Jazz Gumbo December 2024

By Chris J. Walker

Grammy-nominated bassist Brian Bromberg, two-time Grammy- winning guitarist/producer Paul Brown and chart-topping  saxophonist Michael Paulo together are BPM. They’ve been good friends for many years and decided to do a record, playing a festival in Mexico. The high-caliber trio had a release PARTY for their new album, Seriously?  at Sphagetini’s. The show, their third time playing together, was laidback, unpretentious, and full of good playing, with the audience invited to join in on the fun.

With that in mind, the prime players were adventurous and had a devil-may- care attitude about songs and concepts. Brown mentioned that his two favorite bands from the ‘70s were Weather Report and the Grateful Dead. He synthesized the diverse groups into the mystical and cool grooving “Black Pearl” that abounded with Jerry Garcia-tinged guitar soloing and energetic band interactions. That included bumping support from Tony Moore-drums, Hans Zermuehlen-keyboardist, Lenny Castro-guest percussionist and the Full of Hot Air brass section. 

From a commercial and radio-friendly standpoint was the vibrant and bumping “Eastside Party” with Paulo out front and roaring with hot funky rhythms from Brown and Bromberg propelling him. “Seriously” the first single from the project was an impossible to resist, hard grooving and funky jam that integrated AWB, James Brown and Tower of Power’s signature traits. While “Gridlock” was a relaxing answer to being in stifling congestion and “You’re All I Need” was a gentle and soulful ballad.

Mixed in with the new tunes was old friend and long-departed Jeff Golub’s grooving “Dangerous Curves,” Bromberg’s brass powered “Coupe de Ville” and his Prince/Morris Day inspired “Minneapolis 1987,” along with the Crusader’s soul jazz classic “Put it Where You Want it.” Brown’s wife insisted it be included in the celebratory set. In addition to the partying songs, Paulo took a moment to honor his father Irenio “Renee” Pagarigan Paulo, who passed away in 2023, by doing his very popular and easy flowing instrumental from the ’60s “Here is Happiness.” For more info go to: bpmjazz.com.  

Spyro Gyra and Jazz Funk Soul, consisting of keyboardist Jeff Lorber, saxophonist Everette Harp and guitarist Paul Jackson, Jr. was an exciting double-header that kept a near-sold out audience captivated. In fact, the headlining band celebrated its 50^th anniversary this year and demonstrated that they have plenty more years of performing and recording ahead of them. Bandleader/founder saxophonist Jay Beckenstein with Scott Ambush-bass/vocals, Julio Fernández-guitar/vocals, Lionel Cordew-drums and Chris Fischer-keyboards delivered a fast-paced set that fused jazz, R&B, funk, Caribbean and Latin music.

It featured the enduring band’s popular hits such as the mystical and pulsating “Old San Juan” and hot-funk jamming “Heliopolis.” Alternatively, Latin flavored “De La Luz” opened with Fernández passionately wordlessly singing and injecting savory guitar licks as the other players vigorously supported him. Burning funk jam “Percolator” a relatively new song for the band featured the drummer laying down a hot solo.

The band’s most popular and earliest songs, breezy “Shaker Song,” pop/contemporary sounding “Catching the Sun” and Caribbean/jazzy “Morning Dance” were strung together, somewhat like a medley to totally please the crowd. Wrapping up show and ending their 85-city tour was a stretched out interpretation of British rock/pop band Squeeze’s “Tempted” that spotlighted the band’s versatility and openness that totally mesmerized the crowd.

Jazz Funk Soul got the show on the road with ground swelling funk grooving “Serious Business” and “Speed of Light” filled with fiery playing and trade-offs that had the audience dancing in their seats. Supported by Cornelius Mims-bass and Gordon Campbell-drums they slowed things down with the easy flowing ballad “Going Through Changes,” dedicated to their late friend and mentor George Duke that featured an impressive circular breathing solo from Harp.  

Getting sultrier with the funk and also gritty was Forecast. It was the title track of the band’s most recent project that overflowed with spirited playing from Lorber, Jackson, Jr. and Harp. They wrapped up the quickly evaporating set with the keyboardist’s whirling classic and hard-funking jam “Tune 88” that left the audience wanting more. For more info go to: spyrogyra.com, Facebook and ccpa.cerritos.gov.   

CURRENT: ROUTES presented by the Los Angeles Chamber Orchestra, curated byLACO Creative Partner and pianist Lara Downes at The Autry Museum, explored unlikely musical connections from disparate musical forms—classical and American folk. The ambitious program detailed how composers and songwriters intermixed in their attempts to explore new worlds—primarily the American West and also seek new ways of expression musically.

Downes and Dom Flemons, The American Songster® and Grammy-Winning folk musician, who’s an expert on the banjo, guitar, harmonica, jug, percussion, quills, fife, and rhythm bones, were joined by LACO violinists Josefina Vergara and Susan Rishik, violist Jonathan Moerschel, and cellist Giovanna Clayton. In very different ways, the pianist and the folk artist demonstrated the genesis of their respective genres from Black cowboys after the Civil War, and Black Migration before WWI to the 1970’s, along with the beginnings of jazz/classical explorations initiated in 1920’s that has influenced current-day music.

Downes and the string quartet began with William Grant Still, considered the Dean of African American Composers’ “Pastorela.” It depicted his journey from Jim Crow Mississippi and Little Rock, Arkansas, to Ohio, Harlem and in 1934, Los Angeles. Afterwards, she focused on Roy Harris who often incorporated folk music with classical for his American Ballads For Piano, which she played solely. It included somber renditions of “Streets of Laredo,” Wayfaring Stranger” and “Black is the Color of My True Loves Hair.”

The pianist also delved into river themes fusing classical and Americana through Aaron Copland’s “At The River,” bolstered by Flemons on harmonica and “Deep River” that also included the string quartet. In addition to those pieces, Downes performed gospel themed “Troubled Water” by composer Margaret Bond who was a close collaborator of Langston Hughes.

Flemons, co-founder of the ground-breaking Carolina Chocolate Drops, on the other hand, played and sang folk/country/blues songs such as his own “Steel Pony Blues.” With the pianist an instrumental version of the popular “500 Miles” was nicely done. For rootsy bluegrass-styled “Dark Beauty” he played and sang with the string quartet. He later continued with two a cappella versions of “The Old Chisholm,” first, of course was the smooth Gene Autry and the other by the riveting Moses “Clear Rock” Platt. Also served up was “Goodbye Old Paint/I’m Leaving Cheyenne” with stirring singing.  Flemons and Downes afterwards discussed the collection of the songs, which was mostly done my Alan Lomax and the Library of Congress that also served as research for Copland.

From a modern classical standpoint was Carlos Simon’s Warmth From Other Suns. The composer was on hand and introduced the turbulent string quartet work, inspired by Isabel Wilkerson’s same titled book as stories of Black people migrating from the South, with three movements, “Rays of Light,” “Flight,” and “Settled.” It drew strong applause from the audience. While in a contemporary vein, Henry Mancini’s classic “Moon River” ended the program, featuring Downes touching piano playing and Flemons’ cowboy-like harmonica backing to garner a standing ovation. For more info go to: www.laco.org and theautry.org.    

Popular Louisiana troubadours, Tab Benoit also a Wetlands environmental activist from Houma (60 miles north of New Orleans) and Anders Osborne born in Sweden and a New Orleans musical force for nearly 40 years brought rocking bayou and Cajun music to the South Bay’s Saint Rocke. The singing/guitar playing pair supported by bassist Corey Duplechin and drummer Terence Higgins showcased songs from Benoit’s first album after a 13-year layoff I Hear Thunder. They’re all on the recording, along with bassist George Porter, Jr., a founding member of the legendary New Orleans funk band The Meters.

The quartet began by launching into Osborne’s assaulting blues/rocking “Move Back to Mississippi” that quickly got the audience’s attention, along with his reggae-tinged “Got Your Heart” and Hurricane Katrina themed “Louisiana Rain” that came later in the set. Benoit cooly switched things up with his heart-felt ballad “Nothing Takes the Place of You” that’s also not on the new CD, featuring his soul-drenched vocals and searing guitar soloing.

The title track of the bayou-based artist’s new project returned to hard-rocking playing with him and his co-conspirator wailing away extensively, much to the audiences’ delight. “Why, Why” had similar qualities, but with a subtle funk groove backdrop, bolstered by Benoit’s lightning guitar runs and expressive singing. Ballad “Overdue” focused more so on his voice, with reinforcing guitar ripping. While, “The Ghost of Gatemouth Brown” was a bonafide New Orleans stomp fueled by gritty singing and scorching jamming to end the set.

For the encore, Osbourne touched the crowd with his impassioned ballad “Oh Katrina,” and Benoit had the crowd dancing with his lengthy Zydeco goodtime rocking song “We Make a Good Gumbo.” It was strongly embellished by the guitarists raucously tearing it up, and they promised to return together and individually. Opening the set was Nashville guitarist/singer J.D. Simo with drummerLuther Dickinson, who highlighted his set with a tune mixing Captain Beefheart, Frank Zappa and Ornette Coleman. For more info go to: www.tabbenoit.com, www.andersosborne.com, https://simo.fm/ and www.saintrocke.com.

Experience Hendrix, a somewhat annual tour celebrating the iconic and very influential guitarist that began as an individual and isolated festival in the late ‘90s, made a stop at the City National Grove of Anaheim. Needless to say, the venue was packed with dedicated fans and featured an amazing collection of guitarists and Hendrix enthusiasts who disparately exhibited the many dimensions of the beyond legendary singer/guitarist.

