By Chris J. Walker
After jolting listeners and the music industry with their highly infectious mix of pugnacious Southern blues/rock, dreamy neo soul and hard-edged grunge rock to garnered four Grammys and two top-selling albums—Alabama Shakes took a seven year hiatus. In the interim, the Alabama-based band consisting of guitarist/lead vocalist/songwriter Brittany Howard, bassist Zac Cockrell and guitarist Heath Fogg worked on their respective solo projects and collaborated with other artists.
Now fully reunited, AS made a triumphant return to the Hollywood Bowl with support from Ben Tanner and Paul Horton-keyboards and Noah Bond-drums, with backup singing from Lloyd Buchanan, Shaney Johnson and Karita Law. Their new album Another Life had been just released, yet surprisingly they sparingly showcased only two new songs from it. The bulk of the concert focused on the previous two records Boys & Girls (2012) and Sound & Color (2015) that obviously were more familiar to the band and audience.
Powerhouse lead singer/guitarist Howard effortlessly fluctuated between diverse styles, while singing commandingly and soulfully throughout the concert. In many respects, the singer/bad ass guitarist is the star, but bandmates Cockrell and Fogg have co-written and co-produced their catalogue of songs with her.
Among the ranges of styles and textures AS incorporated were indie-rock oriented “Dunes” from the 2015 record. “Hang Loose” from the band’s first album had an alt-country vibe balanced with Howard’s brawny soulful singing that was a blend of Janis Joplin and Ledisi. Contrarily, the lead singer expressed heart-ripping rawness for “I Found You,” and bluesy/gospely drenched “Joe” and “Over My Head.” Silkiness was incorporated for “Guess Who” and “This Feeling.” Alternately, the title song from the group’s new album was mostly electronic drum and bass pop, featuring Howard vocally soaring with the backing singers.
Howard and crew’s most popular songs ended the show featuring psychedelic “Sound & Color,” ripping funk hit ‘Don’t Wanna Fight” laden with smoking guitar, and hard-wailing/ethereally sung “Gimme All Your Love” for a standing ovation. The encore included the other new song, atmospheric “American Dream,” and rockabilly jams “Drive By Baby” and “Always Alright.”
Opening for AS was Oakland-based Shannon and the Clams. The band included Cody Blanchard-vocals/guitar, Nate Mahan-drums, Will Sprott-keys and captivating singer/guitarist Shannon Shaw. Their sound was an edgy mashing of indie rock and garage band. In recent years, the players have rallied behind Shaw, who tragically lost her fiancé/bassist Joe Haener in a car accident weeks before their wedding for selections from their new project The Moon Is In The Wrong Place. For more info go to:www.alabamashakes.com, www.shannonandtheclams.com and www.hollywoodbowl.com
The long-anticipated opening of The Blue Note-Los Angeles, curated by Robert Glasper, recently happened. One of its first week shows was Terrace Martin with special guest Kenyon Dixon. Earlier this year, Dixon and Martin combined their talents for the collaborative contemporary jazz/hip-hop/R&B album Come as You Are.
Martin, a multi-instrumentalist/producer/composer, also a Blue Note Records artist has an impressive list of accomplishments. He’s worked on top-selling Grammy winning/Grammy nominated hits with super rapper/singers, Snoop Dogg, Alex Isley, Lizzo, Florence & The Machine, Lalah Hathaway and Kendrick Lamar.
In the realm of jazz, Martin was the first chair of the California All-State Honors Jazz Band and received a college scholarship from Jay Leno after his Music Director/guitarist Kevin Eubanks heard his playing. Soon afterwards, the multi-instrumentalist was doing gigs with Billy Higgins, P. Diddy and Kirk Franklin. Additionally, he performed, recorded and produced a Herbie Hancock project and was a member of Kamasi Washington’s Westcoast Get Down assemblage.
Before starting up with keyboardist-Chad Self, bassist-DJ, guitarist Nir Felder, drummer-Q, Martin gave a heartfelt thanks to the club’s organization for coming to So Cal. He recalled teenage memories of watching musicians playing there when he was outside on the street in New York. Later, he snuck in from the back, eventually performed there and all the while dreamed of a Los Angeles Blue Note.
Now that it’s a reality the keyboardist/alto saxophonist/singer went back to his initial inspiration—Hancock—by doing a celestial sounding version of his “Butterfly.” It was full of band funk grooving and the bandleader’s vocorder singing as he intermixed various keyboard modes and effects. On alto sax, he began Lamar’s “How Much a Dollar Cost” with a solo intro for the layered jazz/fused jam that spotlighted his guitarist, along with including a somber solo piano interlude from Self.
During the last third of the show Dixon the singer/rapper joined the quintet to spotlight the duo’s new songs that are a dichotomy of influences from the church and the city. Among them was the soothing “Amazing,” modern soul styled “Only Real Ones Will Survive” that resembles Marvin Gaye’s “Inner City Blues,” funky “Two-Eleven,” traditional R&B ballad “Can I Have This Groove” with the crowd singing along. Not expected, was the singer doing a tender rendering of Ellington’s classic ballad “In a Sentimental Mood.” For more info go to: X, Facebook, Instagram and www.bluenotejazz.com/la/
Raul Midón, an impressive Grammy-nominated singer/guitarist/percussionist who was born blind, celebrated the 20th anniversary of his breakout album State of Mind at Vibrato. The talented guitarist/singer has a soothing and appealing singing voice with notable similarities to Donny Hathaway, and Stevie Wonder. In fact, the star singer/keyboardist/harmonicaist is on one of the album’s tracks, along with Jason Mraz, Herbie Hancock, Dianne Reeves and DJ Little Louie Vega.
For the special occasion at the Mulholland-adjacent club, Midón performed solely and began with the guitar strumming and urban grooving “Pick Somebody Up” that’s not on the highlighted album. “I Love The Afternoon,” also not on the record was a glowing ode to cool vibing mid-day pleasures adorned with tantalizing flamenco styled guitar, stirring singing/scatting and a mimicked trumpet solo.
Getting into the featured recording was stunningly sung “If You’re Gonna Leave” that possessed similarities, rhythmically and lyrically to Cat Steven’s folk/pop hit “Wild World.” Midón cited that he learned to play flamenco guitar from the guitarist at his father’s restaurant in New Mexico and proceeded to intensely sing and play “Never Get Enough.” From a gentler standpoint, he beautifully sang and played the ballad “Suddenly.”
Furthermore, the New York-based artist talked the hard times he encountered that required him to hustle—thus leading to the creation of disco influenced “Sunshine (I Can Fly).” It was amazingly adorned by bass-like guitar playing, guitar percussion, evocative singing pulsating percussion and a trumpet-like vocal solo.
