Ethan has continuously bridged the worlds of jazz and classical music, relishing in their shared traditions and evolution. This performance highlights his unique ability to honor musical history while crafting fresh, evocative works. Join Ethan and his ensemble for an evening that celebrates the depth and versatility of his musical journey.

OLLICE SPAULDING

DA MILIO'S - NYC / NOVEMBER 6

Born and raised in Lexington, Kentucky, vocalist Ollice Spaulding is quickly becoming a standout presence in the New York jazz scene. A recent graduate of the New York Conservatory for Dramatic Arts, Ollice brings her passion for performance and music to every stage she graces. Ollice’s shows pay tribute to the American songbook and classic Black American music, with fresh interpretations and soulful storytelling. Her commanding stage presence and unique artistry have made her one to watch as she continues her journey as a rising star. Catch Ollice live at Da Milio as she shares her talent and undeniable charisma in this special performance.

HOUSTON PERSON

JAZZ FORUM / NOVEMBER 7-8

Tenor saxophonist Houston Person’s rich, soulful sound has been a favorite of jazz fans since the early 1960s, when he debuted with Johnny Hammond Smith, followed by recordings with other organists. Within a few years, Houston was recording regularly for Prestige, focusing on blues and soul jazz. But it was his association with Muse and later HighNote where he blossomed in a variety of settings, in partnership with bassist Ron Carter, vocalist Etta Jones or leading small groups, mixing standards of the 1930s and 1940s with bop and soul jazz favorites, along with his own compositions. While Houston has favorite players who he likes to include, the instrumentation is always in flux. His quintet will include trumpeter Eddie Allen, with a rhythm section to be announced.—KD

STANLEY CLARKE

JAMES MOODY JAZZ FESTIVAL @ NJPAC / NOVEMBER 8

Before there was Jaco, there was Stanley Clark, setting new standards for performance on the bass. A musical trailblazer from a young age, he made his name in the seventies, in the relatively new genre of fusion, combining elements of jazz and rock and wowing audiences with his speed, chording melodies and innovative funk-slap technique that showcased his virtuosity. He helped change the role of the bass from support instrument to full participant in the musical exposition, often as a lead instrument. A five-time GRAMMY Award winner, Stanley has played with legends like Chick Corea, Jean Luc Ponty, Birelli LaGrene and a host of other jazz luminaries. His groundbreaking style has influenced generations of bass players and with over twenty-one leader albums to his name, he is also an award-winning composer to boot. Stanley will perform with his band N-4EVER in a show that is sure to be spectacular. JZ

GEORGE CABLES 3

JAZZ VESPERS @ BETHANY BAPTIST CHURCH NJ / NOVEMBER 8

The George Cables Trio offers a dynamic blend of hard bop and modern jazz, featuring three acclaimed musicians. Pianist George Cables has been revolutionizing jazz for decades, showcasing artistry as both a composer and performer. Known for his vibrant energy and engaging style, he has worked with some of the most legendary names in jazz. Bassist Alexander Claffy brings a fresh, creative approach to the group with his masterful expression and technique, while drummer Jerome Jennings adds rhythmic complexity and an unmistakable drive to the trio’s sound. The performance will highlight the trio’s synergy, delivering an extraordinary listening experience. George Cables’ recent album, Too Close For Comfort (2022), offers listeners a taste of his unparalleled craftsmanship—an exciting preview of the artistry to be heard at the concert. JZZ

OMAR SOSA AND QUARTETO AMERICANOS

JAMES MOODY JAZZ FESTIVAL @ NJPAC / NOVEMBER 8

Omar Sosa, the Cuban-born composer, pianist, and bandleader, will perform with his Quarteto Americanos at NJPAC on November 8. A multi-GRAMMY Award nominee, Omar brings his signature energy and innovative approach to Latin jazz, blending Afro-Cuban rhythms with contemporary sounds. Joining him are Bay Area musicians Josh Jones on drums, Ernesto Mazar Kindelán on bass and Sheldon Brown on saxophone, clarinet and flute. Together, they create a unique and vibrant musical experience filled with captivating improvisations and expert arrangements. Omar’s performances are rooted in his Cuban heritage while pushing creative boundaries and showcasing an unparalleled artistry. Experience his dynamic style and the synergy of all four musicians during this unforgettable concert. JZZ

