Village Vanguard

Artistry and activism have always been fully entwined in the music of Vijay Iyer.

So it should come as no surprise that he sees his livestream trio engagement at The Village Vanguard this weekend as a chance to engage with our cultural moment, and the topic of systemic racism. During a recent phone interview, Iyer reflected on what form that commentary might take.

Last Friday, Deborah Gordon set foot in The Village Vanguard for the first time in almost 12 weeks.

Along with some duo magic from Esperanza Spalding and Fred Hersch, and a ray of sunshine from Matt Wilson.

The Branford Marsalis Quartet had been rampaging at the Village Vanguard for over an hour — in full burnout mode, practically rattling the pictures on the walls — when its leader swerved unexpectedly into a softer mode. Channeling his best Ben Webster warble on the tenor saxophone, Branford closed the set with a songbook ballad, “Sweet Lorraine.” For those in the room who recognized its gladsome melody, the implicit dedication rang clear.

One of the greatest jazz albums ever made was recorded 60 years ago today. It's A Night at the Village Vanguard, a live date by saxophonist Sonny Rollins, featuring a muscular backdrop of bass and drums. It's not a carefully plotted concept album, nor a manifesto, but a document with the slangy nonchalance of a conversation overheard on the street, extemporaneous and unburdened. It's a slice of musical vérité that captures a true master of the form on a good day, in a generous and jocular mood.