After the State of Mind tunes Midón showcased his piano playing with “Listening to The Rain” and songs from his self-produced Pandemic project Eclectic Adventurist. The selections on it are all original duets with his favorite guitarists such as Mike Stern, Dean Parks, Lionel Loueke, Alex Cuba, Julia Bailin, Stephane Wrembel, Lindsey Blair, Marvin Sewell, Romero Lubambo and Jonathan Kreisberg. Midón, without any of them played serene “Serendipity,” and robust “Separate Identity.”
He returned to singing and playing guitar for reggae-driven “Invisible Chains,” his first pop song “Mystery Girl” and folky “God’s Dream.” It was based on the biblical story of Job, who loses everything, and in a later addendum is able prosper again.
Closing out the varied show was Spanish-sung number “Mi Amigo Cubano” written with Bill Withers, and the rambling title track “State of Mind.” It was augmented with an extended mouth trumpet segment of Coltrane’s “Giant Steps” and Suzanne Vega’s ‘80s mega hit “Tom Diner.” They and other pieces exhibited that the formidable musician’s very adaptable and formidable abilities to play whatever comes to his mind. For more info go to: www.raulmidon.com and www.vibratrilljazz.com/
Saxophonist/producer/impresario Dave Koz returned to the Hollywood Bowl with his latest installment of the crowd-pleasing Summer Horns. Decked out in red slacks with coordinating shoes and patterned shirts, the group consisted of multi-generational players. They were Koz, Marcus Anderson-sax, Jeff Bradshaw-trombone, Leo P-baritone saxophonist, Evan Taylor-trumpet and Marcel Anderson-vocals. Supporting them was Randy Jacobs-Musical Director/guitar, Nathaniel Kearney Jr.-bass, Nile Hargrove-keyboards, Demetrice Everett-drums
and Sedar Jones-percussion. They all blazed away and had fun, doing seemingly competitive tandems all to audience’s delight.
Some of the very appealing tunes were the Beatles/Earth, Wind & Fire’s “Got to Get You Into My Life,” Koz and Anderson singing Frankie Valli’s “Can’t Take My Eyes Off You,” and a Stevie Wonder medley. It included “You Haven’t Done Nothin’,” “Living For The City” and “Sir Duke,” with quick bits of “Get Away,” “Hollywood Swinging” and “That’s The Way I Like it” mixed in.
The nearly non-stop party was further perpetuated by Tower Power’s super funky “Squibb Cakes” featuring Leo P killing it on baritone sax, new single “Vehicle” derived from Blood, Sweat & Tears audacious signature song “Ides of March” and Herb Alpert ‘s “Rise” to commemorate his 90th birthday. Putting a nice bow on set was special guest vocalist Regina Belle performing her smooth jazz/R&B hit “Baby Come to Me” and with Anderson her top-selling Disney song “A Whole New World.”
The four-hour show host by radio personality Pat Prescott, also incorporated The Ohio Players doing their funky hits “Love Roller Coaster,” “Fire” and “Jive Turkey.” South African-born singer/guitarist Jonathan Butler and band, including his amazing violinist/wife Nadira Kimberly Scruggs-Butler captivated the audience with a boundless range, going from pop, R&B, jazz and spiritual music.
Among his songs played were “Song for Elizabeth,” “No Woman No Cry,” “Sarah Sarah” and heartfelt “Falling in Love with Jesus.” Getting the party started was Kayla Waters, daughter of the poplar contemporary jazz saxophonist Kim Waters. It was her Hollywood debut and once she got past the initial jitters, she shined with remarkable keyboard playing and rejuvenating tracks from her debut album Prescence.
Herbie Hancock, now 85 still has plenty of music in him and also is very devoted to being a grandfather. In fact, he brings out his grandson Dru prior to most of his concerts. However, this time at the Hollywood Bowl, despite Hancock’s urging he wasn’t up for it and the keyboardist/composer instead had his recently departed best friend, Wayne Shorter’s closely aged grandson Max came out to infatuate the concert attendees. Unquestionably, due to his stature as a premiere jazz artist and stellar career the audience looks forward to seeing Hancock, and kids.
The multi-Grammy-winning bandleader/composer’s purpose goes well beyond showing off the kids though. His ultimate goal is to have everyone be in touch with their humanity and connectiveness. Contrarily, Hancock’s numbers with Terence Blanchard-trumpet, James Genus-bass, Lionel Loueke-guitar and Jaylen Petinaud-drums are mostly dense fusion, going far beyond acoustic wholehearted music.
“Overture (Medley)” was wrought with keyboard layers and effects, much like a sci fi movie, with his bandmates inserting additional sounds and rhythms to the intense and fiery sonic bouillabaisse. Loueke, both a talented bassist and singer shifted things with a bass looped jam with his electronic vocals over it all and the full band joining in for an abbreviated version Hancock best-known tune “Chameleon.”
Additionally, the very well-known and highly regarded Shorter composition “Footprints” arranged by Blanchard slightly eased away from the intense fusion explorations. It featured the bandleader’s signature acoustic piano playing, the trumpeter’s effects enhanced accompaniment and bass resembling a synth. In a more funk/fusion direction, highlighted by all of the group wailing was “Actual Proof.” For a break from the near-combative playing was the enduring and much imitated dreamy “Butterfly.”
Hancock, a long-standing Buddhist and human-rights advocate spoke to the audience via vocorder about his hope for better days, deeper understanding and everyone realizing they are part of one big family. He brought the two-hour show to a close with a full version of Chameleon. That included him playing a strap-on synthesizer and dancing about with the bassist to everyone’s delight and receiving an enthusiastic standing ovation. For more info go to: www.herbiehancock.com and www.hollywoodbowl.com.
Béla Fleck and The Flecktones appeared at the Ford Theatre and surpassed the audience’s expectations. A major factor for that was the return of original band member, Howard Levy who incredibly played piano, harmonica and ocarina. In 1988 he began with Fleck-banjo, Victor Wooten-bass and brother Roy “Future Man” Wooten-drumitar (his sci fi-like guitar shaped creation)/drums. Their imaginative commingling of blue grass, jazz, funk, rock and classical grew exponentially with an almost non-stop concert schedule.