Mato Nanji from the Native American group Indigenous got the show going with a ripping version of “Foxy Lady,” aided by Henri Brown (Hendrix’s cousin) on vocals and slide guitarist Chuck Campbell, along with Chris Layton on drums and Kevin McCormick on bass who stalwartly backed a revolving plethora of guitarists and played non-stop for the two-hour gig. Brown with Nanji and Ayron Jones continued with the same dynamism for “Stone Free.”For a respite from the hard-rocking jamming Jones did the easy flowing (for Hendrix) and poetic “Wind Cries Mary” with only drums and bass. Shifting into spirited pure blues were Nanji, Taj Mahal and Christone ‘Kingfish’ Ingram doing “Killing Floor” and “Hey Joe.” While “Catfish Blues” bolstered my Mahal’s signature gritty singing also included Calvin Cooke and Chuck Campbell’s transfixing pedal steel and slide guitar playing. Without the notable bluesman they did Hendrix’s well-known tune “Red House.”

The wildest and most electrifying guitar playing came from Zakk Wylde, who intensely wailed away with plenty of theatrics during “Manic Depression” and “Purple Haze.” He definitely lived up to his name and even played in the audience with a 150ft. guitar cable his roadies challengingly had to keep track of.

Alternatively, Eric Johnson was relatively composed and covered the more psychedelic and artsy facets of Hendrix’s catalogue. Some of the selections he played were mystical “Have You Ever Been (To Electric Ladyland)” and “Burning Of The Midnight Lamp,” escalating “Bold As Love” with Wylde helping outand the pulsating “Spanish Castle Magic.”Return to the icon’s more popular material was Wylde, Brown, Campbell and Nanji’s soaring version of Dylan/Hendrix’s “All Along The Watchtower”and Buddy Miles’ soulful “Them Changes” with Jones joining in.

The coup de grâce was Kenny Wayne Shepherd’s segment with his vocalist Noah Hunt. Itended the extremely exciting concert and the guitarist remarkably could match his idol note for note and with equal verve. Shepherd pleasingly plummeted the audience with rapid-fire runs and scorching solos for “Gypsy Eyes,” bluesy “Come On (Let The Good Times Roll),” assaulting “I Don’t Live Today” and musical touchstone “Voodoo Chile / Voodoo Child (Slight Return).” In return, he received an ecstatic standing ovation and left the crowd buzzing. For more info go to: www.experiencehendrixtour.com and

www.citynationalgroveofanaheim.com

In the realm of blues, much like the Eurhythmics/Aretha Franklin song, “Sisters Are Doin’ It for Themselves” and not waiting for male approval. Joanne Shaw Taylor, a swashbuckling singer/songwriter/guitarist from England is a prime example, who coincidentally was discovered by Dave Stewart of the Eurythmics at the age of 16. She recently roared at the Cerritos Center For The Performing Arts with her band consisting of Chase Magnus-guitar, Phil Whitfield-keyboards, Chris Kuffner-bass and Sarah Tomek-drums, showcasing mostly original songs from her newest record Heavy Soul and subsequent ones.

John Lee Hooker’s recording of “In The Mood” opened the show, with Taylor jumping in live with her hard-jamming version after the first verse. For “Keep on Loving Me” she sang sultrily and alternated between wailing and a slow burning crescendo on guitar. While “All My Love” had traces of early Led Zeppelin, with juke jumping piano accents.

Following those intro songs, she greeted the audience with a fast-talking British accent and briefly mentioned Little Milton’s “Let Me Down Easy,” which she recorded and co-produced with Joe Bonamassa on her The Blues Album. The ballad showcased her strong emotional singing, along with riveting playing. Revving things back up was the Buddy Guy-like funky and hard-ripping “Can’t You See What You’re Doing to Me” and 60’s/Janis Joplin styled “Wanna Be My Lover?”

The blues rocker had plenty of energy left in the tank, but gave the audience a respite by joking around about be British, her sausage dog Hank and having a crush on Kevin Costner. She hoped he would be in her recent cowboy oriented music video. The song was poppy and lightly rocking “Wild Love,” and along the same lines was “Won’t Be Fooled Again,” not to be confused with the Who’s classic rock song, “Won’t Get Fooled Again.”

Getting back to contemporary blues jamming was crowd appealing, Texas shuffling “Watch ‘Em Burn” and “Sweet Lil Lies.” From a more sentimental standpoint was torchy ballad “I’ve Been Loving You Too Long” and switching to acoustic guitar Taylor played and sang heartfelt “Fade Away.” It was in memory of her mother who died at 57 from ovarian cancer in 2013.

During the closing moments of the near-two hour show, the blues ripping/hard singing Brit went out wailing with “Stop Messing Around” and “Bad Love” that had the attendees demanding more. For the encore, she obliged with the uplifting and easy rocking “Change of Heart.” For more info go to: www.joanneshawtaylor.com and tickets.cerritoscenter.com/events

Pianist/arranger/composer/producer/Music Director/film composer and Grammy-winner John Beasley is probably one of the busiest musicians on the scene these days. He joyfully splits time between working with Dianne Reeves, MONK’estra soon to become JBBB (John Beasley Big Band), conducting other big bands, composing commission pieces, releasing three very different recordings this year, and showcasing his new combo, John Beasley Circle.

The Circle includes Herbie Hancock Institute graduate, drummer Christian Euman, and bassist/USC Professor Edwin Livingston. For recent shows at Sam First, up and coming alto saxophonist Devin Daniels (he recorded a record at the club too), also a HHI grad was a special guest, and the first set was featured on KKJZ 88.1 FM for a live broadcast.

On the second day, the bandleader’s swinging bebop styled and dual connotating “Standard Happy” was the opening tune. It displayed the bandleader’s sophisticated prowess and his sidemen, especially Euman’s keen sense of rhythm. Following that was a tantalizing joining of Chick Corea and Return to Forever’s “You’re My Everything” and “La Fiesta,” first with just the trio and then Daniels joining in midstream. They were played in reference to Beasley’s new album Returning to Forever, recorded with the Frankfurt Radio Big Band.

Another HHI alumnus, tenor saxophonist Daniel Rotem also sat in and shined for a rendering of Hancock’s free-jazz styled “The Sorcerer” that was perfect for the unrehearsed situation. Beasley with the players returned to his own compositions with a cerebral, less rhythm one. It was influenced by Alberto Giacometti’s bronze sculpture Woman With Chariot and Democratic Presidential Candidate Kamala Harris speaking, as a homage to powerful female leaders. 

Beasley typically ends his shows with a Monk composition and this time it was “Epistrophy.” The signature piece featured the young reed players intelligently interweaving, the pianist almost magically injecting intricate cadences and harmonic touches, and an abstract solo, while the rhythm players suppled intense power and support. Needless to say, the band received a standing ovation for their efforts. For more info go to: johnbeasleymusic.com and samfirstbar.com.

Among the yield of new jazz singers ascending currently is Jazzmeia Horn, who’s based in New York and originally from Dallas. She won the Sarah Vaughan International Jazz Competition in 2013 and in 2015 came in first at the Thelonious Monk, now Herbie Hancock International Vocal Jazz Competition. That propelled her into high-caliber notoriety, resulting in Horn’s debut album (part of the HHIVJC prize package), A Social Call.

The record quickly shot up the charts and received a Grammy Nomination, and two years later Horn’s second project, Love & Liberation drew equal acclaim. While, in 2020 she went in very different direction and showcased her arranging chops for Dear Love a daring big-band project that was also Grammy Nominated and demonstrated that her talent is boundless.

At the Moss Theatre as part of the Jazz Bakery’s Moveable Feast series, Horn appeared with Miles Lennox-piano/Musical Director, Destiny Diggs-bass and Dr. Jaz Sawyer-drums. The trio who Horn surprisingly never with before (they had a 30-minute rehearsal) coolly flowed and interacted with the bandleader, who many compare to icons Sarah Vaughn, Abbey Lincoln, Betty Carter and Ella Fitzgerald. Horn, though, has her own unique style with a high regard for standards, yet favors Carter’s traits, with bold phrasing and exhilarating scatting, along her own sass and charm.

“Tic” the newly released original single from the singer’s upcoming album Messages was debuted at the concert. It was full of high-flying singing/scatting, with a lightly swinging backdrop and instrumental interlude from Horn’s players to excite the audience. The energy continued with a highly swinging version of “Willow Weep For Me,” which the singer with intense accompaniment from Lennox and crew quickly made into her own creation, especially with high pitched/horn-like scatting.

Even the 33-year old jazz star had to slow things down some after that and regrouped with her own mildly grooving original “Free Your Mind.” As the crowd sang the chorus, Horn added improvisational verses and inserted some of her Southern attitude and philosophy at the end. Before singing ballad “Darn That Dream,” she amusingly issued a warning. “When the lights go down, do not go to sleep—you do not have my permission and if I hear snoring I’m coming to wake you up.” As would be expected, she was dazzling, even when singing softly and no one dared to dose off.

During the second half of the program, Horn took the opportunity to showcase more songs from Messages. Among them were McCoy Tyner musically and Carmen Lundy lyrically-tinged “Submit to The Unknown,” Lambert, Hendricks & Ross-like topical “Voicemail Blues,” and fast-paced “When I Say.” It was prefaced by a story about her pre-teen daughters and being single (she married now) and someone’s cell phone going off that drew intense ire from Horn and then became part of the intro.

Wrapping up the highly engaging show was her stylish interpretation of “Our Love is Here to Stay,” with of course, the audience involved and singing the chorus to garner a zealous standing ovation. For more info go to: www.artistryofjazzhorn.com and www.jazzbakery.org.  

The Future Sounds of Jazz Festival at theBroadStage wascurated by legendary bassist and Multi-Grammy-Winner Stanley Clarke, who also is the BroadStage Artist in Residence. For the last year the renowned bassist and educator has been mentoring students in the Santa Monica College Jazz Combo and Santa Monica High School Jazz Combo. The college combo Clarke on bass impressively played Kenny Baron’s “The Voyage,” “Infant Eyes” by Wayne Shorter, and original “Deborah’s Disposition.”

