Info

A look inside The Jazz Gallery

Archive for

L to R: Remy LeBoeuf, Jihye Lee, and Nicola Corso. Photos courtesy of the artists.

This Thursday, August 3rd, The Jazz Gallery will host the return of our long-running large ensemble composers’ showcase. This showcase has provided up-and-coming composers with the rare opportunity to perform their work with a top-flight New York big band.

This concert will feature works by three very different composers—saxophonist Remy LeBoeuf, vocalist Jihye Lee, and bassist Nicola Corso. While LeBoeuf has certainly garnered a strong reputation as a saxophonist over the last several years in New York, he has recently begun to explore his voice as a large ensemble composer. This year, he won the prestigious BMI Charlie Parker Prize for his composition “Sibbian” (previous winners have included Darcy James Argue, Anna Webber, and Miho Hazama).

Hailing from Korea, Jihye Lee holds degrees from the Manhattan School of Music and Berklee College of Music. She is an active vocalist in New York, and just released her debut large ensemble record, April, earlier this year. Check out the pensive and evocative “April Wind,” performed at the ensemble’s record release show at Symphony Space, below.
(more…)

Chris Morrissey. Photo by Chris Shervin.

This Friday, July 28th, The Jazz Gallery is pleased to welcome bassist Chris Morrissey back to our stage. In 2015, Morrissey received a Jazz Gallery commission and composed a series of songs for a new band of singer-instrumentalists called Standard Candle. A fixture in the pop world as well as the jazz/improv world (Morrissey has worked closely with the likes of Sara Bareilles and Andrew Bird), Standard Candle has proven an ideal outlet for Morrissey’s multifaceted aesthetic.

For the Gallery performance this weekend, Morrissey will reconvene Standard Candle with a slightly altered lineup—Grey McMurray on guitar & voice, Nick Videen on alto saxophone & voice, Sarah Pedinotti on synth & voice, and Dan Weiss on drums. Before coming to the Gallery to hear Morrissey’s songs take on new life, check out this live performance of the gut-busting “I Knew You” from Rockwood Musical Hall, and read about Morrissey’s original concept for the project.

(more…)

From L to R: Edward Gavitt, Andres Valbuena, Steve Williams, Alfredo Colón. Photo courtesy of the artist.

Jazz musicians have long mined contemporary popular culture to find new avenues of expression, whether Sonny Rollins’s inveterate exploration of hidden songbook gems, Miles Davis’s psychedelic fusions, or Brad Mehldau’s rhapsodic takes on Radiohead. Secret Mall—a young collective featuring Alfredo Colón on EWI, Edward Gavitt on guitar, Steve Williams on bass, and Andres Valbuena on drums—continues this tradition through their exploration of electronic music subgenres like Vaporwave and popular music more generally.

This Thursday, July 27th, Secret Mall will make their Jazz Gallery debut with two sets of subversive covers and curious originals. We caught up with members Colón, Gavitt, and Williams earlier this month to talk about the group’s origins, their upcoming EP release, and their thoughts on the silly and the serious in music.

The Jazz Gallery: How did you guys meet and how did this project start?

Alfredo Colón: I took a few lessons with Dayna Stephens and I was really inspired by his group 3WI, which features Gilad Heckselman on guitar and Adam Arruda on drums. I wanted to try doing the EWI trio thing—a bassless EWI trio with guitar and drums. So I tried that out with Ed, and a different drummer, and the result was, to be honest, kinda sad. Later, we got these gigs where we had the opportunity to put together our own music. We were playing outside, and it was a very low pressure gig, so we were really just focused on getting guys we liked hanging out with. Eventually the group became what it is now, not a bassless EWI trio, but Secret Mall.

Steve Williams: I got the call for the gig via Skype—well actually no, not Skype. I was in Texas visiting home for part of the summer, and Alfredo sent me about 10 Snapchats in a row while he was pretty drunk, being like “Yooo, we’re trying to do this EWI group. I want you to play bass.  We have this gig on July 21st, can you do it?” I was thinking “that’s the day I’m coming back from Texas” so I replied “ok, that’s the day I get back, I can do it then, but we have to rehearse that day.” Keep in mind, up to this point they have not heard me play bass yet.

AC: I hired Steve based on personality alone. And then when I got to the gig and he starts playing, I was like “Oh shit, he can play!” 

TJG: So this is definitely a friends group. What does that allow you guys to do musically, that you might not be able to do with people you don’t know?

Ed Gavitt: I think it allows us to open up more from a musical perspective. A really good example is when we took this gig at Yale. We basically hung out for 9 or 10 hours straight that day. We got into some deep jokes and I think that translated to the show—I still think that’s the most successful gig we’ve had yet. We were so comfortable in the musical setting to mess around with stuff and go in lots of different places that well-rehearsed bands don’t get to because they rehearse so much—for many of them it’s all about getting the music right and how it is on paper.

