By Chris J. Walker
40-year-old and Grammy-winning Rebirth Brass Band, one of the architects of the modern brass band movement, that once included trumpeter Kermit Ruffins as an original member brought New Orleans to the Miracle Theatre. The ensemble’s infectious mix of second-line, funk, jazz, soul, and hip-hop, had many of the partying audience donning Mardi Gras clothing, including umbrellas and hats.
Hank Williams’ classic “Jambalaya (On the Bayou)” done brass-band style got things fired up and featured the band injecting funky brass chorus and rhythms before getting into the tasty lyrics. Fats Domino’s soulful “I’m Walkin’” got the same treatment and included riveting drumming. Fanning the flames, the New Orleans musicians sang “We Came to Party” before switching to thematic and extensive jazzy brass playing.
For something a little different the group mashed “Too Late” with Joe Zawinul’s iconic “Mercy, Mercy, Mercy” for very soulful and laidback grooving. In the same vein was “Come on Home” and their theme song that included scatting and audience singing along for a long, hard jamming section.
While “What Ya Gonna Do?” asked about getting about being confronted by the police. In reply, Rebirth bold stated “I Feel Like Blowin’ it Up.” That was about as political as the New Orleans musicians got and then shifted to upbeat “Moving on Up” that was adorned with colorful brass forays and funky beats. As expected, the celebrated band was just getting warmed up. For more info go to: www.rebirthbrassband.com and www.themiracleinglewood.com.
In 2021 singer/songwriter/actress/activist Andra Day made her major film debut as the iconic singer in the biopic, The United States vs. Billie Holiday. She drew critical acclaim for her portrayal, winning a Golden Globe for Best Actress-Drama, BET Award For Best Actress and a Grammy for Best Compilation Soundtrack for Visual Media, along with being nominated foran Academy Award for Best Actress.
In fact, many compared her to Diana Ross, who also was Oscar nominated for her Billy Holiday portrayal in the 1972 film Lady Sings the Blues. Before getting the attention for acting and singing in films, Day received a Daytime Emmy Award nomination in 2018 for her live performance of “Rise Up” on The View and was Grammy-nominated for her chart-topping R&B/modern soul debut studio album Cheers to The Fall.
At the Grammy Museum with mega producer/songwriter/musician Jimmy Jam, Day with unrestrained candor and sharp wit discussed her career successes and pitfalls. Like most artists her climb to fame was slow and discouraging at times. In 2010 she caught the eye of Stevie Wonder’s then wife, Kai Millard while performing at a strip mall. Millard raved about Day to her husband and he subsequently called Day, but nothing happened right away. A year later the R&B/pop superstar connected her with producer Adrian Gurvitz. He eventually collaborated on Day’s album a few years later.
Around 2014 the singer made many inroads, performing at the Sundance Film Festival, the Closing ceremonies of the 2015 Special Olympics, the Essence Festival, the BET Awards and touring with Lenny Kravitz. Modern legend film director Spike Lee even volunteered to direct her music video for the single “Forever Mine” that’s on her new breakout record.
Due to being easily distracted, being a perfectionist, doing singles with other artists such as Gary Clark, Jr. and Sheryl Crow, and working on other film projects with Lee Daniels, who directed the Billy Holiday film, the singer dragged on completing her new project (nine years) CASSANDRA (cherith) that was just released. She revealed that it was more unhinged than the 2015 recording and completed with her touring band. Day feels very close to them and credits the musicians for helping her grow as a singer. While listening to some of the tracks Jam expressed interest in the technical aspects, sequencing, the flow, and getting more women involved in all aspects of the record industry.
Q&A with the audience included, what she learned about herself doing the Billy Holiday film-her strength, did she read Billy Holiday’s book before doing the role-yes, how she found her voice-Billy Holiday helped her find and accept it, how does she preserver through pressure and criticism-her faith in God and dealing with people opposed to DEI-use discernment and walk in purpose and your mission. For more info go to: www.andraday.com and grammymuseum.org.
