Well, it looks like Marc Cary brought a little warmth to the city this past weekend! Check out this review of “Marc Cary’s Harlem Homecoming” as seen in the New York Times.
“There isn’t much in the modern-jazz-musician tool kit that Marc Cary hasn’t mastered, but he has a particular subspecialty in the area of groove. A pianist who came up the old-school way, with mentors like Abbey Lincoln and Betty Carter, Mr. Cary has always been adept with a range of rhythmic strategies, from a deep-house pulse to a swinging churn.
His concept of rhythm can suggest a wavelike continuum, more a matter of dynamic flow patterns than rigid linearity. In the hands of Mr. Cary and his tight circle of collaborators, that concept can tease out connections between the folkloric and the ultramodern. And for better or worse, it can subsume most other aspects of a performance, as in his opening set at Ginny’s Supper Club on Friday.
Kicking off a weekend two-nighter billed as “Marc Cary’s Harlem Homecoming,” Mr. Cary quickly made himself comfortable, stationed behind a Fender Rhodes piano, an acoustic piano and an Access Virus synthesizer. His core partners were Tarus Mateen on electric bass and Sameer Gupta on drums and tabla, with the trumpeter Igmar Thomas as a featured guest. A second bassist, Mimi Jones, sat in near the top of the set and ended up staying for the duration, bringing a welcome viscosity to the mix.”