Thursday, August 15 The gifted vocalist and D.C. native Andrea Wood is intermittently popular in my house. That’s because this spring, Wood performed her graduate recital at Manhattan School of Music, and it featured her own jazzy interpretation of Carly Rae Jepsen‘s hit “Call Me Maybe”—-a favorite of my 3-year-old daughter. Sometimes she likes this version, sometimes she hates it. Those of us old enough to have consistent judgment, however, can hear that it’s an imaginative, skillful, and actually quite shrewd conception of the tune, which speaks well of Wood’s abilities as an interpreter. It also bodes well for her participation in this week’s installment of the American Art Museum’s weekly Take 5 series, the one that pairs local musicians with classic performers of the same instrument. Wood’s assignment? The music of gifted vocalist and D.C. native Shirley Horn, who deserves all kinds of tributes and doesn’t receive nearly enough of them. Wood performs at 5 p.m. at the Portrait Gallery’s Kogod Courtyard, 9th and F streets NW. Free.
Saturday, August 17 I’ve noted before that Roy Haynes is the most important living jazz drummer. The second-place holder for that title is Louis Hayes. He’s a good dozen years younger than Roy, but he also began his storied career as a teenager—-he was a whopping 19 when he joined the Horace Silver Quintet. That position allowed him to become one of the molders of jazz drumming language well into the 1960s. In that decade, he was working with Cannonball Adderley and Oscar Peterson, among the most powerfully swinging players on the map, and adding brawn to their grooves. Since the ’70s, he’s been leading the Jazz Communicators, a marvelous quintet (currently, Abraham Burton, saxophone; Steve Nelson, vibraphone; Anthony Wonsey, piano; Dezron Douglas, bass) with the power and smarts worthy of Hayes’ stature. 8:30 and 10:30 p.m. Friday and Saturday at Bohemian Caverns, 2001 11th St. NW. $25.
Tuesday, August 20 You sometimes hear talk of a “little big band,” meaning a band that’s not the big, bulky capacity of your usual, 17-to-22 piece ensemble, but has the same basic flavor and fullness. Well, even those “little big bands” are generally larger than the seven members who make up the Terry Hsieh Collective, but damned if these guys don’t have the feel of a contemporary big band anyway. The mix of trombone (Hsieh), trumpet (Pat Adams), and alto sax (Alex Cummings) goes a long way toward creating that feel, putting high, mid-range, and low right there on the front line. But so do Hsieh’s compositions and arrangements, which unfold with drama and lushness. His extraordinary rhythm section (pianist Jacob Baron, guitarist Conrad Reeves, bassist Matt Adomeit, drummer Peter Manheim) is also crucial, working in tandem to create accompaniment that sounds much bigger and stronger than it actually is. But big band or no, these guys—-young, all of them—-are the real deal. The Terry Hsieh Collective performs (with D.C.’s Jonathan Parker Quartet opening) at 8:30 p.m. at Tree House Lounge, 1006 Florida Ave. NE. $8.
Due to a reporting error, the original version of this post misidentified the presenter of the “Take 5” series. It’s organized by the Smithsonian American Art Museum, not the National Portrait Gallery.