With Clarke also as the emcee, the festival was a great opportunity to showcase the development of the young musicians, along with a select group of up-and-coming ones. Essentially, the goal was to appeal to high school and college age attendees in an effort to make jazz more relatable to them. Concurrently, the festival exposed all the players to listeners of all ages.

Headliner Judith Hill, definitely not a jazz performer or between the ages of 18-30, had a strong blues and modern soul presence in her music. The multi-talented Grammy Winning singer/songwriter (also plays guitar and keyboards) and Nominee for NAACP Award Outstanding New Artist mostly played songs from her newly released album Letters From a Black Widow.

With her parents, Robert Lee “Pee Wee” Hill on bass and Michiko Hill on keyboards, drummer John Staten and backup singers Sophia Whitehurst and Carmel Echols, she rocked the house with soulful/bluesy singing and snarly guitar playing. Hill’s crowd pleasing standouts were vocally howling/guitar wailing “Flame,” intense funk-rocking “We Are The Power” and poetic “Dame de la Lumière (Lady of the Light)” a tribute to her mother and grandmother.

More in the realm of jazz with strong leanings to classical and spontaneous solo improvisation was A Keith Jarrett Celebration by pianists Connie Han, and Jahari Stampley, Winner of the 2023 Herbie Hancock Institute International Piano Competition, along with Cameron Graves and Ruslan Sirota, who are fluctuating members of Clarke’s various musical explorations. They performed solely, in duets and all together for the conclusion.  

Han began the program with a melodic and very powerful solo interpretation of Jarrett’s “Questar.” Afterwards, she was joined by Graves for a duet of the icon’s “Personal Mountain” that was intense and pulsating, with Han mostly generating impressive attacking passages and Graves powerfully pounding out throbbing Rachmaninoff-like classical motifs. Stampley continued in the same fashion initially and then shifted to a lighter nuanced approach that more closely resembled Jarrett. However, unlike him, the young pianist injected beat-box vocal touches that strongly resonated with the under-30 attendees.

Sirota then accompanied him for a commanding performance of Jarrett’s gospel/classical fused chestnut “Country” that was nothing short of astounding. Without Stampley, Sirota continued in the same mode with similarly sounding “My Song” that was equally compelling. For the finale of the set all the pianists superbly played “four hands” on two pianos Charles Lloyd’s immortal Forest Flower. It was recorded live at the Monterey Jazz Festival in 1966 and included Cecil McBee-bass and Jack DeJohnette-drums and Keith Jarrett-piano.       

From an exceptionally melodic and serene standpoint, vocalist Gretchen Parlato, with Gerald Clayton-piano, Alan Hampton-bass/guitar/vocals, and Clarence Penn-drums served up enchanting selections. The bandleader and vocalist’s ethereal stylings were showcased gloriously for Herbie Hancock’s “Butterfly.”

While, for a slight departure from jazz, Parlato and Hampton on guitar and vocals with light band support showcased sweet sounding folk/world tunes “Still” and “If it Was” a tribute to the survivors of the 2011tsunami in Japan. They returned to jazz with contemporary styled and sultrily sung originals “Weak” and “Better Than.” To end the set, Parlato endeared the audience with jazz/world lullaby “Magnus,” featuring her son Marley, Jr. on backing vocals.    

The Gemini Project with Isaiah Collier on reeds and Jeremiah Collier on drums injected a fiery and at times thrashing mix of jazz, rock, funk and fusion to definitely get the audience’s attention. The same could be said for INSTANT ALTER with saxophonist Emilio Modeste and singer Natasha Agrama, who played earlier and nearly blew the roof off the venue. Overall, the festival was a great success and in 2025 it will be international, with artists from other countries. For more info go to: https://broadstage.org/

The latest chapter of the Monterey Jazz Festival’s celebrated chronology began this year with its 2024/67^th edition. Darin Atwater, the newly appointed Artistic Director succeeded Tim Jackson, who retired after being in the prominent and also highly demanding position for 31 years. Jackson left an impressive legacy of innovations, leadership and stewardship.

Atwater respectfully maintained Jackson’s format and overall objectives with only a few minor tweaks. Among them were the daily concert schedules beginning earlier and ending later, which was in many regards had been curtailed by the Pandemic previously. The new Artistic Director also noticeably enlisted more younger, and female artists to the roster than in previous years.

“Jazz royalty” and veterans such as NEA Jazz Masters were represented through Stanley Clarke (appointed in 2022), who was the 2024 MJF Jazz Legend Gala Honoree. Hewas one of the festival’s top headliners and made his MJF debut as a bandleader. Clarke was supported by his youthful N•4EVER band that consisted of Jeremiah Collier-drums, Beka Gochiashvili-piano/keyboards, Colin Cook-guitar, Emilio Modeste-saxophone and Evan Garr-violin.

Under the multi-Grammy-winning bassist’s guidance, the group recalled the firepower of his and Chick Corea’s Return to Forever group with nuances of world and classical through Garr. Amazingly, the already incredible segment became unbelievable when piano wizard and Clarke’s friend Hiromi joined for in for the RTF classic No Mystery to blow everyone away.

Jason Marsalis, the other participating NEA Jazz Master, appointed with his family in 2011, performed with the New Orleans Groove Masters. The dynamic sextet included drummer/vocalist Herlin Riley, drummer/vibist Marsalis, percussionist/vocalist Weedie Braimah, saxophonist-Robert Porter, bassist Shannon Powell and pianist Jean Pierre. They delightfully took the crowd to the Crescent City with Congo Square percussion jamming, Marsalis’ funk/blues/jazz original “At The House in The Pocket” and Louis Armstrong’s enchanting ballad “A Kiss To Build Dream On” featuring Riley’s soulful singing.

Destined to be a jazz master and over 50 was saxophonist Joshua Redman. With serene vocals from Gabrielle Cavassa, and the scorching interplay of drummer Nazir Ebo, bassist Philip Norris and pianist Paul Cornish Jr., they captivated the audience through city influenced pieces. Among them were “Chicago Blues,” “Streets of Philadelphia” and the immortal “(I Left) My Heart in San Francisco” all from the 2023 album Where We Are.

The extraordinary SFJAZZ Collective, a septet and outreach of the momentous San Francisco institution, celebrated its 20^th anniversary. Under the direction of saxophone titan, Chris Potter the ensemble showcased astonishing original neo-bop compositions. They ranged from being highly charged to thematic with Latin jazz touches, showcasing the dynamic talents of David Sánchez-tenor saxophone, Mike Rodriguez-trumpet, Warren Wolf-vibes, Edward Simon-piano, Matt Brewer-bass and Kendrick Scott-drums.

Also, in the half century plus grouping was bassist/vocalist/Blue Note Records President Don Was & The Pan-Detroit Ensemble. It was a broad collection of musicians all from Was’ hometown. Some of them were Dave McMurray-sax/flute, Eminem’s Oscar-winning collaborator, keyboardist Luis Resto, John Douglas-trumpet, and Steffanie Christi’an-vocals. Their standouts were Yusef Lateef’s astro/Afro “Nubian Lady,” Was (Not Was)’s (bandleader’s former group) rocking/world-beat “I Feel Better Than James Brown” and a deep-grooving version of Hank Williams’ “I Ain’t Got Nothing But Time.”

Included in the five decades and more grouping was guitarist Mimi Fox and her Organ Trio with Brian Ho-Hammond B-3 and Lorca Hart-drums, who evoked jazz club vibes during their mid-afternoon outdoor set.  Numbers from their latest recording One For Wes honored the 100^th anniversary of Montgomery’s birth (Mar 6, 1923) with original “Mr. White’s Blues, hard-bop classic “Moanin’” and the icon’s ultra cool jaunt “Four on Six.” 

Going back to the ‘30s, ‘40s and early ‘50s was the very entertaining guitarist Stephane Wrembel’s Band with special guest pianist Jean-Michel Pilc. He’s on the bandleader’s newly released three-part recording series, Triptych Phase I, Triptych Phase II and Triptych Phase III. They tastefully served up Django Reinhardt’s enduring and influential French “Le Hot Jazz” music with some twists. Those came from Pilc, whose personality is comparatively introverted and humor is dry, with music that is cerebral and sometimes abstract. That was especially evident during the very zippy Django classic “Fleche D’or,” the pianist’s gentle lullaby written for his children and the intensely popular and exuberating “Minor Swing.” 

Harriet Tubman comprised of guitarist/singer Brandon Ross, bassist Melvin Gibbs, and drummer J.T. Lewis pushed the threshold and challenged listeners even more, combining rock/fusion muscularity with free jazz explorations. Their music was a synergy of African-American history, Hendrix, Ornette Coleman, Vernon Reid and Parliament-Funkadelic’s “Maggot Brain.” The New York-based trio showcased flailing original composition “Where We Stand,” Wadada Leo Smith’s anthem-like “President Obama’s Speech at the Selma Bridge” and their own bass/vocal driven “Can’t Tarry.” It was in memory of a slave revolt on St. Simons Island, GA, when the enslaved decided to go back to Africa by walking into the ocean.

Uniquely, bassist/Musical Director Kyle Eastwood showcased his ambitious Eastwood Symphonic Project that converged his quintet: Quentin Collins-trumpet/flugelhorn, Andrew McCormack-piano, Brandon Allen-saxophones and Chris Higginbottom-drums with the Monterey Symphony, conducted by Luxembourg composer and arranger Gast Waltzing. With actors Morgan Freeman and his father, Clint in attendance the assembly masterfully performed movie themes such as Gran Torino, Letters From Iwo Jima, Flags of Our Fathers, and Bridges of Madison County.