However, by 1992 Levy opted to not be solely focused on one band and instead toured, recorded and performed with a variety of artists. Among them were Kenny Loggins, Bobby McFerrin, David Bromberg, Jerry Butler, Terry Callier, Holly Cole, Paquito D’Rivera, Chuck Mangione, Dolly Parton, Claudio Roditi, and Pete Seeger. The pianist/harmonica player was later replaced by saxophonist Jeff Coffin, who within a couple of years accepted an offer to be in Dave Matthew’s band.
Eventually, Levy reunited with the Flecktones in 2009 and continued to divide his time with other performers. In 2022 he got more involved and refreshed his knowledge of the band’s catalogue. Additionally, all the other players in the group had their own side projects, including Fleck producing and playing with his banjo-playing wife, Abigail Washburn, and also recording and touring with Chick Corea, and with kora master Toumani Diabate.
In action at the Ford, the second concert of the tour, the quartet began with “Frontiers,” an upbeat jam-like piece underscored by fiery banjo licks and country-styled harmonica playing. Whereas, “Flying Saucer Dudes” showcased bass interacting with piano, banjo and bluesy harmonica. Wooten took things further out with his signature offsetting solo bass looping that blew the crowd away and became the foundation for the funky “Sex in a Pan” with his bandmates further embellishing.
Fleck a 16-time Grammy-winner in a variety of categories, second only to Bob Dylan and Paul McCartney, delved deep in the band’s library. He came up with the willowy “Mars Needs Women: Space is a Lonely Place” from their debut album. Jumping ahead about 20 years to the period when the banjo-master performed and recorded with the iconic Corea was classical, blue grass merging “Juno” composed for the bandleader’s son after his birth.
During the second half of the highly eclectic program the band returned to Fleck’s bluegrass roots for “Big Country” that was nicely adorned by contributions from bass and harmonica. While, folk-flavored “True North” showcased Levy’s ocarina and jazzy piano skills. Alternately, “Blu-Bop” was a total jazz delight as piano and banjo had both an engaging scrimmage and warm unification. Additionally, the banjoist majestically performed the timeless classic “Rhapsody in Blue” solely.
For even more variety, Future Man soulfully sang the melodic “Sunset Road” with amazing solos from Levy on piano and Fleck, with the drummer also showcased to astonish the audience. Levy’s superb piano prowess and Fleck’s banjo magnificence, along with the Wootens were further displayed during the Eastern European folk classical/jazz merging “Sweet Pomegranates.”
Wrapping up the fun and intriguing concert was blues harp-laden “The Sinister Minister.” Encore, “Flight of the Cosmic Hippo” was adorned with blues-sounding banjo and ragtime piano enhanced by the audience adding hippo voice chants. For more info go to: www.flecktones.com and www.theford.com.
The pairing of world music star/humanitarian Angélique Kidjo and the renown adventurous classical cellist Yo-Yo Ma, also a global humanitarian, at the Hollywood Bowl goes back to 2018. They were in Paris performing separately for the centennial commemoration of the ending of WW1. Unquestionably, the prominent artists’ music and nationalities were vastly different.
Nonetheless, they shared commonality in their interest in improving earth, and an openness to collaborate with musicians throughout the world. Additionally, the African singer stressed that the music and history from her home-continent has been frequently erased and/or overlooked, despite it being the crux of Western Civilization. From there, Kidjo and Ma started exploring musical connections and history between Africa, Europe and America.
To get the Sarabande Africaine show going, a troupe of African percussionists and dancers hit the stage to boldly awaken the attendees with four minutes of throbbing rhythms and dazzling movements as some attending clapped along. Then with Ma and light support from pianist Thierry Vaton, and percussionist David Donatien, Kidjo poignantly sang in her native Yoruba language “Blewu,” the first song she ever performed as a child. Afterwards, Ma beautifully rendered Händel’s “Sarabande in D Minor,” also the first sarabande he ever did.
The cellist, pianist and percussionist shifted to more of Kidjo’s intercontinental music, like lively African songs “Kelele” and “Agolo.” Entirely different was Philip Glass’s masterpiece Symphony #12 Second Movement, featuring the singer in her home tongue. which she and iconoclastic composer recorded several years ago together. Kidjo additionally soared with Ma’s mesmerizing cello and the trio for her African interpretation of the Gershwin’s timeless classic “Summertime” to draw a mid-concert standing ovation.
The world class cellist stayed in that mode for a touching performance of the beloved spiritual “Nobody Knows The Trouble I’ve Seen,” Dvořák’s evocative “Goin’ Home” and Bach’s Sarabande from Suite in D minor to receive another standing ovation. The concert could have easily finished at that point and the audience probably would have been satisfied. Still more sarabande related music remained, including Ma give a brief history of the form that was banned in Spain and later revived by French composers and Bach in Germany.
Another percussion/dance segment followed, which included the cellist happily participating. From there, he took the listeners to the Caribbean for zouk Afro-European music from Martinique. “Zelie” maintained the islands’ presence and was bolstered by incredible cello and piano flourishes. Kidjo countered with a searing take on Ravel’s “Bolero” and also ventured into American music with a brass section led by multi-faceted Sinkane for Hendrix’s rocking “Voodoo Child” and the Talking Heads/David Byrne’s “Once in a Lifetime” with African chorus, percussion and dancers for a grand production.
As would be expected, the African with Ma and entourage returned to her homeland, singing original “Afrika” with the audience helping out, Miriam Makeba’s (Mother Africa) timeless international hit “Pata Pata,” and an al cappella African folksong. The show overall was an incredible immersion into diverse cultures, brilliantly underscored by incredible music and singing. For more info go to: www.kidjo.com, www.yo-yoma.com and hollywoodbowl.com.
The legendary Canned Heat band recently celebrated its 60th Anniversary at The Mint. Bandleader/drummer/band historian Adolfo “Fito” de la Parra amazingly is the only surviving somewhat original member. He joined the band in 1967 right after their historic performance at the Monterey Pop Festival and has been its “rock” ever since then. That includes all the popular and influential albums the So Cal-based group recorded since 1968 and their set at the iconic Woodstock Festival in 1969.
Further advancing the rock/blues institution with de la Parra were Dale Spalding-harmonica/guitar/lead vocals, Rick Reed-bass, and Jimmy Vivino-lead guitar/vocals (former Music Director for the Conan O’Brien Show). Getting down to business, the blues rockers began with the near-mythical/psychedelic “On The Road Again” that immediately had the crowd buzzing. “Going Up The Country,” which has become synonymous with escaping sprawling metropolises kept the energy going.
