There’s often a lot of clamoring about artists “taking the audience to church.” On the other hand, Brooklyn-born, now a LA resident, Grammy-winning keyboardist/vocalist Cory Henry brought the church to the Miracle Theatre in Inglewood. It was part of his Monthly Series The Church Experience that Blends Uplifting Music with Food (provided preshow by Dulan’s Soul Food Kitchen), Community Spirit and Radical Joy for All Ages.
The series is rooted in the music from Henry’s 2025 GRAMMY-winning Church (Best Roots Gospel Album). It presented a mix of gospel, funk, and jazz that is part concert, part communal gathering. In the same spirt the record draws from Henry’s Brooklyn church upbringing. The Apostles Community Choir and Henry’s Funk Apostles Band served as the powerful and supportive music underscoring the keyboardist. Prior to Henry and his congregation getting underway, actor/singer/comedian Jor’el Quinn warmed up the audience with joyful banter, testament, prayers and songs, with many in the attendance participating.
Henry, the headliner, afterwards continued Quinn’s audience engagement and introduced his band. It consisted of Eric Draper-percussion, “Spunk” C. Wright-drums, Eric Walls-guitar, Jeremy Kippers-keyboards and Pugh Johnson-bass. The 30-member multi-generational choir Directed by Matia Celeste Washington was a vibrant force that combined with the bandleader’s churchy organ playing and soul-drenched vocals literally “rocked the house.”
Rocking gospel songs of note were “Come on Build This House) It’s Gonna Rain,” crowd swaying “Jesus He Knows,” and swelling “I Really Love The Lord,” along with percussion-driven “For The Rest of My Life (I’ll Serve You” and “Take it Away From Me.” While, “My Soul Says Yes” focused more on the grandeur of the choir and their dense interactions. For more variety, a horn trio adorned “How Much Can We Bear” and Henry’s longtime friend, singer Lena Byrd Miles added jazzy singing, scatting and call and response with organist/singer to further excite the audience. The only thing missing was a donation plate. For more info go to: coryhenry.com and www.themiracleinglewood.com.
Dominique Fils-Aimé, a Juno-winning eclectic vocalist from Montreal took the audience at the Blue Note LA on an extra-terrestrial voyage via her loop-layered singing and her band, David Osei Afrifa-keyboards, Etienne Miousse-guitar, Danny Trudeau-bass/synth bass and Harvey Bien-Aimée-drums soundscapes. She began by merging Nina Simone’s immortal “Feeling Good” and her own unworldly original “Feeling Like A Plant.” Fils-Aimé also injected a meditative/trance-like aspect to the concert through gently sung “My Mind at Ease.”
“Fall and All” comparatively displayed her outstanding vocal skills with light band fare and minimum effects, except a bit of reverb that became an indie/jazzy crescendo with the band wailing away. For purity, the Canadian exhibited her Chanteuse abilities through the superbly sung “Moi je t’aime (I’m The One Who Loves You).”
While “Free Dom” returned to a nuanced blend of contemporary jazz and astounding layered singing, and “Mind Made Up” was imbued with sweet sounding R&B to become a lengthy mix of the two songs. In the same fashion, Tracy Chapman’s popular “Give Me a Reason” was treated with 21st century electronic effects and Fils-Aimé trading off with her band mates.
In closing, she amped things up with a goth/electronica song “Let It Burn” that was loaded with vocal layers and effects. Alternatively, “Our Roots Run Deep” was slightly subtler and leaned more to hard-hitting rock, and ascertained that the French Canadian can adeptly go in any direction she chooses. For more info go to: domiofficial.com/en/ and www.bluenotejazz.com/la/
Tab Benoit the voice and the heart of the Louisiana swamp land essentially merged the essence of his music through the beginning first three songs at Saint Rocke. To a sold-out crowd with bassist Corey Duplechin and subbing drummer Chip Vayenas, he began with the guitar assaulting “(Bring Me My) Medicine” that had traits of Hendrix’s “Voodoo Child,” but with slower and clammier textures. Benoit’s soulful vocals, often compared to the late great Otis Redding, served as a respite through the deeply emotional and guitar crying “Nothing Takes the Place of You.” While, super-charged “It’s Alright” was explosive rocking blues, similar to Stevie Ray Vaughan and Dwane Allman that had the crowd jumping and howling.