Musically, keyboardist David Garfield, born in Chicago and raised in New York and St. Louis, has done just about everything in roles as a songwriter, producer, bandleader, arranger, recording artist, record label owner (Creatchy Records), session and touring musician, musical director and composer of commissioned themes. The only thing missing is being a vocalist, and he’s worked with plenty of them, including Michael McDonald, Richard Marx, Cher, Boz Scaggs, Michael Bolton, Natalie Cole, Alex Ligertwood, Smokey Robinson, and George Benson intermittently as his Musical Director since 1986.
First and foremost, Garfield is a player who relishes interacting with other musicians. Alvas Showroom in San Pedro was the perfect setting for him and “The Cats,” John Peña-bass, Chad Wackerman-drums and special guest, Grammy Nominee Grant Geissman-guitar to jam away. The show, though, wasn’t a jam in the sense of the word, but rather a showcase of jazz, contemporary, pop and R&B songs the monster musicians either played on, composed or in memory of musical friends who have passed away.
Getting things underway was the high powered “E Minor Shuffle” from Garfield’s Tribute to Jeff Pocaro album, dedicated to drummer Carlos Vega who was on the record (died 1998). Easy flowing “Oaxaca” in ¾ time with assaulting drumming was composed in 1975. Steely Dan’s seminal rock/jazz fusion masterpiece Aja was excellently performed to the audience’s delight in honor of drummer of Ralph Humphrey. He was on the bandleader’s latest recorded version of the tune and died last year.
Another remembrance was Marcus Miller’s pulsing groove “Maputo” for very recently departed alto saxophonist David Sanborn, featuring Peña reeling off lowdown and funky riffs.
In the well-known and very recognizable song category was Chuck Mangione’s “Feels So Good,” which Geissman played on and was a bandmember. He played both tastefully and ferociously on the mega hit as his bandmates coolly grooved away. Additionally, the keyboardist inserted mainstream jazz classic “Little Sunflower,” which he recorded with Freddie Hubbard during the same period.
Garfield’s “Desert Hot Spring” resembled a jam more than the other tunes, and abounded with strong grooving, riveting guitar, fiery drumming, resounding bass, and melodic keyboards. Alternately, the keyboardist beautifully played a Stevie Wonder ballad solely and for the encore the band dug up a much lesser known Yellowjackets piece to end the almost two-hour long set and definitely left the audience wanting more. For more info go to: www.creatchy.com and alvasshowroom.com
Grammy-winning Brazilians, singer/educator Luciana Souza, who is based in LA, and Trio Corrente from São Paulo made Cometa, their first record together last year. The results were incredible and during April 2024 they made a whirlwind tour that concluded at The Nimoy adjacent to the UCLA campus. The almost 25-year-old trio, which includes drummer Edu Ribeiro, pianist Fabio Torres and bassist Paulo Paulelli, with Souza revisited sambas by some of their homeland’s top composers, Dorival Caymmi, Ari Barrosa, Jobim, Paulinho da Viola and Djavan.
In performance, the vocalist who primarily sang in Portuguese, and trio were velvety smooth. They opened with Dorival Caymmi’s festive “Você Já Foi à Bahia (Have You Ever Been to Bahia),” coincidentally the new project’s first track, featuring joyous singing and spry band interplay. “Rumo Dos Ventos (Direction of The Winds)” kept the upbeat vibe going and featured Souza’s peppy mezzo soprano singing and scatting, with light piano and bass fills.
Contrarily, ballad “Pra Machucar Meu Coração (To Hurt My Heart)” slowed things down considerably and was lightly supported by the trio initially as the vocalist elegantly opened, prior to her and musicians shifting slightly up-tempo. While, Djavan’s “Ventos Do Norte (Winds of The North)” returned to lively bossa rhythms and singing with all the participants excelling in lively interaction.
Along with the well-known songs, each member created a new piece to round things out and brought added vitality to their project. Among them were “Baião Joy (Rhythm For All)” by the bassist that included a lengthy piano intro, appealing samba rhythms and enchanting wordless singing. Paulelli, also played solely and inserted insect-like gibberish that amused the audience.