Breaking out of the nostalgic mode was slide-guitar driven “You’re The One” highlighted by Vivino’s playing and Spalding’s harmonica from their latest effort Finyl Vinyl. Also, from the new record was the culture-bridging instrumental “East West Boogie” featuring harp interweaving with the guitarists and other band members. Afterwards, Canned Heat’s returned to its signature boogie jamming with similarly new “One Last Boogie” that had touches of ZZ Top. While, “So Sad (The World’s in a Tangle)” rejuvenated from the 1970 record Future Blues and also on Finyl Vinyl was more hard-rocking with tinges of Led Zepplin.
The band also paid tribute to blues masters from Chicago, Texas, and LA’s south side by softly playing and singing un-microphoned B.B. King’s slow-burning “Going Down Slow” that included Spalding getting on the mic for an extensive solo. King passed away in 2015 and his centennial birthday occurred on May 14th. Furthermore, the band played their 1969 hit cover of Wilbert Harrison’s Let’s Work Together” as a call for present-day unity.
In the spirit of their bygone and celebrated milestones, Canned Heat closed with the lengthy and partying “Woodstock Boogie” to further thrill the audience. Remarkably, the band has recorded at least 10 boogie variations and there’s probably a few more coming. For more info go: cannedheatmusic.com and themintla.com.
Sue Foley, born in Canada and based in Austin, is steeped in the blues and a five-time Blues Music Award-winner for Traditional Blues Female and a Juno recipient in her birth country. In the states she was received a Grammy Nomination in the Best Traditional Blues category for the 2024 One Guitar Woman: A Tribute to The Female Pioneers of Guitar. In Europe, she gained popularity with her impressive playing and singing with blues masters B.B. King, Buddy Guy and Duke Robillard.
Foley also teamed up with contemporary blues/rock superstars Billy Gibbons from ZZ Top, Jimmy Vaughan from The Fabulous Thunderbirds, and Mike Flanigin who’s worked with both of them and many others. Additionally, Foley is a professor at Catawba College in North Carolina with a PhD in Musicology. She has written a book, scheduled for release in 2026, entitled Guitar Women: Conversations with the Heroines of Guitar.
At McCabe’s, the scholarly, far from being stuffy singer/guitarist/songwriter devoted a portion of her set with solo acoustic songs dedicated to pioneering guitar playing blues and country women. Among them were Memphis Minnie’s “In My Girlish Days” with an extended solo, Geeshie Wiley’s “Last Kind Words Blues,” Elizabeth Cotton’s “Oh Babe It Ain’t No Lie,” and Foley’s own “Maybelle’s Guitar (Carter’s Scratch)” a tribute to the pioneering marvel Maybelle Carter.
With her backing musicians, drummer Chris Hunter and bassist Jon Penner she stayed in acoustic mode for Minnie’s very upbeat and sassy “(Me and My) Chauffeur Blues” and her own slow-drawn “The Ice Queen.” For the remainder of the show, Foley went electric, playing her famous Fender Telecaster “Pinky.” “Dallas Man” was a fast-paced, coolly sung shuffle that featured the trio stretching out. Along the same lines and leaning more to ‘50s vintage rock was “Hurricane Girl” that delighted the crowd. In terms of jumping-blues, the Austin/Canadian blues guitarist and band intensely served up Clarence “Gatemouth” Brown’s fast-paced instrumental classic “Okie Dokie Stomp” to further impress the audience.
Foley further exhibited her “blues cred” by playing singing wholeheartedly the tender and highly emotional ballad “Say It’s Not So.” As a bonus, she showcased her flamenco and Spanish guitar skills with “La Malagueña” that was absolutely incredible. Going out with a bang, Foley and band played the Blasters’ thrashing “Barefoot Rock” with help from the attendees, and with her other (custom) guitar “Rosetta,” they blazingly covered Bessie Smith’s provocative “Send Me to the ‘Lectric Chair” that was followed by a zealous standing ovation. For more info go to: suefoley.com and www.mccabes.com.
1978 (Steep), the title of Grammy-nominated and much-in-demand drummer Chris Wabich’s latest vinyl that included a Release Party at Sam First, has many correlations. During that year, the TV show Dallas, and Superman: The Moviedebuted, and Garfield’s first comic strip went into nationwide syndication. The 50th Academy Awards were held at the Dorothy Chandler Pavilion, with Annie Hall winning Best Picture, and the One Love Peace Concert was held at National Heroes Stadium in Kingston, Jamaica, with Bob Marley uniting two opposing political leaders to bring peace to the city’s war-ridden streets.
Additionally, The Camp David Accords are signed between Egyptian President Anwar Sadat and Israeli Prime Minister Menachem Begin. They won the Nobel Peace Prize for their progress toward achieving a Middle East accord. In Guyana, Jim Jones leads his Peoples Temple cult in a mass murder–suicide that claims 918 lives and included 270 children. San Francisco Mayor George Moscone and Supervisor Harvey Milk were assassinated by disgruntled former Supervisor Dan White. Dianne Feinstein succeeds Moscone to become the first woman mayor of San Francisco.
However, for Wabich, an avid tea-drinker, the year signifies a very special and limited batch of tea from a master practitioner who utilizes leaves from a 100-year old tree in Japan. The drummer while savoring the very exceptional tea, realized that every drop was important, and transferred that mindset to composing and playing somewhat mediated-like selections.
With bandmates and friends, pianist Josh Nelson (born in 1978) and bassist Dan Lutz (his dream team), he played “Ruby on the Old Street” and the title track. The tunes were adjoined and gently unfolded and flowed soberly with splashes of enchanting piano, soothing bass and fiery solo drumming for the close. “Oolong” partly composed prior to the bandleader’s current album, had a slightly different vibe and structurally was more lyrical, featuring Lutz prominently.
“Magitama (on Slow Shinansen)” was tranquil, with touches of gospel and classical piano adding flavor. Concluding piece “Graduation” was Wabich’s philosophical take on transitioning to another dimension of life or death with positivity. It was more up-beat than the other songs performed with sumptuous bass, lightly pulsating drumming and effervescent piano. For more info go to: Facebook, Instagram and www.samfirstbar.com.
Emerging pianist/composer/arranger/educator Julian Shore, returned to Sam First with his trio that also included, bassist Martin Nevin and drummer Allan Mednard. They showcased their second and latest recording Sub Rosa. It was released in early June and has been garnering a lot of praise. Shore’s previous visit to the LAX adjacent venue was with German saxophonist Tobias Meinhart’s 4tet with Matt Penman-bass and Mark Whitfield Jr.-drums.
In performance with his own articulate trio, Shore began with a sweeping, and also nuanced arrangement of the timeless standard “All The Things You Are.” The highly adaptive piece displayed the pianist’s influences by legendary pianists, Bill Evans, George Shearing and Amad Jamal. From there the acclaimed New York-based trio moved on to their own material from the new album, beginning with the lightly rumba and also mysterious themed “Mission.”