SW: I think there’s a certain amount of trust that’s there when you’re good friends with the people you’re playing with in that if we were all just sideman on this gig, and if all we did was only rehearse and not talk before and after the gigs, it wouldn’t be the same. Knowing each other so well creates an inherent trust that goes in. Our personalities off the instruments lead us to trust the personalities on the instruments.

TJG: And your inside jokes make their way into the music literally, right?

AC: So we have an EP coming out called the Yee(P)—Yee is a meme from 2010 that’s become probably the biggest inside joke in the group. If you look up Yee, it should be a six second video of a dinosaur singing [scats the melody]—we found out that the source video for that meme was from a bootleg version of the Land Before Time made by German people and sold in Italy, and we transcribed some of the text that one of the characters named Peek says, and it’s become not only the inspiration for title of our EP, but one of the tunes that we play and it’s become a musical phrase that we use throughout our sets.

(more…)

Pascal and Remy LeBoeuf. Photo courtesy of the artist.

This Sunday, July 23rd, The Jazz Gallery is pleased to welcome The LeBoeuf Brothers back to our stage. Rey (saxophone) and Pascal (piano) have been stalwarts on the New York scene since their student days at the Manhattan School of Music, continually expanding their musical vision in multiple directions at once. Their most recent album, imaginist, features a suite of original compositions inspired by Russian poets of the early 20th century, and featuring a nine-piece hybrid ensemble featuring the leading contemporary classical group JACK Quartet. Check out the arresting music below:
(more…)

Photo courtesy of the artist.

Roopa Mahedevan is an in-demand Carnatic vocalist on the New York music scene, as well as around the U.S. and India. She sings regularly with a variety of Bharathanatyam dance productions and artists, and is herself a trained Bharathanatyam dancer. Roopa is the artistic director of the Navatman Music Collective, an Indian Classical Vocal ensemble, founded in 2014 by Sahi Sambamoorthy. The Collective released its first album, An Untimely Joy, in 2016.  Roopa is a core member of Brooklyn Raga Massive, who are joining her in hosting two sets at The Jazz Gallery on Friday, July 21st, as part of their “Raga Roots” series. For her Jazz Gallery debut Roopa will be joined by Anjna Swaminathan on violin and Abhinav Seetharaman on mridangam.

Roopa has a full-time job in public health policy, and wields degrees in biology and cognitive science. We caught up with her at a Midtown Manhattan coffee shop, in between her day job and her evening rehearsal, and chatted about the various projects she’s involved in, and about the challenges and opportunities that arise when playing Carnatic music in shifting settings.

The Jazz Gallery: Could you start by setting the stage for this upcoming show at the Gallery?

Roopa Mahadevan: It’s going to be pretty much a traditional Carnatic concert. I’ll be singing Carnatic vocal music. On the violin is Anjna Swaminathan. And on the mridangam, or double-headed percussion, is Abhinav Seetharaman. Carnatic musicians often don’t rehearse ahead of time, or make decisions collaboratively before they get on stage. Often the “main artist”—in this case it’s a vocal concert, so the vocalist becomes the main artist—will have a sense of what they want to do, but they may not necessarily tell the accompanists ahead of time. Because if you are a professional Carnatic artist, you’ve already spent years and years learning the technique and repertoire, so even if you don’t know a specific song, if you know the raga, or the scale, and the tala, or the rhythmic structure, you should be able to just go with it.

It’s interesting because it’s an hour-long set, which is short for Carnatic concerts. If you want to do full justice to all of the options that are available in a Carnatic concert, you could do a two-and-a-half-hour, three-hour concert. So it’s actually kind of an interesting challenge, to do this kind of music, in a setting like The Jazz Gallery, because—how do I include all of the elements I want to include in an hour? But I also think that all of us want to go deeper into the pieces that we do. There is sort of a trend in Carnatic music to amass as much as you can and then kind of vomit it all out, and I actually think there’s a lot of value in being patient with how you treat a particular piece. So this [shorter set] will help me actually, to do that.

The other interesting thing about this gig is that there are two sets. And that’s really weird for us. You don’t do two sets! So I have to decide—am I doing two different sets, or the same set twice? That’s what happens, though, when you do this music in a different kind of cultural context, these issues come up. And I would also just add that my generation of Carnatic musicians, and those of us that are not so tied to all the cultural constraints of performing it in India, for example, we share our set ahead of time. Because we want everyone to be at their best. So this idea of surprising the violinist—“hey you didn’t know I was going to do that!”—it doesn’t mean much. I’d rather us all be able to enjoy everything when we’re on stage. Knowing that the other musicians are happy and confident gives me confidence. It feels like we’re in it together as a team.

TJG: Have the three of you played together as a group before?

RM: Anjna and I have played together many times. Abhinav is very busy—he’s as student at Columbia—it’s hard to track him down. The last time we all played together actually was for my group, Navatman Music Collective. I composed a tillana, a little rhythmic piece. We had Abhinav, Anjna, and then a Portuguese guitarist, Pedro Henriques da Silva.

(more…)