That led to the classic Brazilian song “Só Danço Samba (I Only Dance Samba),” not on the record and featuring extensive jamming from the band and singer. Additionally, not on the new album was the swirling, and wordless “Lilia,” which is on Wayne Shorter and Milton Nascimento’s landmark 1974 recording Native Dancer. Closing out the captivating concert was choro master composer Pixinguinha’s “Lamento” that drew a very enthusiastic standing ovation. For more info go to: www.lucianasouza.com and cap.ucla.edu.
In 2019 Korean-French siblings ISAAC ET NORA, respectively twelve and seven at the time, andfrom Quimper, a small city in northwest Francebecame Surprise Internet Stars with their captivating and sweetly sung video of a classic Cuban bolero, “Veinte Años (Twenty Years).” Since then, the video has garnered 100 Million Total Views, 1.6 million fans on Facebook and more than a million followers combined on Instagram, TikTok, and YouTube, where they have their own channel.
Additionally, they have recorded two albums, Latin & Love Studies (2021), which includes classics from the Great Latin American Songbook, and Premieres Chansons (2023) an album of original songs written for them.
Most astonishing, the duo, Isaac-guitar/trumpet/drums/vocals and Nora-vocals/ukelele/accordion didn’t speak Spanish. They were influenced by their French-born mother Catherine’s taste in music, and Korean-French guitar playing father Nicolas Restoin, who accompanies them. They sang phonetically initially and were taught to played by ear by their dad. With subsequent concerts and records, they quickly immersed themselves in the Spanish language and Latin culture.
At the Fonda Theatre the duo with their father and supported by Alonso Lopez-bass and Florencia Olatte-drums/percussion charmed the audience with their authentic sounding songs and quickly demonstrated their musicianship. Nora asked the audience if they understood Spanish and upon them saying yes, she enthusiastically greeted them and mentioned that they’re moving to Mexico City.
Following that she sang angelically, while the musicians coolly provided equally enthralling Latin soundscapes for both traditional and contemporary songs. Among them were: “La Bruja,” “No Soy de Aquí ni Soy de Allá,” “En tu Pelo” and “Reminiscencias,” along with “Hasta la Raíz” by Natalia Lafourcade and encore selection, “La Canción del Mariachi” by Cesar Rosas. For more info go to: Facebook and
https://www.npr.org/2022/06/04/1102668843/meet-isaac-and-nora-two-french-kids-who-are-big-in-latin-american-music and https://www.youtube.com/@IsaacetNora
Renowned flautist/educator/composer Lori Bell, who’s based in San Diego showcased selections from her latest album Recorda Me-Remembering Joe Henderson at Sam First. Supported by Josh Nelson-piano, Luca Alemanno-bass and Dan Schnelle-drums, she boldly ventured where few flute players dare to go—transposing and interpreting the music of a modern tenor saxophone legend, whose 87th birthday was the day before (he died in 2001).
Making the project even more ambitious and adventurous was the fact that Henderson sparingly played flute, especially in concert. Bell, though, was so significantly affected and influenced by his expansive and sometimes unconventional music that she ardently rose to the challenge—spanning exceptional tracks from the early ’60 to the ‘70s. “Isotope” one of Henderson more interesting titles started the show, with the bandleader doing a solo intro that led to a hip and bluesy romp fueled by energetic band backing and soloing.
“Punjab” was even more exotic, with strong Eastern textures and Bell’s cool ethereal playing as the other players generated a lightly pulsing backbeat, with Nelson contributing an equally compelling solo. “Inner Urge,” one of the saxophonist’s most popular tunes came alive through Bell’s fluid flute mastery, along with Schnelle’s driving and steadfast drumming that included him soloing.
Following that was Henderson’s highly regarded composition, jazz waltz “Black Narcissus.” It was exquisitely done, featuring the bandleader’s stellar alto flute playing and Nelson’s tasteful garnishment. While, from a more conventional standpoint was the 1963 hard-bop classic “Out of The Night,” highlighted by Alemanno, Bell and Nelson’s hip solo touches. Also included was the jaunting “A Shade of Jade” that was recorded three years later. In the flautist’s hands it was transformed into a palatable up-tempo jazz/samba piece featuring her wailing away. For more info go to: loribellflute.com and www.samfirstbar.com.