Ellington’s lesser-known “Blues in Blueprint” from his 1960 album, Blues in Orbit was very cool, subtle, with minimal swinging. Nonetheless, it was a sterling example of the iconic bandleader’s composing skills, which Shore and cohorts amazingly spotlighted. While, Beach Boys leader Brian Wilson’s tender (non-jazz) ballad “Don’t Talk (Put Your Head On My Shoulders) was equally lowkey and superbly delivered by Shore and his group.
Ending the mostly easy flowing set was “Must Keep Going.” The piece illuminated Shore’s classical training (he also went to the Berklee College of Music), with engaging waves of Chopin-like and MJQ motifs, propelled by Nevin and Mednard’s exuberant jazz accompaniment. For more info go to: www.julianshore.com and www.samfirstbar.com.
The San Jose Jazz 35th Summer Fest sprawled around the Tech Capitol’s historic Plaza de César Chavez and outlying areas. It presented a balance of large and smaller stages, both outdoors and indoors. Strategically spread around the outdoor stages were eight spellbinding alebrijes, a public two-month installation from Oaxaca, Mexico, towering 20 to 22 feet tall and out of the reach of concertgoers. The mythical and vividly painted dragon-like structures, which lit up at night, exhibited the richness of Mexican heritage through bold design and masterful craftsmanship.
Astonishingly, and probably not intentionally, concertgoers through skillful maneuvering, could see nothing but jazz or avoid jazz entirely, due to the diverse programming that also incorporated Americana, electronica, blues, swing, R&B and homegrown music. The lineup for 2025 didn’t embody any jazz superstars per se, was instead loaded with a remarkable mix of invigorating veteran artists and some forthcoming sensations-destined to be luminaries.
From the aforementioned category was Something Else! featuring alto saxophonist/bandleader Vincent Herring. His fellow conspirators included tenor saxophonist Wayne Escoffery (Director of Jazz Studies at Yale), guitarist Paul Bollenback, trumpeter Freddie Hendrix, drummer Lewis Nash, pianist Dave Kikoski and bassist Essiet Essiet. Their set was hard-bop oriented and resounded with Freddie Hubbard’s “Destiny’s Children” and a powerfully grooving version of Coltrane’s “Naima.”
Contrarily, 85-years-young Mary Stallings, the Queen of San Francisco Bay Area jazz vocalists–-and—arguably nationally—was ultra velvety. Her jazz pedigree includes work with Count Basie, Dizzy Gilespie, Cal Tjader, Wes Montgomery and Geri Allen. Sidemen for the gig were pianist/Music Director David Udolf, bassist Ron Belcher and drummer Gerald Greene. Stallings gave a clinic on how to sing with gracefulness and swing stylishly. Among the songs she soared on were “It’s Just The Gypsy in My Soul,” and vocalese versions of “Monk’s Dream” and Oliver Nelson’s “Stolen Moments.”
Masterful singer/guitarist John Pizzarelli held court with Mike Karn on bass and Isaiah J Thompson on piano. In his typical humorous and easy-flowing style, his trio highlighted songs from Nat King Cole’s canon such as “True Love,” “Paper Moon,” “Sweet Loraine,” “Ain’t I Good To You” and of course “(Get Your Kicks on) Route 66” featuring Thompson and Pizzarelli jamming away while delighting the audience.
Drummer Carl Allen’s Trio with Ralph Moore on reeds and Reginald Veal on bass, waved their pure jazz flag high, while the bandleader also showcased his comedic timing, and cited that it was Jack DeJohnette’s birthday. Getting down to business, they showcased tunes from Allen’s latest recording Tippin’ that included a jubilant rendition of Pat Metheny’s “James,” thematic “Roy’s Joy” in memory of Roy Hargrove and “A Morning Story” written by bassist Christian McBride who’s on the new album. In addition to the record’s selections, the trio played a slowed down interpretation of Monk’s “Misterioso.”
Within a block of the SJJSF plaza and its food trucks, are a fascinating selection of worldclass restaurants. Among them are Petiscos, featuring exotic Portuguese dishes (octopus, beef tongue and duck rice) and alluring drinks, and Eos & Nyx; utilizing California seasonal produce and fresh-caught seafood similar to Alice Water’s acclaimed Chez Panisse. For those hankering for something more downhome, the area also offers Black-owned Jackies Place for delicious BBQ and soul food, and Goddess Noir Cakes for designer pastries and cakes.
Somewhat difficult to categorize, vocalist Sachal Vasandani -who acknowledges being influenced by Betty Carter and Shirley Horn—possesses an impressive technical range, conveying a variety of emotions and drawing from a wide array of artists. For SJJSF, he with Bay Area natives Dayna Stephans on sax and percussion, and Charles Altura on guitar, showcased songs from his latest project Best Life Now. Among his highly evocative new songs were “Too Easy” and the poetic “Sometimes I Miss (The Way).”
Celebrating the roots of jazz with bits of R&B and gospel thrown in, was the 65-year-old, predominantly acoustic, Preservation Hall Jazz Band. The fabled septet led by sousaphone/bassist/vocalist Ben Jaffe ignited the crowds’ partying passions and served up their classic repertory. Among them were “Lord, Lord, Lord, You Sure Been Good to Me,” Ray Charles styled “New Orleans Blues” and vintage Crescent City R&B hit “Rich Woman.” It was originally recorded by vocalist/saxophonist Clint Maedgen’s grandfather, McKinley “Li’l” Millet in 1955.
In regards to the younger and upcoming potential jazz stars were three very different artists. Summer Camargo, a 23-year old trumpeter is currently the youngest member of the famed Saturday Night Live (SNL) house band as well as being a Jerome Greene Fellowship recipient at Juilliard. Leading her own band, with Sterling Cozzo on piano, Rodrigo Martinez on bass, and Miles Turk on drums, the trumpeter spotlighted her originals, “JP Shuffle” for her father, and Latin styled “Girl in a Jeep” for her younger sister.
Changing gears, the trumpeter impressed the crowd with her knowledge of Louis Armstrong (his birthday was a week earlier (August 4th 1901) and trad jazz. Camargo and Cozzo played an extraordinary version of “Weather Bird” that Armstrong recorded as duet with pianist Earl Hines in 1928. With the full band, she performed the legendary trumpeter’s immortal “When It’s Sleepy Time Down South.”
