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A look inside The Jazz Gallery

Photo by Siebe van Ineveld, http://www.siebevanineveld.com/

Eric Revis boasts “a huge sound, unshakable rhythmic confidence and a penchant for cohesive, logical baselines,” writes Ted Panken in DownBeat. “But he is also one of jazz’s relativists, interested in importing other sounds and forms and rhythms,” adds The New York Times.

Born and raised in Los Angeles, Eric bought his first electric bass at age 14. He began as a self-taught hobbyist; it wasn’t until he was a year into a bachelor’s degree that he decided to pursue a career in music. Relocating to Texas, he began working a gig six nights a week with a group of musicians who introduced him to jazz.

Around this time, Eric switched to acoustic bass. He met Delfeayo Marsalis soon afterwards, who recommended that the young bassist enroll in the jazz program at The University of New Orleans, which was helmed by Delfeayo’s father, Ellis Marsalis. While in New Orleans, Eric honed his skills on the bandstand with the likes of Brian Blade, Nicholas Payton, Mark Turner, and Greg Tardy.

Eric’s first long-term professional association came with an invitation to join the band of Betty Carter in 1994. It also resulted in his move to New York in the same year, where the bassist apprenticed with Billy Harper, Louis Hayes, Lionel Hampton, and Russell Gunn, and formulated new ideas with peers like Sherman Irby, James Hurt, and J.D. Allen. Within a few years, he was recruited by the saxophonist Branford Marsalis, with whom Eric has collaborated ever since. The bassist appears on eight of Marsalis’ critically acclaimed albums – one of them, Contemporary Jazz (Columbia), received a GRAMMY award – as well as recordings by Steve Coleman, Jeff “Tain” Watts, Kurt Rosenwinkel, and others.

Commenting on Eric’s debut album, Tales of the Stuttering Mime, JazzTimes notes, “Eric stretches the jazz fabric without ripping it apart. The results are a greatly varied…[a] thoroughly rewarding and entertaining set.” The effort features performances of ten of Eric’s original compositions by a band including the saxophonist JD Allen, the pianist Orrin Evans, the trumpeter Duane Eubanks, and the drummer Jeff “Tain” Watts, and was voted the Best Debut of 2004 by AllAboutJazz. Speaking about the album, Eric says:

I strive to be as honest as possible to my perspective and actualize that. This is about being comfortable in my own skin and coming into my own, musically. Taking myself, my life, and music, [and] refining it to get to the essence of what’s important.

In 2009, Eric released his sophomore effort, Laughter’s Necklace of Tears, which finds him in the company of the pianist Orrin Evans (who doubles here on melodica), the saxophonists Stacy Dillard and John Ellis, the drummer Gerald Cleaver, the guitarist Oz Noy, and the trumpeter Freddie Hendrix.

Eric is also a member of TARBABY, a group which he co-leads with the pianist Orrin Evans and the drummer Nasheet Waits, and which is frequently expanded to include other like-minded collaborators. JazzTimes warns that their eponymous first album, “leaves you wanting more – much more”, and describes their second release, The End of Fear, as a “daring, genre-defying ride by an uncannily flexible crew of likeminded musical renegades.” The band’s website includes the following description of the group:

TARBABY is an expandable, organic situation where like-minded musicians are invited to participate. With the trio of Evans, Revis, and Waits as the foundation we strive to augment the group into myriad incarnations. There are no limitations, this is just the beginning. We’re excited to see the manifestations of these various combinations.

Eric has been leading and co-leading various configurations at The Gallery for over a decade, and we are excited to feature his trio and quartet this Friday and Saturday nights, respectively. Friday’s performance will feature a trio with the pianist Kris Davis and the drummer Andrew Cyrille, while Saturday’s lineup will expand to include the saxophonist Darius Jones.

Watch a video of one of Eric’s performances at The Gallery, featuring Ken Vandermark, Jason Moran, and Nasheet Waits.

Photo by Jorge Ribera, http://www.jorgefoto.com/

The drummer Ferenc Nemeth keeps a busy schedule. For years now, he’s been consistently sought after by numerous bandleaders, and has found himself on stage with the likes of Herbie Hancock, Wayne Shorter, Terence Blanchard, Billy Childs, and Christian McBride, among many others.