Falling in-between the leading jams was the snarly and poignant “Shelter Me,” referencing Hurricane Katrina, which occurred exactly 20-years ago. “Why, Why” had bits of R&B, tempered by the bandleader’s sweltering—take no prisoners—guitar playing. For another breather, Benoit heartfeltly sang and played with some blasting moments, memory-laden “Still Gray.” “Night Train” rekindled the energy with snake-like singing and more unbelievable ripping guitar playing to a John Lee Hooker styled stomping beat.
While, New Orleans and swamp rocking “Watching The Gators Roll In” amusingly recalled nearby alligators enjoying the music he played on his swamp boat with buddies Anders Osborne and Geoge Porter, Jr. Wrapping up the fast-paced show and maintaining focus on Benoit’s home region was the trashing and hard-hitting “Bayou Man” to draw a zealous ovation (most of the audience was already standing). For the encore, Benoit further excited the audience with his players and the opening band GA-20 for the hot blues boogieing “Why Are People Like That?” and Led Zepplin blasting I Hear Thunder, title track of his 2024 album. For more info go to: www.tabbenoit.com, ga20band.com and www.saintrocke.com.
Contemporary platinum-selling bluesman Kenny Wayne Shepherd, and living legend, Chitlin-circuit multi-Grammy and Blues Award-winner Bobby Rush grew up in the same region of rural Louisiana and crossed paths many times over the years. Surprisingly, they never preformed or recorded together until Shepherd’s 2023 Back Roads Festival, held in the Pacific Northwest that year. After Rush amazingly stole the show, the two artists started having serious conversations about possibly recording and touring together. The result is 48 year old Shepherd and 91 year old Rush’s 2024 album, released in 2025, Young Fashioned Ways.
In support of the album and the duo’s friendship, they embarked on a 24-city tour that included a night at the Ford Amphitheater with two different band configurations. The first was Shepherd playing with Rush as he sang and played harp downhome-like with his own band and spotlighted new songs. “Hey Baby (What Are We Gonna do)” was Delta styled and accentuated by Shepherd’s blazing slide guitar playing. Shifting to vintage blues with minimal band support and sorrowful singing was “Long Way From Home” and “40 Acres (How Long).”
The guitarist amusingly commented about him and Rush uniting, and also warned the audience that the adult portion of the concert was about to begin. Afterward, Rush well known for his bawdy sensibilities launched into hard-rocking “Make Love to You” boasted by Shepherd’s raw and expressive fretwork. The singer’s folk-funk classic “G String” had the crowd laughing away. Juxtaposing with the stripped down songs was “You So Fine” and the album’s title track, which spotlighted the band and Rush on harmonica powerfully jamming away to astonish the attendees.
Without Rush, Shepherd performed with his longstanding band consisting of Noah Hunt-lead vocals/rhythm guitar/percussion, Chris Layton-drums, Kevin McCormick-bass, Doug Woolverton-trumpet, Joe Krown-keyboards and Charlie DiPuma-saxophone. Their songs and approach leaned heavily to classic rocking blues. Highlighting the set was “Woman Like You,” a brassy version of ZZ Top’s “She Loves My Automobile” and Southern rock boogieing “Watch You Go.”
Notably, Hendrix flavored “Deja Voodoo” was the bandleader’s first single, released exactly 30 years ago. As a bonus, saxophonist Danny Nucci joined Shepherd’s band for the jamming Elmore James’ blues classic “Talk to Me Baby.” Also included in the set was Slim Harpo’s “I’m a King Bee” and mid-tempo guitar wailing “Blue on Black,” probably the band’s most popular song. Rush returned during the final moments of the extremely entertaining show to further shake things up with grits and gravy-flavored “Uncle Esau” and “Who Was That?” to draw a standing ovation. For the encore, the bandleader scorched the amphitheater with Hendrix’s immortal “Voodoo Child (Slight Return).” For more info go to: www.kennywayneshepherd.net, www.bobbyrushbluesman.com and www.laphil.com.