Vocalist/songwriter Stella Cole is a TikTok and YouTube phenomenon who’s amassed nearly 20 million views. The 27-year-old’s 21st century adaptations of the American Songbook, aided by Grammy-winning arranger Alan Broadbent (not at the show) thrilled festival listeners. Among the songs performed were Sinatra’s “Walking in The Sunshine (of Your Love),” Henry Mancini’s “Moon River,” Latin hit “Quizás, quizás, quizás” converted to “Perhaps, perhaps, perhaps” and Cole Porter’s “Anything Goes.” Solid, uncluttered accompaniment came from pianist Brandon Goldberg, bassist Mikey Migliore and drummer Henry-Allen Barfield.
Another stand out performance was 29-year-old Mambai-born, hard-thumping electric bassist/vocalist Mohini Dey that was a mind-blowing and super high-energy experience. She’s strongly influenced by bass icons Stanley Clarke, Marcus Miller and Victor Wooten with traces of Larry Graham and Tal Wilkenfeld. With cohorts, drummer Marco Cirigliano and keyboardist Daniel Szebenyi, the 20-year veteran virtuoso blazed a wide path featuring her mostly food oriented original compositions such as “Meat Eater,” “First Food, Then You,” “In-N-Out” and “Introverted Soul,” that alternated between fusion and prog-rock, with rapid-fire raga scatting included.
Aligning more with classic soul and hip-hop was Jose James: 1978: Revenge of the Dragon. It was the birth year of the singer dubbed “the jazz artist for the hip-hop generation.” Additionally, the year signified a period when R&B, funk, rock, disco and jazz, along with reggae and African music were freely intermixed on radio airwaves, and hip-hop was emerging. With bassist Ben Williams, drummer Jharis Yokley and keyboardist BigYuki, the bandleader showcased Emily King’s “Come to My Door,” “Trouble” and the Gil Scot-Heron inspired “Park Bench People.”
Also in the same category was the funk grooving Headhunters. Their set was highlighted with the ever popular ethereal “Butterfly.” It was first recorded with Herbie Hancock, the band’s founder/keyboardist/producer in 1973. The same for multi Grammy-winning saxophonist, aerophone (EWI) player, arranger and composer Tom Scott who revisited his successful crossover band, The L.A. Express, also formed in 1973. Aided by guitarist Grant Geissman, keyboardist Ruslan Sirota, bassist Chris Colangelo and drummer Gary Novak they played percolating jazz/blues numbers.
Included were “Sneaking in The Back,” “I Want to Get Closer” (composed for Grover Washington), and mid ‘60s mega country/pop hit “Ode To Billy Joe” that was contemporary jazz and funk styled. Closing the set was “Feels so Good” a homage to recently departed flugelhorn player/bandleader Chuck Mangione. Geissman, a San Jose native played with Mangione in the mid-70s for the top-selling record and reunited with him in 2000 for the album Everything For Love.
Alto saxophonist/computer composer/educator David Binney’s Action Trio with bassist Pera Krstajic and drummer Louis Cole were in their own orbit. The trio’s sound was a stimulating melding of electronica, fusion, funk and free jazz, with some prog rock elements. It definitely was not for listeners looking for a mellow hang. Featured compositions were Ralph Towner’s “Night Fall,” and the trio’s own “For My Friends” and “Birth.”
As expected, Latin music was well represented at SJJSF with a whole stage dedicated to the artform. Amongst the many bands presented, the three who stood out were all vastly different. Eleven-member Malo, originally led by vocalist Arcelio Garcia with Carlos Santana’s guitar playing brother Jorge, thrived during the turbulent early 1970s, and were once the Bay Area’s prime Latin fusion group. Remarkably, they’ve managed to survive since then and took the crowd down memory lane with “Pano,” “Offerings” and their biggest hit, oldies styled “Suavecito.”
The Latin Grammy-winning, 19-person Pacific Mambo Orchestra were powerful, dense and seductive. The audience danced tantalizingly and freely to the large ensemble’s engaging mix of Afro-Caribbean rhythms, mambo, salsa, R&B and contemporary jazz. Tunes that further excited the concert goers was Stevie Wonder’s “Over Joyed,” a tribute to recently passed Latin piano giant Eddie Palmieri and Tito Puente’s super-hot cha-cha “Oye Como Va.”
Congo born and raised, with strong influences from bordering Angola, Ricardo Lemvo and his Makina Loca (Crazy Machine) nonet put a true African spin on Latin music. The bandleader who sings in 10 languages, kept the audience reveling and dancing with an infectious blend of rumba, merengue and salsa that also included Angolan rhythms semba and kizomba. The multi-national group’s hot set included “Mambo Yo Yo,” “Africa, Havana, Paris” and “Ay Valeria!”
In the “Beyond” category were Femi Kuti & The Positive Force, who continued his father Fela’s legacy, but with less defiance; hip-hop/neo soul singer, Bilai; funk/fusion crew Butcher Brown, from Richmond, Virgina; and hip-hop/neo soul edged trumpeter Theo Croker, grandson of the renowned trumpeter/singer Doc Cheatham.
If escape or a slight diversion from the festival was necessary, Alamitos Vineyards located in San Jose’s picturesque Almaden Valley was the perfect choice for an afternoon getaway. Uniquely, it’s the region’s only vineyard winery, and is owned and operated by partners Shaun Coleman and Chris Maune. Their five acre winery, is in a region of mines that flourished during the 1800s, with a miner museum located nearby.
Winemaker George Troquato’s experience and knowledge, along with the estate’s climate and distinct soil were the determining factors for cultivating Syrah, Sauvignon Blanc and Touriga Nacional grapes. The vineyard’s signature wines are “Andorinha” (Swallow in Portuguese) Red, “Laura’s Love” Rosé, “Umunhum” (Ohlone Indian for Humming Bird) Port, and non-traditional blends of Cabernet Sauvignon/Touriga, and Syrah/Touriga.
As for big name, non-jazz performers at SJJSF, Grammy and Academy Award-winning rapper and actor Common was the biggest draw. With a hard-hitting band that included Elena Pinderhughes on flute and vocals, he thrilled the audience with “Little Chicago Boy,” “Love of My Life” and freestyle rapping to a pretty lady from the crowd (a regular feature of his shows).
Mavis Staples, an eighty-six year-young soul/gospel/rock Hall of Famer and Civil Rights activist was tireless. With wrangling guitarist/Music Director Rick Holmstrom, she tantalized festival attendees with Staple Singers’ soul/gospel songs “I’m Just Another Soldier,” “Freedom Highway” and their best-known hit “Respect Yourself.”
