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Design courtesy of the Tri-Centric Foundation.

This Sunday, June 10, The Jazz Gallery is proud to host a special day-long event celebrating the music of Anthony Braxton. At 1 P.M., Taylor Ho Bynum—a longtime Braxton collaborator and executive director of Braxton’s Tri-Centric Foundation—will host a workshop outlining some of Braxton’s conceptual music systems. The workshop is open to musicians of all levels, and all are encouraged to bring their instruments.

Following the workshop at 5 P.M., young musicians from the Kaufmann Center’s Face the Music program will return to our stage alongside Braxton collaborators Kyoko Kitamura, Anne Rhodes, and Carl Testa to perform selections from across Braxton’s oeuvre. In addition, the ensemble will perform a new Braxton-inspired work by Face the Music student Grame Buehrer.

Before coming out to the workshop and performance, read this in-depth feature on project from Seth Colter Walls of the New York Times. (more…)

Photo by Ken Weiss, courtesy of the artist.

This Thursday, June 7, The Jazz Gallery is pleased to welcome clarinetist Ben Goldberg back to our stage for two sets of performances. An improviser of deep imagination and eclectic taste, Goldberg has put together groups big and small for projects inspired by Thelonious Monk, Steve Lacy, and the poetry of Allen Grossman, to name a few. At the center of these wide-ranging projects, however, are Lacy’s deep musical relationships with the likes of guitarist Charlie Hunter, saxophonist Ellery Eskellin, drummer Kenny Wollesen, and pianist Myra Melford. Check out Melford’s and Goldberg’s well-honed interplay in the video below.

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Photo courtesy of the artist.

In the fast-paced, session-oriented world of New York jazz, it’s treat to have top-tier players collide for special one-off projects, leaving lively performances and energetic records in their wake. One such combination is Blake/Oh/Potter, also known as BOP Trio, consisting of Johnathan Blake (drums), Linda Oh (bass), and Chris Potter (tenor saxophone).

Aside from giving a memorable performance at The Jazz Gallery, the trio was launched by (and helped facilitate the launch of) Giant Step Arts, a non-for-profit organization founded by Jimmy and Dena Katz to support independent artists. Giant Step Arts supported the trio over two nights of live recording at the Gallery last winter. They aided the production of a forthcoming trio album, and are facilitating the upcoming trio show at The Gallery as well. We spoke with Johnathan Blake and Chris Potter about the trio, and we’ll let them tell the story.

The Jazz Gallery: Johnathan, tell me about the origins of BOP Trio.

Johnathan Blake: In 2015, Chris and I did trio tours with both Larry Grenadier and Scott Colley. Chris’s harmonic sense is so advanced that sometimes you don’t need a piano or any chordal instrument. He outlines the chords so well, and in a chordless situation, it gives him a lot more freedom than having a guitarist or pianist. Those tour experiences were on my mind when the first Jazz Gallery date came about. Chris was available, and I thought Linda would be a great fit—I’ve loved Linda’s playing for years now—and she was down to do it. Linda had never played with Chris at that time, so it was nice to bring them together. They were fans of each other, but putting them together on stage was really special. We figured out that our last names’ initials spell BOP, so we played the gig at The Gallery as BOP Trio, and it was a success.

TJG: Chris, what are your thoughts on playing in a chordless trio?

Chris Potter: It’s a format I always enjoy. More of the harmonic spectrum is open, and every instrument is clearer. Of course, it also means that I can imply things with my melodic content. The counterpoint between the saxophone and bass is all that outlines the harmony. I can choose to make what is normally a minor chord a major chord without any sort of clash with an accompanist.

Johnathan and I first started playing together, as I recall, with the Mingus big band in the 90s. It was a regular gig for a while, and we went on the road a bit. That’s when I first got to know him. Johnathan, I mean, he just has so much swing, it’s deep down in his DNA. It always feels good. And if it feels good, you can do anything. That’s what I love about his playing, among other things. He swings. Hard.

TJG: Between that swing and that confidence and the counterpoint hookup with Linda, it leaves you so much latitude as a soloist. What stood out for you about the last time you played together?

CP: I just remember that it was fun. I have a long history with Johnathan, a bit less with Linda. She arrived on the scene a bit later. I had been running into her on the road, but we’d never played until Johnathan put us all together. That was the introduction. I knew of her work and was a fan, but that was the first time we played as a trio. She’s very strong, which is crucial in that trio setting. You need someone who can lay it down and show where the harmony is. Someone who can make careful choices to outline things, because there’s nobody else to show it. She definitely does that. But she also does it with her own approach to music, with a real fluency and virtuosity on bass. I’m looking forward to working with her more.

TJG: So Johnathan, what was the occasion for you to organize another BOP Trio show?

JB: In January of this year, Jimmy Katz started a new venture called Giant Step Arts, a non-for-profit company supporting independent artists. Jimmy was at the first BOP Trio show we played: He liked the chemistry, and he asked me to put the trio together again to record. Even though I have a couple of albums out under my own name, he felt like he wanted to showcase this as a drummer-lead band. With the first show, I had everyone bring in some tunes, as well as standards, and made it a collaborative effort. When Jimmy approached us about playing again, he said “I want you to shine as a leader.” So we did two nights at the Gallery, recording live both nights. I brought in most of the music, and Chris and Linda brought some tunes as well. Now, we’re looking at a July release. I’m really happy with it, and we can’t wait to get this project out to everybody. I’d be curious to get Chris’s take on the recording, actually. It’s interesting with Chris, since he can’t hear out of one of his ears. He’s always hearing in mono, so to speak.

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Design courtesy of the artist.

This Tuesday, June 5, The Jazz Gallery is proud to present a special melding of two like-minded groups—Real Feels and Endless Field. Led by trumpeter John Raymond, the trio Real Feels has a fluid stylistic sensibility, drawing ambience and lyricism from contemporary indie rock into their chamber jazz interplay. In addition to performing Raymond’s original works, the trio has delved into the modern rock songbook with covers of tunes like Bon Iver’s “Minnesota, WI,” below.

The duo Endless Field features long-time friends/collaborators Jesse Lewis on guitar and Ike Sturm on bass. The duo’s gently fingerpicked lines and lush textures can call to mind the work of the band Oregon, or Pat Metheny, yet they’ve forged a unique path by drawing on their love of the natural world, like in the tune “Infinite Cascade.”

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