Aurora “Rory” Block, a long-time favorite at McCabe’s returned and quickly re-established why she’s a leading authority on Delta country blues. The singer/guitarist and songwriter, originally from the New Jersey/New York region was a young colleague of Greenwich Village folkies, John Sebastion, Peter Rowan and Stefan Grossman (former boyfriend). Most significantly, Block gained her skills and knowledge firsthand from the masters of the Delta blues, Mississippi John Hurt, Skip James and Son House.
With Grossman, she spent time with the extremely influential Rev. Gary Davis, who migrated to New York from Durham, North Carolina during the ‘40s. His songs years later became a source for folk and rock musicians during the ‘60s. Block additionally developed close ties with Robert Johnson’s son Claude and his grandson Stephen (she toured with his gospel choir). They passed on information not generally known to the public that gave her further insight about the icon.
The blues encyclopedia-like artist with close to 40 albums released, began singing powerfully and playing wicked acoustic slide guitar for House’s “Death Letter.” Afterwards, Block noted that song had similarities to Johnson’s “Walking Blues” because he was strongly influenced by Son House. Along the same lines was McKinley Morganfield (Muddy Waters’) “Lord I be Bound to Write to You,” wrought with percussive slide guitar playing and resounding singing.
The prolific recording and touring artist included interesting and sometimes very personal antidotes for almost every song. Included was finding the right material for playing slide guitar, and learning the subtleties when she recorded with Bonnie Raitt. Mostly though, Block spoke about her times with James, Davis, Hurt and House, her favorite mentor. Also, the singer/guitarist/songwriter mentioned Mississippi players Tommy Johnson and Charley Patton who came before her Delta gurus and were lesser known during the Blues Revival of the ‘60s. In their honor she played Johnson’s “Canned Heat,” an illegal and deadly drink made from jellied alcohol, which Al Wilson chose for the name of his popular LA blues band.
Heavy on The Blues Block’s newest record was barely mentioned and for variety she showcased original songs. They were, one about Job from the Old Testament, poignant ballad“Love And Whiskey” and amazing a cappella sung “The Last Leviathan” for her 1996 album Tornado.” Not to be forgotten was Johnson’s slide guitar-driven timeless classic “Cross Road Blues” that garnered an enthusiastic standing ovation. For more info go to: www.roryblock.com and www.mccabes.com.
Detroit born and raised, Grammy-nominated alto saxophonist Kenny Garrett, currently based in New York City is remarkable artist capable of playing on the highest levels and has never lost touch with his rhythmic roots. He stormed the Blue Note Los Angeles with explosive playing and exuberant rhythms.
Abetted by bandmembers, pianist Keith Brown, bassist Jeremiah Edwards, drummer Ronald Bruner Jr., percussionist Rudy Bird, and vocalist Melvis Santa, Garrett launched into a blazing extended version of the prevailing title piece for his 2021 project Sounds From the Ancestors. Melding Coltrane-like textures with Afro-Cuban undercurrents, the composition was the perfect platform for the band to impressively solidify and flourish.
Except for announcing his players, Garrett spoke sparsely to the audience and quickly segued into equally hard-driving, band scorching “What Was That.” It also was from the 2021 record accented by dynamic solos from each of the players, such as Santa’s melodious scatting/wordless singing and Brown’s very rhythmic neo-bop piano soloing.
For a breather of sorts, the saxophonist played electric piano for the intro of gospel/contemporary jazz groove “When The Days Were Different.” Afterwards, he switched to played sweet sounding alto and chanted to the spirited crowd, with the vocalist adding flowing layers as well. Garrett remained in the mood for an interesting melding of funk and “A Love Supreme” with the audience singing along.
A little later, the bandleader would dive deeply into bebop and played solely for about four and a half minutes before the band returned to proudly display his jazz cred. For the set conclusion, the multi-faceted saxophonist served up his 2002 reprising funky signature tune Happy People. For more info go to: www.kennygarrett.com and www.bluenotejazz.com/la/
It’s not clear if the ever busy keyboardist John Beasley, Music Director for Dianne Reeves and founder of the Monk’estra Orchestra, met or worked with the iconic drummer Tony Willians. Beasley toured with Miles Davis in 1989 and is on the iconoclastic trumpeter’s record Live Around The World, Miles Davis 1986-1991 and on a Warner Bros. Records Miles Davis box set, The Last Word. Davis undoubtedly is the main connection for the musicians, along with working in New York and LA. Beasley, during his Celebrating The Tony Williams Quintet show at Sam First had much respect and plenty of annotations about the powerhouse drummer who prematurely died in 1997.
