In the midst of Harlem’s fast-struttin’ Lenox Avenue, there is an unassuming beautiful gem of truth, excitement, and joy: Maysles Documentary Center (MDC), at 343 Malcolm X Blvd. The nonprofit organization is the only independent documentary film house north of 96th Street, making it one of the city’s most important venues. It’s apropos that Maysles is just blocks away south of the historical Studio Museum in Harlem and just north of the Schomburg Center for Research in Black Culture.
Maysles is committed to screening documentaries and films that amplify underrepresented artists and narratives, shed light on injustice, highlight histories of resistance, and take stylistic and creative risks, all while empowering young filmmakers in creative self-expression, communicating ideas, and advocating needs.
In these rainy days of insanity where even the sane seem insane, Maysles
recognizes the power of documentary to disrupt normative and harmful historical narratives, and to help visualize different future possibilities. Emerging filmmakers of color are a priority, especially those who may struggle to find distribution and exhibition opportunities.
Kazembe Balagun (an alumnus of Third World Cinema Corp., co-founded by Ossie Davis in 1972, though its roots formed during the 1960s Black Arts Movement), has been the executive director at Maysles for the past three years. “What I love about the medium of film is the ability to galvanize audiences from viewers to activists,” said Kazembe. “Harlem is our country that we created for people without a country.”
The center offers a vibrant educational program for young filmmakers with a prominent alumni network of professionals, such as award-winning documentarians Shawn Antoine II (“Sight Unseen”), Shawn Batey (“Changing Face of Harlem”), and Oscar winner Josh Seftel. “Many participants return to teach. We are short on money but long on good people,” joked Kazembe, as we sat in a large office space behind the screening room, which seats 50. “The intergenerational connection allows students a continuity of work that connects younger works to older works. It’s the intimate face of Harlem, and history sharing is a super important cultural component.”
MDC’s Harlem Photo League (inspired by photographers Gordon Parks and Roy DeCarava) focuses on still photography. Students not only take photos but learn the process of developing their own film with Hamilton Heights Darkroom, a partnership with Maysles. “This summer we had our first accelerated program, where we’re helping emerging filmmakers develop their portfolio and have them in conversation with working directors,” explained Kazembe. “Right now, we’re helping young people to submit their works to festivals, and we are paying for their festival fees. We are also helping them with their portfolios — how to write log lines [descriptions of their films] and create electronic press kits. These classes are developing and deepening our young people’s ability to go out into the world as confident artists.”
The MDC was founded in 2005 by legendary filmmaker Albert Maysles (1926–2015) and his wife Gillian Walker — after moving from their Upper West Side apartment, they purchased this present location as a community center for documentary films and filmmaker conversations in Harlem. The Maysles family is still actively involved with the ongoing nonprofit.
Some of MDC’s filmmaking instruction reflects the Maysles brothers’ (Albert and David, who passed in 1987) direct cinema style — handheld cameras, natural lighting, and unscripted storytelling. The pioneering documentary filmmakers made over 30 films together.
“The camera is never neutral; it’s always going to be a weapon of politicalization and the views of globalization,” said Kazembe. “That’s what’s so important about our center — we are not just watching these films and going home. We have conversations with the films’ director that allow us to share ideas and values, giving us a sense of community which is very important. We look to be local with a global reach.”
For more information and for film schedules, visit Maysles.org.
It’s been quite some time, easily over two decades, that our metropolis has been blessed with six new jazz clubs within one year, and that doesn’t include Brooklyn, a borough with a serious jazz tradition. Unfortunately, the hippest jazz scene in America, Harlem, is still waiting for a full-service jazz club (seven days per week).
The Pocket (130 West 46th Street) is the latest jazz club to anchor in the hurry-scurry tourist scene of Times Square. Casually walk mid-block to the unassuming gray door, take a few steps in, walk down two short flights of stairs, and you’ve landed. The chic room is reminiscent of a Hollywood jazz scene, but feel free to dress up or dress down. The 170-seat capacity is quite comfortable whether at a table or sitting in the rear on long couches; no worries of being squeezed in sardine style. The ambiance calls for a first date or jazz lovers’ night out, but as we know, the music comes first. During my visits, the musicians took time to speak with fans and patrons after each set — a real treat for out-of-towners and NYC jazz enthusiasts alike.
“It’s crazy out there (Times Square)! We just want people to come in, sit down, take a deep breath and just relax,” said co-owner Paul Martin. “We’re looking to make The Pocket a separate world from all the craziness where you can come to experience something memorable.”
Upon entering the dimly lit room, there is one prominent fixture missing — oh hey, there is no bar. Drinks are, instead, being made in the kitchen. Translation: no rattling ice from drinks shaken, not stirred, no blenders, and no clicking glasses. Just the sound of good music with an excellent sound system, aaahhh!
“We’re not just going to be a tourist spot; we want to be the real deal, and we’ve already seen that with over half the audience coming from the five boroughs,” said Martin, who earned his jazz wings while working with co-partner Grant Gardner at Jazz Standard. Thanks to Gardner, who’s opened a two-Michelin-star restaurant, the partners are relying on their food and hospitality. “We are operating at a high level in the spirit of the Jazz Standard, a really great restaurant culture,” said Martin.
Only in its second month, the Pocket is looking like a jazz contender, having presented a cross section of jazz nobility like NEA Jazz Masters Wynton Marsalis and George Coleman; Peter Bernstein & Ed Cherry, and rising stars like Vocalist Cécile McLorin Salvant, Saxophonist/Composer Lakecia Benjamin, and Los Angeles Vocalist Michael Mayo, in for a one-night stand. Two weekly residencies: Mondays featuring Mingus Big Band and Tuesdays Arturo O’Farrill & the Afro Latin Jazz Orchestra.
“We have to stake our claim and let the people know who we are,” said Martin. “We are looking to mix it up with an eye on the bottom line, having presented musicians like Nasheet Waits and Abraham Burton, and drummer Tyshawn Sorey and Immanuel Wilkins.”
Coming up, three exceptional women of prominence. Two vocalists: Karrin Allyson on September 9 — she has a caressing tone with confidence to tackle Oscar Brown, Jr.’s “But I was Cool,” the high flyin’ “Everybody’s Boppin’,” and my favorite album “Ballads: Remembering John Coltrane (Concord 2001), ” and on September 10, Lucia, the Mexican jazz vocalist, blending jazz, Latin, and pop influences. The week closes out September 11-13 with clarinetist and composer Anat Cohen. “Bloom” (2024), her second album by her foursome Quartetinho, was quickly followed by the live album: “Interaction,” on Anat’s label (Anzic Records 2025). She is also a collaborating member of the all-star female group Artemis. All shows are at 7 p.m. and 9 p.m. For reservations, visit thepocketnyc.com.
I wanted to close this column with a farewell to my friend and colleague Flo Anthony. In the late ‘80s and early ‘90s, I was publicist for her cable TV show “Go with the Flo,” which is also the name of her AmNews column; at one point our columns appeared on the same page. Flo was a real sports fanatic, especially football and boxing; I met so many athletes while working with her, and I can’t forget her best friend, actress and singer Grace Garland. It was so funny to me that for some reason she always called me Ronnie, and we had some great times at press parties and happenings about town.
Flo was a warm individual with a big smile who inspired all of us with her great achievements. She made an incredible contribution to the world of entertainment and sports, leaving an eternal legacy for generations to come. As my father would say, “You did good.”
