Black Art Jazz Collective bring the heat to Dizzy’s in sub-zero NYC

Levity, coupled with a serious pedigree and chops, were in ample supply for the Black Art Jazz Collective, an arsenal of five players dedicated to furthering black identity, thought and culture in music – much needed especially in our politically divisive times.

Formed in the early 2010s, the Black Art Jazz Collective made its debut performance as a group at Dizzy’s back in 2013. Nearly six years later, the need for them is now stronger than ever. Co-founded by Escoffery, trumpeter Jeremy Pelt and the noticeably absent drummer Johnathan Blake, another aim for the Collective is to honor the many progenitors of modern jazz who inspired them – Jackie McLean, Betty Carter, Freddie Hubbard – these venerable greats who hired them to join their bands and, in some cases, taught them their craft firsthand. Now as celebrated bandleaders in their own right, the Collective ensures that the legacy of these exceptional black men and women will continue to inspire more audiences.

Supported by a steady rhythm section of bassist Vicente Archer and Rodney Green, sitting in for Blake on drums, the horns picked up more steam on their opening tune ‘Devil Eyes’. Recorded by the late Roy Hargrove on the 2006 album Nothing Serious (Verve Records), the tune was composed by Dwayne Burno, a founding member of the Collective who died of kidney failure at 43 in 2013, just months following the group’s debut at Dizzy’s. Subtly different from Hargrove’s take, Pelt’s horn blazes in razor sharp and strong, decimating all in its line of fire, while James Burton III brings roundness and depth to the tune on trombone – a fitting tribute for one of this music’s most sought after bassists.

There are many tunes that can only be conceived and inspired by the times in which they’re created. ‘The Waiting Change’ is such an example. Recorded on their 2016 self-titled debut on Sunnyside Records, Escoffery composed the tune following the election of Barack Obama, whose Administration (unlike the current one) was full of diplomacy, inspiring the ample room created for each player to shine, notably pianist Xavier Davis, Archer and Green on backing rhythms.

‘Pretty’ was, by far, the highlight of the evening. A number pinned by Pelt, off their 2018 sophomore release Armor of Pride (Highnote Records), the trumpeter joked that the tune was originally titled something – one can only speculate. The composition is a sumptuous feast from the very first ‘bite’, conjoining every single player to explore untapped possibilities, as both a duo between Escoffery’s tenor sax and the walking bass line of Archer, and a trio of supporting rhythms from Archer, Green and Davis, who steadfastly held down the fort throughout.

Disappointed to be part of such a sparsely attended crowd midweek, it felt reassuring to see (and hear) the Black Art Jazz Collective draw its sustainable energy from their camaraderie and years of collaboration on other projects, and ultimately flourish after a slow start during their hour-long set. Perhaps the low turnout was attributed to several factors, either the abrupt dip in weather or the stiff competition of other artists playing throughout NYC. One could also ascribe this to the growing homogenisation of jazz itself, as players become globalised and less distinctive, further removed from its humble black origins birthed by gospel and the blues of the Delta. In spite of the turnout, the warmth of the room that overlooks Central Park, coupled with Dizzy’s friendly staff, made the evening a memorable one.

– Shannon J Effinger

– Photo by Leo Oliveira