With Aaron Janik-trumpet, Ralph Moore-tenor saxophone, Tim Lefebvre-bass and John Davis- drums, Beasley joyfully began the tribute and implemented arrangements he created while working on a cruise ship in the early ‘90s that haven’t been played before. The numbers played spanned Williams’ career and “Neptune: Creatures of Conscience” from his Story of Neptune album was one of the opening tunes. With an engaging mix of hardbop, post-bop and vibrant drumming from Davis, it seemed to sonically fall between Art Blakey’s Jazz Messengers and Miles Davis second quintet in the mid ‘60s, both of whom Willams was a member of.
The drummer’s best-known composition, “Sister Cheryl” with similarities to Amad Jamal’s ground-breaking modal structured “Poinciana” followed and was perfect for the quintet. The brass section synced up brilliantly for the thematic piece and the rhythm players with Beasley’s masterful and spacious soloing were solid, yet also supple. Whereas, “The Slump” was much livelier, featuring punchy horns, a driving beat and almost theatrical-like melody.
The remainder of the concert focused on Williams’ period with Davis, beginning with the drummer’s thoughtful 1967 ballad “Pee Wee,” which the famous trumpeter didn’t play on. His classic “Seven Steps to Heaven” renamed by Beasley “19 Steps to Nirvana” wrapped up the show and was given a blistering treatment that showcased all the players stretching out and soloing extraordinarily to receive a rousing standing ovation. For more info go to: www.johnbeasleymusic.com and www.samfirstbar.com.
Music is often an uplifting reflection of the era we live in—and it also can cause a visceral reaction. The 68th Monterey Jazz Festival was delightfully on the positive side of the scale, resonating with joyfulness, optimism and barely a mention of politics, wars, or the economy. Additionally, the 2025 MJF, located on the 22 acre Monterey County Fairgrounds, adjacent to picturesque ocean vistas and popular shops and restaurants, coincided with pleasant temperatures in the high 60°F to low 70°F range during daylight hours.
Two-time Grammy-winning “jazz poet” and one of MJF 2025 few male jazz vocalists was Gregory Porter. The other was Tyreek McDole winner of the 2023 Sarah Vaughan International Jazz Vocal Competition. Gregory Porter lived up to his reputation of being a master evocator of audiences’ hearts and minds. With his longstanding band, the baritone singer/almost preacher thrilled everyone with his gospel-drenched/church clapping “Liquid Spirit,” deep crooning and much covered “Insanity,” probing “Musical Genocide” and bassist Jamal Nichols’ solo medley of ‘60s R&B hits, including the Temptations’ perennial “Papa Was a Rolling Stone.”
Dianne Reeves, a five-time Grammy-winner and top-polling vocalist headed a rich and bountiful harvest of women singers at MJF 2025. The grouping spanned polished veterans, astounding newbies and enlivening ones from abroad to put an international spin on the 68-year-old, continuous jazz festival.
During her set, Reeves catapulted onstage to immediately get the concert-goers attention with a vibrant Afro-Cuban version of “What’s New,” adventurously arranged by pianist/Musical Director John Beasley. Additionally, the keyboardist arranged Pat Metheny’s upsurging and rainforest influenced “Minuano (Six Eight).” The buoyant tune exploded with Reeves’ inimitable and formidable wordless scatting/singing to leave the audience breathless. For respites, she soothingly sang ballads “Café” by Egberto Gismonti, featuring guitarist Romero Lubambo, and Horace Silver’s very apt “Peace.”
Equally audacious and doing her own compositions, Carmen Lundy, additionally an actress, sculptress, painter and producer began with the invigorating “Time is Love.” Getting a little funky with an atmospheric vibe she embracingly sang “Day Break” garnered by guitarist Andrew Renfroe and pianist Julious Rodriguez’s blazing touches. Socio/political uplifting “Daughter of the Universe” was boldly sung and played. Afterward, the audience overtaken by her performance urged her to preach and Lundy retorted, “I’m not a preacher, I’m a ‘truth-teller.’”
