back to calendar
Mixed Media by LENNY ACHAN
All art is for sale. Please inquire
After a year's hiatus, the John McNeil/Bill McHenry Quartet has reunited.
The band will record their second CD for Sunnyside LIVE at Cornelia Street Café.
The focus of "Rediscovery," their first CD, is putting a twenty-first century spin on
relatively obscure jazz tunes. On Friday & Saturday the boys will record still more
forgotten gems, some by well-known artists such as Dizzy Gillespie and others by
obscure writers known only to the jazz community of their time.
The ESP between McNeil and McHenry is uncanny, as is the chemistry between
drummer Jochen Rueckert and bassist Joe Martin. Together, this band plays as
a single entity with a single purpose. The results are always compelling
When "Rediscovery" was released, one critic called John McNeil "... the love
child of Chet Baker and Ornette Coleman." Another described Bill McHenry's
playing as ..."subtle and mercurial," and another said that "both McNeil and
McHenry play coolly blistering solos."
Here comes volume two....
“He's got rhythm. And for someone his age, plenty of soul, too.” – Jesse Hamlin, SF Chronicle
“Sam Reider has himself on a fast track to success” –Greg Schwartz, J.
For more information, visit
"...an album(Frolic and Detour) full of Mystery, intrigue, fine soloing, and playfulness"
Dan Bilawsky - Jazz Improv Magazine
"The most refreshing thing about it all, though, is that the play with musical tradition comes across as both joyful and serious. It is detour that places Neiman in the center of modern guitarists with something to say and a new way to say it." Jakob Baekgaard - All About Jazz
(includes one house drink)
Currently living in Brooklyn, NY, jazz saxophonist Noah Preminger has been receiving stellar recognition almost immediately after hitting the scene. Ben Ratliff of the New York Times raves about Preminger's debut recording, Dry Bridge Road: "More than just a promising starting point, this is a display of integrity; here’s a musician you feel you can trust... unusually graceful... [he] plays with care and dry precision, dividing his time among all registers, with even tone and projection in each." Noah's playing and his group's concepts are influenced by genres ranging from classic to contemporary jazz, from hard rock to ambient music. It is Preminger's uniqueness that sets him aside from other musicians: "He plays with not just chops and composure, but already a distinct voice."- Siddartha Mitter, Boston Globe.
Noah has had the opportunity to perform and work with Dave Liebman, John McNeil, Steve Davis, Nat Reeves, Dave Douglas, Joel Frahm, Dave Holland, John and Bucky Pizzarelli, Marvin Stamm, Kendra Shank, Jim McNeely, Phil Grenadier, Roscoe Mitchell, Bob Nieske, Tony Moreno, Cecil McBee, Bob Moses and others. As of recently, Noah has been an important member of groups including his own Noah Preminger Sextet and Quartet, the Cecil McBee Group, the John McNeil Group, the Dana Lauren Group and others. He has been fortunate to play all over the world for audiences small and large. Noah earned his BM at the New England Conservatory of Music in Boston.
Noah's debut album, Dry Bridge Road, considered as "jazz debut of the year" by the prestigious Village Voice poll, is available on the Nowt Records label. The band includes: Russ Johnson- trumpet, Ben Monder- guitar, Frank Kimbrough- piano, John Hebert- bass, Ted Poor- drums and Noah Preminger-saxophone. The album was produced by John McNeil and recorded at Park West Studios in New York.
Barbara Schweitzer is a poet and playwright whose first collection of poetry
33 1/3: Soap Opera Sonnets was selected as Top Book for 2008 by the
Providence Journal. She has been featured on NPR’s radio show, This I
Believe, and her poetry selected for Verse Daily. Her
plays have received publication, production and stage readings in RI and
MA. Her short play Leavetaking was a finalist in the Louisville Actor’s
Theater Ten Minute Play Festival.
(includes one house drink)
RON SINGER WAS JOHN REED'S ENGLISH TEACHER AT FRIENDS SEMINARY IN THE 1980'S, WHEN THE CURRICULUM INCLUDED ANIMAL FARM AND, OF COURSE, SHAKESPEARE. TONIGHT, JOHN READS FROM SNOWBALL'S CHANCE AND ALL THE WORLD'S A GRAVE, TWO BOOKS THAT MAY WELL HAVE BEEN INFLUENCED BY THOSE CLASSES.
"THE CHANGING WOMAN HEALTH CONFERENCE," ONE OF THE STORIES IN RON'S BOOK THE SECOND KINGDOM, BEGINS WITH A SPOOF OF THE WAY WRITING IS TAUGHT. THE TITLE OF A SECOND STORY, "THE PARENTS WE DESERVE," SPEAKS FOR ITSELF.
John Reed excels in the realm of strange. ï¿½San Francisco Examiner A wicked illusionist. ï¿½Los Angeles Journal
Loopy and highly intelligent, Ron Singer has carved his name in the stone ruins of literature. --The Brooklyn Rail
A new twist on the ancient tradition of oral history.
SpeakEasy is people telling stories-- true stories. Period. No scripts. No crib notes. No rehearsals.
SpeakEasy has a dynamic and constantly changing cast of storytellers that include such greats as Mike Daisey, Jonathan
Ames, and Reno, along with homemakers, lawyers, dog walkers, street magicians and writers
You never know what you'll hear. So join us for what could be a life changing experience!
Kathryn Harrison, the New York Times Bestselling author of The Kiss, The Seal Wife, and her latest account of a brutal Oregon murder, While They Slept, her twelfth book. Ms. Harrison is a frequent reviewer for The New York Times Book Review; her essays, which have been included in many anthologies, have appeared in The New Yorker, Harper’s Magazine, Vogue, O Magazine, Salon, and other publications. She lives in New York.
Our readers include the incredible Adam Chandler,
the enticing Megan Gilbert, and the lovely Malka Margolies.
**Freerange is a method of literary husbandry where the authors are permitted to write, read, and roam freely instead of being contained in any manner. The principle is to allow the writers as much freedom as possible, to live out their instinctual behaviors in a reasonably natural way, regardless of whether or not they are eventually killed for meat. In practice, there are few regulations imposed on what can be called "free range," and the term may be used misleadingly to imply that the writing product has been produced more humanely than it actually has been.**
(includes one house drink)
A main reason is that with one recording in, she raises profound questions regarding the previous role of the vocalist in jazz. What's radical, is that it's not about the ridiculous chops or inhuman gymnastic training or trickery. She sings as an instrumentalist, as a member of an ensemble with a bold conception, moving seamlessly as would a saxophonist from melodist to soloist, or from a front line horn to an ensemble voice—not the star of some show. Serpa sounds as if she's talking right to you, even though she's singing, not just in terms of the intimacy quotient, but in terms of the actual sound of it—literally, she sounds as if she must sing whenever she speaks." (Phil DiPietro,All About Jazz)
Cover is given where known
Many spoken words events are free
There is always a one-drink minimum per set; times are door opening times