Most frequently, Ferenc can be heard alongside the guitarist and Blue Note recording artist Lionel Loueke (who just finished a weekend-long run here) and the bassist Massimo Biolcati. The trio has appeared on each of Loueke’s critically acclaimed albums for Blue Note, and have also released two collaborative recordings under the name Gilfema for the ObliqSound label.

Yet Ferenc has also made leading his own band a priority. The drummer released his debut album Night Songs (Dreamers’ Collective) in 2007, which features the guitarist Lionel Loueke, the saxophonists Chris Cheek and Mark Turner, the pianist Aaron Parks, and the bassist John Patitucci. JazzTimes praised the effort, writing:

A strain of melancholy longing runs through drummer Ferenc Nemeth’s dreamlike debut as a leader, as delicately layered melodies billow and merge in overlapping waves. Nemeth’s rolling cadences provide direction, while the twin saxophones of Chris Cheek and Mark Turner dance in an intimate pas de deux or roam introspective byways. Aaron Parks is sunny yet mysterious on piano, and guitarist Lionel Loueke’s sparkling, ethereal lines and quiet vocalizing add a sense of fantasy to this elusively structured set.

We presented the CD release concert for Night Songs in 2007, and we look forward to welcoming Ferenc back to our stage this with a different lineup in tow on Thursday night. This iteration of the band will include the saxophonist Chris Potter, the pianist Sam Yahel, the guitarist Lionel Loueke, and special guest bassist Richard Bona.

Listen to a recording of “War” from Night Songs.

Photo via Unlimited Myles

Writing in The New York Times, Jon Pareles recounts the experience of hearing the guitarist Lionel Loueke perform at Bonnaroo: ”Loueke is a gentle virtuoso. As a singer, he has a husky, sincere baritone and a melting falsetto that he uses to scat-sing along with his guitar solos. He’s also a full-fledged jazz guitarist, and he uses both electronics–guitar synthesizer, looping devices–and African roots. In one piece, unassisted by any technology beyond microphone and amplifier, he sang, made percussive tongue clicks and played syncopated guitar chords and leads. He multiplied himself, one way or another, in nearly every song.”

Lionel didn’t pick up a guitar for the first time until age 17. Growing up in Benin, West Africa, he was exposed to the instrument through the example of an older brother, who performed with a local Afro-Pop band. Showing a talent for the instrument early, Lionel began to investigate both the popular and traditional music of his homeland, but a George Benson recording immediately shifted his direction towards jazz.

The story of how the guitarist got his first gig is best told in his own words:

I was a student [at the National Institute of Art in the Ivory Coast], and I couldn’t pay my rent so they kicked me out, and I needed to get a gig so bad[ly]. So there was a club, and I tried so many times to get a gig there. So one night I just went to the club because I was desperate. I didn’t have anything. I needed money to survive. The band took a break, during the break I went on stage, I picked up the guy’s guitar and I start playing. They came to me and tried to grab back the instrument. And the manager said ‘No, let him play.’ So after I played the manager said ‘Man, you want a gig?!’ [laughs] That was my first gig, and I carried that gig for two years!

To continue his studies, Lionel travelled to Paris to attend the American School of Modern Music before receiving a scholarship to Berklee College of Music in Boston. While in Boston, he met two musicians who would become lifelong collaborators: the bassist Massimo Biolcati, and the drummer Ferenc Nemeth. After graduation, the three musicians found that their paths forward were intertwined: they were all accepted to the Thelonious Monk Institute of Jazz, where they toured internationally for two years under the direction of Herbie Hancock, Wayne Shorter, and Terence Blanchard.

As a sideperson, Lionel has been sought after by some of the worlds’ greatest artists. Both Blanchard and Hancock have featured Lionel in their ensembles in performance and on recordings. The guitarist appears on two of Blanchard’s albums for Blue Note (Bounce and Flow), as well as on Herbie Hancock’s Possibilities (Vector/Hear Music), River: The Joni Letters (Verve), and The Imagine Project (Sony), and continues to play an integral role in Hancock’s quartet. River was awarded the GRAMMY for Album of the Year in 2008. Lionel has also been featured in the groups of Angelique Kidjo, Dianne Reeves, Cassandra Wilson, Wayne Shorter, Richard Bona, Sting, Santana, and many, many others.

