Harlem, the place to be. So hip, Roy Haynes once told me, cats said they would rather go to Harlem than to heaven. In those days through the 1970s damn near every block was screaming with sonic soul, from the Savoy Ballroom to Minton’s, Gold Brick, Celebrity Club, Showmans, Lenox Lounge, Paris Blues, to Sugar Ray Robinson’s spot. That thrill, that soul explosion, the tradition of it all, and the community comradery, remains in sound and spirit.
Now in its final week (concludes on April 20) the Harlem Late Night Jazz organization is absorbed in its 3rd Annual Harlem Revival that’s been bellowing through popular Harlem venues. “This revival promises an unforgettable celebration of all genres on the jazz history tree,” said Dakota Pippins, creator of jazzhistorytree.com. “It’s a way of honoring the legacy of Harlem’s music scene while welcoming new audiences to experience the magic of live performances in Harlem.”
A few of the remaining events will take place at the historic New Amsterdam Music Association (NAMA) 107 West 130th Street. On April 17, NEA Jazz Master bassist and composer Reggie Workman presents music students from the New School and a jam session at 8 p.m. On April 18, the oldest organization for Black musicians will continue with “The Masters Jam of the Century, vol. 4” featuring two star-studded bands of master musicians and young lions. No cover
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Also on April 18 is the Lindy Hop Revival at the storied Cotton Club from 8-11 p.m. featuring the Cotton Club Swing Band with tap dancer Omar Edwards and professional Lindy Hop dancers. On April 18-19, late night jams curated by drummer and composer TS Monk continue at the historic Minton’s Playhouse (206 West 118th Street). The jam session, set to swing from 11pm-3am, will be led by young saxophonist Kevin Oliver, Jr., reminiscent of those nights when house band leader Thelonious Monk jammed until late dawn. No cover.
The Red Rooster presents live performances throughout the Revival with Harlem’s own international organist and keyboardist Nate Lucas, Lynette Washington, LV Project, Greginald Spencer of Apollo Theatre fame, and Michael Cruse. For complete listings and info, visit hlnj.org.
Flushing Town Hall (137-35 Northern Blvd. Flushing) has presented dozens of “Global Mashup” concerts featuring over 100 artists representing more than 100 cultural backgrounds around the globe, and it continues to bring artists and audiences together to honor the global diversity of musicianship.
This may very well be the first time the Queens music hall has united two cultures whose historical music cross pollinated during the early 1940s in New York City, when Latin Jazz was becoming acquainted with the sound of big band swing and the Harlem cats were into a little Latin Tinge thanks to Jelly Roll Morton.
This rich history of New York-inspired music developed into the “Latin Jazz Meets Swing” Global Mashup, taking place on April 19, at 8 p.m. The 21st century transgression will be integrated with The Steve Kroon Latin Jazz Ensemble and The Patience Higgins Swing Band with trumpeter Eddie Allen, pianist Marcus Persiani, bassist Nathan Garrett, and drummer Brandon Saunders. Their strong dose of spicy Latin beats and swinging rhythms will have you dancing in the aisles.
In case your dance steps are rusty, acclaimed dance instructors Mickey Davidson will offer fundamentals of swing dance (frequently partnered and assisted Lindy Hop legend Frankie Manning in workshops), and Vanda Polakova will get you moving with a dance lesson that blends a little Salsa and swing steps (begins at 7 p.m. prior to performance).
That big band sound of the “Swing Era” was embedded in the heart of Harlem by bandleaders such as Count Basie, Duke Ellington, Blanche Calloway, Dizzy Gillespie, Jimmie Lunceford, and Chick Webb, who led the house orchestra at the dance-crazed Savoy Ballroom where swing dancers like Frankie Manning and Frieda Washington earned international fame.
Cuban bandleader Machito arrived in New York City with another beat that ignited the sounds of Cubop, Mambo, Cha Cha Cha and salsa music along with Afro-Cuban jazz. In 1940, Cuban clarinetist Mario Bauza joined Machito’s Afro Cubans bringing together big band arrangements for straight ahead jazz as well as pronounced Cuban rhythms for those mambo steps. The native New York percussionist Tito Puente later known as “The King of the Timbales” joined the band. Salsa music which is primarily a New York derivative style of elements combining a Cuban and Puerto Rican base with elements of cha-cha-chá, bolero, rumba, mambo, jazz, and R&B.
During his five-decade career, Kroon has established himself as a conga master with a mixed arsenal of percussive effects. He has led his own group for over 20 years with six albums to his credit. His percussive Latin touch was for many years infused into the noted bands of NEA Jazz Master Ron Carter and multi-Grammy winner Luther Vandross.
The prominent saxophonist, flutist, and multi-reed player Higgins is one of Harlem’s most popular musicians, he was the leader of the Sugar Hill Quartet, the house band for the legendary Lenox Lounge. His playing style allowed him the opportunity to play with a diverse group of musicians such as Barry Harris, Archie Shepp, Dee Dee Bridgewater, Stevie Wonder, and tours with Duke Ellington and Count Basie Orchestras. During any given week you can catch Higgins at various venues in the city leading his own band.
Following the performances of Kroon’s Latin Jazz Ensemble and Higgins Swing band, the two will come together for an electric mashup so keep your dancing shoes, there will be no standing on the dance floor.For tickets visit flushingtownhall.org.