Wednesday, June 29, 2011

Thursday, June 23, 2011

Ny Times Jazz previews...

★ Ron Carter Trio Featuring Mulgrew Miller and Russell Malone / Tom Harrell: Jazz Meets Classical: Debussy & Ravel (Tuesday) Ron Carter, one of jazz’s most highly regarded bassists, has led this chamberlike group — with Mulgrew Miller, an earthy but modern-spirited pianist, and Russell Malone, a quietly dazzling guitarist — for a number of years, with elegant results. And speaking of elegance, it’s one quality you might reasonably expect from the other ensemble on the bill, led by the trumpeter Tom Harrell and featuring reworkings of music by a pair of French impressionist composers. Part of the Blue Note Jazz Festival. At 8 and 10:30 p.m., Highline Ballroom, 431 West 16th Street, Chelsea, (212) 414-5994, highlineballroom.com; $30 in advance, $35 day of show, with a $10 minimum at tables. (Chinen)


★ Dave Holland Quintet (Monday) The sinewy athleticism and deep sonority of Dave Holland’s bass playing have figured prominently in jazz since the late 1960s, when he was recruited by a restless Miles Davis. Mr. Holland’s career as a bandleader, which began soon afterward, has always been about smart experimentalism with a forward thrust. The best recent illustration has been this explosive but sure-footed quintet, which currently includes Chris Potter on saxophones, Robin Eubanks on trombone, Steve Nelson on vibraphone and Nate Smith on drums. Part of the Blue Note Jazz Festival. At 8 and 10:30 p.m., Highline Ballroom, 431 West 16th Street, Chelsea, (212) 414-5994, highlineballroom.com; $25 in advance, $30 day of show, with a $10 minimum at tables. (Chinen)

Madeleine Peyroux













Friday, June 17, 2011

Thursday, June 16, 2011

Meshell Ndegeocello / NY Times review...

Meshell Ndegeocello outlined a catalog of social and natural disasters at one point in her sold-out show at the Highline Ballroom on Wednesday night. “You turn on the telly and every other story/Is tellin’ you somebody died,” she sang in her deep-shadow vocal register, a notch or two above a murmur. The tune was “Sign o’ the Times,” by Prince, rearranged for upright bass, pinging keyboards and hazy rhythm. The overhaul affected everything but melody and lyrics, amplifying the bitterness in the song (more at nytimes.com)