By Aníse Meccouri

It’s a cool Tuesday night in the East Village. Spring is finally here and the trees on East 11th Street are budding soft, green blossoms. The main entrance of the Bahá’í Unity Center is spilling warm, golden light onto the street. A mellow hi-hat can be heard between lush moans of a horn section and the rushing graces of an expert pianist.

It’s jazz night at the Bahá’í Unity Center in New York City. The crowd of old-timers and young people fuse in the main lobby, excited to return again to a new weekly, affordable jazz venue downtown. The vibe is peaceful, but certainly not tired, as guests make their way into the modest and intimate John Birks “Dizzy” Gillespie Auditorium for the first set.

Living jazz legend Mike Longo, and his resourceful, dedicated, and creative wife, Dottie Longo, spearhead this wonderful initiative. Mike was a long-time close friend and pianist for Dizzy Gillespie, the most well-known and respected Bahá’í jazz musician.

“It is my belief, as was Dizzy’s, that the Bahá’í Faith and jazz music have very much in common, which makes this music a potential instrument for attracting people,” says Mike. It’s hard to disagree, especially upon witnessing the diversity of performers, music, and guests that enter the Bahá’í Unity Center every Tuesday night. There are no alcohol or drugs, no cash incentive for musicians, no grand advertisement scheme, and certainly no salary for the volunteers; and yet, people love coming.

The original music, spiritual atmosphere, and unity of purpose are the animating qualities of the Jazz Series. “The environment of the Bahá’í Center is safer and more wholesome than jazz clubs,” Mike affirms. He adds, “…people from a wider range of economic backgrounds, including students and youth, have an opportunity to hear some of the best musicians in New York and in the world.”

Mike Longo is simply connected. The jazz community of New York City is smaller than one would expect, especially if you’re a living legend like Mike. The Jazz Series has never suffered because of a lack of high caliber and innovative performers. Very well-known musicians, such as saxophonist John Clark, composer Anita Brown, and Mike’s own Big Band choose the Bahá’í Unity Center as their venue for creative expression.

“I think the primary reason that musicians choose to play at the Bahá’í Center is a matter of trust,” Dottie explains. “Mike’s music production company, Consolidated Artists Productions, has developed a reputation over the years for protecting artists from the corruption that is so common in the music business today. So when musicians play at the Bahá’í Center, they know they are involved in a venture that has no hidden motive or agenda—it’s all about their ongoing development and freedom of expression. There is no rivalry, but rather an environment of support.”

As a completely volunteer-run initiative, the Jazz Series would seem difficult to maintain, but the volunteers personally identify with its mission and are behind it every week. “This is an opportunity to promote the arts and the Bahá'í Faith, as something of a collage, giving way to open discussion about both of them,” says Roja Mirzadeh, one dedicated ticket-sales volunteer.

Amanda Boatright, another volunteer, agrees. “This is an amazing city, rich with talent. Music is a means for spiritual ascension, so it’d be our loss if we didn’t seize an opportunity and really draw upon this community.” She adds enthusiastically, “Who knows when I’ll have another chance to be a part of something as exciting and exceptional as this?”

A core group of about four volunteers—not including Mike or Dottie—are there every week because they want to be, and because they love jazz. There’s no better retention technique than that!

The artistic community of New York benefits from the Jazz Series because it has a unique venue with a mission like no other. Mike and Dottie are devoted to protecting its artistic integrity and its performers, unlike other jazz venues in the city where musicians may be forced to compromise their creativity to meet the popular demands of an audience or image.

There are plenty of opportunities to meet and mingle with musicians between sets in the lobby of the Center. The artists and the audience are not divided or separated at the Jazz Series. The sober and joyful environment is conducive to interesting conversation and meaningful networking among artists and concert-goers alike.

Dottie adds, “They come into the Center with a certain respect because they realize it is our place of worship… they seem to pick up on the spirit that permeates the Center, which is the same spirit that is the animating force behind jazz.”

For more information on the Jazz Series in New York City, visit bahainyc.org/jazz.html.