Thanks, LL, for that heads up ... it turns out this stretch of W. 58th St. is another one of those blocks that I have rarely if ever walked down despte all my years in NYC.
The buildings on W. 58th between 240 CPW and 220 CPW are indeed pretty crappy -- one is a 5 story stucco coverd thin that appears to be shuttered, then there is a five story garage and then the back of 220 CPW (aka 217 - 223 W. 58th).
However, LL is correct that the next three brick buildings are complete GEMS.
Luckily the one right next to the backside of 220 is 215 W. 58th, an FDNY firehouse (so it isn't going anywhere) -- Engine Company 23.
This building is LANDMARKED.
This is what she looks like (that's the white brick butt of 220 CPW / 217-223 W. 58th to the left):
The building to the right of Co. 23 is 213 W. 58th -- a true beauty: a 5-story brick with stone base and a steep slate mansard roof (you can see a bit of her in the photo above).
According to DOB this building is LANDMARKED.
It houses the Eric Butterworth Foundation, seemingly part of the UNITY Christian Church.
Next to that is 211 W. 58th, another sweet 5-story brick buidling that houses the Fazioli Salon at Klavierhaus,
with some of the most gorgeous pianos you've ever seem visible through the front window.
According to DOB, 211 W. 58th has a total of 20 apartments on the 2nd, 3rd, 4th & 5th Floors.
This building is NOT LANDMARKED.
The new season opens at Fazioli at 211 W. 58th with a concert on September 22:
Information at 212.245.4535
This September, a new home emerges
for jazz and classical solo piano in New York City.
211 West 58th street, NYC
9.22 JAMES WEIDMAN
Buy Tickets Now!
New York-based pianist James Weidman is indisputably one of the world’s top sidemen. Over the years he has played and recorded with musicians as diverse as Max Roach, Woody Herman, Archie Shepp, James Moody, Greg Osby, Slide Hampton, Jay Hoggard, Marvin “Smitty” Smith, Gloria Lynne and blues diva Dakota Staton. Hear him in a rare solo concert at the Fazioli Salon.
9.29 HAROLD MABERN
Since he arrived in NY in the 60s, the music world has been in awe of Harold Mabern's passion for making swinging, thoughtful music. Hear him solo 9/29 at 8pm!
10.6 FRANK KIMBROUGH
As a member of the Dewey Redman Quartet or inthe piano chair of Maria Schneider's Big Band, Frank Kimbrough is now a major player on the NY Piano Scene. Check him out solo October 6 at Klavierhaus, 211 west 58th Street, in the shadow of Carnegie Hall.
10.13 RODNEY KENDRICK
Rodney Kendrick has studied with Randy Weston, Barry Harris, Chris Anderson and many other masters of the jazz piano. His command of stride, swing, bop and the classics ensures a fabulous night indeed.
10.20 WEI YIN CHEN, SHARP RADWAY
Sharp Radway and Wei Yin Chen have both distinguished themselves as piano masters. Wei Yin will play a program of Ginastera and other classical composers, while Sharp Radway will explore the art of the solo piano ballad.
10.27 WEBER IAGO
"I truly believe that artists should always worry less about what their music will be "called" and more about what it really "is". The difficulty with this idea is actually a very small problem compared to the big picture, which is true expression. The great French composer Claude Debussy described his own music as "having always existed in the Universe" and that he was nothing but a vessel through which the music passed and appeared to our senses. That makes the job of composing music seem a very humble one, doesn't it ?"
11.3 JOHN STETCH
“Stetch’s crisp technique allows him to zip, smash and splash over the keyboard at will, creating stop-‘n’-start melodies, razzle-dazzle solos and bright conversations … a happy, welcoming feel to his music, despite its harmonic and rhythmic complexity …. expressive ebbs and flows and smart deployment of dynamics and space ….like hearing a painting by Miro or Matisse come to life…. playful technique and unfettered imagination … warm, swinging touch and crunchy chords … swings madly”...
11.10 JOVINO SANTOS NETO
..an uninhibited young keyboard soloist who writes boppishly self-propelling numbers." Jack Massarick, The London Evening Standard"
"Soft, expressive waltzes and ballads were convincingly paired with juxtaposed dance rhythms; the borders between notated "serious" music, "intuitive" folk and "improvised" jazz were crossed to the point of becoming irrelevant. "Neue Zürcher Zeitung." Switzerland
" ...a warm, high-energy player, as fun to watch as he is to hear." Mark Fefer, Eastside Weekly.