DARYL SHERMAN & JAY LEONHART

SAINT PETERS CHURCH / NOVEMBER 9

Two engaging singers join forces for a fun afternoon of standards, ballads and swing. Vocalist/pianist Daryl Sherman has long treasured music from the golden age of the Great American Songbook, while Jay Leonhart is an eclectic bassist and singer with an extensive repertoire, along with his frequently autobiographical, humorous compositions. Daryl and Jay have joined forces on many recordings and concerts, and together they will explore standards and favorites by songwriters like Blossom Dearie, Dave Frishberg and Bob Dorough, though they may include rarely heard songs like “South American Way,” popularized by Carmen Miranda, or “The Bathtub Ran Over Again.” Daryl will step away from the piano for at least one vocal duet, while Jay will perform some of his own whimsical works.—KD

JOEY ALEXANDER

SMOKE / NOVEMBER 12-16

Hailing from Bali, Indonesia, jazz pianist Joey Alexander was considered a wunderkind as a young child. He was already winning jazz competitions at the age of nine and was prominently featured in a segment on child prodigies on the TV show 60 Minutes. Herbie Hancock heard him play and told Joey that he believed he would become a great player, a meeting that left a lasting imprint on him. Wynton Marsalis also heard Joey perform and invited him to play at Jazz at Lincoln Center. By age ten, Joey’s family had moved to New York so that he could be close to the center of the jazz world. As he matured through his teens, he has evolved into a musician with his own unique identity and musical style, particularly noted for his harmonic sophistication. Now in his mid-twenties, Joey has matured into a GRAMMY Award nominated bandleader and composer, with six albums under his belt, and who consistently delivers on his early promise. JZ

ARTURO SANDOVAL

JAMES MOODY JAZZ FESTIVAL @ NJPAC / NOVEMBER 13

At 75, jazz trumpet legend Arturo Sandoval continues to demonstrate his deep passion for music through daily practice and electrifying performances. The 10-time GRAMMY Award winner, who has also received the Presidential Medal of Freedom and Kennedy Center Honors, Arturo is recognized for his mastery of jazz, Latin jazz, and Afro-Cuban rhythms. Born in Cuba, Arturo has long spoken of jazz as a symbol of artistic freedom – a value that continues to inspire his music. Known for his infectious energy and versatility, his live performances showcase his lifetime dedication to the art form. For this special concert, audiences can expect to witness the brilliance of one of the most celebrated and influential figures in contemporary jazz. JZZ

GEORGIA HEERS

JAMAICA PERFORMANCE ARTS CENTER / NOVEMBER 13

Vocalist and songwriter Georgia Heers brings her distinctive artistry to the Jamaica Performance Arts Center on November 13. Known for her captivating voice and innovative approach, Georgia blends jazz traditions with modern influences, creating a sound that is uniquely her own. Performing a range of original compositions and carefully curated arrangements, Georgia’s music explores themes of resilience, intimacy, and human connection. Her ability to infuse emotion and storytelling into each performance has earned her a reputation as an artist who not only entertains but deeply moves her audience. This concert promises an evening of soulful melodies, dynamic improvisation and the elegant artistry for which Georgia is celebrated. The performance showcases her remarkable ability to meld timeless vocals with cutting-edge musicianship, leaving listeners inspired and enthralled. JZZ

BRANDON CHOI QUARTET & TONY ROMANO QUARTET

BROOKLYN JAZZ UNDERGROUND @ BROOKLYN ARTERY / NOVEMBER 13

Brooklyn Jazz Underground returns for its monthly series on the second Thursday of the month, featuring two live jazz performances. In the 7:30 set is Brandon Choi Quartet, led by trumpeter Brandon Choi, alongside Morten Aarup on guitar, Marty Kenney on bass and Kobi Abcede on drums. In the 8:30 set, the Tony Romano Quartet, featuring Tony Romano on guitar and leading with original compositions. The group includes Michel Gentile on flutes, Sam Weber on bass and Rob Garcia on drums.