As a leader, the guitarist has recorded two highly acclaimed albums for Blue Note: Karibu (2008) and Mwaliko (2010). He also has three releases as a leader or co-leader (of Gilfema, along with Massimo and Ferenc) available via the ObliqSound imprint. He’s also been playing in various settings at The Jazz Gallery since he first arrived in New York. One such occasion featured a duet with the drummer Mark Guiliana, which, along with a duet with the drummer Marcus Gilmore on Mwaliko, foreshadowed this weekend’s run of concerts, in which the guitarist will engage a different drummer in the duo setting each night. On Thursday night, Lionel will trade blows with Nate Smith; Friday will feature Jeff “Tain” Watts; and Saturday will see the return of Mark Guiliana.

Watch the first of three videos of the aforementioned duo engagement between Lionel and Mark, and listen to said duet version of Wayne Shorter’s “Nefertiti” from Mwaliko, this time featuring another drummer, Marcus Gilmore.

Jazz Gallery Home Run Benefit: Jonathan Blake, Claudia Acuña, Kenny Barron, Ravi Coltrane, and Kiyoshi Kitagawa

For those of you who have not yet heard, The Jazz Gallery is looking for a new home. In December 2012 our lease will expire, and due to changes in the zoning of our building, we will have to move. You can read more here.

We will be holding a concert to benefit The Gallery on Wednesday, June 13th (the date has changed since our last update). Claudia Acuña, Kenny Barron, Jonathan Blake, Ravi Coltrane, and Kiyoshi Kitagawa will all be performing, and more amazing artists have come forward to support us as well. Stay tuned for further lineup announcements, and for more details on the event; we’ll announce them as they become available.

Photo by Daniel Sheehan // EyeShot Jazz

The Wire declares that the trumpeter Amir ElSaffar “is uniquely poised to reconcile jazz and Arabic music without doing either harm…ElSaffar’s music [is] the result of engagement across the board, presented with clarity and eloquence.” The Chicago Tribune concurs; in a review of Danilo Pérez‘ 21st Century Dizzy [Gillespie] ensemble, they praise “ElSaffar’s melismatic trumpet lines conveyed tremendous lyric beauty, his phrases bending and twisting in ways that Western ears are not accustomed to hearing,” and conclude, “[Danilo] Perez, [David] Sanchez, [Amir] ElSaffar and [Rudresh] Mahanthappa rank among the most promising figures in jazz today, each redefining the music with cultural influences from around the world.”

The Chicago-born son of an Iraqi immigrant father and American mother, Amir was surrounded by music from a young age. He discovered Louis Armstrong and Ella Fitzgerald through his father’s record collection, and flirted with various instruments before settling on the trumpet at age 10. Throughout his adolescence, Amir honed his skills on the trumpet across genres, including a stint with the Civic Orchestra of Chicago, where he performed under the baton of Pierre Boulez, Mstislav Rostropovich, Daniel Barenboim, and others. During this period, he also earned his bachelors degree from DePaul University.

Amir moved to New York for the first time in 2000, performing with Cecil Taylor, as well as peers such as Vijay Iyer and Rudresh Mahanthappa. Yet his desire to delve into the music of his heritage took precedence; after winning the 2001 Carmine Caruso International Jazz Trumpet Competition, Amir used the funds to embark on a five-year search across Iraq, the Middle East, and Europe in pursuit of the masters, studying the Iraqi Maqam and related musical traditions.

Returning to America, Amir formed the ensemble Two Rivers, which frames his investigations of the maqam tradition in a jazz setting, pairing searching contemporary jazz artists like Rudresh, the bassist Carlo DeRosa, and the drummer Nasheet Waits with players well versed in the Iraqi Maqam. The ensemble’s eponymous debut on Pi Recordings solidified Amir as an important new voice; AllMusic declared it, “as impressive a debut as we’ve had in America in the 21st century.” Amir’s recent follow-up, Inana (Pi) has also garnered significant acclaim, including four-and-a-half star reviews from DownBeat and AllMusic.

While traveling, Amir also learned to play the santur (an Iraqi hammered dulcimer) and developed his voice. In 2006, he founded Safaafir, which is the only US-based ensemble “performing Iraqi Maqam in its traditional format.”

We’ve been presenting Amir’s bands since 2008, and commissioned him during our 2009-2010 “New Voices” series. He has also performed on our stage with the saxophonist Hafez Modirzadeh; their collaboration was documented on the 2010 album Radif Suite (Pi). On Friday night, Amir will take our stage alongside his quintet, which includes the saxophonist Tony Malaby, as well as a rhythm section comprised of the pianist John Escreet, the bassist François Moutin, and the drummer Dan Weiss. The group will be premiering new music based on Sumerian Modes in both equal and non-equal temperaments.

