Behind the fabled red door of the Village Vanguard (178 7th Avenue South), down the steep, narrow stairwell, there are many stories and fabled memories from the likes of Tommy Flanagan to Roy Haynes, John Coltrane, and Sonny Rollins.
The Vanguard’s history in pursuit of infinite progression welcomes the creative fire of drummer Billy Hart from July 8–11. He will be joined by his longtime intuitive souls: tenor saxophonist Walter Smith III, pianist Ethan Iverson, and bassist Ben Street. Together, they have an uncanny connection, a soulful communication enhanced with a variety of colors and textures. The quartet (with saxophonist Mark Turner) has recorded a few albums on ECM Records; their most recent is “Just” (2025).
Hart’s inventive style has placed him in the company of artists such as Shirley Horn, Dick Griffin, Wayne Shorter, and Sonny Fortune, and he appeared on the groundbreaking fusion album of Miles Davis “On the Corner” (1972). The NEA Jazz Master has been recording continuously as a leader or sideman since 1965, as a member of Herbie Hancock’s 1970s ensemble Mwandishi (he appeared on three albums), and as a member of Quest. The drummer continues to perform with the collaborative ensemble, the Cookers, which usually consists of Eddie Henderson, David Weiss, Craig Handy (or Billy Harper), George Cables, and Cecil McBee. The band has toured extensively and has recorded six albums together.
For reservations, visit villagevanguard.com.
The Jazz Gallery, known for being ahead of the musical curve as an incubator for inventive artists, presents vocalist and composer Georgia Heers on July 9 for one night only.
The recent (2023) graduate of the Juilliard School of Music ushers in her own style of song. Heers has already distinguished herself on Broadway in George Clooney’s adaptation of “Goodnight and Good Luck.” The South Carolina native, now with digs in Harlem, has performed with Emmet Cohen, Cyrus Chestnut, Joe Farnsworth, Cyrus Chestnut, and the innovative Chilean guitarist Camila Meza.
Heers, the runner-up in the Sarah Vaughan vocal competition, is becoming an important new voice in jazz, demonstrating her resourceful confidence by tackling such songs as Abbey Lincoln’s high-flyin’ “Freedom” with a refreshing buoyancy while holding onto the defiant relevance of its lyrics from Max Roach’s album “We Insist! Freedom Now Suite,” with lyrics by Oscar Brown, Jr. She brings a new sparkle to Billie Holiday’s signature tune “Them There Eyes,” and an improvised bouncy tempo to her idol Vaughan’s “Thou Swell.”
At such an early stage in her career, she effortlessly takes well-traveled standards down her own path of improvised harmonies with twists and turns, creating her own vital stamp. She’s developing a vibrant scat that will grow stronger and hipper as time swings by.
Heers believes in the healing components of music and artistic creation to cultivate community and healing. She wants to dedicate her life to exploring the depths of music spanning across the African diaspora.
Heers has charted a path beyond the stars. For reservations, visit jazzgallery.org. Two shows are at 7:30 p.m. and 9:30 p.m.
The pianist Anthony Wonsey plays all the pearly keys with his imaginative arrangements and dexterity. His diversity covers stints with vocalist Nnenna Freelon and saxophonist Kenny Garrett, playing in the realms of the African diaspora.
He appears at Small’s on July 6, with two shows, at 6 p.m. and 7:30 p.m. During the past few years, he has played regularly and recorded with the groups of Carl Allen and Nicholas Payton. His debut CD as a leader, “Anthonyology,” was recorded for the Japanese Alfa Jazz label and released domestically by Evidence. For more info, visit smallslive.com.
Mimi Jones is a whirlwind of inventive energy. In two decades, she has become an artistic force as a bassist, vocalist, producer, record label owner, and filmmaker. As a leader, she has recorded three CDs on her label, Hot Tone Music. Her bass grooves cover a lot of territory, from world beats to funky rhythms and straight jazz. On July 9, she brings her eclectic sound to Small’s for two shows, at 6 p.m. and 7:30 p.m.
Jones, recognized as a U.S. Jazz Ambassador, has toured extensively throughout Africa, Asia, Europe, South America, and the Caribbean. It’s difficult — perhaps even disrespectful — to call her a side woman when she’s earned chairs with such royalty as Kenny Barron, Dianne Reeves, Tia Fuller, Ingrid Jensen, Dee Dee Bridgewater, Marc Cary, Toshi Reagon, Rachel Z, Ravi Coltrane, and Terri Lyne Carrington’s Grammy-winning Mosaic Project.
Small’s, one of the very few jazz clubs that still swings into the wee hours, will present pianist and composer Noah Haidu, on July 9 with two shows, at 9 p.m. and 10:30 p.m. The pianist recognizes Kenny Barron, Bill Charlap, Barry Harris, and Bruce Barth as his mentors. His latest recording was included in “Downbeat” magazine’s Best Albums of the Year issue (January 2022). “Slowly” was released on the heels of his multimedia project “Doctone”; an album of pianist Kenny Kirkland’s (one of America’s great pianists) music was released in tandem with a book by Haidu about Kirkland’s life and a documentary short film that Haidu produced.
The last event of the evening on July 9 will be a jam session hosted by Jason Clotter from 11:45 p.m.–4 a.m. For more information, visit thesmallslive.com.
Is it relevant for the government to acknowledge the months of Black History and Black Music? No, definitely not when the American patriarchal system remains a capitalist supremacist country that continues to ignore the realities of political injustice, inequality, and economic exclusion.
James Brown loudly expressed, “I don’t want nobody to give me nothing/Open the door, I’ll get it myself/We don’t need no sympathy” (released in 1969). The songwriter, singer, and activist Oscar Brown was quite adamant on his recording of “Forty Acres and a Mule” — it served as an open letter to the U.S. government with its humor, and is still extremely intentional. “If I’m not mistaken, every slave set free was to get forty acres and a mule/No telling how much work was done by my ancestors during those slavery rules/but sure as hell it got to be worth at least forty acres and a mule/We had a promise but that was taken back.”
The promises and recognition of empty holidays are meaningless without sincere actions for a real democracy. The present administration is currently deporting people without due process and eagerly attempting to erase African American contributions from the annals of history. Black history and Black music are to be enjoyed, observed, studied, and researched every day.
People must continue to hold up the bloodstained banner of justice. The struggle continues as Black music and Black history serve as an ongoing documentation of America’s real truth!
*Note: Due to weather conditions, Maggie’s Garden Jazz Concert will take place on July 12.