EMMET COHEN TRIO at Dizzy’s Club Coca-Cola (April 16, 7:30 and 9:30 p.m.). Cohen, 28, has a breezy, phlegmatic command on the keyboard, and a deep effectively of historic jazz references at his fingertips. He has labored as a aspect musician for such luminaries as Christian McBride and Herlin Riley, and has recorded with the elder statesmen Ron Carter and Jimmy Cobb. If he wasn’t already an apparent inheritor obvious to the neo-traditional jazz mantle, his win finally weekend’s 2019 American Pianists Awards ought to make it official. At Dizzy’s, he will likely be joined by the bassist Philip Norris and the drummer Kyle Poole. They will draw a number of the evening’s materials from Cohen’s current trio album, “Dirty in Detroit.”
MIHO HAZAMA AND M_UNIT at Jazz Standard (April 17, 7:30 and 9:30 p.m.). The crossbreeding of classical and jazz has a protracted historical past, stretching again to the Third Stream motion of the 1960s. And new approaches to this amalgam have been thick on the bottom of late: Just strive to depend what number of younger jazz musicians are writing for string quartet as of late. One of the boldest thinkers and most pleasant composers in this vein is Hazama, who studied Western classical music in Japan earlier than making the leap to jazz. Her chamber orchestra, m_unit, blends strings and horns and mallet percussion in service of her resplendent, extremely singable compositions. At the Standard, the group will likely be taking part in alternatives from the not too long ago launched “Dancer in Nowhere.”
BEN MONDER, TONY MALABY AND TOM RAINEY at Public Records (April 17, eight p.m.). This newly opened music membership, cafe and bar in Gowanus, Brooklyn, has a high-fidelity sound setup in two completely different rooms. In the again, which is laid out like a typical nightclub, digital and experimental reveals run all through the week. Every Wednesday going ahead, the barroom hosts a weekly jazz sequence. The group taking part in this Wednesday is a trio that includes three esteemed, New York-based improvisers with a protracted historical past of collaboration: the dark-toned, harmonically subtle guitarist Ben Monder, the undersung saxophone titan Tony Malaby and the roving, idiosyncratic drummer Tom Rainey.
BRANDON ROSS’S PHANTOM STATION on the Jazz Gallery (April 12, 7:30 and 9:30 p.m.). Ross, a guitarist finest recognized for his work in the jazz-rock energy trio Harriet Tubman, doesn’t simply play a slew of various devices (banjo, soprano guitar, common previous electrical guitar, and so on.), he additionally ranges freely from candy and lyrical taking part in to wavy, confrontational distortion. Phantom Station will not be a band; it’s a chance for him to embrace his proclivity for newness and change. He performs underneath this title with all kinds of collaborators and formations. On Friday, the ensemble will embrace Graham Haynes on cornet and electronics, J. T. Lewis (additionally a member of Harriet Tubman) on drums and Hardedge on sound design.
STRETCH MUSIC FESTIVAL at Harlem Stage Gatehouse (April 12, 7:30 p.m.). The trumpeter Christian Scott aTunde Adjuah is about to shut the guide on a three-year residency at Harlem Stage. As a part of that, since 2017 he has convened an annual Stretch Music Festival, comprising academic occasions, discussions of artwork and activism, and performances. (The occasion’s title is a reference to the way in which Scott refers to his personal music; it’s an effort to wriggle free from the constraints of style.) He is coming off the discharge final month of “Ancestral Recall,” a formidable album on which West African-derived rhythms and whispery synthesizers fortify his bristling trumpet taking part in and the strident, subversive poetry of Saul Williams. Friday’s competition will embrace performances by Scott, the saxophonist Logan Richardson and Freelance, a band that fuses up to date R&B with backpacker hip-hop and jazz.
JOHN ZORN’S NEW MASADA QUARTET on the Village Vanguard (April 14, three p.m.). Last 12 months, Zorn, the eminent alto saxophonist and downtown arts organizer, launched “The Book Beriah,” the ultimate portion of his 613-song epic, “Masada,” a set of experimental, usually beautiful compositions based mostly in Jewish people track, klezmer and free jazz (613 is the variety of commandments, or mitzvot, in the Torah). As is the wont of this serial collaborator, Zorn featured a unique ensemble on every of “Beriah’s” 10 CDs (11, together with the bonus disc). Here he performs materials from “Masada” in a brand new quartet that includes three gifted improvisers: Julian Lage on guitar, Jorge Roeder on bass and Kenny Wollesen on drums.
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