AZAR LAWRENCE

JAZZ AT LINCOLN CENTER / NOVEMBER 13-17

Azar Lawrence is a legendary saxophonist and composer known for his deeply spiritual, John Coltrane-inspired sound and dynamic contributions to jazz. He has performed and recorded with icons such as McCoy Tyner, Miles Davis, Elvin Jones and Freddie Hubbard, becoming a key figure in the post-bop and spiritual jazz movements. With a career spanning decades, Azar’s music continues to honor the roots of jazz while pushing creative boundaries. Celebrated for his dynamic sound and spiritual connection to music, brings “In the Spirit of Mother Africa” to Jazz at Lincoln Center. With his collaborations with jazz legends, Azar continues to push boundaries and honor the roots of the genre. Leading an extraordinary ensemble, Azar is joined by Lynne Fiddmont on vocals, Gerald Brown on bass, Joshua White on piano, Taka Mori on guitar, Brian Swartz on trumpet, Yayo Morales on drums and Damon Batiste on percussion. Together, they will channel the vibrant rhythms, traditions, and soul of Africa in this transformative musical experience. JZZ

DAVID AMRAM

JAZZ ARTS FORUM / NOVEMBER 14-15

David Amram, renowned composer, musician, conductor and author, returns to celebrate his 95th birthday at Jazz Forum. Known as the Renaissance Man of American Music, David has crossed boundaries seamlessly, blending classical, jazz, Latin jazz, folk, television and film music into his vibrant career. His milestone birthdays are legendary, making these November performances a can’t-miss event. With a lifetime of achievements, David’s artistry continues to inspire audiences across generations. These shows promise special guests, surprises, and the kind of joyful celebration only he can bring. Join David and friends as they honor his remarkable legacy with two unforgettable evenings of music, stories and fellowship. Be part of the party as David Amram at 95 makes history yet again! JZZ

JOE LOVANO & DAVE DOUGLAS

VILLAGE VANGUARD / NOVEMBER 18-23

Saxophonist Joe Lovano and trumpeter Dave Douglas will lead their acclaimed quintet, Sound Prints, in a six-night residency. The group takes inspiration from the legendary Wayne Shorter, exploring adventurous improvisations and original compositions. Pianist Lawrence Fields, bassist Matt Penman and drummer Andrew Cyrille round out the ensemble, each bringing their unique voice and artistry to the band’s forward-looking approach to jazz. The performances highlight the group’s dynamic interplay and creative exploration of melody and rhythm, offering audiences an engaging musical experience. Joe and Dave have been frequent collaborators who share a commitment to innovation in jazz, and Sound Prints continues to reflect their remarkable chemistry and shared vision. JZZ

MARY STALLINGS FT. THE AARON GOLDBERG TRIO

DIZZY'S / NOV 20-23

Renowned for her lyricism, subtle pocket, and unmistakable phrasing, vocalist Mary Stallings has spent over six decades exploring jazz standards and classic repertoire. From her debut on Cal Tjader – Plays, Mary Stallings – Sings (Fantasy, 1962) to her recent performances, Mary continues to uncover fresh perspectives in timeless melodies. She will be joined by the acclaimed Aaron Goldberg Trio, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer McClenty Hunter. Together, this group brings a balanced blend of vocal and instrumental artistry, offering a thoughtful approach to jazz tradition and improvisation. This series of performances celebrates Mary’s legendary career and her commitment to interpreting jazz with unparalleled nuance and depth. JZZ

