Randy Weston, the brilliant pianist and composer, will celebrate his 89th birthday at the Jazz Standard, 116 E. 27th St., April 2 through April 5, with sets at 7:30 p.m. and 10 p.m.

“I’m still asking myself about becoming 89,” says Weston. “I don’t know just lucky and blessed. I am a baby compared to the ancestors who were the keepers of the records.”

Weston says he is a “djalli,” a West African storyteller or poet-musician who tells the story of our people. “To be a great artist, you have to fight for freedom and the community,” said Weston. “How many of us are doing that?”

Weston recently enjoyed a successful book signing in Dakar, Senegal, where his book “African Rhythms” has been translated into French and is now in paperback in the U.S.

“We have survived through the music thanks to the royalty of Duke, Mary Lou Williams, Charlie Parker, Louis Armstrong, Art Tatum and all the greats,” said Weston. “We forgot the power of these people. I hung out with Monk for a reason.”

For his four-night celebration, Weston is going to take everybody home. He will be leading his usual spirited locomotive African Rhythms, featuring alto saxophonist T.K. Blue, bassist Alex Blake, percussionist Neil Clark and guests saxophonist Billy Harper and drummer Lewis Nash. His performances are a verbal combination of Black history, African culture and music derived from the motherland that he plays seamlessly with crescendos of genius. He describes it as African-American classical music. “We are just an extension of our African culture,” said Weston.

For reservations, visit www.jazzstandard.com.

Maceo Parker is the link to funk music from the “ring house” to the cotton field’s “call and response” spirituals, blues, to boogie woogie and R&B (drum, song and dance). During his recent Blue Note engagement, Parker took his funk congregation on a journey, exploring his 20-year tenure with the “Godfather of Soul,” James Brown, to the monstrous Mothership of George Clinton’s Parliament-Funkadelic to the bouncy funk of Bootsy Collins.

Dressed in a dark suit and tie, he walked the tiny stage talking and introducing his funk masters during solos: trombonist Greg Boyer, keyboardist Will Boulware, guitarist Bruno Speight, bassist Rodney “Skeet” Curtis, drummer Nikki Glaspie, vocalists Martha High and Darliene Parker and manager Natasha Maddison as the MC.

Opening with a pulsating funk tune, the congregation reached level one of a feverous frenzy.

“We play 2 percent jazz and 98 percent funk,” said Parker. “Just so you know jazz sounds like this.” He went into a few bars of “Satin Doll” with swift riffs and melodic keyboard accompaniment.

He sang an a capella version of Brown’s ballad “Prisoner of Love,” which launched into an extended version of “Make It Funky.”

Like a Southern minister, Parker would not make the choir, but his rough timbre led the band into a deeper funk, as the anointed congregation entered frenzy two: clapping and patting their feet.

Parker took them to the edge and allowed them to jump into the river to be funk-a-tized. Overtaken with funk, they stood, shaking to the contagious music.

He gave “the drummer some,” shouted for the “horns” and danced while a customer held his saxophone, similar to Thelonious Monk walking from the piano to dance. Parker yelled, “It’s about the funk and love!”

It’s the ring house where the spirits of song and dance won’t let you go, it’s the “House of the Holy Rollers,” where the spirited song, dance and drum engulf your soul. But here there is no smelling salts from the sisters in white usher uniforms, for this was the house of Parker, presiding minister of funk.

The hard-swinging will continue at the Blue Note April 7 through April 12, with the alto saxophonist Donald Harrison and featuring noted funk masters guitarist Leo Nocentelli, original member of the Meters; tenor saxophonist Fred Wesley, a James Brown alumnus; and trumpeter Christian Scott, who rounds out the ensemble with his exploratory jazz elements from fusion to avant-garde and rooted tradition.

Harrison calls this Blue Note engagement “Jazz with a Funky Good Time,” which was one of Brown’s hit songs recorded with Wesley.

“Here we have all the elements of where the music started from,” said Harrison. “I am trying to bring all the musicians from the different genres together because we are all cousins.”

Nocentelli, as a member of the Meters based in New Orleans (1960s to the 1970s), were responsible for bringing New Orleans’ second line grooves into popular music and are one of the key influences of funk music.

Harrison supports bringing the swing and dance element back into jazz, but for many years, the traditionalists frowned on his concept. Ironically, as he mentioned, it was Basie, Duke, Chick Webb, Louis Jordan and Fletcher Henderson who kept the dance floor crowded with young fans. “Charlie Parker’s blues is a form of the swing and Lindy Hop,” said Harrison.

This ensemble is the full spectrum of the music,” noted Harrison. “We are going to mix it up with jazz, neo jazz, some Wesley funk and close the sets with something from New Orleans.” For reservations, call 212-475-8592.