Vocalist, producer, arranger, and now author for the newly released Beneath The Skin book and recording, Nnenna Freelon was more traditionally oriented. Graced by pianist Alan Pasqua’s singular playing, the alto singer soared for “Skylark” and self-confessional ballad “Widow’s Song” in memory of her husband of 40 years, Philip, who passed away in 2019.
Also of note, was genre defying Lisa Fischer who’s sang backup with everyone, from the Stones, Luther Vandross, Chris Botti and Tina Turner. She displayed her renowned range with living jazz legends, drummer Lenny White, saxophonist/emcee Javon Jackson, saxophonist Dr. Eddie Henderson, pianist Orrin Evans and bassist John Patitucci. They all roared on the savory ballad “Let There be Love,” and a high-flying version of “Take The A-Train,” loaded with blistering solos.
René Marie and her Experiment In Truth sextet presented a unique jazz related set, comprised of calypso, ska, folk and pop—titled Jump In The Front Line: A Tribute To Harry Belafonte. With poise, intelligence, expressive singing, engaging story-telling and excellent players, she showcased songs from the much-loved, activist, humanitarian, thespian and King of Calypso’s popular canon. Included were the amusing “Man Smart (Woman Smarter),” bluesy “John Henry,” folky “Come Back Liza” and his all-time heartbreaking classic “Jamaica Farewell.”
R&B vocal stylist and actress Ledisi, who dabbles in jazz, releasing Ledisi Sings Nina in 2021 and For Dinah this year, spotlighted her dynamic, but still very much Ledisi versions of “This Bitter Earth” and “What a Difference a Day Made.” Afterwards, the Grammy-winner returned to more familiar modern soul material with a lengthy rendition of “In The Morning.”
A diverse array of singers either new to festival or on the scene, riveted MJF 2025. Swedish singer/multi-instrumental Gunhild Carling, though not part of the youth brigade, fully captivated the attendees. She jammed mightily with her guitarist husband, drummer son, trombonist/vocalist daughter, alto saxophonist Nicole McCabe and other rhythm players to fully transfix the attendees. Amazingly, she maintained trad jazz and boogie-woogie sensibilities, while being a whirlwind—around the stage, singing, dancing, playing trumpet, harmonica, trombone, recorder, and even two trumpets and trombone at the same time.
Cuban-based violinist/singer/keyboardist Yilian Canizares revealed influences of her homeland, violinist Stephane Grappelli and classical music, with only bass and percussion supporting that was mind-blowing. Camille Thurman, a Jazz at Lincoln Center saxophonist/vocalist mentored by Tia Fuller—in partnership with drummer/husband Darrell Green’s Quartet—shined with unbelievable near-operatic singing/scatting, along with sophisticated reed work. Three-time Juno-winner (Canadian Grammy), vocalist/composer Caity Gyorgy and trio fascinated listeners with swinging interpretations of well-known standards and her own alluring numbers.
Also, from Canada and a Juno-winner, singer Dominique Fils-Aime presented a very enticing mix of electronica pop, ambient modern soul, and stunning French chanteuse. Veracruz, Mexico-native Lucia, winner of the 2022 Sarah Vaughan International Jazz Vocal Competition enthrallingly showcased her jazz standard prowess, and sweeping son jarocho (folk music) she learned from her father. Ekep Nkwelle, born in Washington, D.C. and based in New York, had some resemblance to Ella Fitzgerald, and demonstrated through a dazzling range and colorful style why she is becoming a fast emerging artist.
MJF 2025 had much more to offer than a lot of fantastic singers. The multi-generational, Clayton duo, merging the phenomenal talents of bassist/father John and son/pianist Gerald. They superbly played the standard, “If I Should Lose You,” contrasting classical ballad played with arco bass, “Damunt de tu Només les Flors” (Above You Only The Flowers,) and unparallel gospel piano for the classic, “Just a Closer Walk With Thee.” In closing, G. Clayton alluded to the horrific Altadena fires in Southern California, in which the Clayton family home was destroyed, saying the only things that matter are community, love, family and friendship.