CHRISTIAN MCBRIDE

JAMES MOODY JAZZ FESTIVAL @ NJPAC / NOVEMBER 21

Christian McBride seems to be everywhere at once. It can be easy to forget, and thrilling to remember, that the bassist of bassists, bandleader, composer, arranger, radio personality, nine-time GRAMMY Award winner, interviewer, historian, proud native Philadelphian and all-around, one-man jazz booster remains a working musician in his own right. Appropriately, for a musician with an outsized aura and a larger-than-life sound, Christian brings his very big band (17 pieces in total) to the New Jersey Performing Arts Center for a night of music that promises to include not a few special guests. Selections from Without Further Ado, Vol. 1 (Mack Avenue, 2025), the Christian McBride Big Band's latest album, are sure to feature prominently. CK

JOHN SCOFIELD TRIO FT. VICENTE ARCHER & BILL STEWART

BLUE NOTE NYC / NOVEMBER 25-29

Guitarist John Scofield brings his latest trio to Blue Note NYC for an electrifying five-night run. Joined by bassist Vicente Archer and drummer Bill Stewart, John delivers music that blends jazz standards, blues and rock classics, original John compositions and adventurous improvisation. For John, the trio format – his long-time favorite since the late 1970s – creates a dynamic and playful musical space where synergy and intuition flourish. He describes the trio as an environment where spontaneity drives creativity, and arrangements take a backseat to the group’s instinctive interplay. Audiences can expect performances full of surprises, showcasing John at his most freewheeling and masterful. With their seamless connection, the trio brings fresh energy to John’s expansive catalog, proving trio playing remains a vibrant force in modern jazz. JZZ

JASON MORAN AND THE BANDWAGON

VILLAGE VANGUARD / NOVEMBER 25-30

For 25 years, Jason Moran & The Bandwagon have redefined jazz with their boundless creativity. Pianist Moran, bassist Tarus Mateen and drummer Nasheet Waits form a daring trio known for pushing genre limits. Their ambitious 2018 album Looks of a Lot (YES Records), commissioned by the Chicago Symphony Center, fused the Bandwagon’s core sound with Chicago saxophonist Ken Vandermark, spoken word artist Theaster Gates, and the energetic Kenwood Academy Jazz Band. It’s a joyous blend of brass, drumline and eclectic rhythms breaking free of boundaries. The trio’s Thanksgiving-week performances at the Village Vanguard have become a beloved tradition, offering a thrilling mix of jazz, swing, stride, classical and hip hop. Expect nothing less than innovative, spirit-moving music this year. RES

BILLY HART

SMOKE JAZZ CLUB / NOVEMBER 28-30

NEA Jazz Master Billy Hart celebrates the release of Multidirectional with a special performance. This highly anticipated live album is the first recorded collaboration of his acclaimed quartet. Joining Billy are tenor saxophonist Mark Turner, pianist Ethan Iverson, and bassist Ben Street – each a standout in contemporary jazz. A legendary drummer, Billy has been a vital presence in the jazz world for decades, performing and recording with iconic figures such as Herbie Hancock, McCoy Tyner, Otis Redding and Wes Montgomery. With deep grooves, unmatched artistry, and telepathic interplay, the quartet will bring both new works and time-honored sounds to life during this unforgettable celebration. Celebrate the artistry of this jazz legend and his remarkable quartet.

HERLIN RILEY

JAZZ AT LINCOLN CENTER / NOVEMBER 28-30

Drummer, composer and bandleader Herlin Riley brings his vibrant artistry to Jazz at Lincoln Center for three nights of dynamic performances. Known for his mastery of rhythm and deep connection to the jazz tradition, Herlin has been a vital force in modern jazz, infusing his music with the rich cultural heritage of New Orleans. For this event, Herlin leads a top-tier ensemble, blending swing, blues, and Afro-Caribbean influences. His performances showcase the versatility of the drum set as both a driving rhythmic force and a lyrical instrument. Herlin’s long career as a musician includes collaborations with prominent figures in jazz and a dedication to exploring the roots and evolution of the genre. His latest shows promise a celebration of musical innovation rooted in tradition. JZZ

BRAXTON COOK

Braxton Cook: Writing the New Grammar of Jazz

by Chrys Roney

Braxton Cook belongs to a generation of musicians who refuse to play by the old rules. A Juilliard-trained saxophonist, vocalist and composer, Braxton moves freely between jazz phrasing, soul storytelling and hip-hop groove. His music doesn’t blend genres as much as it rearranges their DNA – part of a new grammar of jazz that treats improvisation as language, not rebellion.

