By Chris J. Walker 

the word contemporary

Eye-catching, musically captivating and extremely alluring, vocalist Lady Blackbird (aka Marley Munroe) recently mesmerized concert attendees at the John Anson Ford Theatre. Blackbird possesses the rawness of Billie HolidayNina Simone and contemporary Andra Day, coupled with 21st century aesthetics. Supported by a jazzy combo she showcased songs from her newly released album Black Acid Soul.

Starting with an a cappella intro for “Lost And Looking,” she immediately got and held everyone’s attention while singing with eerie and lingering tonality. Her supporting band quickly shifted to a murky and pulsating backdrop for “It’s Not That Easy” as Blackbird emotionally wailed away to further thrill the crowd. While Simone’s “Blackbird” had a gritty urban feel.

Blackbird with a noticeable English accent, mentioned that the LA show was their first in the U.S. after doing several in London, and she was happy to be performing. She continued singing strongly with rocking “Collage” by the James Gang and Jefferson Airplane’s psychedelic classic “White Rabbit” (not on the new record), while also showcasing her band’s chops.

“Beware The Stranger” and “Ruler of My Heart” were comparatively mildly rocking. Slowing things done some was ballad “Fix It” with only keyboard backing to reveal a more sensitive side of the singer’s persona. Closing out the 40-minute set was soaring ballad “It Will Never Happen Again.” Receiving an enthusiastic standing ovation, the audience clearly wants it to happen again.

Headlining band Vintage Trouble with a very loyal, almost devout following were totally rocking and played intensely. They had the audience up, clapping, dancing away and even included Lady Blackbird for “I See You Nancy Lee.” For more info go to:, and

text the word preview

Vocalist Madeleine Peyroux’s debut major recording label release Dreamland 25-years ago drew acclaim for its unique versions of jazz and blues standards, strongly influenced by the singer’s years of busking on the streets of Paris as a teenager. Especially notable was her similarity to Billie Holiday and being somewhat of an “old soul” who favored vintage over contemporary or modern styles, while mixing in some of her originals.

In subsequent years and through forthcoming records she branched out to cover songs by Dylan, Hank Williams and  Elliot Smith, often produced by Larry Klein. After accumulating critical and commercial success Peyroux became somewhat of a “reluctant star,” performing and touring sporadically.

In a period of 20 years she has released eight albums. Each is different, with material ranging from Leonard Cohen, whose song “Anthem” is the title of her latest effort, to the Beatles, Ray Charles, Serge Gainsbourg, Tom Waits and even Robert Johnson. Nonetheless, everything Peyroux does is highlighted by her distinctive hazy voice and lyrical manner. Like a true artist, all the songs she covers become hers.

Fans intuitively recognized this and have been loyal throughout Peyroux’s career. Anyone who likes her music is always eager to see her perform, despite the sometimes-lengthy gaps between recordings and tours. The combination of Peyroux and Paul Cole, who leans much more to folk and pop, together will make things even more intriguing and will be definitely worth checking out.

Madeleine Peyroux & Paula Cole
Saban Theatre
Oct 16
8440 Wilshire Blvd
Beverly Hills, CA

Los Angeles Philharmonic Conductor Thomas Wilkins at the Hollywood Bowl called the concert, “an evening of poetry, encompassing music inspired by poems and poems set to music that live in the realm of the art of song.” It was part of his introduction for a special program titled Gershwin, Bonds and Still. The music of composer George Gershwin is ubiquitous and renowned, and to lesser degree, lyrist Ira Gershwin, who also worked with many other great composers after his brother’s death in 1937.

In sharp contrast, Margaret Allison Bonds a long time Langston Hughes collaborator (30 years), considered to be one of the first Afro-Americans to gain notoriety as composer, and William Grant Still Jr., the first Afro-American to have a symphony and opera performed by major orchestras and opera companies are barely known outside of academic and historic circles. Their music along with Gershwin was grandly showcased at the Hollywood Bowl.  Although, not on the billboard, Bonds and Stills, Jr.’s contemporary Ulysses Kay’s dramatic to madcap vintage movie-sounding “Overture to Theater Set” opened the program.

