Drummer and composer Andrew Cyrille is an artist whose fearless playing ignites any band. After six decades, he remains the risk-taking music explorer with some inventive surprises to share. He returns to his old storied red door haunt, the Village Vanguard (178-7th Avenue), on August 4-9 with his reliable quartet: pianist David Virelles, bassist Ben Street, and guitarist Bill Frisell.
The quartet’s most recent album, “The News” (ECM 2021), includes the same lineup as 2016’s “The Declaration of Musical Independence” (ECM 2016) with the exception of Virelles, Richard Teitelbaum on synthesizers and piano.
Whether playing mainstream, electric, or beyond structured boundaries, Cyrille’s polyrhythmic sounds consolidate the jazz idiom. He is perhaps the only living elder who formerly studied drums and composition with the iconic Philly Joe Jones in 1958. Under maestro Jones’ mentorship, he learned how to adjust his style of playing for any group or individual’s needs.
As evidenced by his playing with the likes of Coleman Hawkins, Rahsaan Roland Kirk, Mary Lou Williams, and Nigerian percussionist Babatunde Olatunji; his 15-year collaboration with pianist Cecil Taylor, and 35-year collaboration with Trio 3 that featured bassist Reggie Workman and saxophonist Olive Lake — one of the most influential trios in jazz history (1980s-2022).
Catch the remaining shows each night at 8 p.m. and 10 p.m. For tickets, visit villagvanguard.com.
At Evander Childs High School (East Bronx), for a male student to eat lunch at the “cool table,” there was a waiting list or perhaps a pecking order, and one prerequisite: recite Oscar Brown Jr’s lyrics to “Signifin’ Monkey.” It was during those magical days of ivy-league-ness, wearing button-down shirts, penny loafers, and blue blazers that Oscar Brown Jr. became my idol, a true jazz hero. His first album, “Sin & Soul” (Columbia 1961), raced around my turntable 10,000 times and is one of the most significant revolutionary soul albums ever recorded.
Years later, I finally had the pleasure of meeting Brown (the Chicago native) at the Cape May Jazz Festival in N.J. (introduced by Carol Stone and Woody Woodland, the concert producers), which he headlined for two consecutive years. We had breakfast the next morning and I had to pinch myself a few times — me having breakfast with my idol, the great Oscar Brown Jr. We instantly became friends and spoke often by phone. Unfortunately, this was years before iPhones or social media, so there are no photos, no recorded videos, and to this day, I am still hoping to run across my interview with him.
As 2026 also celebrates Brown’s centennial (October 10), it is “a big deal,” as Bobby Short would say, although he isn’t getting the same fanfare as Miles Davis or John Coltrane. But he was instrumental in the construction of jazz vocalism. His unique vocals inspired the works of Gil Scott-Heron, spoken word artist Common, and poet Jill Scott. In the 100 years of Miles, Coltrane, and Brown, no one has come close to resembling their musicianship.
Brown’s lyrics were based on the West African griot oral tradition, through storytelling, music, and a little wit. Each song, a vivid story based in Black life (like the novels of Chester Himes): some sin “But I Was Cool,” “Forbidden Fruit,” and “Mr. Kicks;” some soul “Hazel’s Hips,” horrific history like the tune “Bid’em In,” or “Forty Acres and a Mule,” the early rumbling of retributions. The “Humdrum Blues,” looking for spiritual relief; reflecting on the past, a wasted life on “Somebody Buy Me a Drink.”
Brown’s 1960s lyrics, some of which became classics and Black anthems, have traveled into this 21st century, with more resonance against the White House’s active policies directing the erasure of Black history and book banning. The directives have become a quiet reality as opposed to an explosive abomination of American justice. “Brown Baby” and “Dat Dere” offer hope for future generations.
Brown’s work defies simple categorization. Known as a pioneering “socially conscious” artist, his artistry challenged the status quo, bridging jazz, soul, and theater, influencing future generations of poets and musicians. The singer, songwriter, playwright, poet, actor, and civil rights activist has written many songs (125 have been published), 12 albums, and more than a dozen musical plays. He, along with Langston Hughes and Amiri Baraka, significantly influenced American culture and American Black music while addressing the evolving landscape of what W.E.B. Dubois called “America’s race problem.”
The iconic gospel singer Mahalia Jackson recorded his song “Brown Baby,” and Nina Simone, another ‘60s activist, covered his “Work Song.” Brown collaborated with Max Roach on his seminal album “We Insist! Freedom Now Suite” (Candid Records, 1961). Jazz vocalist Amber Weekes recently released her tribute album celebrating Brown’s centennial, entitled “To Oscar with Love (Amber Inn Records 2026). “There was no way I wasn’t going to do this album and his centennial is the right time,” said Weekes. “I have listened to his music for many years — he was a real master of song, so unique, and under-appreciated, I just wanted to elevate his mastery during my career.”
Amber Weekes (Photo credit: Craig Cochrane) Credit: Craig Cochrane
With imagination, emotion, and inspiration, Weekes effortlessly covers 12 of Brown’s most cherished gems, some standards, except for the little-known pearls “A Tree and Me” and “Strong Man,” the latter he wrote for Abbey Lincoln. Oddly, it is on these two that Weekes shines, with her enticing timbre that calls in the night; the latter tune may become her signature. On Oscar’s standards, like the opening tune “Mr. Kicks,” she adopts a jazzy interpretation with pizzazz, “Afro Blue,” and “Brown Baby,” such a beautiful ballad, echoes a lullaby which Brown sang as a loving father full of hope and love, and Weekes adds even more love and emotion.
It’s so refreshing to hear Weekes’ perspective with the same creativity and joy as Carmen McRae in “Sings Monk,” Charenee Wade in “Offering – The music of
Gil Scott-Heron & Brian Jackson, Karrin Allyson in “Ballads: Remembering John Coltrane,” and Cynthia Felton’s 2008 album “Afro Blue: The Music of Oscar Brown Jr.”
These exceptional female vocalists offered us a daring excursion which is what this music is about, evolving into something magical and different. Weeks has successfully forged Brown’s work into another dimension with rousing arrangements. Her vocal prowess is a glow and the question arises as to why the New York clubs haven’t become a regular stop for her. Now, we have “To Oscar with Love,” which says it all! Visit her website, amberweekes.com. Oh, for longtime Harlem residents, Weekes (although a native Californian), her grandparents owned Weekes Luncheonette years ago, located on 155th Street and St. Nicholas, where Duke Ellington could often be found.
Oscar Brown Jr.’s 100th birthday is being celebrated with a year-long series of events led by his daughters, Maggie and Africa Brown. The celebration includes concerts, an outdoor fest in Chicago’s Harper Court, and presentations of his plays, and the re-release of his poetry book “What It Is.” For more info, visit oscarbrownjr.org.