After performing on trumpet and piano in the San Francisco Bay Area during the 1970’s and 80’s, notably with Mark Levine and Chuck Clark, Tom Reynolds earned a B.A. in Music from UCBerkeley in 1982 and kept at it; but in 1988 he veered off into tech. In 2014, he returned to the music, playing keyboards, performing, composing, arranging, recording, and transcribing jazz solos. Tom’s playing and writing are informed by both classical and jazz idioms, and his piano improvisation style is particularly influenced by classic mainstream post-bop horn players (Tom Harrell, Woody Shaw, Kenny Dorham, Joe Henderson). Until the pandemic derailed a lot of venues, he was fielding a quintet, the “Conspiracy,” in venues including Rigger’s Loft, The Back Room, Rendon Hall at CJC and others.

This Friday he’ll strip the Tom Reynolds Conspiracy down to a trio, with bassist Cindy Browne Rosefield and drummer Jason Lewis joining him for two sets of his originals and arrangements of jazz standards.

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90% of the musicians working at Bird & Beckett are professionals, though they’re still typically expected to play for “tips.” Let’s get away from that notion! Think of your donation as a “cover charge.”

Culture isn’t free of expense to the culture workers, be they artists, technicians or presenters; thus, presenters charge audiences and distribute the proceeds, augmented when necessary, to those involved, hoping to keep a profit or surplus, of course. During our year of pandemic live streams — twice a week and more — we’ve been sticking to the “guaranteed fair wage” figure for the musicians that Jazz in the Neighborhood has worked hard to make a new standard, and we’ve been doing it without subsidy. That fair wage standard is $150 per musician. We rely on the audience to get us there with your donations during the shows, backed up by neighborhood donors to our general fund (the Bird & Beckett Cultural Legacy Project, a 501(c)3). Remember, the musicians are not playing for “tips” but rather for a fair wage! And they’re fabulous musicians indeed. San Francisco’s finest!

Thanks for your generous support, and for contributing on behalf of those who are in perilous financial condition and can’t afford to donate, but need the music all the same. They’re welcome here, and those of you who can donate make it possible for us to present the music to them.

Cindy Browne Rosefield has been an active freelance performer, recording artist and educator for over 35 years, with “long and strong” jazz roots, having been mentored by Bill Evans’ bassist Chuck Israels. Her musical interests are eclectic, including underserved musical styles that form the ‘melting pot’ of the great American musical legacy. Current projects include folk and ethnic ensembles — notably a 20-year stint with Wake the Dead, blending strains from the Grateful Dead and Celtic music. She has toured extensively throughout Europe, Japan, Jordan, the Virgin Islands, Canada and the United States performing at festivals and concerts as well as working as a clinician. Locally she has performed at the Monterey Jazz Festival, Concord Jazz Festival, SF Jazz Festival, Yoshi’s, the California Jazz Conservatory and many other folk and ethnic music festivals.

Jason Lewis is a freelance drummer and educator based in San Jose. His eclectic background includes classical and jazz, with numerous associations and recordings, most notably with Boz Scaggs, the NLS trio (Paul Nagel, Jason Lewis, John Shifflett), and Kristen Strom, as well as John Stowell, Gary Burton, James Moody, Mark Murphy, Paul McCandless, Larry Coryell, Darol Anger, Regina Carter, Johnny Frigo, James Carter, John Handy, Anton Schwartz,  Mark Levine, Peter Apfelbaum and Kurt Elling. Jason has also performed with the San Jose Symphony and the San Jose Civic Light Opera.