Roots in a Musical Household

Raised just outside Washington, Braxton grew up in a home where every room carried a tune. His mother, a classically trained pianist, filled the air with Bach and Scott Joplin. His father and three brothers sang in harmony, and all the siblings studied piano by the time they were five. One brother, Bryndon Braxton – known to the world as Starchild & the New Romantic – now serves as musical director for Solange Knowles. “I remember the horn parts more than the lyrics,” Braxton recalls with a laugh. “That’s how deep it was.”

By high school, he was studying privately with saxophonist and educator Paul Carr, whose disciplined mentorship sharpened his tone and phrasing. After earning a degree at Georgetown University, Braxton entered the Juilliard School, where he studied under the great Steve Wilson. “Steve was a yes-and kind of teacher,” Braxton says. “He embraced what I was doing and helped me get the most out of my voice.”

NAT ADDERLEY, JR.

NAT ADDERLEY, JR. ON THE JAZZ ROAD

by Ronald E. Scott

The keyboardist/pianist, composer, and producer Nat Adderley Jr. is a prominent figure in the world of R&B, having successfully spent four decades as music director for legendary R&B singer and multi-GRAMMY Award winner Luther Vandross (until the singer’s death in 2005).

The pianist turned down the opportunity as music director for Mary J. Blige. “I’m not trying to stay in R&B at all, and I figured out that I’m going to go after jazz for the rest of my life,” says Nat. To that end, he leaped into a deep jazz pool, leading trios and quartets in massive gigs over the last ten years in the New York Metropolitan area, honing his improvisational skills.

If there is royalty in modern American music, the Adderley name sits near the top of the lineage. Nat Jr. was born into the sound of swing and sanctified melody—his father, cornetist Nat Adderley Sr., and his uncle, alto saxophonist Julian “Cannonball” Adderley, built one of jazz’s most beloved dynasties. Music was the family language. At eleven, Nat Jr. penned “I’m on My Way,” recorded by Cannonball—a precocious signal that composition would always anchor his life. Formal study at Yale refined his technique, but the gospel-to-bebop feel of his upbringing never left his hands.

LENNY WILLIAMS

LENNY WILLIAMS

O–O–O–O–O: The Jazzman Behind the Soul

by Chrys L. Roney

The moment Lenny Williams hits that long string of “O–O–O–O–O–O–O–O” on Cause I Love You, you understand the man doesn’t just sing – he phrases like a horn player. Each “O” is a note, a breath, a heartbeat. By the time he finally lands, nearly a minute later, you’ve traveled through every shade of joy, pain, and surrender. That run has become one of the most emotional moments in modern soul, but its roots are pure jazz.

The conversation with Lenny felt like a collaborative experience. “We need everybody to help us become better,” Lenny emphasizes during our call. As we traded stories – including one about Eugene Bullard, a trailblazing Black pioneer who befriended jazz legends like Louis Armstrong and Duke Ellington – it became clear: Lenny thrives on mutual respect, learning, and exchange. This collaborative spirit is a hallmark of his artistry and his outlook on life.

Now 80, Lenny was born in Little Rock and raised in Oakland – a migration route familiar to many Black families who carried the South’s musical heartbeat west. In his house, jazz was the secret soundtrack. His parents played Billie Holiday, Nat King Cole, Brook Benton, Sarah Vaughan, and Billy Eckstine. “We’d turn it up when Daddy walked up the street,” he says. “Then when he got close, we’d turn it down and act like we’d been quiet all day.” Those records became the foundation of his phrasing – Billie’s storytelling, Billy’s polish, Nat’s tone, and Brook’s warmth.