It was the 28-piece Symphonic Jazz Orchestra’s night to shine. Conducted by its Musical Director Mitch Glickman’s at CSULB’s Carpenter Center they presented a special program, Rhapsody in Blue Centennial Concert With Special Guest Marcus Roberts. The monumental and enduring composition debuted as part of popular bandleader Paul Whiteman’s concert entitled Experiments in Modern Music at New York City’s Aeolian Hall on February 12, 1924. With the assistance of Whiteman’s arranger Ferde Grofe’s orchestration the piece broke ground by incorporating classical and jazz motifs, and was an immediate hit that became a pillar of the jazz age.
Roberts a formidable pianist, composer, arranger and educator with a penchant for embodying tradition orientation and themes within modern contexts was flanked by bassist Martin Jaffe and drummer Jason Marsalis. In performance with Glickman and the symphonic jazz orchestra the featured composition was expanded from 15 to 30 minutes and transformed from a high-flying soloist orientation to ensemble that enabled all members of the trio to standout, while also expanding sections of the movements. The pianist though, began solely and impressively, before his sidemen joined in for some hot swinging, with sprinkles of ragtime piano included.
Glickman deftly commingled with Roberts’s arrangement and impressively exhibited members of SJO soloing and swinging superbly, while not distancing themselves too far from the essential theme. On the other hand, Roberts spotlighted his New Orleans professor skills with a mix of boogie-woogie, ragtime, stride and trad for a section that definitely was different.
Returning to the rhapsodic theme he played more conventionally and majestically, and floated over the orchestra, but also injected Latin touches for himself and orchestra. The performance commanded a stirring standing ovation and prompted a jazzy encore of “There Is No Greater Love” from Roberts’ trio. Glickman prior to the concert said it was best version of Rhapsody of Blue he had ever heard.
SJO, before Roberts’ segment began the program with Darius Milhaud’s 1923 classical oeuvre La Création du Monde (Creation of the World). The French composer was a significant figure in 20th century music and influenced jazz, classical and pop music. He migrated to the U.S. during WWII and at Oakland’s Mills College taught an impressive list of students that included Dave Brubeck, Burt Bacharach, Philip Glass, Steve Reich and Karlheinz Stockhausen. For more info go to: www.marcusroberts.com, www.sjomusic.org and www.carpenterarts.org
Emerging vibraphonist and multi-poll winner Sasha Berliner and her group, consisting of Julien Knowles-trumpet, Javier Santiago-piano, Max Gerl-bass and Benjamin Ring-drums appeared at Sam First. The San Francisco native and protégé of vibe master Stefon Harris commanded the audience’s attention with an assaulting version of Strayhorn’s “Upper Manhattan Medical Group.” Her trumpeter’s tune “The Boot” from his newly released project As Many As One followed and maintained the energy featuring him, the bandleader and the other band members all engaged in high-octane interplay.
Berliner, who started out as a rock drummer in her adolescence has been on a film kick lately and showcased two soon to released related numbers. The first was smoldering “Private Investigation” inspired by Chinatown (1974) and the other The Worst Person in The World was a ballad in response to the 2021 movie and spotlighted the bandleader’s sensitivity to draw strong crowd reaction.
Wrapping up the fast-paced set and featuring all the players was upbeat, hard-driving and funk under toned “Shake it For Me” It was dedicated to recently departed saxophonist, vocoderist, keyboardist, producer Casey Benjamin. He was best known for being a member of the Robert Glasper Experiment and also Stefon Harris & Blackout bands. Without question, Berliner will be back and definitely is a rising star. For more info go to:
www.sashaberlinermusic.com and www.samfirstbar.com
Musical, Jelly’s Last Jam poignantly portrays iconoclastic and crass pianist/composer Jelly Roll Morton, aka Ferdinand Joseph LaMothe’s life ending. It made its triumphant return to Southern California at the Pasadena Playhouse. Initially written as a book, and creatively directed by George C. Wolfe with dazzling choreography by Hope Clark, it premiered at LA’s Mark Taper Forum in March 1991. A year later it moved to Broadway for a fortuitous year and a half run, where it was Tony-nominated, and reaped awards for then leads Gregory Hines and Tonya Pinkins, along with lighting awards. Additionally, it launched the career of dancer Savion Glover, who played the younger Morton.
