In this week’s Philadelphia Weekly:
Sun., July 19, 8:30pm. $5. With Mike Lorenz, Scott Verrastro & Anthony Pirog, George Korein & The Spleen. Gojjo, 4540 Baltimore Ave. 215.238.1236 www.scifiphilly.com
Drummer Mike Szekely belongs to an ambitious new generation of Philly players, who make their homes in free jazz but tend to branch out with ease and authority. An alum of Jackie McLean’s Hartt School of Music, Szekely went on to study with the hugely eccentric Milford Graves at Bennington, then earn a doctorate from Temple. A music head on the philosopher’s level, he keeps busy with singer-songwriter Courtney Parker and at least four different experimental trios, including trombonist Dan Blacksberg’s capaciously inventive unit. In this week’s Sci Fi Philly showcase he leads another initiative with bassist Matt Engle (Shot x Shot) and trombonist Stanley Schumacher (Music Now Ensemble). — David R. Adler
Fri., July 17, 5:45-6:45 & 7:15-8:15pm. $12 (free for members, students $8). Philadelphia Museum of Art, 26th St. & the Pkwy. 215.763.8100 www.philamuseum.org
Thelonious Monk, an iconic 20th-century artist, remains a beacon of steadfast individuality in the 21st. Several months ago, Charles Tolliver and Jason Moran staged back-to-back tributes to the late pianist-composer, hailing the 50th anniversary of his historic Town Hall concert in New York. But Monk’s influence looms large in every city where there’s jazz, a point underscored by Philly vibraphonist Tony Miceli and his quintet Monkadelphia. Since the late ’90s Miceli and this shifting cast of local heavyweights — most recently saxophonist Ben Schachter, pianist Tom Lawton, bassist Madison Rast and drummer Jim Miller — have explored Monk’s fabulous melodies and jagged angles with a stirring seriousness of intent. — David R. Adler
Rit Mo Collective
Wed., July 15, 8-11pm. $10. Chris’ Jazz Café, 1421 Sansom St. 215.568.3131 www.chrisjazzcafe.com
Christopher Farrell’s arty-folky 14-piece chamber-rock ensemble can sound a little safe and wallpaper-ish, ethnic around the edges in that PBS-friendly way. But there’s a melodic and textural allure at the heart of their 2008 debut Arianna’s Thread that keeps you in your seat. Strings and percussion from China, India and Africa merge with good old-fashioned pedal steel and banjo and things. And ringleader-composer Farrell plays a good number of the implements himself. A plaintive heartland cry runs through these mostly instrumental tracks; the production style is organic and simply immaculate. Jazz it’s not, but this New York crew, with its admirable know-how, will fit in nicely at Chris’s. — David R. Adler
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