Jason Moran, a renowned pianist/composer/bandleader/educator/historian, led the under 50 roster (turns 50 in 2025) and was the MJF 2024 Artist-in-Residence. He was a force of nature working with three vastly different bands. The multi-faceted keyboardist performed with electronica/avant-garde/experimental BlankFor.ms/Tyler Gilmore and drummer Marcus Gilmore (not related). Their sonically adventurous and explorative set was anchored by whirling Bud Powell, Thelonious Monk and Moran’s own piano interludes and was not for everyone, but showed a dimension of Moran’s artistry and further demonstrated MJF’s openness.

Moran’s 24-year old Bandwagon with bassist Tarus Mateen, drummer Nasheet Waits and guest trumpeter Akili Bradley was more conventional, with leanings to bebop and straight-ahead. The bandleader significantly underscored the young trumpeter who came up through the MJF Education System during lengthy versions of Wayne Shorter’s “United” and Monk’s “Monk’s Dream.”

Additionally, Moran joyfully participated in the Next Generation Jazz Orchestra and guests Next Generation Women in Jazz Combo’s set to celebrate Ellington’s 125^th Birthday led by Band Director Gerald Clayton. The band director also roared with his own expansive and swinging trio. It was made up of Justin Brown-drums and Jermaine Paul-bass who shined on Bud Powell’s “Celia” and Piedmont Hills/Appalachian Mountains blues inspired “Mama Said.”

With journalist/author Ashley Kahn, Moran participated in Conversation: His Mother Called Him Edward, The World Called Him Duke. The program spanned Ellington’s remarkable biography and coincided with his 125^th birthday that occurred this year.

Without question, the monarch of the under-50 2024 MJF artists was three-time Grammy-winning vocalist Samara Joy. She returned for her third appearance at MJF and much like the previous years, 2022 and 2023, the audience was spellbound. However, the 24-year old marvel didn’t focus on just pleasing the crowd. Instead, her concentration was on development as an elite performer and was supported by a nonet.

She charmingly showcased mostly new songs from the yet to be released album Portrait, along with new arrangements of her previous songs. Among the set highlights were a spirited vocalese version of Mingus’ “Reincarnation of a Lovebird” and a new high flying spin on “Sweet Pumpkin.” Additionally, Joy comingled her philosophical original “Peace of Mind” and Sun Ra’s “If Dreams Come True” and closed with a jubilant rendition of “No More Blues” featuring searing scatting and solos from her band members.   

Hiromi’s set was also compelling and in her renowned fashion the keyboardist intertwined genres such as fusion, funk, electronica, R&B and of course jazz. With bandmembers bassist Hadrien Feraud, drummer Gene Coye, and trumpeter Adam O’Farrill, she intensely jammed away and spotlighted tracks from her 2023 project Sonicwonderland. Among them were contemporary styled “Wanted,” the funk/electro jaunting title track and the much jazzier “Utopia” featuring Feraud and her lesser heralded subtle piano playing. 

New on the scene and making tremendous headway in a short period of time is pianist Chicago-born Jahari Stampley. In 2023 he impressively won first place in Herbie Hancock Institute International Competition, Chicagoan of the Year in Jazz, Chicago Youth Symphony Alumni Award (the first non-classical musician to receive the honor), and was awarded the Luminarts Fellowship for his debut album Still Listening. With his mother Grammy-nominated D-Erania Stampley on bass  (also plays saxophone and piano) and Miguel Russell on drums, he delivered a whirlwind set, spanning jazz, R&B and classical.

Sammy Miller & The Congregation were also clearly members of the youth brigade. The bandleader/drummer’s antics amusingly balanced comedy and jazz. “Ain’t Misbehaving” was more schtick than music and segued into hymn-like original “The Veil” featuring pianist David Linard. While funky/gospel/jazz versions of Scott Joplin’s “The Entertainer,” and “Old McDonald Had a Farm” for Miller’s new born son were propelled by him, saxophonist Ben Flocks, and trumpeter Alphonso Horne III to thrill the audience.

From a more serious standpoint was bassist Ben Williams’ band comprised of Marcus Strickland-saxophone, Sasha Berliner-vibes, Andrew Renfoe-guitar and John Davis-drums, with special guest vocalist Christie Dashiell

(headed her own band the next day). Their set was highlighted by an invigorating arrangement of Woody Shaw’s “Moontrane.” Alternatively, Williams featured soulful/spiritual original “If You Hear Me” intermixed with Marvin Gaye’s immortal soul tune “Intercity Blues,” bolstered by him and Dashiell singing, and soon to be released atmospheric groove “Anima.” 

Chief Xian aTunde Adjuah (formerly Christian Scott) a trumpeter and multi-instrumentalist, led an explosive septet that featured flautist/vocalist Elena Penderhughes and himself. Among the compositions the ensemble performed was “Eye on The Night,” which was bold, very percussive, thematic and also rocking with snarling guitar from Cecil Alexander.      

Saxophonist James Brandon Lewis and his Red Lily Quintet adventurously interwove aspects of free jazz inspired by Ornette Coleman, the boundlessness hard bop of Sonny Rollins and spirituality of John Coltrane. From the gospel influenced recording For Mahalia, With Love he launched into dazzling and lengthy interpretations of gospel treasures “Wade in The Water” and “Swing Low.”

For something different and extremely important, Julia Keefe and her Indigenous Big Band enlisted Native and Indigenous jazz musicians from within Indian Country. Keefe (Nez Perce) is a commanding vocalist, composer, actor, activist and educator, and is campaigning for Coeur d’Alene jazz musician Mildred Bailey to be inducted into the Jazz Hall of Fame at Lincoln Center. At MJF she and the big band blew the audience away with powerful numbers and ballads from the Mildred Bailey Project.

Harpist Brandee Younger, who debuted at MJF in 2022 returned with drummer Alan Renard and bassist Eric Wheeler to perform a mesmerizing set embodying the work of Alice Coltrane, Dorothy Ashby and herself. Coltrane’s spiritual “Rama Rama” began the set. “Unrest” started as a solo piece and then livened up with her bandmembers to reflect the urgency of the protests during the height of the Pandemic. The harpist’s segment was further enhanced by Mumu Fresh’s stirring singing.

Another soulful singer at MJF was José James and his 1978 project, coincidentally the year he was born in Minneapolis. He views the year as being impactful, when soul, R&B, funk, rock, disco and jazz all thrived on the airwaves and dance floors. Included in the special era was music from the Caribbean, Africa, and The Bronx where hip-hop took root. James ambitiously melded all those elements into his show and also featured 20-year old saxophonist Ebban Dorsey, who captivated the audience. Similarly, the Monophonics, who think of themselves as being a “psychedelic soul band” and intermixed aspects of R&B, jazz and rock.

For bust out partying and cutting loose there were a good variety of groups. Included in the mix were Grammy-winning keyboardist/singer Cory Henry & The Funk Apostles who were an explosive mix of R&B, gospel and pop. Avery*Sunshine also exemplified good times in that vein, with inspiration and optimism. While New Orleans/Houston-based Soul Rebels frolicked with their brass band originals and pop covers. The Huntertones, also horn oriented, supplied equal amounts of fire power, but with a Brooklyn spin. While, The Carolyn Sills Combo, 2024 Ameripolitan Award winners, served up roots, alt-country, and Western Swing along the lines of Dan Hicks, Bob Wills and others.

Cool vibing trumpeter Keyon Harrold blended Miles Davis-like textures with neo solo grooving, and was briefly joined by Mumu Fresh and keyboardist/vocalist PJ Morton. Keyboardist/vocalist Robert Glasper was the Commission Artist just did his normal ambient funk/fused jam show with traces of Radiohead, MLK soundbites and his Grammy-winning Black Radio tunes and also included guest singer Yebba’s pop hits. CONNECTED With Richie Goods and Chien Chien Lu evolved out of the Lockdown, Black Lives Matter Movement and reactions to Asian hate crimes. The bassist and vibraphonist’s personalities appealed to the audience, along with their flowing, funky and electronica tunes.

Almost in another word, blues was very much alive and well, featuring three very distinctive artists. Ana Popovic& her FANTASTAFUNK Big Band supplied monstrous, hard-hitting and brassy contemporary blues, with strong feminine orientation and soulfulness. Many of Popovic’s songs such as “Ride It,” “Queen of The Pack” and “Strong Taste (For You)” were from the award-winning singer/guitarist’s 2023 album Power.

Jackie Venson, from Austin was also a fiery guitarist, who balanced funk, fusion and rocking blues, further accentuated by her sweet singing and scatting. While Shayna Steele, was a breakout favorite and the female equivalent of the late great Otis Redding. She was unbelievable and captivated the audience with a stunning mix of gutbucket and soul-drenched blues. 

Latin jazz was propelled by superstar percussionist/vocalist Pedrito Martinez’s live wire ensemble. They amazingly transported the audience to Havana, Cuba through intoxicating rhythms and celebratory choruses. Stompin’ the Blues was a new MJF feature showcasing Christian Pepin and Orquesta Bembé with nightly concerts throughout the weekend. The shows were an enjoyable discourse of the evolution of Latin Music with plenty of dancing and special guests Christelle Durandy from France and Grammy Award winner Braulio Barrera from Peru.

From an intimate standpoint, El Arte del Bolero: Miguel Zenón / Luis Perdomo Duo illuminated music from their 2024 Grammy Winning record El Arte del Bolero, Vol. 2. Guggenheim and MacArthur Fellow saxophonist Zenón and New York-based first call pianist Perdomo treated the audience to superlative and stimulating, yet also traditionally rooted originals perfect for pairing with a glass of wine. 

In the realm of Beyond was vocalist, composer, and playwright Somi. She was raised in both Illinois and Zambia, and is the daughter of immigrants from Uganda and Rwanda. The vibrant Grammy-nominated singer (first African woman in any jazz category) mostly performed “New African Jazz” songs from her 2022 album Zenzile: The Reimagination of Miriam Makeba (Mother Africa). Among them was a high-voltage/Africa styled version of “House of the Rising Sun,” which Makeba and Nina Simone recorded together, and “Pata Pata” Makeba’s most popular song.