The present reincarnation of the musical is far from being PG-13. Although there isn’t any nudity, the language and subject matter is not for children or the faint of heart. Morton, the musician and composer, for lack of better terms was a scoundrel, a hustler and many other not so nice things. Basically, he only cared about himself, (sounds familiar?). In true Faustian form, it all gets the better of him, and his somewhat self-imagined fame and world comes crashing down on him. The story line, although predictable keeps your attention in Act 1, and Act 2 wraps things up pretty quickly.
This is intensely carried out by Director Kent Gash, with leads John Clarence Stewart as Morton, Cress Williams as the Chimney Man and Jasmine Amy Rogers as Anita. Everyone dances incredibly well to the cutting edge, contemporary choreography, which is a true highlight of the production. The tap dancing numbers had the audience mesmerized with riveting steps and rhythms. The music with live jazz musicians resonates well with the lighting and effects, especially for a small theatre with a limited budget.
Overall, Jelly’s Last Jam is very entertaining and somewhat informative, while also depicting harsh racism from Morton and white society. Historically, the production is not entirely accurate, but acquaints attendees with Morton and his legacy. Jelly’s Last Jams runs through June 23rd. For more info go to: pasadenaplayhouse.org or call 626 356-7529.
NAMM, the Super Bowl of music that covers everything from A-Z musically and more, returned to Anaheim, CA. As always, the mega event provided opportunities for networking, learning new skills, discovery new equipment and techniques, and of course seeing a lot of great artists doing demos and performing.
Among the array of classes and special sessions offered were:
Amp Up Your Music You’ve recorded your album. Brent Fischer (Beyonce, Elvis Costello, Symphonic Prince), Ian Charbonneau (Eric Clapton, Mana, Neil Young) and Ryan Ulyate (Tom Petty & The Heartbreakers) showed how to amplify your music performance: how to prepare, gear up/down and promote and create more opportunities to market your music and grow your fan base, whether you’re performing in clubs or stadiums.
Beyond Music: Explored the expanding horizons of MIDI 2.0 in other creative domains, such as interactive multimedia, gaming and immersive storytelling, where its versatile capabilities are opening up new avenues for artistic expression featured Jeff Robbins (VisiBox) and Public Enemy’s Brian Hardgroove for an in-depth performance and presentation of this technology with a special appearance by Jeff “Skunk” Baxter.
How to Make (and Keep) Money as a Musician, most musicians know how to buy the best gear, rehearse a 50-song setlist and deliver a performance of pure musical bliss to an adoring audience. Entertainment Attorney Ron Bernstein and Music Industry Accountant Alan Friedman discussed negative cash flow, unexpected tax liabilities, questions about how to release new material, copyright matters, picking a business manager, filing tax returns and keeping the band from driving off a proverbial cliff.
Amplify Your Business With Live Streaming, Shure market development leaders Mario Ponce and Laura Davidson talked about how live streaming platforms such as YouTube Live, Facebook Live and Twitch have revolutionized the way businesses connect with their target audience.
Another session addressed the need for Performance-based degrees to include more than just the pedagogical study of traditional (ie, Classical or Jazz) performance styles. The discussion included the significance of cultural relevancy, trends, and examples of innovative new programs.
Pensado’s Place’ Presents … Mentoring With the Experts (Double Session), the hit web show came to NAMM’s Idea Center for a special session, devoted to mentoring and career development. Led by the web show’s hosts Herb Trawick and Dave Pensado, the event featured a diverse lineup of leaders and VIPs, including music business professionals, artists and recording-industry luminaries. They shared pro insights, advice and stories to help you grow your career and business.