Watch footage from a recent Two Rivers concert at Jazz Standard.

Photo via http://milesokazaki.com

Listing Generations (Sunnyside) – the last album from the guitarist Miles Okazaki – among his top ten releases of 2009 in ArtForum, Vijay Iyer describes what he heard: “a recursively structured, fractally detailed labyrinth of music — the sonic equivalent of Escher or Borges, but with real emotional heft.”

Characterized as “an exceedingly skilled guitarist with a head for rhythmic convolution” by The New York Times, Miles was raised in Port Townsend, Washington. He holds degrees from Harvard, Manhattan School of Music, and Juilliard, and was the 2nd place finalist in the 2005 Thelonious Monk Guitar Competition. He has honed his skills in bands led by Stanley Turrentine, Kenny Barron, and Steve Coleman, among others.

Generations and Mirror, Miles’ self-released debut, are listed by the guitarist as predecessors to his forthcoming release, Figurations (Sunnyside):

FIGURATIONS (2012) is the third volume in the large compositional cycle that began with MIRROR (2006), and GENERATIONS (2009). A listener to all three albums may notice certain elements reappearing in different form. There is also a larger development in these three volumes, from a focus on extremely formal and controlled structures, moving gradually toward a looser conception of group interplay. This is meant to mirror the process that the improvising musician goes through, from concept to practice to spontaneity. MIRROR was recorded in small pieces and highly produced, GENERATIONS was recorded in the studio in a continuous take, and FIGURATIONS was recorded live with an audience. This can be seen to represent a gradual acceptance of the balance between control and natural forces. A good comparison might be a garden that is planted with strict rows and borders, and is left to grow on its own for a few years, at which time natural forms have sprouted up and entertwined with each other in a way that is seemingly chaotic, but governed by natural law, and built on the foundation of an underlying structure that has now all but disappeared. This idea of simplifying and letting go of control is manifest in a few ways on this record. The sheet music is minimal, only the seeds of ideas, which are then entrusted to the musicians to generate ideas and structures. The group is also minimal, a quartet, which allows for space and presents more detail about each performer. There is also the guitar, which uses no effects ar processing at all. With live recording there is no option to fix errors, so part of the process is learning to accept or even enjoy the missteps or digressions of a live performance that bring the music into unexpected territory.

The music on Figurations was commissioned by The Jazz Gallery during our 2011 Residency Commissions series, and the album was recorded live on our stage during the premiere concert. Miles and his quartet (featuring the bassist Thomas Morgan, the drummer Dan Weiss, and the saxophonist Mark Turner, who will sub for Miguel Zenón) will return to The Gallery to celebrate the release of the album this Saturday.

You can hear the title track from the album and view some of Miles’ accompanying artwork (we highly recommend checking out the rest here) below. In the liner notes, he offers the following commentary:

A cycle in golden proportions (89:55). The rhythmic figure is an hourglass shape, the harmony follows Fibonacci numbers, and the melody follows the composite of both of these cycles, in the form of canon in double counterpoint. The form of the cycle is like a type of blues (12×12), over which ornate figurations link together into a continuous woven texture.

Photo by voxjuventus via http://flickr.com

On the subject of the pianist Osmany Paredes, the percussionist (and Jazz Gallery veteran) Dafnis Prieto provides high praise: ”…a fantastic musician. I’m using him whenever I can. He can go in so many different directions, but he’s got such a strong identity he always adds something unexpected into the mix. When he’s playing my music, I just turn him loose.”

Osmany was born in Santa Clara, Cuba, and began studying music at the tender age of five. His father, the percussionist Guillermo Paredes, was Osmany’s first teacher, and their lessons provided an immersion in Afro-Caribbean rhythmic traditions. Focusing on his musical studies throughout his adolescence, the pianist inhaled the European classical repertoire, and began to listen to whatever jazz recordings he could get his hands on. After a few tours abroad, Osmany made the move to Mexico City, where he spent eleven years performing with some of the best musicians in town (and in the world): Israel “Cachao” López, Carlos “Patato” Valdes, Antonio Sánchez, and Jerry Gonzalez. The pianist released his first album, Menduvia (Fonosound), in 2003.