CHARLES MCPHERSON

Charles McPherson: Building on the Tradition

by Ken Dryden

At 86, alto saxophonist Charles McPherson is an elder jazz statesman, a passionate soloist and composer who continues to add to his extensive repertoire. A native of Joplin, MO, Charles moved to Detroit in 1948 with his mother, where she had family. It seemed predestined for the young man to pursue jazz. As he recalls, “We lived right down the street from Lonnie Hillyer, a young trumpet player my age. We both ended up with Charlie Mingus. Barry Harris, the great pianist, lived right around the corner. The Blue Bird Inn jazz club was two or three blocks from my house. Detroit was full of great musicians: Tommy Flanagan, Barry Harris, Elvin Jones, Thad Jones, Billy Mitchell, Pepper Adams, Roy Brooks, Louis Hayes.”

After his mother gave Charles an alto saxophone for his thirteenth birthday, he was focused on jazz, with Charlie Parker’s records providing inspiration. “I started studying with Barry,” he says. “You learned how to play in those days from people in your hometown who were older and played better and who were nice enough to hand down the information.” After a while, Charles was skilled enough that he played proms and school dances with Barry.

VIJAY IYER

VIJAY IYER “Stretching the Boundaries of Musical Composition”

By John Zaff

Vijay Iyer is a brilliant pianist, composer, educator and intellectual who has spent the better part of his lifetime creating boundary-defying music. The word “eclectic” understates the vast and varied influences he brings to his many artistic creations. While some critics consider him primarily a jazz artist, Vijay would probably be the first to tell you that categories do not do justice or add much to describe what he does. His palette is colored by the many early years he spent studying Western classical music, South Asian music, hip-hop, rock, experimental and avant-garde music, all of which contribute to creating the hybrid fusion that is uniquely his own. And one certainty about his works is that they should be listened to first and foremost as music without labels.

Vijay has accrued a slew of honors and distinctions, all of which attest to his unique talents, as well as the high critical regard he is held in. He's been awarded the DownBeat Critics Poll Best Artist of the Year four times. He’s won a Doris Duke Performing Artist Award, received a GRAMMY Award nomination, was named a MacArthur Fellow in 2013 and the Pianist of the Year in 2022 by the Jazz Journalists Association. Oddly enough, despite his decades of work in music, Vijay’s undergraduate years were spent studying math and physics at Yale, knowledge that he would later find useful with his music, translating it through a lens of unique insights into frequency, sound and rhythm, while considering concepts like the Fibonacci series and its relationship to musical structures.

Magazine

GARY BARTZ

JON FADDIS

DANNY SIMMONS

LYNNE ARRIALE

CHUCHO VALDES

JOE LOVANO

BILL PIERCE

DAVE KIKOSKI

DANILO PEREZ

EMILY KING

STACEY KENT

ROSCOE MITCHELL

GRACE JONES

JANELLE MONÁE

ANAT COHEN

JALEEL SHAW

CAMILLE THURMAN

BIG CHIEF DONALD HARRISON

PAUL CARR AND VANESSA RUBIN

BUSTER WILLIAMS

RON CARTER

WILLIAM PARKER

MALCOLM-JAMAL WARNER

VICTORY BOYD

ANAT COHEN

MARCUS GILMORE

ABDULLAH IBRAHIM

GOLDINGS-BERSTEIN-STEWART

ETHAN IVERSON

OLLICE SPAULDING

HOUSTON PERSON

STANLEY CLARKE

GEORGE CABLES 3

OMAR SOSA AND QUARTETO AMERICANOS

DARYL SHERMAN & JAY LEONHART

JOEY ALEXANDER

ARTURO SANDOVAL

GEORGIA HEERS

BRANDON CHOI QUARTET & TONY ROMANO QUARTET

AZAR LAWRENCE

DAVID AMRAM

JOE LOVANO & DAVE DOUGLAS

MARY STALLINGS FT. THE AARON GOLDBERG TRIO

CHRISTIAN MCBRIDE

JOHN SCOFIELD TRIO FT. VICENTE ARCHER & BILL STEWART

JASON MORAN AND THE BANDWAGON

BILLY HART

HERLIN RILEY

BRAXTON COOK

NAT ADDERLEY, JR.

LENNY WILLIAMS

CHARLES MCPHERSON

VIJAY IYER