Returning once again to share live looping techniques and creative pedal chain applications, Tiffany Christopher broke down and built up the sounds that make top solo artists’ performances larger than life.
Apple’s MainStage not only serves as a performance software but also as a teaching tool that reinforces important musicianship skills. By incorporating MainStage into private keyboard studios, music educators can begin to elevate student performances to the next level and prepare modern keyboardists for a wider range of professional opportunities. Topics included setup procedures, patch selection and layering, octave range and registers, and capturing many of the orchestration colors that are often left out of a live musical arrangement.
Live Sound Panel: Do You Hear What I Hear? Front of house. Monitors. Artist. Three perspectives on the same performance, completely different but indelibly intertwined. Four members of Kenny Chesney’s touring family — bassist Harmoni Kelley, FOH engineer Robert Scovill and monitor engineers Bryan Baxley and Phill Robinson — shared their perspectives and tales about the good, the bad and the hilarious. This session was moderated by Daniel Keller.
Playlist and Streaming Strategies for Indie Artists revealed insider tips to draw more attention to your music. They shared do’s and don’ts for a streaming release strategy, along with mistakes artists make when launching campaigns. Find out what editors consider when adding to playlists, how to use streaming services to build your audience and the stats and metrics you’ll want to consider when evaluating your music’s performance.
An Introduction of Dante AV. Those with audio backgrounds discovered video fundamentals, from basic synchronization to video compression and how Dante AV products produce broadcast-quality, visually lossless images across a variety of signal types. Those with video backgrounds saw live demonstrations of Dante AV systems with beautiful imagery and tight synchronization and performance on simple 1Gbps switches. Attendees also learned the fundamental operation and specifications for Dante AV Ultra, Dante AV-H, including latency requirements, a comparison of H.264 and JPEG2000 video compression and bandwidth planning.
Legal Essentials for Music ProfessionalsThis session, presented by Lani Levine and Michael Saltz, will explore legal issues that can make or break your career. Just a few topics include making band members owners versus work for hire versus employees; song credits; intellectual property (trademarks of logos, name and merch); performance licenses; and royalties.
39th Annual NAMM TEC Awards Presented annually by NAMM recognized the individuals, companies and technical innovations behind the sound of recordings, live performances, films, television, video games and multimedia. The Awards are widely recognized as the highest honor dedicated to the pro audio and sound recording industry.
It’s where the most outstanding products in the worlds of music making, live performances, video games, television and films are recognized and where creative luminaries like Les Paul, Peter Frampton, Quincy Jones, Joe Perry, Pete Townshend, Stevie Wonder, Joni Mitchell and Carol Kaye are celebrated for their musical contributions.
Special demos and concerts were given by artists such as guitarist Laurence Juber, drummer Gregg Bissonette, pan steel player Andy Narell, guitarist Carl Verheyen and bassist Dave Marotta, and keyboardist Greg Spero. Additionally, keyboardist Don Randi, guitarist Stanley Jordan, organist/vocalist Ellis Hall, bassist Nathan East and son keyboardist Noah East and Musicianand author Cliff Beach all did special showcases.
Furthermore, guitarist Dweezil Zappa did a meet & greet and Q&A, organists Matthew Whitaker and Pat Bianchi jammed, and Isaac Agundez spotlighted: A Journey through Jazz Fusion with the Origin Series Saxophones and guitarist Cory Wong did a special autograph signing. Also, the USAF Band of the Golden West GALAXY stationed at Travis AFB, CA. feat. conguero Poncho Sanchez.
Although not as well known, there were a large variety of artists and groups deserving attention and interest. Among them were Kindal Tate, a singer from Northridge, who’s influenced by Billy Holiday and Amy Winehouse, The Sound of China Guzheng Ensemble, Mission Vista High School Steel Drum Ensemble, Mariachi Divas De Cindy Shea, and Oléha a flamenco Hawaiian fusion duo consisting of guitarist Victor M. Perez and ukulele player Erik S. Chan.