The same year, Osmany fulfilled a longtime dream by moving to the United States, settling briefly in Los Angeles before deciding to make Boston his home base. Dafnis Prieto and Yosvany Terry both quickly began taking the pianist on the road, and people began to take notice. “Steeped in the European classical tradition, enamored of jazz, and fully conversant with Cuban popular music, [Osmany] Paredes is a thrilling player who combines percussive attack with a vivid harmonic imagination,” writes Andrew Gilbert in The Boston Globe. “Paredes is an aggressive stylist with a bright-sounding, percussive approach and penchant for fiery improvisations, yet time and again he revealed a sweet side,” remarks Bob Young in The Boston Herald, proclaiming, “Heed the buzz: Paredes is not to be missed.”

We first heard Osmany as a sideperson in the bands of Dafnis Prieto and Yosvany Terry, and presented his own band for the first time in 2008. We look forward to welcoming the pianist back this Thursday night for a performance with his quartet.

Watch Osmany perform with the drummer (and fellow Jazz Gallerian) Antonio Sánchez and the bassist Luri Molina in Mexico City in 2003.

Photo courtesy of Sofia Rei

“As the Argentine singer Sofía Rei led her multinational band,” remarks Phil Lutz in The New York Times, “the passion and clarity with which she assayed a tricky mix of South American rhythms and jazz-inflected harmonies made clear why she has been embraced by New York City audiences from Carnegie Hall to the hippest downtown haunts.”

Growing up in Argentina, Sofía moved to the United States after completing her undergraduate studies at the National Conservatory of Music in Buenos Aires.  Since earning her Master’s degree at the New England Conservatory, she has worked with Bobby McFerrin, Maria Schneider, John Zorn, Guillermo Klein, Lionel Loueke, Geoffrey Keezer, and many others.

Sofía has released two critically acclaimed albums. Her debut release, Ojalá, which features compositions in Spanish, Portuguese, and English, was selected as on of the Top 10 Albums of 2006 by the Jazz Journalists Association (JJA). In 2010, Sofía followed with her sophmore effort, Sube Azul (World Village/Harmonia Mundi), which distills insights gained through performing progressive jazz into those gleaned through her upbringing in the “folkloric traditions of Argentina and its regional neighbors (Peru, Colombia, Uruguay).” The album was recognized with an Independent Music Award in the World Beat category.

In addition to her busy performance schedule, Sofía also teaches at Berklee College of Music. She recently taught Conan O’Brien how to drink Mate.

Sofía has been performing at The Gallery as a leader since 2008, and was one of the vocalists we commissioned in our 2009-10 “New Voices” series. We look forward to presenting her quartet, which is comprised of the guitarist Eric Kurimski, the bassist Jorge Roeder, and the percussionist Yayo Serka, this Friday night.

Watch Sofía performing “La Gallera” at Lincoln Center Out of Doors:

Photo courtesy of John Escreet

“The pianist John Escreet seems to be thinking about where jazz can go next,” writes Ben Ratliff in The New York Times. John Fordham of The Guardian agrees: “Escreet has quickly matured into one of the most original exponents of that highly disciplined, melodically and rhythmically intricate contemporary jazz style.”

Since the British-born pianist moved to New York in 2006, he has released three acclaimed albums, and cut his teeth in the bands of Antonio Sanchez, Ambrose Akinmusire, Adam Rogers, Tyshawn Sorey, and several others.

As we’ve mentioned previously, we were taken with John’s playing when he first appeared here as a sideperson with the saxophonist David Binney. We invited him back shortly thereafter to celebrate the release of his first album, Consequences (Posi-Tone), on our stage, and he has performed here on numerous other memorable occasions since then. One of these was the debut concert of his trio, featuring the bassist John Hébert and the drummer Tyshawn Sorey, which will return to The Gallery this Saturday. The performance will precede a short tour in Europe next month, and the group will be test driving some brand new music.

We posed a few questions to the pianist ahead of his upcoming performance, which he graciously answered. Without further ado, John Escreet speaks:

 

Tell us about your relationship to John Hébert and Tyshawn Sorey. When did you meet them? In what other contexts have you performed together? What motivated you to select them for this group?

I met and began playing with Tyshawn around five years ago. He first began performing in my regular working group, and is also featured on my debut album “Consequences” from back in 2008. I’m also in a few of his various ensembles, and on his recent album “Oblique – I”. We’ve played together on so many occasions over the years. He’s perhaps the most remarkable musician I know, and definitely one of the musicians I feel the most liberated with when playing music.

