Brief interludes of the Roots’ musical creativity are seen nightly — they’re the house band on NBC’s “The Tonight Show Starring Jimmy Fallon.” The band was originally formed in 1987 by drummer Ahmir “Questlove” Thompson and spoken word artist and singer Tariq “Black Thought” Trotter, who were classmates at the Philadelphia High School for the Creative and Performing Arts.
On March 13–15, Blue Note jazz club will present The Roots’ core duo, who have extended their hip-hop perspectives into an exciting eclectic blend of multi-genres, creating their own musical prototype that has won them three Grammy awards and inspired bands throughout the country.
For 15 years, the Roots have been the house band, sidekicks, and occasional comic foil for Fallon. Outside of the NBC studios, Black Thought and Questlove become boundless explorers, expounding on their creativity to ignite the spirit, bringing music and culture together. Special guests have not been announced, but don’t be surprised if a few show up.
For reservations, visit bluenotejazz.com.
The NEA Jazz Master tenor saxophonist George Coleman is known for his memorable opening solo on Herbie Hancock’s title tune “Maiden Voyage” (Blue Note 1965). That hardy muscular sound was his entré for stints with Max Roach, Miles Davis, Charles Mingus, and Betty Carter. Coleman will celebrate his 90th birthday March 13–14 at Dizzy’s jazz club.
Coleman taught himself to play the alto saxophone after being influenced by Charlie Parker. It wasn’t until he joined bluesman B.B. King, in 1950 at the age of 17, that he transitioned to tenor saxophone. His jazz education didn’t come from the ivy towers of academic music institutions but from being part of the vibrant music scene in his hometown of Memphis, Tenn., and beyond.
For over half a century, Coleman has shaped the sound of jazz, inspiring generations of musicians. With his acclaimed quintet — pianist Steve Myerson, guitarist Leo Larratt, bassist Joey Ranieri, and drummer Kevin Congleton, Coleman will bring timeless interpretations of jazz standards to Dizzy’s in celebration of his new nonagenarian status. Two shows each night, at 7 p.m. and 9 p.m.
For reservations, visit jazz.org.
Pianist, composer, producer, big band leader, and arranger Orrin Evans celebrates his 50th birthday March 15–16 at Dizzy’s. Since recording his debut album “Justin Time” (Criss Cross Jazz, 1997) at age 21, it was evident he was a young lion, already exhibiting his inventive vernacular, composing, and arranging capabilities (restructuring well-traveled tunes like “Autumn Leaves” into rousing excursions).
Evans, one of the most inventive pianists of his generation, will be joined by longtime collaborators bassist Robert Hurst, drummer Jeff “Tain” Watts, and vocalist Lisa Fischer. With such an intuitive trio, the music is sure to swing with abandoned creativity. Fischer, who has performed with everyone from Luther Vandross to the Rolling Stones, was featured on Evans’ current CD ,the Captain Black Big Band “Walk a Mile in my Shoes” (Imani Records, 2024).
“Walk a Mile in my Shoes” is a moving cultural journey of nine tracks that dares to swing in rooted soul and spirited ancestral Baptist grace riding on edgy jazz and blues melodies; say Amen! In the tradition of Lester Bowie and Sonny Rollins, Evans transports well-traveled songs like “Smoke Gets in your Eyes” and “Blues in the Night” into 21st-century gems. The appearances by Nicholas Payton and Jesse Fischer, along with longtime vocal collaborators Bilal, Joanna Pascale, and Paul Jost, and special guest Lisa Fischer, all assist in bringing another voice to contemporary tunes like Stevie Wonder’s “Overjoyed” and Earth, Wind, and Fire’s “Save the Children.” “Walk a Mile in My Shoes” is an eternal journey that does much more than just swing. This is music for Now, the Times. It’s spiritual healing!
“I wasn’t a fan of big bands in high school — it was something you had to do and the arrangements were just okay, but when I joined the Charles Mingus Big Band in 1999, I could find my own voice because we played in the swing tradition but also played some Andrew Hill,” said Evans. “The bottom line is that it’s all music and I’m just trying to play what I feel and that comes from Mingus’ big band — even the style of composition. There was just so much I learned and a lot of what I do in my big band is modeled after Mingus.”
Evans also has a love for the trio format. A collaborative union called Tar Baby, a highflying unit with bassist Eric Revis and drummer Nasheet Waits (formed in 2001), makes no apologies for their adventurous revelations in avant garde, blues jazz, and stuff in between. His projects also include the guitar/piano duo project Eubanks – Evans – Experience, Brazilian project Terreno Comum, and Luvpark project, incorporating sounds reminiscent of ’70s Herbie Hancock, ’80s Steve Coleman, and ’90s R&B and hip-hop.
Evans and his wife, Dawn, are coloring the landscape with their record label Imani Records, founded in 2001. Evans said it’s another project that helps in telling his story, but also serves as a voice for other musicians who couldn’t otherwise find a home.
“Turning 50 is such a blessing and I’m looking forward to it on March 28, but at the same time, I want to continue to thrive, to make some of the things I thought were going to happen by 50 [so] that they will happen by 51,” Evans said during our phone conversation. “I’m thankful for everything, but am looking forward to making more things happen.”
For info and reservations, visit jazz.org.
The two-time Grammy Award-winning drummer and composer Will Calhoun is a musical chameleon. You may find him on tour in the Midwest or Europe, performing at a rock concert as a longtime member of the rock band Living Colour. Calhoun has an arsenal of grooves that led to playing with an array of diverse artists, such as Mike Stern, Carly Simon, Marcus Miller, Harry Belafonte, Wayne Shorter, Pharoah Sanders, Lauryn Hill, and the Moroccan Gnawan Masters.
His diverse creativity denies critics the option of attempting to categorize his work, which has led to becoming one of music’s most innovative drummers, using technology and its unique role in creating music, as well as the addition of indigenous instruments that add a cultural voice to his unique dialogue.
On March 15 at Sistas’ Place (456 Nostrand Avenue, Brooklyn), Calhoun will take audiences on a spiritually enlightened Afrofuturistic journey with his Kele Quartet, which will include the young saxophonist Emilio Modeste, pianist Benito Gonzalez, and acoustic/electric bass Rachim Asur-Sahu. Calhoun will draw from his arsenal of drums, indigenous/electronic percussion, and Chinese flutes. Two shows, 8 p.m. and 9:30 p.m.
For tickets, call 718-398-1766; visit sistasplace.org for info.
The Grammy-winning tenor saxophonist and composer David Murray has been an influential contributor to the extended sound of jazz in his five decades. His explosive tenor boldness and the bellows of his bass clarinet are authoritative rhythms that dance in the light of avant-gardism and whisper in night blues on compositions like “Milano Strut” (Shakill’s Warrior, 1991; DIW/Columbia).
Murray was a founding member of one of the music’s most prolific improvisational groups, the World Saxophone Quartet with Oliver Lake, Julius Hemphill, and Hamiet Bluiett. Murray, who has perfected his honks and high-pitched squeals into an improvisational art, will lead his creative Octet on March 17 and March 31 at the Blue Note jazz club (131 West 3rd Street).
The Octet will include pianist Lafayette Gilchrist, drummer Russell Carter, bassist Luke Stewart, trombonist Corey Wallace, multi-instrumentalist and vocalist Mingus Murray, trumpeter Shareef Clayton, and saxophonist Immanuel Wilkins. Watching Murray in small groups is delightful, but his exploratory vision expands threefold when leading large ensembles. For info and reservations, visit bluenotejazz.com.