The Mary Orji Visionaries Collective was led by Orji a saxophonist/multi-instrumentalist inspired by Alice Coltrane and Grover Washington. Guitarist Tim Bertsch was rooted in jazz, fusion, flamenco, rock, classical, blues and gypsy music. Travis Larson’s Band has recorded with Steve Lukather (Toto), Victor Wooten (Bela Fleck), Dave LaRue (Joe Satriani, John Petrucci, Dixie Dregs) and Vinx (Sting, Herbie Hancock). Kay-Ta Crypto String Society from Osaka (Japan), born guitarist Kay-Ta has supported/performed with artists ranging from Grammy Winner Lalah Hathaway, Jenifer Hudson, Jody Watley, Amerie & Chante Moore, and contemporary jazz artists Jackiem Joyner, Keiko Matsui, and Michael Lington.
Sabrosas Latin Orchestra, is the first all-female salsa band in San Diego and play salsa and Afro-Cuban-influenced music. Adelaide Pilar, hailing from Texas and in Los Angeles, seamlessly blends her Latina, Mexican American roots with musical prowess as a singer and trumpeter. Pat Petrillo Big Rhythm Band is a powerhouse and versatile band from New York that play funk, rock, fusion, and more. Olivia Rox is a powerful, dynamic, soulful singer/songwriter who also plays piano and guitar. Damjan Pejčinoski is a Macedonian guitarist, who plays gypsy jazz, jazz fusion, blues, rock and country.
Edi Callier from Portland, Oregon, an award-winning recording artist, singer, songwriter, multi-instrumentalist, producer, and mental health advocate plays an eclectic blend of soul, funk, rock, pop, R&B, and jazz with some international flare. Indie soul singer/songwriter Shea Givens from Missouri and now in So Cal brings an ever evolving emotional and bold sound to soul, pop, and R&B genres. Emily Day and the Cosmo Alleycats, from San Francisco play tin pan alley and standards and Eva & the Vagabond Tales is led by singer-songwriter Eva Mikhailovna (guitar, ukulele, piano, and vocals). Their songs combine Eastern European folk, vintage pop, and old western.
THE JACKPOT CLUB is an entertaining rockabilly and blues band.
The Zach Gutierrez Trio is a funk/blues/rock/soul trio. The Pickle Mafia blends jazz fusion with experimental elements to create unique live shows.
Tomo Kumagai a guitarist from Japan performs a synthesis of folk, jazz, classical, popular music, and original compositions. Anthony Cullins is a young musical prodigy whose guitar playing ranges from Eddie Hazel and Jeff Beck to George Benson and Eric Johnson with dozens of influences in between.
The Jon Hammond Funk Unit, play funky swinging jazz and blues instrumentals originals. Pianist Roella Oloro’s Trio was a featured artist of the SHEROCKS 2023 showcase and has performed a numerous jazz festivals, venues and clubs, including the Royal Albert Hall and Ronnie Scott’s in London. Last year, she won the ISJAC (International Society of Jazz Arrangers and Composers) prize for Emerging Black Composers.
The Holy Crow Jazz Band, based in Los Angeles, performs old-time jazz and blues from the 1900s throughout the 1930s. The band’s repertoire includes many popular and obscure songs recorded by such artists as King Oliver, Bessie Smith, Bix Beiderbecke, Jabbo Smith, Louis Armstrong, Cliff Edwards, as well as original compositions. Oscar Barcelli is a musician, drummer, composer, arranger and educator born in Lima Peru and awarded the Latin GRAMMY Cultural Foundation Scholarship for three consecutive years to Berklee College and has worked with Kurt Elling, Jo Lawry, Russell Taylor, Juancarlos Fernandez, Deedee Bridgewater, Sofia Carson, Rafa Sardina, Oscar Stagnaro, Claudio Ragazzi and others.
Djangatos are a modern manouche swing trio consisting of Robert Witmeyer (Martini Max and the Swing Kats), Ron La France and Tanner Hallinan. Together they spread the gospel of Hot Club jazz originator Django Reinhardt through their hard swinging and melodic delivery. Chaia is a New York-based songwriter, who writes and produces her own music, making it come to life through her SP-404 sampler with lyrics inspired by Jewish mysticism that combined jazz, Yiddish archival samples and house grooves.
