In Gotham, the world’s greatest music city, the Jazz Gallery stands out for booking the most inventive artists on the jazz scene. We could refer to the small nonprofit as being audacious, but adventurous is more succinct. They prefer to be outside the jazz realm, presenting artists who energize audiences to say “Wow, I’ll be back for more of that!”
On April 24–25, the Jazz Gallery (1158 Broadway) presents the innovative vocalist, lyricist, and composer Fay Victor, known to make audiences around the world shout a big “Wow!” For most of her prominent career, she has been equated with the fierce avant-garde song styling of Abbey Lincoln and the vivid revolutionary storytelling of Nina Simone.
As a sound explorer, Fay constantly digs deeper into understanding what she is trying to say in a repertoire that sings far beyond the American Songbook. She prefers the title “sound artist,” which allows her the independence to dive into the intricate works of Ornette Coleman, Thelonious Monk, and her recent acclaimed album “Life is Funny that Way: Herbie Nichols Sung” (TAO Forms 2024). This significant work, which deserved much more attention, marked the first time a full program of lyrics and arrangements have been written and recorded for Nichols’s compositions. Fay effortlessly jumped genres from blues, spoken word, jazz, swing, avant garde, and free-flowing improv. “I love learning difficult music — it’s a challenge trying to figure it out and do it; it opens up more possibilities for material,” she said. “My joy comes in mastering it and making it seem easy to do so it seems effortless, like the greats.”
Her absorbing improv scats and lyrical phrasing throughout her works of 13 albums are more than improvisational moments. She has an intentional flow — a foundation that supports her lyricism; something Miles Davis referred to as “spontaneous creation.” It’s not unbridled improvisation coming out of nowhere, but structured, disjointed courses that connect.
For her two-night engagement, Fay will be joined by an all-star lineup of creative bandleaders and composers in their own right, forming an inspired nonet to perform Fay’s original work “Faith, The Gift” an eight-piece movement dedicated to her deceased mother, Faith Evangeline Susannah Victor. It is a media-driven program that includes video, photos, and spoken word by ensemble members. Her rousing roster of friends and former bandmates will include flutes, Nicole Mitchell; bass clarinet, Marty Erhlich; pianist Angelica Sanchez; cello, Marika Hughes; double bassist Sean Conly; trombonist Zekkereya El-magharbel; trumpeter Chris Williams, and drummer Reggie Nicholson. The nonet will be conducted by Rebekah Heller.
“I started writing this piece in 2018 as a Herb Albert/Yaddo Fellow,” said Fay during a recent phone interview. “Receiving the George Wein TJG Fellowship in 2025 was major in bringing this project together. I have been coordinating this ensemble since last July and we are all very excited about our upcoming performances.”
For tickets, visit jazzgallery.org.
Pianist, composer, NEA Jazz Master Randy Weston’s centennial forges ahead in Brooklyn where last week, the Brooklyn Public Library featured a musical and spiritual journey performed by Gnawa musicians with Maalem Hassan Ben Jaafer, who regularly performed with Weston’s African Rhythms Quintet.
On April 25, Sistas’ Place (456 Nostrand Avenue) honors their native son, Weston, who played at the club on many occasions, with a centennial celebration Westonalia: The Randy Weston Centennial Musical Tribute featuring percussionist Baba Neil Clarke, pianist Sharpe Radway, and bassist Alex Blake.
Randy’s longtime band African Rhythms usually performs as a complete quintet unit, but for this outing, they will appear in trio mode. “Performing with the rhythm section gives us an opportunity to explore a different aspect of Randy’s music in a trio format,” said Radway. As a Pan African, Randy’s music was inspired by his Brooklyn roots and the long-extended roots of the motherland. He was a musical sage, a guru. On visiting him in Brooklyn, he made sure I left with a few videos about Africa, CDs, and notes from various projects he was working on.
“For me, Randy’s mentorship is a continuous journey — he never left my side and I continue to experience his mentorship,” said Radway. “This is another opportunity to celebrate Randy as a man, musician, mentor, teacher, and pioneer. We are so honored to have been a part of his life and now to carry on his legacy.”
Two shows, at 8 p.m. and 9:30 p.m. For reservations, call 718-398-1766. For more info, visit sistasplace.org.
Just a few days ago, on an unusually hot day, I ventured down to Manhattan’s Lower East Side to interview Marc Rabinowitz, owner of Jazz Genius (151 Essex Street, just two blocks from the F train). In recent months, five or more new jazz clubs have sprouted melodic roots.
“I have been going to jazz clubs for over 30 years. It was a real passion. During my vacations, I traveled all over, checking out jazz festivals and local jazz clubs,” said Marc. “Jazz is a universal language that brings people together. I’m trying to create an atmosphere where people can connect while hearing some good music.”
Currently, Jazz Genius is open for a Wednesday night Jam Session led by Michael Shekwoaga Ode, who studied with NEA Jazz Master Billy Hart and has played with Wallace Roney, Jr. Gary Bartz, and Javon Jackson: 7:30 p.m.–10:30 p.m., admission $10 plus one-drink minimum. Live sets Thursday through Sunday, two sets each night at 7 p.m. and 9 p.m., $30 music charge and $15 minimum.
The Jazz Genius music room is downstairs in the basement with a capacity of 40–50 people. A small number of folding chairs are carefully placed on the left side on entering and directly in front of the band; there are tables and chairs in the rear next to the bar and a long counter that allows folks to eat if they aren’t interested in sitting at a table. There is a perfect view of the band, regardless of where one sits, even though the stage is not elevated. For some reason, it reminds me of Slug’s, one of the Lower East Side’s most popular jazz clubs in the 1960s, maybe because it has such a casual atmosphere.
The kitchen, which is 100% gluten-free, is open during performances. The ground-level bar and seating allow customers to remain upstairs for food and drinks only. At some point, this space may become open during the day; there is a lot of foot traffic on the block, so perhaps jazz and lunch.
At the moment, Marc’s bookings lean toward piano trios and quartets, but says he is open to other arrangements. “Pianist Cyrus Chestnut is the reason why I started going to see jazz,” he recalled. “Once seeing him, I made it a point to make all his NYC shows when possible. If he ever noticed me, he probably thought I was stalking him. Maybe one day he will perform here.”
The neighborhood is home to major avant-garde musicians, so we can hope that they will be booked since many live within walking distance.
Upcoming artists include April 23–25, Elew Piano Trio; April 30–May 2, Eddie Allen Quartet; and May 7–9, T.K. Blue Trio Planet Bluu. This is a rare opportunity to see saxophonist/flautist Blue, longtime music director of Randy Weston’s African Rhythms and leader of his own bands, in trio mode.
For reservations, visit httptickettailor.com/events/jazzgenius or email thejazzgenius@gmail.com.