The centennial of pianist, NEA Jazz Master, composer, and arranger Randy Weston is a big deal that has already begun and will joyfully continue as his notes travel through eternity while the ancestors applaud. The pianist often shared with me that his primary role as an artist is “to share his music and inform listeners of its African origins.”
Weston’s centennial will be celebrated in his birthplace of Brooklyn on April 9 at the Brooklyn Public Library’s Central Library, Dweck Center (10 Grand Army Plaza), from 7 p.m. to 8:30 p.m. An ensemble of Weston’s collaborators will perform a live musical tribute, showcasing his signature style that blended jazz with African rhythms and global influences.
Featured artists include KA Kollektive — Kiyoko Layne (piano), Paul Ramsey (bass), Atiba Kwabena Wilson (poetry, djembe, flute, vocals), and Aquah Beale (percussion); Innov Gnawa — Maalem Hassan Ben Jaafer (sintir, tbal, vocals), Amino Belyamani (chorus, qaraqeb), and Naoufal Atiq (chorus, qaraqeb); and Gambian musicians and griots Saliou Suso (Kora) and Ebrima Jassey (balafon).
Weston was one of the first jazz musicians to include Gnawan and Gambian musicians in his band. For years, he owned a club in Morocco and was very in tune with world music of the African diaspora.
This event is free but RSVPs are required at bklynlibrary.org
April 6 officially marked Randy Weston’s centennial. Just before his birthday, Dizzy’s jazz club presented four generations of brilliant pianists to perform some of Weston’s innovative works that extend over six decades, acknowledging him as one of America’s most prolific pianists and composers.
Pianist, composer, and arranger Jason Moran went solo with a three-piece medley: Weston’s “Blue Moses,” his original “James,” and “Clef Club,” the latter two a nod to arranger, bandleader, and composer James Reese Europe. Moran and Weston both performed in a major tribute to Europe, where they bonded for the duration of Weston’s life. Ironically, Europe was the glue that also established my bond with Weston. He was a big fan of Europe’s contribution to jazz — his reference would be “African classical music,” or “music of the ancestors.” Moran’s roaring, sometimes whispering, cords spoke from the ancestors in the present moment.
Rodney Kendrick, one of the most brilliant pianists of his generation yet the most underrated, took the spotlight next, choosing Weston’s trio format. He featured trombonist Craig Harris, bassist Michael Bowie, and guest vocalist Rhonda Ross. “Randy was a special person to me — he changed my life,” said Kendrick. “We spoke every day and traveled the world together. He was one of my main musical fathers.” The pianist and composer played a mix of Weston compositions, as well as a composition by Melba Liston (Weston’s longtime arranger, trombonist) that featured Harris.
This year also marks Liston’s centennial. Kendrick has a unique style, creatively connecting Thelonious Monk, Weston, and Harris while delivering his own sound in another realm, playing the blues and off-center jazz inside and outside the pocket. He is much too talented not to appear regularly on the NYC jazz scene. Ross infused rooted elements of jazz and R&B with Jackie Wilson’s ballad “To Be Loved.” Her tingling notes offered serious emotional healing for these times. “Loving yourself is the greatest gift that Randy gave us,” she said, “— the love that comes from tuning your inner voice.”
The second set featured pianist and composer Willerm Delisfort and trombonist Mariel Bildsten, a duo honoring both Weston and Liston. Unlike the other artists, they hadn’t had an opportunity to meet Weston but were also greatly influenced by his work. The duo performed “Earth Birth,” “Little Niles,” and a composition by Liston. Delisfort is a native Floridian, attending FAMU before making a mark in the fertile jazz city of Chicago, where he played with Bobby Broom; Ernest Dawkins; and AACM, Maurice Brown, and Marquis Hill. I must admit I wasn’t familiar with Delisfort, but his musicianship says he deserves to be seen. It is hoped that these new jazz clubs will fill the void.
Vijay Iyer, who pushes jazz boundaries in other directions, closed the evening with 30 engaging minutes of combustive rhythms, conversing with subtle melodies of Weston’s earlier and later works mixed in his own vocabulary.
Weston wasn’t just a giant in stature; he treated everyone with respect and made all of us feel like giants, regardless of our station in life. It was his innovative music, unique style, approach, and commitment as a Pan African to bring audience awareness to the origins of this music that is deeply rooted in Africa. As Moran stated, “Not all audiences were ready to hear his message, but he shared this information out of love for Africa and music.” He was an anointed jazz griot, a story teller, who connected his music and oral history for all audiences to consume. His music was on a mission, or as the O’Jays sang, “There’s A Message in the Music.”
Dizzy’s centennial ended on Easter Sunday in a fiery explosion of blazing Weston standards delivered by his longtime quintet the African Rhythms Alumni Quintet, featuring saxophonist/flautist, composer, and musical director T.K. Blue. Weston’s mentoree Sharp Radway held the piano chair, with bassist Alex Blake, trombonist Frank Lacy, and percussionist Baba Neil Clarke.
The quintet roared on the standard “Blue Moses,” although Weston was never overjoyed with the album’s four-track recording, produced by Creed Taylor’s CTI imprint. He felt the album was too polished and miles away from his original intent for it. Creed’s production scrubbed the African intent for a more jazzy-pop-oriented sound, but of course, Weston’s deep-toned piano still delivered an African flavor. Anytime he performed “Blue Moses” live, it was defined in African Rhythms.
The band took “Blue Moses” to new heights, with extended solos for each band member — a far cry from its original production, of which Randy would have been quite proud. Their repertoire also included “Little Niles” and “The Gathering.”
African Rhythms isn’t a mirrored reflection of Weston but a resourceful intuitive force, bringing their shared interpretive nuances to Weston’s treasure trove of music. “Randy has mapped out the pertinence and importance of the African esthetic within the realm of jazz and world music in general,” said T.K. “We are an extension of his vision.”
Randy’s widow Fatou Weston has been busy attending the recent centennial celebrations. She said she is very appreciative of all the tributes and knows he would be pleased. “I really like hearing his music played by so many great musicians, who respected and loved him so much,” said Fatou.
Miles Davis: the innovator, genius, take-no-mess instigator from Bebop to cool jazz, fusion jazz rock and two great quintets — his music soars, roars, and hollers “Vote Miles!” as he is also celebrated on his 2026 centennial.
Celebrate Miles’s 100 years on April 11 at Sistas’ Place (456 Nostrand Avenue), featuring Satish Robertson Band: A Tribute to Miles Davis. Two shows, 8 p.m. and 9:30 p.m.
Satish began his musical travels on piano but was prompted to pick up the trumpet after hearing the mesmerizing sounds of Miles. Now residing in Brooklyn, the Jersey City native’s resumé boasts such artists as Salim Washington, James Carter, and Kahil Kwame Bell. His resonant sound has made him a first-call trumpeter when not touring with his own band. For reservations, call 718-398-1766.
The Blue Note (131 West 3rd Street, with global locations) will focus its attention on NYC’s fertile Latin scene. On April 11, the Lulada Club, an electrifying all-women salsa band that will project their feverish sounds of salsa music.
Vocalist and director Andrea Chavarro embarked on a mission to address the void of female ensembles in the live music scene in New York City. This ambition led to the creation of the Lulada Club in 2022. Renowned for their interpretations of vintage tropical rhythms encompassing salsa, bolero, and cha-cha-cha, they pay homage to the icons with a fresh perspective through their original tunes.
For more information, visit bluenotejazz.com.