Midnight in the Village: Anthony Wonsey’s Surprise Jazz Set Lights Up Smalls
A Late-Night Detour Through Greenwich Village
On a rainy Saturday night in Greenwich Village, an unplanned detour led to one of the most memorable jazz performances of the spring. After catching saxophonist Rico Jones at the newly revived Five Spot Jazz Club on East 9th Street, a late-night recommendation sent a small group downtown to Smalls Jazz Club on West 10th Street for the midnight set on May 10.
The Five Spot itself carries deep jazz history. Originally launched in the 1950s, the legendary venue became synonymous with adventurous modern jazz before eventually closing in the early 1980s. Its latest revival has already begun attracting a new generation of musicians and listeners eager to reconnect with that downtown spirit.
After his set, Jones casually mentioned that bassist Will Lyle would be performing later that night at Smalls. That alone was enough to spark curiosity. Jones and Lyle both perform in the recently revived pop and R&B group Off the Hook – led by yours truly – which had just returned from a lengthy hiatus with successful gala performances in late April and early May.
But the midnight performance held another surprise.
Anthony Wonsey Arrives
Just minutes before the set began, pianist Anthony Wonsey entered the club with unmistakable style and confidence. Dressed in a light beige suit accented with gleaming cuff links, Wonsey arrived moments before midnight and slipped behind the piano as though stepping directly into character.
Spotting familiar faces seated near the front, Wonsey pointed toward the crowd and burst into laughter before playfully launching into September by Earth, Wind & Fire. I shouted back, “Wrong sound!” prompting even more laughter from the pianist before the formal set began.
The evening marked a rare opportunity to see Wonsey outside the polished R&B setting where some audience members had recently come to know him. A veteran jazz pianist with eight albums as a leader, Wonsey has performed internationally and worked alongside major figures including Wynton Marsalis, Roy Hargrove, Nicholas Payton, and legendary drummer Elvin Jones, with whom he toured for five years.
A Sextet Settles Into the Groove
As the Smalls emcee introduced the “Anthony Wonsey Sextet,” the pianist opened the first number with sparse, inquisitive chords that gradually evolved into a cool, walking bass figure at the piano. The composition, titled Blues for Hiroshi, was written during Wonsey’s years living in Tokyo and dedicated to a former employer in Japan. Stretching beyond 13 minutes, the tune unfolded patiently, allowing each musician room to shape the mood.
The second piece, Paradise Lost, began with Lyle’s resonant upright bass before the ensemble entered together with a texture reminiscent of the cool-jazz recordings of the late 1940s and early 1950s. There were shades of Miles Davis’ celebrated Birth of the Cool era in the arrangement’s relaxed sophistication and understated swing.
Smalls’ audience that evening leaned notably young, with many listeners appearing to be in their twenties. The room remained fully engaged as Wonsey introduced the next composition, Eve’s Beauty, which spotlighted drummer O.C. Davis. Davis responded with crisp, energetic interplay that pushed the ensemble forward without overwhelming the tune’s melodic core.
A Swinging Journey to a Galaxy Far, Far Away
Then came the evening’s most unexpected moment.
Wonsey began the fourth tune in a dark minor key, weaving together tense harmonies and deliberate dissonance. For several moments, the musicians seemed almost uncertain where the arrangement was heading. Even the guitarist appeared momentarily puzzled as the cryptic introduction unfolded. But gradually, a recognizable melody emerged: the theme from Star Wars.
The revelation drew laughter and excitement from the room.
The choice was fitting for Wonsey, whose love of science fiction and extraterrestrial lore is well known among friends and collaborators. Yet what could have become a novelty instead turned into one of the strongest performances of the night. The sextet transformed the familiar cinematic theme into a swinging jazz vehicle full of harmonic color and improvisational freedom.
Each musician took expansive solos, but Wonsey’s piano improvisation stood out in particular, balancing technical fluency with rhythmic drive. The piece retained the grandeur of the original score while embracing the spontaneity of straight-ahead jazz.
When the tune ended, Wonsey grinned into the microphone and deadpanned, “That was Star Wars,” drawing another round of laughter from the crowd.
In the Key of Allah Closes the Night
The pianist then shifted the mood, speaking candidly about reaching five years of sobriety. He explained that the final composition of the evening had been inspired by spiritual renewal and personal transformation. The tune, titled In the Key of Allah, had never before been performed publicly by the group.
“It should be fine,” Wonsey joked, prompting amused reactions from the audience.
The composition opened with a fluid piano introduction before Lyle’s walking bass carried the momentum forward. Soon the entire ensemble entered with soaring horn lines that evoked the modal jazz tradition of the late 1950s and early 1960s.
Trumpeter Joshua Jennings, guitarist Misha Joseph, and alto saxophonist Ivan blended tightly throughout the arrangement. Ivan’s extended unaccompanied solo proved especially memorable, balancing lyrical phrasing with bursts of intensity.
The tune concluded with the horns and guitar repeating a unison line that rose triumphantly. For a composition receiving its first live performance, the cohesion and confidence of the ensemble were remarkable.
Why New York Jazz Still Matters
By the end of the set, it was clear the evening had offered more than an ordinary late-night jazz session. Wonsey remained afterward to help host Smalls’ long-running Saturday jam session, another Greenwich Village ritual that continues drawing aspiring musicians and devoted listeners deep into the early morning hours.
What began as an impromptu stop after another concert became a vivid reminder of why New York’s jazz scene still thrives: unpredictability, virtuosity, humor, and the possibility an unforgettable performance might be waiting.
Kaju Roberto is an accomplished musician, singer/ songwriter, journalist, and an award-winning producer. He is the artist Rad Jet.