Five-time Grammy-winner singer/songwriter/producer Lalah Hathaway, daughter of the legendary vocalist Donny Hathaway mesmerized the concert attendees with rocking “(You Got to go) Higher,” silky soul “Show Me” and sorrowful/memory laden “On Your Own.”
Based on the 35th SJJSF artist selection, audience engagement and attendance, the next 35 years look pretty bright! For more info go to: summerfest.sanjosejazz.org/
Japanese pianist/vocalist, Yuko Mabuchi, has been a Los Angeles resident for about 15 years. During that period the musician completed her college jazz studies at the Music Performance Academy in Alhambra (she was classically trained in Japan). Additionally, the artist fine-tuned her craft through recordings, mostly as a leader in the U.S. and in her homeland. Essentially, Mabuchi’s dedication has made her extremely versatile, and she can astonishingly play and sometimes sing jazz, bossa, contemporary, classical and even R&B. Furthermore, she selflessly devotes time to working with the Inner City Youth Orchestra of Los Angeles (ICYOLA) led by Charles Dickerson.
At Vibrato, Mubuchi performed with her group, consisting of Troy Dexter-guitar, Del Atkins-Bass and Peter Buck drums to showcase her latest album Quantum and new contemporary single “Ethereal,” which isn’t one of the new recording selections. Mubuchi’s new projects are prime evidence of her productivity and creativeness, with Quantum being mostly instrumental with only one vocal track.
The high-spirited pianist made up for the vocal disparity on the new record with a lively rendering of the bossa standard “Samba Samba.” It was loaded with jubilant singing, and call and response junctures with her players. Nat King Cole’s “Deed’ I Do” shifted things to classic jazz combo swinging, adorned with the bandleader’s endearing vocals/scatting, impressive piano playing and appealing soloing/tradeoffs with her bandmembers to captivate the audience.
She also silkily reinterpreted the immortal bossa song “Girl From Ipanema” as the “Boy From Ipanema” that included keyboard strings, similar to the live strings on the new album. As a special bonus, Mubuchi’s manager/producer Billy Mitchell joined her and band to tastefully sing “I Wish You Love,” a song he played as a keyboardist with R&B/jazz singer Gloria Lynne.
Mubuchi fascinatingly also displayed personal aspects of her music through diverse instrumentals. Amongst them was the heartfelt “Tribute To My Homeland” blending traditional Japanese folk melodies, the 1961 pop hit “Sukiyaki” with jazz and smooth jazz interludes. While, “Little Mo’” boldly reimagined Mozart’s “Piano Sonata #11” as a funky jazz/classical romp. She said, “if the legendary composer was born today, he would be a jazz musician.”
Additionally, the pianist/vocalist spotlighted another important influence, R&B and gospel, with an expanded and crowd-thrilling performance of “Ain’t No Mountain High Enough.” It included she and the audience singing the chorus to receive a standing ovation. For more info go to: yukomabuchi.com and vibratogrilljazz.com.
Keyboardist/composer/arranger/producer and former Musical Director for Nancy Wilson and the Arsenio Hall Show, Michael Wolff did a month-long residency/jam at the Tuning Fork on Sunday nights in August. Aiding and abetting him for some of shows were saxophonist Alex Rashad, bassist Nedra Wheeler, drummer Micheel Barsimantoa and guitarist/longtime friend Robby Dunbar. They began with a couple of the bandleader’s latest numbers, neo-bop with traces of New Orleans’ funky Meters, Sunny Day, title track of his just released CD and older contemporary groove “Chill.”
Continuing the party-like gig was Jimmy Heath’s hard-bop piece “Ginger Bread Boy” with a stomping drum solo introing, as scorching sax, guitar and keyboard solos followed and interweaved with him. A lengthy jazzy/spacey jam of the Temptations ground-breaking “Papa Was a Rolling Stone,” propelled by drums, bass and sax came afterwards and included some of the audience singing and humming the lyrics.
After a short break the quintet continued playing an easy-flowing bluesy piece and then severed up Dizzy Gillespie/Chano Pozo’s super-hot Latin classic “Soul Sauce (Guachi Guaro)” popularized by Cal Tjader to get everyone bopping along.
For a change of pace, special guest singer Rozzi (Crane) sultrily sang the timeless ballad “The Nearness of You.” It was recently recorded with bandleader for her upcoming album of standards. Additionally, Wolff’s son Alex sat in on drums for the blues styled original “Let it Out” that had a resemblance to sax-great Eddie Harris and was co-written with his dad to draw praise from crowd. For more info go: michaelwolff.com, www.thisisrozzi.com and tuningforkla.com.
Guitarist/composer/arranger/singer/producer/photographer and top-rated sideman, Anthony Wilson and his Nonet celebrated the release of his latest vinyl, House of the Singing Blossoms at Sam First (also the record label). Wilson, son of the iconic bandleader/composer/trumpeter Gerald Wilson, enlisted a top-notched crew to bring his newly created compositions and arrangements to life. They were: Danny Janklow-alto saxophone, Daniel Rotem-tenor saxophone, Daniel Wijedasa-baritone saxophone, CJ Camerieri-trumpet/French horn, Nate Gilbreath-trombone, Gary Fukushima-piano, Eliana Athayde-bass and Mark Ferber-drums.
After a brief greeting and introduction, the nonet started with the title track. It began with light flurries between trumpet, alto sax and guitar before transitioning to the full body of the lightly swinging theme piece as the full brass section and bandleader roared. Wilson winded down the set by presenting his exquisite arrangements of Keith Jarrett’s “Introduction & Yaqui Indian Folk Song” highlighted by Athayde” sumptuous solo and funky/hard-bop/gospel-tinged “Le Mistral.” It was elevated by the horns and other players all turning in stellar solos and choruses.
The bandleader returned to his own music with the sprawling jazz waltz fashioned “Blues For Wandering Angels.” Interestingly, it that had traits of Coltrane’s “Equinox” and included a burning rhythm section interlude. Going back to Wilson’s 2006 nonet album Power of Nine was the soulful themed and superbly structured ballad “Hymn” that excelled with astounding brass playing and solos.
Bringing the engaging set to an end was saxophonist Ben Wendell’s neo-bop “Simple Song,” which began with the bandleader, Rotem and the rhythm players collectedly interacting. Afterwards, the full brass section eased in for incredible interactions and solos to receive enthusiastic applause. The first set was broadcasted live on KKJZ 88.1. For more info go to: anthonywilsonmusic.com and samfirstbar.com.
