I’d not yet been to Minton’s, the new supper club that revives a storied Harlem name on 118th Street, until this week.
I can tell you that the cuisine, under the direction of executive chef Alexander Smalls, is both fine and creative. But a new series “Jazz at the Crossroads: The Dance of Eleggua,” which continues each Tuesday night through August, was the real lure for me.
This past Tuesday, alto saxophonist Yosvany Terry and his brother, bassist Yunior Terry, who were born in the town of Florida, in Cuba’s Camagüey province, and live in New York City, performed in a group that showcased their father, Eladio “Don Pancho” Terry. The elder Terry is a violinist the founder and director of the “Orquesta Maravillas de Florida,” an important band in the Cuban charanga style. He is, perhaps most notably, a master of the chekeré, the beaded gourd used for percussion; in his hands, it can direct a group with the authority and flair of drummer Roy Haynes’s trap set. The group at Minton’s performed a mixture of traditional charanga tunes and more modern jazz, some drawn from the books of Yosvany Terry’s brilliant and forward-leaning bands. Yet this was no survey or fusion; the set was an example of how Afro Latin music, grounded in traditional rhythms and flecked with modern jazz’s full stylistic palette, can flow pretty much wherever it wants without losing its spiritual heft and sense of musical purpose.
That’s what this new series is about, according to Dita Sullivan, whose recent credits along similar lines “New Dimensions in Jazz” and “A Cuban Drum Series,” both produced for Manhattan’s Jazz Standard. Continue Reading