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Design courtesy of the artist.

This Wednesday, August 9th, The Jazz Gallery is pleased to welcome alto saxophonist Curtis MacDonald to our stage. With three acclaimed albums under his belt, and a number of commissions from acclaimed dance companies including Alvin Ailey American Dance Theater and Kate Weare Company, MacDonald has established himself as one of New York’s most thoughtful composer-improvisers working in the space between established musical styles. His work has caught the ear of Henry Threadgill—MacDonald is a member of Threadgill’s newest band, Ensemble Double Up, which released its debut record Old Locks and Irregular Verbs on Pi Recordings last year.

For his show at the Gallery this week, MacDonald has convened a new ensemble called Third Sky, featuring his Threadgill compatriot Christopher Hoffman on cello, Sam Harris on piano & keyboards, and Jason Nazary on drums. Before coming to the Gallery to hear the new, adventuresome music that the band has in store, check out MacDonald’s most recent record, Scotobiology, below.

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Photo courtesy of the artist.

This Friday, August 4th, The Jazz Gallery is pleased to welcome saxophonist Mario Castro back to our stage. Castro has been a regular over the past few years, participating in our inaugural mentorship series with Miguel Zenon, and continually releasing new compositions and arrangements for his quartet + strings project.

This Friday at the Gallery, Castro will convene a more stripped down quartet configuration featuring Tony Greco on guitar, Tamir Shmerling on bass, and Joel Mateo on drums. The group is sure to explore both new compositions and old favorites. Before coming to check out the band this weekend, watch Castro’s stirring performance at the Kennedy Center’s Millennium Stage from this past December.

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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.
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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.

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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.

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