A haphazard group of friends who met through Musical Intervention had settled well into their last Tuesday Open Mic jam of the summer when they got a welcome surprise: 18-month-old Noah Suggs toddled into the frame.
Suggs was eyeing the guitars at center stage, steadying himself as he made it over an orange-and-black nest of cables to the center of a tent where the band was gathered. On guitar, Adam Christoferson grinned as Noah came closer. Instinctively, he lowered a mic, and then unhooked it, passing it from its stand into Noah’s outstretched, willing hands.
The putative builders of a new development at the old New Haven Coliseum site may finally have a deal with a hotel — but they also have a new set of headaches threatening to further delay the long-stalled project.
Perhaps it was the fact that the trio had just finished a marathon recording session for its second album. Or perhaps it was the players’ extensive experience as players and composers. Whatever it was, on Friday night at Firehouse 12, Mario Pavone’s Blue Dialect trio — Pavone on bass, Matt Mitchell on piano, and Tyshawn Sorey on percussion — demonstrated that in the right hands, the piano trio format can easily look forward into the future and maintain ties to jazz’s complex and varied history, while remaining in the moment, and in the room.
by David Yaffe-Bellany | Jun 6, 2016 12:14 pm | Comments (2)
After tossing his fourth beanbag wide of the hole, Thomas Griffin, a lanky redhead wearing sneakers with purple laces, shook his head and lit up another cigarette. Maybe that would get him back in form.
Ari Hoenig — drummer and bandleader of the Ari Hoenig Trio — counted off: 1, 2, 3, 4. Bassist Or Bareket and pianist Nitai Hershkovits flashed smiles at Hoenig, as a sign that they were ready to make music.
Hershkovits’s harmonies were a clear response to what the drummer had begun with, his rhythms sprinkled with melodious lines of a familiar tune. All three were completely in sync with one another, catching every clever musical gesture. A chuckle from Bareket confirmed this as he zoned in on their musical conversation.
His contribution: a walking bass line serving as the foundation, spinning the trio into a whirlwind of sound that demanded the attention of all in the room.