Chennai born singer, composer and violinist Harini “Rini” Raghavan shifted South Asian classical elements toward pop and jazz sensibilities in a refreshing, organic way, to create her own version of Indian Jazztronica. Cory Pesaturo (“C Pez”) is revolutionizing the much maligned accordion and the only person to ever win the trio of World Championships on Acoustic, Digital & Jazz Accordion, and the only accordion graduate of the prestigious New England Conservatory of Music.
Moreover, heis the youngest accordionist to ever solo with a symphony orchestra in the US. Los Wizzards is multicultural funk melodic hip-hop band from Miami formed by Roy G, Samy Hawk, Wizzmer, Rafa Querales and Juseph Ballertero.And The Bryan Hansen Band is an award-winning ‘blue eyed funk’ band located in New Jersey, averaging, 125 gigs per year.
Venice is a band of brothers from Venice, CA. The band consists of two sets of brothers, Mark and Michael Lennon, and their cousins, Kipp and Pat Lennon who have been performing together since the 1980s and singing all of their lives. Miguel Hernandez Project is the personal project of Miguel Hernández, Venezuelan drummer and percussionist, currently based in Miami – Florida, exclusive artist for 24 international brands and author of two books instructions on Afro-Venezuelan rhythms for drums.
Keyboard player Jayson Tipp founded internationally-recognized contemporary jazz group Under The Lake 30 years ago. The band’s credits include live performances with prominent artists such as Joe Sample, Billy Cobham, Keiko Matsui, Stanley Jordan, and others with appearances at venues such as the PDX Jazz Festival, Cathedral Park Jazz Festival, Maui Music Festival and the Newport Beach Jazz Festival. DZIRAE GOLD is a Denver based soul and jazz Singer. Her sultry vocals have been described as “smooth as liquid gold” that shines and shimmers both on the jazz classics of yesterday and the Pop Hits of tomorrow.
Ikechi Onyenaka is a 26-year-old American jazz-neo soul saxophonist, multi-instrumentalist, singer-songwriter, and recording artist from Upper Darby, Pennsylvania on the rise in the Philly music scene. Although his primary instrument is the alto saxophone, he also plays the tenor saxophone, soprano saxophone, clarinet, piano, keyboard, bass, and drums.
Nashville artist Stacy Antonel makes clever, country-leaning Americana that feels both vintage and hyper-modern. Her “country jazz” vocals conjure the great singers of the 20s-30s, with the emotive power of country icon Patsy Cline. Felix Martinez is a Venezuelan guitarist & band trio based out of the elite Los Angeles music scene in California. Their unique and versatile style consists of an eclectic metal sound with Latin music and jazz/fusion genre mixes.
Chaia is a New York-based songwriter who writes and produces her own music, making it come to life through her SP-404 sampler and lyrics inspired by Jewish mysticism. The title of Rodney Taylor’s latest independent contemporary jazz release asks a fascinating question the popular, in demand saxophonist has been asking all his life: Can I Blow For You? The musician and songwriter has received an overwhelming “yes” response from Anita Baker (whom he toured with from 2006 to 2009), Marcus Johnson, Vesta Williams, The Emotions, Brian McKnight, Doc Powell, El Debarge, Deniece Williams, Chaka Khan and gospel greats Phil and Brenda Nicholas and Edwin Hawkins. La Mera Candelaria is a woman-fronted, Caribbean salsa/cumbia project founded by Stephani Candelaria (she/they), a queer Xicana musician, educator and activist from San Juan Bautista, California. JUNO-winnerSteve Strongman,Preach To My Soul tears from the speakers with grit and gusto, influenced by B.B. King, Stevie Ray Vaughn, and Buddy Guy. Ariella McManus, hailing from Sarasota, Florida, draws inspiration from the legendary Etta James and the incomparable Amy Winehouse, weaving a tapestry of soul and passion. For more info go to: www.namm.org
Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net