Consummate bassist, nine-time Grammy-winner, former Artistic Director for the Newport Jazz Festival and MJF 2025 Legends Gala Honoree, Christian McBride debuted his Ursa Major band. It included his burgeoning protégés for the last three years, Savannah Harris on drums, Ely Perlman on guitar, Nicole Glover on tenor saxophone and Mike King on keyboards, all making their first MJF appearance on the on the heels of their milestone first album (set for release early 2026). In performance the players displayed high caliber skills through original pieces, fusion “Cows,” hard-bop styled “Waltz For Monk (dedicated to pianist Donald Brown)” and neo-bop “Elevation.”
Alternatively, pianist Christian Sands the 2025 Commission Artist performed his sweeping collection of pieces with MJF historical references, Reflections From The Shore: A Monterey Suite. A few hours later, Sands with his trio zestfully played a crowd-appealing mix of swinging mainstream, soulful gospel, and engaging neo-bop. Sullivan Fortner, renowned for his astounding work with Cecile McLorin Salvant, was MJF 2025 Artist-In-Residence.
Much like a mad wizard, the New Orleans-born pianist dashed from Osvaldo Farrés explosive Afro-Cuban bolero “Tres Palabras,” Monk-like ballad “Again Never” and Bud Powell tinged “Daahoud.” Additionally, Fortner performed with the Next Generation Orchestra featuring young singer Declan Cashman, who sonically could be mistaken for Michael Mayo. Directing the promising musicians was long-tenured Gerald Clayton, who in 2026 will also be involved with the MJF Artistic Direction team.
Benny Green playing solo piano, though not as flamboyant, held the audience captive with his masterful rendering of standards and dedicated compositions. Among them were gospel tainted “Pittsburgh Brethren” for his Pittsburgh-born mentors, pianist Ray Hartley and bassist Ray Brown, and stride piano soaring “Wiggin (With The Wig)” for Gerald Wiggins.
In the realm of Latin jazz, master timbale player and big bandleader Pete Escovedo with his sons Juan on congas and Peter Michael on drums helping out, vibrantly celebrated his ninetieth spin around the planet. Compositions, such as “La Cuna” and “Ah Bailar Cha Cha Cha” were high caliber, irresistible and danceable. But even more enjoyable were his stories about growing up and playing in the Bay Area, before moving to LA that was interspersed with bawdy, side-splitting jokes about getting older.
About a generation younger than Escovedo, eight-time Grammy-winning pianist/composer/pianist/bandleader Arturo O’Farrill and the Afro Latin Jazz Ensemble represented a divergent, less traditional orientation of Latin jazz. They exuded high energy with a substantial amount of percussion (two congueros) for “Action Reaction,” epic “Ensayo Silencio” and “Clump, Unclump” influenced by his mentor Carla Bley and dedicated to recently departed Latin jazz icon Eddie Palmieri.
Quincy Jones’ Cuban-born protégé, pianist Alfredo Rodriquez and trio, with bassist Han Beyli and drummer Michael Olivera were musical ambassadors. They vigorously showcased high-energy originals and tangents from his homeland, along with Latin-fused versions of Stevie Wonder’s “I Wish” and Michael Jackson’s Thriller as a tribute to Jones.
Indubitably, there were a few blues performers, such as the high-revving and long playing Mr. Sipp, B.B. King/Albert King influenced Chris Cain and the SF-based JC Smith Band. They all clamored about “low down” lovers, bosses, friends and relatives. MJF favorites, Minneapolis-based Davina and The Vagabonds, were similar, but with nuances of rock, R&B and cabaret interspersed.
Closing out MJF 2025 and drawing a “What The ….” reaction from the on-duty jazz police was Trombone Shorty, making his fourth appearance at Monterey. He’s presently New Orleans’ most popular musical artist and is an inexhaustible ball of energy, who mesmerized the crowd with rock stadium dynamics. Included was plenty of dancing, intense brass wailing, six minutes of solo circular breathing on trumpet and playing in the audience.
For R&B and jazz cred, the trombonist/trumpeter/singer included a couple of vintage Crescent City songs, “Here Come the Girls” by Ernie K-Doe and Allan Allen Toussaint, and “On The Sunny Side of The Street,” popularized by Louis Armstrong and many others. There’s no doubt that the Monterey Jazz Festival will back stronger than ever in 2026.
Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net