Tyshawn and I played together slightly less frequently while he was earning his Masters degree at Wesleyan University for a couple of years, and I was looking for an opportunity to resume working regularly with him again. I had started to think about forming a trio; it was the perfect opportunity. I had played with John on one or two occasions before forming the trio, but had been aware of his playing for several years due to his association with some of my favorite pianists like Andrew Hill and Fred Hersch. I was fascinated with his approach to music-making, and with his very unique and personal approach to playing the bass. His playing is somehow loose and accurate at the same time. He has incredible ears, not to mention amazing technical facility on his instrument. John and Tyshawn had not really performed much together in the past, but I thought they would be perfect together to realize my vision for the trio, and I was right.

Describe the music: What are your goals as a composer/bandleader for this trio? Are there any particular processes or frameworks you employ in composing for this group? To what extent do you take into account your collaborators’ personalities and input in the compositional process?

The music in this group varies from elaborate, through-composed works of mine, to completely open and improvised pieces, and everything in between. Often the lines get blurred between these two “approaches” which is when the music really starts to get interesting, in my opinion. The benefit of having musicians like John and Tyshawn in the group is that the scope of what they can both do is so vast, and encompasses so much. As a result, there are infinite possibilities when it comes to the music. They are both unique stylists on their instruments, as well as fully-formed conceptualists. They are both incredible improvisers as well as superb readers. They can deal with any music I put in front of them, and can develop it in ways I would not have thought of. Sometimes I do take into account their musical personalities when composing for the group, but in all honesty their personalities are so strong that they immediately own whatever they are playing anyway, whether it was written specifically for them or not.

Talk about your history with and relationship to The Jazz Gallery: When did you start coming here to listen? to perform?

I started frequenting the Jazz Gallery as a listener pretty much as soon as I moved to New York in 2006, as it was the venue with the most interesting music that I wanted to hear. I have seen so many inspiring concerts there over the years. I first performed there in 2007 with David Binney’s big band, and made my debut there as a leader in 2008 in celebration of my first album, “Consequences”. Since then, I’ve played at the Gallery many times as both a leader and as a sideperson. it’s definitely my favorite place to perform in New York, as well as to listen to music.

 

Listen to an early studio session from the trio courtesy of WBGO.

Eli Degibri photo by Orit Pnini // Kevin Hays photo via Dazzle

Herbie Hancock noticed Eli Degibiri early. In 1999, the venerable pianist selected the then-unknown saxophonist to perform internationally with his group, citing Eli’s “natural ability toward effective teamwork, focus, willingness to listen, and eagerness to learn, the caliber of which is a rare find in jazz today.” Hancock saw potential: “Eli’s music treads uncharted waters…he has the potential to be a formidable force in the evolution of jazz.”

In the last decade, Eli has recorded five albums as a leader, and toured with veterans such as Al Foster, Clark Terry, Jimmy Heath, Eric Reed and the Mingus Big Band. “Don’t miss him,” cautions Ben Ratliff in The New York Times, “He is a very modern improviser, super-artful; his creations are spiky and fractured, but immaculately sculptured.”

Kevin Hays has known Brad Mehldau for years; their relationship dates back to high school. On the subject of Hays, his fellow pianist exclaims, “Stellar! Kevin Hays is a true original. Everything he plays has a deep intelligence and swing.” The two artists recently recorded together for the Nonesuch imprint, which is among the latest of Kevin’s dozen releases as a leader or co-leader on labels such as Blue Note, Artist Share, and Steeplechase. Kevin is also highly in-demand as a sideperson, having performed and/or recorded with the likes of Eddie Henderson, Nicholas Payton, Jack DeJohnette, and John Scofield, who proclaims, “[Kevin]‘s all-encompassing; phenomenally so!”

We’ve been presenting both Eli and Kevin’s groups intermittently since 2002, and we look forward to the second performance by the duo at The Gallery this Thursday, April 26th. This show will launch a short tour for the pair, which also includes stops at An die Musik LIVE (Baltimore), Dazzle (Denver), and SFJAZZ’s Israeli JazzFest (San Francisco).

You can stream tracks from One Little Song courtesy of our friends at SFJAZZ (the audio player is on the right towards the bottom).