The Harlem Renaissance (1918–1930s) was an active, cohesive consortium of intellectual and creative Black minds who stormed Harlem (part of the great migration) with an abundance of talent in dance, music, writing (novelists and poets), fashion, theater, and political activism. The Renaissance brought Harlem into international fame, earning it the title “the Black culture capital of the World.”
Despite Harlem’s worldwide impact on intellectualism and the arts, though, its ingenious participants were still treated as second-class citizens—still welcomed only through back doorways, performing before segregated audiences, as racist politics remained in full effect, while across the pond, their works were eagerly being consumed by African and Caribbean Black writers, living in Paris where the movement had a great influence.
During this same period, Paris was a European capital where Blacks were celebrated for their genius and not their color (not to imply that racism didn’t exist). This respect led Harlem Renaissance artists and activists like Richard Wright, Duke Ellington, Josephine Baker, and Adelaide Hall to survey the scene. The latter two eventually became expatriates of the city. Those writers who followed the path to Paris years after the Harlem Renaissance included James Baldwin, Ralph Ellison, Chester Himes, and Melvin Van Peebles. This cultural exchange over the years has enriched French culture and allowed African Americans to leave a lasting imprint on the country.
On February 23, an in-depth discussion about “The Harlem Renaissance & Paris” will take place at the Harlem School of the Arts (645 St. Nicholas Avenue) from 5:30–8 p.m. The panel will feature Eric K. Washington and Dr. Joshua Cohen, and will be moderated by Harlem’s own cultural and historical fashion innovator Lana Turner. The panel will be followed by a live Jazzmobile performance featuring saxophonist and composer Patience Higgins and the Sugar Hill Quartet, with special HAS vocalist Amandi Obregon.
For tickets and information, visit Jazzmobile.org.
From February 21–26, the vibraphonist and composer Joel Ross: Good Vibes will perform at the legendary Village Vanguard (178 7th Avenue), for two shows each night, at 8 p.m. and 10 p.m.
Pre-COVID, Ross was very likely to turn up at any club, lending his unique vibra-harmonic tones to yet another jazz band. During Winter Jazzfest a few years ago, Ross led his own band but still found time the same evening to perform with two other groups.
Like to his vibraphone colleagues Joe Locke and Warren Wolfe, Ross is well-respected as a leader and welcomed contributor. He is bringing his individual sound with a little Chicago flair and voicings that expand the conversation of his instrument as well as the jazz tradition, following on the path of Lionel Hampton and Bobby Hutcherson.
Joel Ross: Good Vibes will include pianist Jeremy Corren, bassist Kanoa Mendenhall, and drummer Jeremy Dutton. Having been playing together for a period of time, they are in an intuitive groove, and Ross gives them a range of latitude.
On February 26, saxophonist John Zorn will return to the Village Vanguard with his New Masada Quartet. This is not an evening performance—it is Zorn’s annual matinee performance at 3 p.m., one show only.
The time slot seems weird, but he has been presenting these afternoon gigs since before COVID and they are always sold out. Although Zorn has a large, dedicated avant garde following, he doesn’t play in the city on a regular basis. He is a musician who explores and experiments; don’t attempt to categorize him. The producer, arranger, and composer plays primarily on the shores of avant garde, but don’t hold him to that—he might insert classical, rock, jazz, or even opera movements into the improvisational moment.
Zorn found avant garde on hearing Anthony Braxton’s album “For Alto” (1969) and later, while studying composition at Webster College in St. Louis, Missouri, he had the opportunity to attend classes taught by the rising arranger, composer, and musician Oliver Lake.
While at Webster, Zorn experimented with a gumbo of various genres incorporating jazz, avant garde, and even cartoon scores (Looney Tunes) stalling into his recordings. Zorn went on to explore the music in varying degrees while leading such earlier groups as Naked City and Painkiller.
The name Masada represents his musical group, with rotating personnel, that he formed in the early 1990s. Masada was the musician’s first ensemble to perform his compositions inspired by Radical Jewish Culture and written for small group performances. The New Masada Quartet will include guitarist Julian Lage, bassist Jorge Roeder, and drummer Kenny Wollesen.
For ticket information, visit villagevanguard.com.
Sista’s Place (456 Nostrand Avenue), where the music swings with purpose and harmonies of revolution fill the air, will present the Reggie Woods Quintet on February 25 with two shows, at 9 p.m. and 10:30 p.m.
Woods, a Queens native, said he was influenced by saxophonists Gene Ammons and Dexter Gordon, so there lies his talent to swing in the rhythms of soul and linger in the deep melodies of hard bop. Over the years, he has developed an individual soulful sound that will make you want to dance and snap your fingers. During his career, he has performed with the likes of Betty Carter, Ben E. King, and Doc Cheatham, among others.
An accomplished arranger and composer, Woods will dive into his song book of originals while lending time to jazz standards that will no doubt take a different path of interpretation.
For more information and reservations, call 718-398-1766.