Two nights’ worth of sets by pianist Mulgrew Miller with his trio, bassist Derrick Hodge and drummer Karriem Riggins, were recorded at Yoshi’s, Oakland, California’s much touted and highly respected jazz club. The results were last year’s release, Live at Yoshi’s Volume One, and the just out Volume Two that capture this superior group presenting jazz standards to an obviously appreciative crowd.

Those at Snug Harbor on June 1 and 2 can enjoy a similar experience as the
Mulgrew Miller Trio arrives to perform material from those albums as well as originals from the pianist’s strong pen.

“It’s one of my favorite audiences in America—it’s a hip audience. They seem to know who they’re coming to hear and what they’re coming to hear,” says Miller, who should find a similarly attentive and knowledgeable crowd at the Frenchmen Street club.

Miller, 50, hails from Greenwood, Mississippi and at age 20 stepped out with the Duke Ellington Orchestra, led by Mercer Ellington. The pianist was with the ensemble when he made his first of many trips to New Orleans in the 1970s. Later, as a member of Art Blakey & the Jazz Messengers, Miller was teamed with a frontline that boasted saxophonist Donald Harrison and trumpeter Terence Blanchard. His New Orleans connection also includes playing on saxophonist Branford Marsalis’ first album and trumpeter Nicholas Payton’s 1995 release From This Moment… While Miller’s present focus is performing with his trio and sextet, Wingspan, for decades he’s acted as a much-called upon sideman and is heard on an amazing 450 releases.

“I show up on time and I work for cheap,” says Miller in explanation of his popularity. “Seriously, I think it probably has to do with the fact that my attitude towards my participation is that I’m a team player. That’s what I bring to the table. I’m not there to just solo. I’m an accompanist. I built my career off of that.

Accompanist seems a rather unusual description of Miller, a highly distinctive player of great strength who worked with demanding artists such as the late greats trumpeter Woody Shaw, vocalist Betty Carter and drummer Tony Williams before making his recording debut as leader on the RCA/Novus label in 1985.

That’s what at least 400 of those records are about [accompaniment],” Miller counters. “A soloist wants somebody who can be empathetic and supportive and at the same time stimulating.”

As heard on Live at Yoshi’s Volume One, Miller finds comparable characteristics in Hodge and Higgins, an album that exudes an elevating quality. Hodge, 25, who was recently in town playing with Terence Blanchard at Jazz Fest and is heard on the trumpeter’s album Flow, has performed in Miller’s trio for almost four years. The bassist immediately makes his presence known on the albums opener, “If I Were a Bell.” Likewise, Higgins, 30, who’s been with the pianist for over 10 years, continually contributes a lot of splash without being intrusive.

“These guys understand their roles and are superior instrumentalists and because they’re young they’re still evolving,” says Miller. “I can’t say enough about my band. I think I’m fortunate to play with two of the most brilliant young musicians on the scene on their respective instruments. The both have broad palates,” he continues, “and lots going on.”

The positive attitude of the album continues on Woody Shaw’s “The Organ Grinder.” It proves an excellent choice of material from an often-neglected musician/composer and is executed with a show of power from all three of the trio’s members.

“I was with Shaw for three years—from 1981 to 1983,” Miller informs. “I feel like it [the tune] is a great contribution but the ulterior motive was to keep his name and work before the public.

Having recently recorded original numbers at an engagement at the Kennedy Center, Miller offers only one self-penned selection on Volume One, the edgy “Pressing the Issue.” The pianist agrees that the burn of this number, on which all of the musicians are fully involved, brings variety to the program. “It gives the audience something exciting beyond beautiful ballads and medium swingers,” he recognizes while quickly adding that he enjoys those too.

“I think beauty and power are two of the great manifestations. I think more in terms of harmony being a beauty factor, if you will. It plays a part in how beauty is expressed. The same goes for melody. I do believe music has a very healing power.”

Miller, whose last appearance in New Orleans was with drummer Adonis Rose, says he always looks forward to his trips here. “I like coming to the South—I’m from the South,” says the pianist who came up playing rhythm and blues and church music. “That’s my roots. My upbringing is basically who I am.”

IRVIN’S OVER THE CITY

“We’re a little random,” concedes Irvin Mayfield on the lack of defined schedules and media listings for his club, Irvin Mayfield’s Over the City, which opened during this year’s French Quarter Festival. At this point in the nightspot’s short history, Mayfield doesn’t view those aspects as problems. “The first priority is to create the right place and structure it around the music. The second is to create a great business.”

Despite the lack of formal advertising, folks have found their way up to the 31st floor of the World Trade Center to enjoy the fine jazz, hot brass bands and the great view the club has to offer. Until the second week of Jazz Fest, there was no cover charge. Now it stands at $15 for shows at 9 p.m. and 11 p.m. “Once a person comes up there, they have to come back,” the trumpeter declares.

With Mayfield, trumpeter Kermit Ruffins (Fridays in June), the ReBirth Brass Band and drummer Adonis Rose as the venue’s anchors, the aim, says Mayfield, is to wash the club down with a real New Orleans feel.

For now, Irvin’s Over the City presents live music Thursday through Saturday. There are plans to expand that schedule and really dig in by the fall. Promised are national acts, including saxophonist Kenny Garrett and, get this, Fats Domino.

“To one extent we’ve got our shit together and to another we don’t,” says Mayfield who will be blowing at the club as often as his schedule allows. “It will take 365 days for us to really know who we are.”