The second annual San Diego Tijuana International
Jazz Festival (SDTJF)
After the last international San Diego/Tijuana jazz festival ceased operations in the late ‘80s, Daniel Atkinson, an extremely involved San Diego educator, producer and jazz polymath seriously considered bringing another multi-day jazz event to the region. His thoughts were, what should it look like and what’s the best way to attract attendees?
Also, the San Diego native had become really involved with Mexico through past projects in Tijuana and Ensenada. He commented, “I got to thinking—what we should do here is something that almost no other place in America can do. To have a festival that takes place on both sides of an international border in sizable cities. San Diego is the eighth largest in the U.S. and Tijuana is the third largest in Mexico with a total population of about seven million.”
Another festival inspiration was the memory of organizing with his now deceased former partner, Ivan Irving; a 2018 tour that brought the Charles Mingus Dynasty Band to play the Tijuana Moods album in five cities including San Diego/Tijuana. It concluded at the Mingus Memorial Park in Nogales, AZ where the bandleader was born. Also, occurring the same year, Arturo O’Farrill and his large Afro Latin Ensemble did a live recording and performance at the wall between San Diego and Tijuana.
San Diego/Tijuana’s music/jazz history, often little known or forgotten is plentiful. The polymath/producer strives to make it a central theme of SDTJF. He commented, “That’s very important to me and part of the aim of the festival is to allow people to discover and celebrate that. The Jellyroll Morton piece (for last year’s inaugural concert) was just a fantastic thing that was virtually unknown. He wrote some of his most important compositions in Tijuana during Prohibition, and we incorporated commissioned numbers by Gerald Clayton and the electronica Nortec Collective.”
The connection between Americans, and in particular, Black Americans, and Tijuana has led to the creation of some extraordinary music: Mingus’s Tijuana Moods, Arthur Blythe’s Down San Diego Way, Arturo O’Farrill’s Fandango at the Wall, Antonio Sanchez’s Lines in the Sand, etc. Atkinson pointed out, “This is a rich vein that we will continue to mine as we move forward, including more commissions from contemporary artists.”
This year’s SDTJF will not include commissioned works, but will instead host James Moody @ 100. It aligns with the celebration in New York and was suggested by his widow, Linda. The special segment coalesces the incredible talents of saxophonist David Sánchez, bassist John Clayton, pianist Gerald Clayton, drummer Lewis Nash, flautist Holly Hofmann and trumpeter Gilbert Castellanos. “People don’t realize, Atkinson cited, “that Moody lived here for 20 years and he wasn’t just passing through.” Other longtime jazz musicians who resided in San Diego include Barney Kessel, Mundell Lowe and George Nicolaidis.
Additionally, the polymath producer highlighted some of the notable selections written in or about San Diego/Tijuana. Trumpeter Iván Trujillo’s Ensamble, one of the leading jazz musicians, educators and jazz promoters in Baja California, and the 2024 Jazz Journalists Association Jazz Hero recipient, (first in Mexico) will play Bennie Maupin’s “Ensenada” from his 1974 ECM record Jewell in The Lotus. Arturo O’Farrill and the Afro Latin Ensemble will perform Carla Bley’s “Tijuana Traffic” that was released around the same time as Charles Mingus’ Tijuana Moods. The festival producer was not aware of the piece until he heard O’Farrill spotlight it at Birdland earlier this year.
Naturally, the border has some negative connotations and currently that sentiment has been amplified. Even so, the San Diego and Tijuana boundary, (one of the most traveled internationally) lacks drama and aggression, and is well integrated in terms of businesses, personal and cultural perspectives. As a result of the engaging and co-operative confluence, the region’s bi-national population affectionately regard it as, El Tercer País (the third country.)
The Second San Diego Tijuana International Jazz Festival (SDTJF) that transpires October second, fourth and fifth, will further resonate the regional laisser-faire attitude. Its organizer/producer started the high caliber La Jolla Athenaeum’s jazz series in 1989, led the Western States Jazz Presenters Network, and was the Director of Arts, Humanities, and Languages at UCSD Extension.
Furthermore, he created UCSD Extension’s much lauded Jazz Camp in 2003. Among its extraordinary faculty are saxophonist Charles McPherson, bassist Mark Dresser, pianist/composer Anthony Davis, flautist Holly Hofmann and guitarist Peter Sprague. Several of the camp’s distinguished graduates are pianists Joshua White and Paul Cornish Jr., and bassist John Murray.
Although the San Diego/Tijuana region has many jazz commonalities, the connecting countries are different in their approach. In regards to Mexico, Atkinson noted, “There’s actually a very strong jazz/rock fusion scene there and ‘out-edged’ improvisation. So, it’s not just sort of an Afro-Latin focus, which is also very strong there. One the bands we’re bringing to San Diego for the first time, The Less Likely, are doing jazz/hip-hop fusion.”
Organizing and producing SDTJF is a daunting task, especially with a border in the middle of it. Atkinson expressed that the details are ever-changing and that he has to be prepared to pivot. Most importantly, none of the logistics and artistic objectives would be possible without generous underwriting from Irwin Jacobs, former Chairman of Qualcomm, and Chair of The Board of Trustees of The Salk Institute For Biological Studies.
The polymath producer/educator acknowledged, “He has been an audience member of mine for over 30 years, and is seriously interested in the music and he loves jazz. He was captivated by the concept and really made the decisive contribution to allow us to move forward. That’s essential, because we’re committed to doing most of the concerts as free and open to public, similar to the jazz festivals in Detroit, Chicago and Atlanta.”
However, unlike those cities, U.S. attendees are required to have passports to cross the border, and Mexican residents will need U.S. visas/passports to do the same. Atkinson fondly remembers as a child his father only needed his California Driver’s License to cross the border. Of course, things are very different now. In the current political climate, the SDTJ festival’s bi-national scope does carry a message that the relationship between the US and Latin America, the US and Mexico, and most specifically, San Diego and Tijuana, presents us with multiple benefits and opportunities, in contrast to focusing solely on immigration issues.
Atkinson, doesn’t anticipate any political protests or complications during the festival, and the musicians are free from restrictions limiting their artistic directions. Summing things up the producer/polymath emphasized, “This isn’t really a political event—but there are political reference points and issues between the two countries. So, we are putting a spotlight on music and artists that represent how we are connected rather than divided. But it also reflects the reality of our daily lives and we continue to have interactions and connections—in spite of all that.”
October 2nd, 4th and 5th
San Diego-Quartyard
Escondido-California Center For The Arts
Tijuana- Avenida Revolución at Calle 7th
(Calle Hermenegildo Galeana) entrance at Calle 6th
www.sdtjjazz.org
Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net