It’s no coincidence that NEA Jazz Master Ron Carter’s 89th birthday is the same day he began his five-day engagement (May 4–8, at the historic Blue Note jazz club (131 West 3rd Street), where he has performed on many occasions. Two shows each night, at 8 p.m. and 10:30 p.m.
There’s no need to repeat Carter’s many astounding accomplishments — the most recorded jazz bassist in history, recognition in the Guiness Book of Records as the most recorded jazz musician, three Grammy Awards, being honored with France’s medallion and title of Commander of the Ordre des Arts et des Letters, as the anchor of Miles Davis’s “Second Great Quintet, or his prolific 50-year freelance career that spanned the vast rainbow of music genres and continues to this day.
For the maestro’s birthday, I would like to share my memorable moments of working with Ron over the years as a writer, which was an invaluable learning experience. My first interview with him some years ago was set up by his publicist to take place at his apartment. I was overjoyed but extremely nervous — this was big. As I proudly mentioned the upcoming interview to musician friends, they immediately said, “You better have your stuff together. Ron is serious business. Above all, be on time.”
His publicist gave me a tight 30 minutes, 45 at most. Leaving nothing to chance, I walked into his elegant Upper Westside building lobby, 30 minutes early. Ron responded to his doorman on the intercom, to have me wait — I was really early. Ron greeted me at the door, casually dressed, His 6 ft. 4 in. height can be intimidating up close, but his soft, soothing voice and big smile were calming. Halfway through the interview, we were in a groove, with him sharing a few inside tidbits. We went past the 45 minutes into an hour. As we bid farewell at the door, Ron said with a smile, “Good interview!” I didn’t walk, I floated out of his apartment on cloud 12. I interviewed the great Ron Carter and didn’t screw it up. It was one of those special moments when I wished my mother was alive; she would have been so proud.
Some years later, I was fortunate enough to attend Ron’s 75th birthday celebration at the Carlyle, a low-key sit-down dinner. Another major interview for a fashion feature once again took place at his apartment. Ron’s exquisite outfits — tailored suits, pocket handkerchiefs, cuff-linked shirts, Crockett & Jones shoes, and bowties — solidified him as one of the best dressed jazz artists with the likes of Roy Haynes, Miles Davis, and Max Roach. Today, the finesse of wearing suits and ties has become an antiquated practice, while Carter still shines as the best dressed artist in music. For over six decades, he has been an intuitive stylist in fashion and music.
The Blue Note was jammed, just days after businesses had reopened after the pandemic. As a member of the Jazz Journalists Association, it was my pleasure to present Ron with our Lifetime Achievement Award. Unbeknownst to me, the entire evening was being filmed for a documentary about his illustrious life. The documentary, “Ron Carter: Finding the Right Notes,” can be seen on YouTube and social media platforms. His biography carries the same title (ArtistShare, 2008).
During his Blue Note engagement, Ron will play in a variety of formats, from straight-ahead jazz to classical music. He might even pick up his cello or share music from his 2026 groundbreaking jazz/gospel album “Sweet, Sweet Spirit” with Ricky Dillard and New G.
For reservations, visit bluenotejazz.com.
(Pete Coco photo)
Jazzcultural (349 West 46th Street), the new jazz kid on Manhattan’s delicious “Restaurant Row,” has taken a different turn from most jazz clubs. Its café/bar is open from 12 noon Wednesdays to Sundays. There is no music charge to enter until 6 p.m., when a $25 per person music charge goes into effect. The concert sets in the Jazzcultural music room are at 7 p.m., 9 p.m., and a 10:30 p.m. late show.
I recently ventured to Jazzcultural around 2 p.m. on a sunny afternoon to check out the daylight scene. A few people were seated at the bar, grooving to a live bass and guitar duo. I made myself comfortable at a table and ordered a bowl of tomato soup and sparkling water from a lite fare menu of salads, omelets, sandwiches, cappuccino, latte, and more.
During my 45-minute stay, the small audience was treated to varied performances: a young female vocalist and trio. The friendly bartender, who doubled as waiter, said the café is an all-day jam session for musicians who stop in and want to play. Seems like a good idea for music students, and even established artists who may like to work out a new tune or live wood-shedding. The summer jam sessions offer many interesting possibilities.
Jazzcultural café/bar hours, with its doors closed to the music room, reminded me of Harlem’s historic Lenox Lounge with its community-friendly bar buzzing with lively conversation from 11 a.m. ’til closing. Its two fancy swinging doors separated the bar (that was also on the left, as at Jazzcultural) from the back performance room. The Lenox bar was jampacked all day and night, regardless of who performed in the music room.
The renowned vibraphonist Joe Locke, known for his soft touch that creates a ripple effect of a stone dancing on water, appears in Jazzcultural’s music room May 8–10 with two shows each night. “I’m excited about presenting my music at Jazzcultural with this special edition quartet. Jim Ridl, Rudy Royston, and Kenny Davis are consummate musicians who play with a high degree of fire and finesse,” said Locke. “I’m expecting to be as surprised and delighted by what they bring to the music this weekend as the audience members who attend our shows.”
The 10:30 p.m. late shows on May 8–9 feature the dynamic roaring trombone of Frank Lacy, another big brass voice, from Houston, Texas. Lacy’s music concepts have boundless inventive, deliberate notes that fly far beyond the spectrum of jazz; a creative voice without boundaries. For these two nights, the first-call trombonist showcases his own music force.
For tickets, visit jazzcultural.com.
The Five Spot (231 East 9th Street) is another recently opened jazz club to join Manhattan’s hip scene. Although having adopted the storied name Five Spot Café (1956–1962), there might be great expectations from those who can recall nights that featured the likes of Thelonious Monk, John Coltrane, Roy Haynes, Ahmed Abdul-Malik, and Cannonball Adderley. “We are trying to respect the history and extend the culture of Five Spot and [keep] jazz alive,” said owner Bon Yagi.
On May 8–9, Five Spot lives up to its reputation with tenor saxophonist’s Rico Jones’s quartet, featuring an all-star lineup with renowned pianist/composer George Cables (member of super-group the Cookers), bassist Sean Conly, and drummer Jerome Jennings (recorded with Lakecia Benjamin and Camille Thurman, and since 2021 has been a member of Cables’ trio).
For reservations, visit fivespotjazz.com.