Atwater during his intro appropriately dubbed Lila Downs’ set “La Monterey Jazz Fiesta.” Donning full traditional Mexican folk regalia, the six-time Grammy winner and dynamic band roared with food-centric “Son Del Chile Frito,” cumbia-laden “La Campanera” and festive “Mandimbo.”  Downs who was born in Mexico, raised there and in California, took a moment to acknowledge the essential work and contributions of nearby Salinas/Monterey farmworkers with heartfelt ballad “Querido Alguien (Dear Someone)” that she recorded with Nora Jones in 2019.

For the third year in a row MJF’s Sunday Morning Gospel was highlighted by pianist Tammy L. Hall and the Texas Southern University Gospel Choir, who literally held services. From a contemporary standpoint was powerhouse songwriter/producer/composer/recording artist/Music/Choir Director Donald Lawrence & Company. 85-year old Mavis Staples is a Blues Hall of Famer, Rock and Roll Hall of Famer, a civil rights icon, GRAMMY-winner anda National Arts Awards Lifetime Achievement recipient. She marched with Dr. Martin Luther King, Jr., performed at John F. Kennedy’s inauguration, and sang in Barack Obama’s White House.

Through her gravelly voice, she said “we came to bring joy, happiness, inspiration and positive vibrations.” She then riled up the audience with her uplifting gems “Can You Get to That,” Respect Yourself,” “Friendship” and Stephen Stills’ 60’s protest hit “For What It’s Worth.”  

Contrarily, the Blind Boys of Alabama with Bobby Rush on harmonicaand vocals were more devout and like an old time gospel revival show. As the audience clapped along with some even shouting “amen,” their worship-like segment included religious songs “Work Until My Days Are Done,” their mash of “Amazing Grace/House of the Rising Sun,” “Let the Holy Ghost Come on Down” and “I’m a Soldier in the Army of the Lord.”

Overall, MJF 2024/#67 presented an appealing and extensive array of artists spanning jazz and other genres. It definitely wasn’t your grandparents’ MJF and most likely will continue to illuminate more diversity and youth in the future, which is a good thing. Hopefully, pillars and architects of jazz, who are still performing will be included and not be a distant memory… For more info go to: montereyjazzfestival.org.

Los Angeles Jazz Society’s 41^st Concert & Awards at California State University Northridge saluted several vital members of its organization, high achieving rising stars and a couple of big name musicians. As attendees entered the campus’ Plaza del Sol Performance Hall, they were treated to the outstanding musicianship of the CSUN Jazz Nonet led by Gary Fukushima. The promising ensemble featured vocalist Alya Olcan and their original composition “Just Beyond The Door.”

Emceeing the celebratory event was comedian Alonzo Bodden, who livened things up with his insightful humor and kept the program moving along. Before any awards were given out, a video was shown that detailed LA Jazz Society’s history, mission and special programs. Among them were jazz education, the Bill Green Mentorship Program, Jazz Coolcats, jazz workshops, Jazz in Schools and New Note commissions that coincide with the Jeff Clayton Memorial New Note Award.

Joe Labarbera,a renowned drummer, composer and educator presented the Flip & Shelly Manne New Talent Award to pianist Taylor Lee. He demonstrated his worthiness by deftly performing with his trio that included Brad Chrisman-drums and Saoirse Sipes-drums for a couple of impressive numbers. The Jazz Advocacy Award was given to Los Angeles City Council President Emeritus Paul Krekorian and presented by Rita Zwern.  

The Jazz Educators Award honorees were Chad Bloom, Robert Hackett and John Mosely. Presenting the accolades were Julie Berghofer, Director of The Young Musicians Showcase, Ira Hearshen, Director of The Bill Green Mentorship Program, and 17-year old Jordan Klein, last year’s recipient of the Flip & Shelly Manne New Talent Award.

Additionally, multi-Grammy-nominated and Academy Award Winner for Best Documentary Short Film, Kris Bowers was the Jazz Composer/Arranger Honoree. His sister Keeland Bowers accepted for him and a video encompassing his background, creative outlook and accomplishments was exhibited. Furthermore, a string quintet that included Ben Jacobson-violin, Jenny Takamatsu-violin, Zach Dellinger-viola, Hillary Smith-cello and Stephen Pfeifer-bass showcased a couple of his Bridgerton score selections.    

After the intermission, Music Director/bassist John Clayton presented the Jazz Vocalist Award to Veronica Swift. She was touched and noted the impact Los Angeles has had on her career. Some of the milestone moments were winning singing Anita O’Day big band charts with her mother, Stephanie Nakasian at the Ken Poston Vocal Festival, coming in Second Place at the Thelonious Monk Vocal Jazz Competition in 2015 and performing at the Hollywood Bowl Jazz Festival in 2022. A video chronicling her music development was also viewed. 

In typical Swift fashion, she was a flurry of energy and hard-hitting dynamics. Her and bandmates, Brian Viglione-drums, Anthony Cappeto-bass, Alex Burke-keyboards and Gary Joseph Potter, Jr. played much like it was a rock show. They assaulted the house with “Closer” and “The Show Must Go On,” that included fiery scatting and operatic singing similar to Queen. While, Ellington’s “Do Nothing Until You Hear From Me” was mashed with Hendrix’s “Red House” to fully arouse the audience.

The grand finale of the night was bassist/composer/bandleader Marcus Miller being awarded the Lifetime Achievement Award. Introducing him was Michael Lazaroff, Executive Director – Jazz Cruises, LLC who selected the bassist to be the host of the North Sea Jazz Cruises,and fellow bassist and superstar Stanley Clarke. Like Swift, a video detailing his background and outlook was shown that included his vary different relationships with Luther Vandross, David Sanborn and Miles Davis, who all encouraged him to write and produce their music.

Miller graciously accepted the citation and emotionally mentioned a high school music teacher, Mr. Guarino who greatly influenced and impacted him. Afterwards, aided by bassist Damion Reid, keyboardist Julian Polack, saxophonist Donald Hayes, trumpeter Brandon Phillips and percussionist Munyngo Jackson, the bassist paid tribute to Sanborn with the swampy contemporary hit “Maputo.”

He later called for Swift to join the band and she obliged by doing a super soulful version of Bobby Hebb’s‘60s hit “Sunny” that featured the band boldly stretching out. Wrapping up the remarkable show was the ultra-cool and thematic “Tutu” that the bassist composed for Davis in honor of Desmond Tutu. It was extraordinarily adorned by him, Phillips, Jackson and other band members playing intensely to bring down the house. For more info go to: www.lajazz.org.

Pianist and composer Marta Sánchez, born and raised in Spain, has been ascending on the New York City jazz scene for the last ten years and is also a member of free jazz/post-bop saxophonist David Murray’s Quartet. At Sam First the New York-based musician, who sometimes resembles pianist Ethan Iverson, showcased music from Perpetual Void her fifth outing as leader. She was supported by Chris Tordini-bass, who is also on the new recording, and Eliza Salem-drums.

Intriguing, upbeat and counterpoint-styled “I Don’t Wanna Live The Wrong Life And Then Die” began the set and spotlighted the bandleader’s mastery and strong interactions with her players. “The End Of That Period” and “Prelude To Grief” contrasted with a more relaxed and thematic approaches that Sánchez greatly expanded on with inventive runs and expressive touches.

Mixing things up a little, Tordini led off with a solo intro for the lively pastoral and classical tinged “The Love Unable To Give” that resembled Keith Jarrett’s quartet compositions during the ‘70s. For even more variety, saxophonist Nicole McCabe joined the trio and wailed away with Sánchez whirling’s playing for a robust rendering of neo-bop styled “This Is The Last One About You.”

The closing moments of the highly stimulating set featured “Black Cyclone” and “29B,” which encompassed offsetting rhythms and the bandleader stretching out with both spirited swinging and Latin accented playing. For more info go to: www.martasanchezmusic.com and www.samfirstbar.com

Since its inception in 2022, the Pacific Jazz Orchestra, founded by multi-Grammy-nominated/Artistic Director/trumpeter Chris Walden has made strong inroads with an appealing array of cross-pollenated concerts at major venues in Los Angeles and Orange County. Walden described the non-profit organizations mission as, “bringing jazz and beyond just jazz music

cross-over projects to all parts of Southern California. With a five-concert series that goes from fall to spring, each of them has two or three guest artists that complement each other nicely and are accompanied by the Pacific Jazz Orchestra.”

The acceptance and popularity of the unique performances featuring artists from pop, jazz, country and other genres with PJO has been phenomenal. Because of that the non-profit organization just recently had an inaugural sold-out benefit concert at Vibrato that was also Walden’s birthday. An impressive mélange of supporters attended and included celebrities, musicians/artists, contributing foundation members and board members to raise $60,000.

In addition to a sumptuous dinner, the attendees were treated to a concert hosted by vocalist/actor/dancer Adam “Aejaye” Jackson. Before the auction, he surprised everyone by doing a superb impromptu rendition of “My Way,” requested by the audience, with David Foster, who is also on the PJO Advisory Board, gallantly jumping in to back him on piano.

For the main program, Academy Award and five-time Grammy-winner Christopher Cross joined PJO, led by Walden, who’s worked on his various projects for 25-years. The scaled-down ensemble consisted of Josh Nelson-piano, Edwin Livingston-bass and Jamey Tate-drums, Charlie Bisharat-violin, Tamara Hatwan-violin, Erik Rynearson-viola and Timothy Loo-cello. Additionally, Cross’s back-up singers were Kitten Kuroi and Jamila Ford.

