WEDNESDAY, MARCH 28: Pianist Cyrus Chestnut is of the generation of jazzbos affectionately known as the “Young Lions”—a collection of well-versed revivalists who popped up in the early 90s after tenures with a since-deceased generation of originals (Betty Carter, Art Blakey, Ray Brown). But when tow-headed teenagers are making a run at the big time, it’s hard to justify calling a forty-year-old musician “young.” I’ll leave it to someone else to reassess that category. What sets Chestnut apart from the others of his class is his meaty, gospel intensity, with powerful left-hand rolls and swinging right-hand lines. For the spherical Mr. Chestnut’s week at the Bakery, a tasteful bass player and California-casual drummer who followed his every lead backed him up in all directions—and Cyrus goes in a lot of directions On March 28, he played on a a record of jazzified Pavement covers, and he can just as easily rattle off a Bach invention. To earn his hipster stripes at the Bakery, he played a jumpsuit-era Elvis cover right before a simmering version of “Amazing Grace.” Don’t tell the jazz police. His confidence and ability to build up a song to rollicking proportions is only matched by his tastefulness in covering ballads, and the audience swooned like little girls throughout it all. It’s been a while since Cyrus was in town, but he never disappoints. Note: while you can, check out the old Polish jazz posters hanging in the lobby. Wild stuff. (SOC)