The Midday Jazz series at Saint Peter’s Lutheran Church in New York City emerged as an extension of the church’s Jazz Ministry, founded in 1964 by the Rev. John Garcia Gensel, pastor to New York’s jazz community. Hosted 
for 20 years by Ronny Whyte, the series went on hiatus (see Question 4, below) and is now back up and running!
On Wednesday, November 18, at 1 PM, Billy Stritch will open the 2026-2027 Midday Jazz season. Joining Stritch are bassist Michael O’Brien, drummer Eric Halvorson and vocalist Gabrielle Stravelli. Midday Jazz has always had the tradition of making a suggested donation ($10). Make your reservation here.
NiteLife Exchange (NLE) asks the Saint Peter’s team (SP)—Vincent Carr, Artistic Director, and Tyler Bassett, Manager of Programs and Communications —Six Questions:
NLE: In 1966, The Rev. John Garcia Gensel, who had already created a solid jazz ministry, was called to Saint Peters and brought his Jazz Vespers with him. How and why did the church decide to continue representing the jazz community at Saint Peter’s after Gensel’s death in 1998?
SP: John Garcia Gensel created a place where jazz musicians could not only share their craft, but also be seen and heard as people. Saint Peter’s was never 
intended to be just a venue for these musicians. It was meant to be their home and a foundation they could turn to when they had lost direction. That was something that could never be taken away.
The Rev. Dale Lind eventually succeeded Gensel as the second Jazz Pastor. The two worked together for 30 years, and Lind often accompanied Gensel on visits to jazz clubs. Lind’s ministry extended into bars, where he served as a bartender at a place called Knickers while carrying out his parish duties through what he called a “ministry in presence.” Knickers and Saint Peter’s maintained a relationship through which many musicians who first met Lind at the bar were introduced to the church. The transition from Gensel to Lind allowed for that continuation of ministry after Gensel’s death.
NLE: A major feature of the Saint. Peter’s commitment to jazz is the Billy Strayhorn piano. How did this instrument come to find its home in the church? Is it on “active duty”?
SP: Billy Strayhorn left his personal Steinway “A” piano to Saint Peter’s Church just a few months before his death. Both Strayhorn and Duke Ellington had close ties to Saint Peter’s, frequently performing at or attending Jazz Vespers. The piano has been in active use at the church since 1967 and remains its primary instrument. However, 
after nearly 60 years of use, and the 2021 flood that damaged the Sanctuary and lower level, the piano is now in dire need of a full restoration and we are actively seeking donors who may be able to help fund this effort.
NLE: How, why and when did Edmund Anderson’s program, Midday Jazz come about? And eventually the program was assumed by pianist Ronny Whyte—for almost 20 years! What underpinned Whyte’s popularity during all that time?
SP: Midday Jazz began as Midtown Jazz at Midday under the direction of Edmund Anderson, Executive Director of The Common, which later became Midtown Arts Common and is now the Arts and Architecture Conservancy. The program was created in 1982 to make jazz a regular part of Midtown’s cultural life, separate from the liturgical setting of Jazz Vespers.
Ronny Whyte, who succeeded Anderson, was a true gentleman and showman. He was adored by the community, and his welcoming personality played a major role in the success of Midday Jazz. Thousands of passersby encountered the program, many of whom may never have listened to jazz before. Entering an unfamiliar environment a
nd hearing unfamiliar music can be intimidating, but sometimes a simple, kind hello is all it takes to make someone feel welcome. He excelled at that.
NLE: But Midday Jazz stopped when Whyte could no longer undertake hosting the program. Why did it lie on the back burner for seven years? And who made the decision to reboot it?
SPL Actually, that’s not quite true. Midday Jazz went all the way until the fateful start of the COVID pandemic. It’s important to remember that the catastrophic flood occurred only 6 months into the pandemic! The flood was the result of a major water main rupture just outside the church, flooding the Sanctuary and the Lower Level, which housed the black box theater. This disaster destroyed one third of Saint Peters’ space and the cost to rebuild has been astronomical. The church only came back “online” in 2023 and programs have been coming back online since. Jazz Vespers was the first, followed by Jazz on the Plaza and now Midday Jazz.
Midday Jazz has an incredibly loyal group of followers who have been asking for it to come back for a few years. Artistic Director Vincent Carr came on in late 2024 and Program Manager Tyler Bassett came on in 2025. Following the success 
of Jazz on the Plaza and Jazz Vespers, Carr deemed it was time to bring it back in 2026, albeit on a monthly basis (rather than weekly). This year will serve as a trial all around. Hopefully, the support, both in enthusiasm and financial generosity, will be so strong that we are able to bring Midday Jazz back to its old weekly schedule for the 2026-2027 season!
NLE: The Midday Jazz program begins anew on Wednesday, November 18 with the Billy Stritch Trio. How will hosting duties play out in the relaunch? What decision-making was involved?
SP: As one can imagine, there are big shoes to fill in following someone like Ronny Whyte or Edmund Anderson. While Edmund Anderson’s Midday Jazz was a weekly jazz concert series in the Living Room, Ronny’s version often favored the Great American Songbook and moved into the church. The relaunch this year seeks to bring both of those ideas together. Sing for Hope is also partnering with the Conservancy to help sponsor a few of the concerts.Saint Peter’s has always been known for community, and most importantly, community-based jazz. We seek to continue that tradition by making this season a very collaborative, inclusive and warm one—inviting people into a renewed tradition. And c’mon, how could things get any better than B
illy Stritch? What a treat to have him kick off the relaunch! November 18th will indeed be an historic day!
NLE: An October 26 gala celebrated 60 years of jazz in St. Peter’s. Firmly established as THE Jazz Church in NYC, what is the future vision of the church’s mission in jazz?
SP: Not only New York City, Saint Peter’s is the Jazz Church for the WORLD! People often forget that Saint Peter’s is where it all started more than six decades ago. Whenever you step foot in a church around the world and you see Jazz on the menu, you can thank Saint Peter’s for forging that path. If you’ve ever attended a performance in the Sanctuary, you know how intimate the experience can be. No matter how well-known or emerging an artist may be, the space reminds us of our shared humanity. You instantly feel like you’ve known everybody for years.
In a world that can feel increasingly divided and distant through technology, and where rising costs make cultural experiences less accessible, Saint Peter’s and the Conservancy aim to bring people together from every background. Our mission is to provide accessible experiences for the public and introduce new generations to the beautiful art form we call jazz… And 60 years of that is just the beginning!
Editor’s Note: Beyond the modest suggested donation of $10 requested for each concert, tradition for Midday Jazz, also consider donating to the restoration of the Strayhorn piano and the ongoing recovery from the catastrophic flood. Your donation means:
- You value musicians and want to pay them respectfully for their work
- You want to support jazz programming like this
- You want to ensure that Midday Jazz stays vibrant and continues in the future
- You want to support the greater ministry of jazz and the metaphor of inclusivity and freedom that jazz has always represented.
Saint Peter’s is located at 619 Lexington Ave., NYC