The soft-spoken and gentle singing Adult Contemporary superstar who won a record-setting five Grammys in 1981 enthralled the attendees. He began by  showcasing his lesser-known and easy flowing sumptuous ballads, “Swept Away,” “When You Come Home” and “Dreamers” who Cross credited MLK and John Lewis for personifying the lyrics. While, his best-selling hit “Sailing” and Oscar-winning “Arthur’s Theme” with saxophonist Jacob Scesney soloing drew affirming hoots and hollers from the audience. Even more significant, the pop crooner’s everlasting pop tune, “Ride Like the Wind” inspired many of the ladies attending to dance, sing along and party.

Scesney, an original PJO bandmember, who’s been showcased on pop songs by Maroon 5, The Jonas Brothers, Shawn Mendes, and John Legend opened the benefit concert. The fast ascending reedist captivated the audience with a sultry version of Wayne Shorter’s “Footprints,” Walden’s lush string-laden ballad “Almost Home” and recently departed Quincy Jones/Benny Golson’s ultra-cool “Killer Joe” nicely garnered by the bandleader playing flugelhorn. For more info go to: www.pacificjazz.org.

Being multi-faceted and/or multi-disciplinary are terms that get bandied about a lot.Keyboardist, composer, educator, historian and Artistic Director For Jazz at the Kennedy Center, Jason Moran, is the living embodiment of those labels. At Disney Hall with his Big Bandwagon dectet, expanded from a trio, Moran presented James Reese Europe and the Harlem Hellfighters From the Dancehall to the Battlefield

The bandleader has done tributes to Fats Waller and Thelonious Monk, and most recently celebrated the 125^th anniversary of Duke Ellington’s birthday. Although not as well-known as the earlier mentioned icons, Europe is equally important for jazz, music in general and history. He wasa trail-blazing orchestra conductor/musician, social dance organizer and booking agent, who helped ragtime shift to a jazz orientation and ushered in syncopation with a concert in NYC’s Carnegie Hall.

Europe additionally called for Afro-American musicians to play their own compositions, and fought in WW1 with the first Black regiment out of New York state called the Harlem Hellfighters. He gained further notoriety during the war by directing a machinegun squadron and leading a musical collective who performed in Europe, also called the Harlem Hellfighters. At the end of the war, they were deemed heroes and received a parade on New York’s 5^th Avenue. Sadly, he died in 1919 when a bandmember stabbed him during a dispute while touring in the U.S.  

Implementing soundbites, narration, historic photos, film segments, thematic musical backdrops, solo piano interludes, ambient effects, and singing with some audience help, Moran constructed an engaging homage to Europe and his times. The Big Bandwagon also included Tarus Mateen-bass, Justin Faulkner-drums, Logan Richardson-alto saxophone, Brian Settles-tenor saxophone, David Adewumi-trumpet, Darryl Harper-flute/clarinet, Chris Bates-trombone, Reginald Cyntje-trombone and Jose Davilla-tuba.

The assembly gloriously intermixed rollicking marches, ragtime, solemn classical and jazz compositions, hits of era, such as St. Louis Blues and Moran’s own soul/jazz brass “Poor James” composition. It honored Europe and was also aided by a chorus from the audience. For more info go to: jasonmoran.com, https://artsandculture.google.com/story/the-enduring-song-of-james-reese-europe-the-kennedy-center/PAUxbKT_a_msIQ?hl=en and www.laphil.com.   

The Angel City Jazz Festival, number 16 that took root in 2008, offered an amazing myriad of artists condensed into 11 different concerts at a variety of locations over a 16-day time span. Unlike some years, there wasn’t a centerpiece headliner for 2024. Instead, there was a roster of compelling cutting edge performers to be discovered, along with the familiar and well-known to be reunited with.

Starting the festival was seasoned pianist Otmaro Ruiz’s Quartet with Clarence Penn-drums, Sezin Ahmet Turkmenoglu-bass and Katisse Buckingham-reeds. Their set was an engrossing mix of up-tempo neo-bop, melodious Latin-flavored jazz waltzes and astounding classical/Latin jazz solo piano. Also showcased was the Simon Metzger Quartet that included Kai Suzuki-tenor saxophone, Isaiah Harwood-piano, Quinn Sims–bass and Metzger-drums. They were Winners of The 2024 Young Artist Competition (resumed after a five year hiatus) and exhibited great promise with blazing originals and sensitive ballads.

Grammy and award-winning pianist/composer Kris Davis showcased compositions from her trio, bassist Robert Hurst and drummer Johnathan Blake’s newly released album Run The Gauntlet. It was a mostly acoustic and riveting homage to the great women who have guided and influence the bandleader. Among them were Geri Allen, Carla Bley, Marilyn Crispell, Angelica Sanchez, Sylvie Courvoisier and Renee Rosnes. In contrast, Steve Lehman & Garden of Klōns with Lehman on alto saxophone and effects, Cory Smythe on augmented piano and Jonathan Pinson on drums and sensory percussion were much more electronic and experimental.

Representing some of the newer and younger voices on the explorative and innovative vanguard were flautist Elsa Nilsson’s Pulses, vibraphonist Sasha Berliner, bassist Mauricio Morales and bassoonist Joy Guidry’s Amen, along with bassist Yafeu Tyhimba, keyboardist Diego Gaeta and pianist Iseul Kim’s Liberosis. Nilsson was supported by Santiago Leibson–piano, Marty Kenney-bass and Rodrigo Recabarren-drums, and incorporated natural soundscapes and spoken-word recordings.

Berliner, on the other hand with Jonathan Pinson-drums, Logan Kane-bass and Javi Santiago-piano/keys provided fiery neo-bop and straight ahead jazz. Morales had a CD Release Party for his sonically rich and thematic Seven Days album, aided by Andrew Renfroe-guitar, Luca Mendoza-piano, Roni Kaspi-drums, Ido Meshulam-trombone and Edmar Colón-sax. While Guidry’s Amen, with Scott Li-synth/electronics/violin and Mekala Sessions-drums was atmospheric and powerful.

Resoundingly, Tyhimba premiered Dystopia, a new piece commissioned by the Los Angeles Jazz Society for the Jeff Clayton Memorial New Note Award. He enlisted Ennis Harris-alto sax/flute, Jordan De Tiege-tenor sax, Remee Ashley-trombone/bass trombone, Kaitlin Miller-harp, Alexis Angulo-vocoder/synthesizer, Samuel Reid-synthesizer/piano and Trevor Zemtseff-drums/percussion.

Gaeta showcased earthy funk, fused, world folk compositions from his 2023 record Fearlessly Accessing The Divine Spirit Of Freedom From Here On Out. Joining him for the set was Bryan Baker-flute/tenor sax, Mekala Session-drums, Caleb Buchanan-bass and Jimetta Rose-vocals.  Kim’s Liberosis had some similarities on smaller scale to Miho Hazama and M_Unit, with influences from her native South Korea, Latin America and classical. Her group included, Fung Chern Hwei-violin, Artyom Manukyan-cello, Emiliano Lasanky-bass and Anthony Fung-drums.

Notwithstanding, were veteran players, such as bassist/vocalist/composer Jeff Denson & guitarist Romain Pilon’s Trio featuring drummer Clarence Penn who blazed with high caliber dynamics. Deron Johnson, an award-winning film/TV composer and keyboardist discovered by Miles Davis, showcased his nuanced music through Free to Dance that included, Paul Bryan-bass, Max Jaffe-drums/electronics and Stewart Cole-trumpet/ modular synth.

Bassist Mark Dresser, a long time friend of ACJF and former member of the Anthony Braxton Quartet, played solely and spotlighted selections from his latest project In the Shadow of a Mad King. Thollem McDonas’ work spans free jazz, modern classical, punk and electronica. He performed solo piano and electronics to highlight his latest projects Infinite Sum Game and 

Worlds In A Life. Alternately, Patrick Shiroishi known for being a remarkable improvisational saxophonist played an intense solo set. Somewhat in the same vein, guitarist/banjo player Brandon Seabrook fused punk rock, jazz, pop, and metal, without delving into bluegrass or country.

Force of nature violinist, Jenny Scheinman’s All Species Parade ended at ACJF and she described it as “Nature Worship Music.’ Among the tracks on the 72-minute eclectic rootsy/jazz record performed with Carmen Staaf-piano, Adam Ratner-guitar, Tony Scherr-bass, Mark Ferber-drums was a three-part suite. It included the title composition, Staaf doing an on-the-spot improvisation piece and special guest, dancer Julianna Cressman.

The last ACJF concerts were the most large-scale, raucous and adventurous, beginning with the 15-person Belgian-based Flat Earth Society Orchestra, led by reedist/composer Peter Vermeersch. They celebrated their 25^th anniversary and intersected brass band music of their homeland, with Zappa-like zaniness and Gordon Goodwin Phat Band swinging. Improvising [in] the West was a larger 20-piece assembly that for a colossal four-hour segment of assorted band groupings included Joshua White-piano, Alex Cline-drums, Dan Rosenboom-trumpet, Devin Daniels-sax, Margo Harms-vibraphone and Alicia Byer-clarinet.

Concluding ACJF 2024 was Wayne Horvitz, Recipient of the 2019 American Prize in Orchestral Composition’s Zony Mash + his Electric Circus. The first group was comprised of Horvitz-Hammond B3, Tim Young-guitar, Keith Lowe-electric bass and Andy Roth-drums to merge 60’s psychedelic rock and New Orleans’ Meters-like grooving.

In sharp contrast, the Electric Circus, expanded from the Zony Mash band with Alex Noice-guitar, Miller Wren-acoustic bass, Motoko Honda-keyboards, Mikaela Elson-vocals, Sarah Schoenbeck-bassoon, Megan Shung-violin, Leah Bowden-percussion, Nicole McCabe-alto sax, Phillip Whack-baritone sax and Tatiana Tate-trumpet ambitiously juxtaposed avant-garde textures, Miles Davis Bitches Brew and J Dilla-like excursions, Sly & Family Stone rock/funk jamming and even John Lee Hooker blues vamping. For more info go to: angelcityjazz.com.

In a mere three years, former New York City resident Steve Sieck, born in Omaha and raised in Des Moines, Iowa, and his wife Frannie moved to LA. They started a new life and he honed his singing/songwriting craft that was strongly impacted by a vocal workshop/retreat he attended in upstate New York. The culmination of all those things was Crazy That Way, a new album overflowing with his charming and insightful songs influenced by Donald Fagen, Stevie Wonder, Bob Dorough, and Kurt Weill.

Naturally, he didn’t do everything on his own, and was encouraged and supported by his new friends. Many of them were in attendance for his CD Release show at Catalina. The transplanted singer was further aided by a great sounding band, consisting of his producer/arranger/Music Director/guitarist Dori Amarilio, Mitch Forman-piano, Dan Lutz-bass and Gary Novak-drums, along with The LA Horns: Alex Budman-sax, Brian Scanlon-sax, Michael Staver-trumpet and Chick Temple-trombone. Additionally, Amy Keys and Jeff Robinson were the dynamic backing singers.

Sieck, a gentle and well-composed (at least outwardly) singer warmly greeted the audience with his easy-flowing “Good Evening, LA” that’s actually “Good Morning, LA” on the record. Afterwards, he remarked that the venue was the first jazz club in LA he went to and that the show was indeed, a special moment for him. Continuing with the music was the title track. It was derived from the pre-Code 1930’s rom-com film that was lyrically lightly provocative, smoothly sung and further bolstered by punchy band fare.

For a change of pace, the singer took advantage of Amarilio’s bossa chops and coolly serenaded the audience with “Mystery of Love,” which also featured a delectable acoustic guitar solo. Another exceptional moment occurred when Sieck’s friend and songwriter instructor, Mark Winkler sweetly sang the very romantic and tastefully muted-trumpet drenched “Paris Apartment,” which he also did on the new recording.

Additionally, “That Moment” sentimentally recounted the singer/songwriter’s memories of the life-changing first meeting with his wife to be and was adorned by soft rock/Burt Bacharach/Hal David-like textures. For “You Are Everything to Me” a love song also for his wife, backup singer Keys rendered it with stellar refinement in place of Tawanda (2021 Sarah Vaughan International Jazz Competition Winner), who’s on the album. Additionally, “I Still Want You So” a contemporary jazz/Quiet Storm-styled song, featuring Nicholas Bearde on the project, was glistened by Robinson, the other backup singer.  

Sieck was back out front for “Temple of Soul,” his dynamic brass powered homage to the Black music he heard on the radio in Iowa, with his backing singers additionally helping out. He wrapped things up “We Will Find a Way,” submitted to the Grammy’s for The Harry Belafonte Best Song For Social Change Award, with himself, Tawanda and Sidney Jacobs (newest member of the Fifth Dimension soul/pop group) singing on the recording.

Special guest vocalist, Sharon Marie Cline joined Sieck and band for the soulful and uplifting anthem that hopes for a better world in light of the current turmoil in the U.S. and abroad. Without a doubt, Sieck has a knack for creating optimistic and heartfelt songs imbued with his pleasing singing. For more info go to: stevesieckmusic.com and catalinajazzclub.com.

Singer/songwriter/pianist Nicole Zuraitis is immersed in the New York City jazz scene, and regularly performs at Dizzy’s Club at Lincoln Center, Birdland, the Blue Note, and the Carlyle at the Carlyle Hotel. She recently won a Grammy for Best Vocal Jazz Album for How Love Begins (co-produced with Christian McBride) and showcased songs from the album at the Cerritos Center For The Performing Arts.

The vibrant, multi-octave spanning former opera singer was underscored by drummer/husband Dan Pugach, bassist Sam Weber and guitarist Idan Morim. They just returned to the U.S. after touring in Australia and New Zealand and immediately got down to business. Zuraitis joyfully sang and scatted a soulful/jazzy version of Muddy Water’s blues classic “I’ve Got My Mojo Working” that’s not on the award-winning CD.

Afterwards, she focused on it, showcased her songwriting skills with the cascading poetic/contemporary jazz number “Travel,” and classical-derived from Debussy “Reverie.” It was loaded with delightful scatting and further bolstered by feathery guitar soloing and a scorching close featuring Pugach.

Departing briefly from the acclaimed project, Zuraitis took a moment to showcase soon to be released “The Overlap.” It was a soothing tone poem-like remembrance of a good friend who passed away. Going even further from the new songs was Zuraitis and Pugach’s 2023 Grammy-nominated stark and hauntingly sung arrangement of Dolly Parton’s popular and very adaptable hit “Jolene” that drew strong audience response.

Keeping the variety going, pianist/songwriter/producer Sam Barsh joined the headliner, who stepped away from the piano, for a soaring unadulterated duet of “Angel Eyes.” For some comedy relief, she included “The Coffee Song (I Like You A Latte),” a slightly risqué love song to her husband, who formerly was a barista, with only the bassist delightfully supporting.

Getting back to the spotlighted album with the full band was upbeat and hotly scatted “Burn,” highlighted by hot ensemble playing. Also included were the lightly textured and beautifully sung bonus track, “Save It For A Rainy Day,” and soulfully sung pop/R&B flavored “I Dare You” that further impressed the audience. Rounding out the invigorating show were pulsating interpretations of Jimmy Webb/Glen Campbell’s mega hit “Wichita Lineman” and Nina Simone’s powerful sexually direct, soulful/blues song “Do I Move You,” which garnered a standing ovation.

Kudos to Cerritos for booking Zuraitis, especially before she won a Grammy! Interestingly, the singer/songwriter admitted that her and band have never performed in LA proper… For more info go to: www.nicolezmusic.com and tickets.cerritoscenter.com/events

Women singers in the world of jazz are plentiful and diverse. However, for men in the genre there’s much less abundance. Topping the list are Gregory Porter, Jamison Ross, Kurt Elling, Jamie Cullum, José James, and LA’s own, Mark Winkler. Injecting new vitality and fast ascending in the field is Michael Mayo, who sonically melds qualities of the Hi-Lo’s, Chet Baker and Bobby McFerrin into his own music.  Additionally, he’s a New England Conservatory of Music (B.A.) and Thelonious Monk Institute of Jazz (now the Herbie Hancock Institute of Jazz) (Masters) Graduate.

Mayo, whose vocal range easily alternates between tenor and soprano is a seasoned veteran, with appearances at the White House, Kennedy Center, Hollywood Bowl and jazz festivals like Monterey, London and North Sea under his belt.  He recently performed with his group at the Moss Theatre, as part of the Jazz Bakery’s Movable Feast series.

Moreover, the concert was a CD Release Party for the singer’s sophomore album Fly, and also somewhat of a homecoming with his father, saxophonist/multi-instrumentalist Scott Mayo, and mother, singer Valerie Pinkston, and many friends in the audience enthusiastically cheering him on.

Propelled by cohorts and former schoolmates/roommates, Robin Baytas-drums, Nick Campbell-bass and Andrew Freedman-keyboards, the LA native singer began with modern standard “Just Friends.” It was reconstituted as hip, scaled down groove featuring his bandmates and of course Mayo’s West Coast styled ethereal vocalizing, full of velvet phrasing and rousing scatting.

That was just the first song from the new record, and “Bag of Bones” continued with more 21^st century jazz vocal stylings reinforced with a pulsing backdrop. Alternatively, “I Wish” showcased Mayo’s crystal-clear, rapid-fire singing of probing and anxiety-ridden lyrics, with a contrasting post-bop motif from the trio that surprisingly drew raves from the listeners.  

The vocalese title track was more upbeat and hard-driving, which symbolized letting yourself be free to take chances and not doing any second guessing. On the other hand, “Four” recalled Baker’s arrestingly smooth delivery, but with Mayo’s band laying down funk/hip-hop layers to excite the crowd that included a sumptuous electric bass solo.

For a departure from the new tunes, Stevie Wonder/Luther Vandross’ R&B classic “Creepin’” was jazzed up with Mayo’s provoking vocals injecting sparks. From the first the singer’s first record, Bones, jazz/funk hybrid “About Your Love” was performed with an encore requested. In response,  “You and You” also from the same album was conjured up and leaned more to jazz, with his signature singing and scatting soaring. If you haven’t heard Mayo before, you soon will; his artistry is too commanding to be suppressed or ignored. For more info go to: www.michaelmayomusic.com and www.jazzbakery.org.

Super star players, pianist Jon Cowherd, bassist John Patitucci and drummer Brian Blade came to LA for a special Jazz Bakery Moveable Feast concert at Zipper Hall. Cowherd and Blade’s relationship began in the late ‘80s when they were attending Loyola University in New Orleans. They continued to collaborate afterwards in different settings, most notably in Blades Fellowship Band.

Conversely, four-time Grammy-winner Patitucci has worked with an impressive list of jazz legends, including Dizzy Gillespie, Nancy Wilson, Herbie Hancock, Chick Corea, and Wayne Shorter. Most significantly, the bassist and Blade were longtime members of Shorter’s band up to his death in 2023. A Venn diagram of the pianist, drummer and bassist’s various associations, projects and friendships would indicate that their partnership was a natural evolution.

“Natural” was also the most apt description of the trio’s performance that included selections from their two albums together, Cowherd’s 2013 Mercy and 2022 Pride & Joy, along with a couple of pieces from Blade and Patitucci. The musicians consorted effortlessly and congenially interacted, while also giving each other plenty of space and opportunities to brilliantly shine.  

Their program began with Cowherd’s lightly textured, with explosive rhythmic accents “The Columns.” It was inspired by a New Orleans club he and Blade hung out at to see the outstanding local band The Astral Project. Comparatively, the drummer’s “You’re On Your Own” was airy with a subtle cadence, as the pianist and bassist tastefully soloed.

For the nuanced contemporary piece “Little Scorpio” with lightly driving rhythms and motifs, written for the pianist just turned five-year-old daughter, Patitucci switched to electric bass and inserted a melodic solo. It and all the band’s playing drew cheers from the audience. The pianist followed with a gospel/southern styled solo intro. It later busted out into rollicking funk/jazz jamming “Braun’s Bronco” when the others joined in and definitely aroused the audience. Cowherd described it as “a tone poem for a wild ride through New Orleans in 1988.”

Understandably, the trio afterwards played more relaxed, similarly themed pastoral numbers such as Bill Evan’s styled “Plainfield,” “Chickmonk” and “Quit City Blues.” They were seamlessly performed as one long composition and held the crowd spellbound, who in turn gave Cowherd, Patitucci and Blade a standing ovation. For more info go to: www.joncowherd.com, www.brianblade.com, www.johnpatitucci.com and www.jazzbakery.org.   

One of jazz’s most colorful musically and personality-wise living musicians is pianist Monty Alexander. He turned 80 during June 2024 and his concert at the Segerstrom’s Samueli Theatre celebrated it, with sidemen Luke Sellick-bass and Jason Brown-drums accompanying. The lightning rod pianist in his typical fashion joyfully melded the Carpenter’s pop-hit “We’ve Only Just Begun” and Charlie Chaplin’s timeless “Smile” that included bowing from Sellick, with swinging jazz excursions, and rhythmic touches of calypso and even reggae inserted.

However, when witnessing Alexander’s brilliance, a listener gets more than just music. The Jamaican-born pianist, who still possesses a strong accent includes the arc of his career. It began in Kingston as he absorbed the music of homeland and then became consumed with jazz. While still a teenager, his family moved to Miami and he played in clubs owned by the mob. An associate of Sinatra’s, Jilly Rizzo then recruited the teen to do sets at his NYC club, Jilly’s. That of course led to the piano wizard working with everyone, including Sinatra and eventually going out on his own.

Still, the sounds of Jamaica permeate Alexandar’s soul and he gave a quick treatise on calypso, while incorporating a jubilating, jamlike version of “I Got Rhythm.” It also featured the backing players soloing to further impress the audience. Additionally, included in the set were numbers from his latest recording D-Day (also his birthday). Among them was the sad and easy-flowing ballad “I’ll Never Smile Again” first released by Sinatra in 1939, along with upbeat and whirling “Aggression.”

In contrast, soothing rhythmic and lightly Caribbean-flavored “Restoration” and hymn-like “Hope,” which the pianist’s mother would sing, were tunes for peace. Of course, Alexander wouldn’t get off that easy and the standing ovation audience requested an encore. He surprised them by doing hardbop styled “Whatever it is, Make it Funky” and “Whatever it is, Make it Swinging” that were both funky and swinging, with the audience doing call and response with him. For more info go to: www.montyalexander.com and www.scfta.org.

Award winning singer, actress and voice over announcer (The Voice America Loves To Hate and The Voice Mail Queen), Marsha Bartenetti recently appeared at Vibrato to showcase songs from her assorted records that resonate with her style and personality. Bartenetti also known for her work with the songwriting team Jane McNealy and Alice Kuhns is a vibrant, adaptive and very charming vocalist.

In terms of style and range, one can hear traits of Rita Coolidge and Maria Muldar especially for “I Can’t Make You Love Me” in Bartenetti’s singing, and additionally Nancy Wilson. In fact, the headliner and band consisting of Steve Rawlins-Music Director/piano, Dori Amarilio-guitar, Jennifer Leitham-bass, Gordon Peeke-drums, Robert Kyle-sax and Rocky Davis-keyboards, paid tribute to Wilson with two songs. They were the loving “How Glad I Am” and her very popular signature tune, “Guess Who I Say Today,” which the bandleader masterfully purred on.

Afterwards, Bartenetti exhibited her versatility by quickly shifting to pop with Burt Bacharach/Hal David’s “I’ll Never Fall in Love Again” and “Alfie,” along with neo soul flavored “You Gotta Be” by British singer and songwriter Des’ree. Also incorporated into the set was Leonard Cohen much revered and covered “Hallelujah” that was dedicated to Bartenetti’s friend Elaine.

In keeping with the Holiday Spirit was Joni Mitchell’s “River,” Vince Guaraldi’s instrumental “O Tannenbaum” and Leitham’s “Future Christmas” about global warming that featured her singing and scatting. From a more conventional standpoint, Bartenetti returned to the helm to joyfully sing “Winter Wonderland.”       

A big highlight of the show was Bartenetti sensually showcasing her newly released single “I Could Get Used to This.” The lyrics by Mark Winkler, who was in the audience, and his writing partner Shelley Nyman were mashed with the melody from Wes Montgomery’s soulful classic “Bumpin’ On Sunset” and adorned with tasteful solos from guitar, sax and bass.

For the closing of the set, the singer presented Ray Charles’ soul/jazzy “Hallelujah I Just Her (Him) So” to be released in spring 2025 and received a glowing standing ovation. Whereas, the encore was about not holding on to things or people and letting go through Abbey Lincoln’s immortal “Throw it Away.” For more info go: marshabartenetti.com and www.vibratogrilljazz.com.

WordTheatre Jazz ReEVOLUTION,curated, produced and directedby Cedering Fox, made its return to the stage. This time at the Moss Theatre, after a triumphant performance in 2023 at the Ford Theatre. Interestingly, the show, TRIBUTE TO LANGSTON HUGHES: STORIES thatpoignantly and inspiringly brings the poet laureate of African-American literature and culture’s words to life was ten-minutes shorter this year.

Nonetheless, the performance was packed with the celebrated poet’s work and featured an outstanding African American cast. It consisted of (in order of appearance) Charles Parnell, James Pickens Jr., Gary Dourdan, Ryan Michelle Bathe, Chris Herbie Holland, Eugene Byrd, the esteemed Marla Gibbs, Dohn Norwood, L. Scott Caldwell, Marianne Jean-Baptiste and Tracie Thoms. Additionally, Spencer Garrett and Jan Munroe, thespecial non-Black guests, also contributed to the powerful and enlightening performance.

Further enhancing the affair was the stellar musical accompaniment and soundscapes by Musical Director/Arranger Starr Parodi on piano with her band. They were Amy Keys-vocals, Bernie Dresel-drums, Logan Richardson-saxophone, Nedra Wheeler-bass, Chris Gray-trumpet and guest Isolde Fair-violin.

Probably the most astonishing thing about the tribute, was that many of Hughes’ poetry, stories and themes, written in the 1920’s up to his death in 1967 still relate to present-day life. At the same time, much has changed since the Harlem Renaissance also known as New Negro Movement, in which Hughes was a leading influencer. Chronologically, it spanned the end of WW1, into the roaring ‘20s and Black migration from the oppressive Southern states, to the early years of the Depression in the ‘30s.

100 years later, blatant racism is illegal and mostly concealed. African-Americans have much greater control of their art and creativity, and segregation and lynching are also against the law. Hughes’ writing brilliantly focused on the emotional, psychological and economic toil of the harsh living conditions in Harlem, greater New York City and America in general for Black people, while also envisioning a better and kinder world.

Keys began the program movingly singing downhome “Love Again Blues.” Gray’s trumpet solo intro became the backdrop for “Trumpet Player” that described the musician’s connection to Africa and jazz being “a montage of a dream deferred.”Derived fromHughes 1926 story, The Negro Artist and the Racial Mountain was propelled by powerful oration to a tom-tom backbeat that juxtaposed jazz and Negro life, to the hectic pace of work and subways in New York.

The intense verse and drumming transitioned into the even more commanding “I Dream of Drums,” recalling life in Africa before its inhabitants were forcibly taken to Jamestown in 1619. The shining light were drums and Conga Square in New Orleans during slavery with one day of freedom. Out of that sprung rousing trad jazz from the band that recalled legendary players Jelly Roll Morton, Buddy Bolden, Kid Ory and others.

Other significant musical moments were “The Weary Blues” that illuminated Hughes’ deep appreciation for jazz and blues. Ellington’s “Don’t Get Around Much Anymore” included the author’s raving about Harlem’s great attractions and New Negro happenings in the 1920’s. “God Bless The Child” with only Parodi on piano accompanying and “Backlash Blues” with the full band that Hughes requested Nina Simone put to music were powerfully sung by Keys.

The singer additionally rocked the house with an explosive rendering of Aerosmith’s classic rock anthem “Dream On” with Fair’s dramatic violin playing accenting. The song, though definitely not part of Hughes repertoire or jazz oriented, was a total crowd pleaser and very effective.   

From a young person’s perspective was Childhood of Jimmy: Six Pictures in the Head of a Negro Boy that described growing up in a small town and his impressions of Black life, education, racism, religion, sex and death. Also, in that regard, Mother to Son revealeda mother speaking to her son about her life, which she says “ain’t been no crystal stair.” In a much lighter vein was

Thank You, Ma’am, a heartfelt story about young man trying to steal an older woman’s pocketbook, and getting strongly reprimanding with tough love that included a meal and money.

Realities of life in Harlem, with downtown “White New York” owning and controlling everything happening there, including underworld crime was painfully portrayed through “Minstrel Man.” While, “In a Sentimental Mood” was played as Hughes depicts newly arriving Blacks, Hispanics and West Indians creating a cultural “melting pot” and eventually revolting against white control.

Ellington and Lena Horne were successful there, but others went abroad, especially during the Depression for better opportunities such as Josephine Baker, Paul Robeson and even Hughes who got an invitation to work on a film in Russia.That’s was the end of his halcyon years in the fabled town. Concluding the two-hour long tour de force was the mostly optimistic and at times sarcastic epilogue “Let America Be America Again.” All the actors mightily recited Hughes inspiring verses to draw strong crowd reactions and an overpowering standing ovation. For more info go to: wordtheatre.org

Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net