Pianist Aaron Diehl best known for working with singer Cécile McLorin Salvant was featured for Gershwin’s “Variations on I Got Rhythm.” In a strange turn of events he became ill and had to retire from playing two minutes into the selection with Wilkins assisting him offstage.

Upon the conductor’s return, Still’s blissful and nature influenced string-laden “Singing River” from his Wood Notes originally scheduled for after the intermission was shifted to the first half. Soprano Julia Bullock graced Gershwin’s “Somebody from Somewhere,” lightly swinging “Soon” and enduring “Summertime.” Additionally, she superbly sang Bond’s Afro-American spiritual interpretation of Hughes’ “The Negro Speaks of Rivers” with dramatic orchestra accompaniment, along with the composer’s “High Noon” to draw an enthusiastic standing ovation.

Rounding out the evening was the orchestra’s exhilarating performance of Gershwin’s Porgy and Bess: A Symphonic Picture suite that included “There’s a Boat Dat’s Leaving Soon For New York,” “I Got Plenty o’ Nuttin’” and “It Ain’t Necessarily So.”

Calling Jason Moran “innovative and adventurous” is an understatement. As a pianist, educator, museum installment curator, film scorer/composer and conceptional artist, he is so much more than that. He literally breathes creativity and is exceptionally restless, constantly in search of new vistas. For Just Jazz he performed solely at 2220 Arts + Archives. The concert musically was an amalgamation of musical styles and moods, including prerecorded loops, spoken word and sequences.

On the darkened stage, Moran in effect took the audience on a seemingly boundless hour-long intergalactic journey that was similar to an intense ride at Magic Mountain. Nearly every type of music the multi-talented artist has experienced or been involved with was included. Louis Armstrong’s “What a Wonderful World” started things off and then transcended into Cecil Taylor-like avant-garde, romantic classical and a thematic ballad. The pianist also got raucous with abstract stride, modular jazz, and also heavenly with a prerecorded gospel chorus, a sermon and foot tapping mixed in. The bebop of Monk ended the first segment.

Minimalist Philip Glass-like waves of piano took flight afterwards and went further into modern classical motifs that landed on vintage New Orleans professor playing and subsequently on to pounding avant-garde. For a respite Moran conjured up a neo-bop crescendo, which also wound downward. Looped beats slowly came in as Moran let his playing become a backdrop for the rhythms with fiery torrents balanced by his own slow-octave spanning tempo.

Unpredictably, the artist took a musical dive into abysmal depths, conjuring up an interplanetary-void resembling progressive/experimental rock band Pink Floyd’s Ummagumma and Atom Heart Mother period. Moran eventually returned to the light through a slow unfolding poetic ballad incorporating a recording of a woman soulfully singing.

When the concert ended the audience was both elated and relieved—prompting a standing ovation. There definitely was nothing typical about the beyond categorization  performance. In essence, it was pure Jason Moran making a powerful and truly unique statement.

Prior to playing he spoke with Just Jazz host Leroy Downs  about how people listen to music and often don’t want to hear the stories, problems or about the musicians’ family—just the song. Moran says that “flattens out the music.” Alternatively, he’s been exploring extended details involved with music and how its created, including having a relationship with pianos and other instruments, especially when playing solely. Additionally, he spoke about his family, and believing there will be a renaissance through the younger generation. His piano mentors, Andrew Hill, Jacki Byard  and Muhal Richard Abrams all felt that way when he was coming up.

Holly Bowling + Tom Hamilton

The word world in blue colors and green colers


the word blues

Anyone concerned about the future of the blues should see Christone “KINGFISH” Ingram in concert and/or listen to his recordings. The 22-year-old bluesman from Clarksdale, Mississippi has turned the blues world on its ear since he released his first album on Alligator Records two years ago. Because of his explosive playing and soulful singing Ingram resembles Buddy Guy, yet very much has his own sound and style.

The young “gun” recently performed at the El Rey Theatre to a packed house to showcase songs from his latest record 662 (Northern Mississippi area code) and Kingfish his debut album. Initially playing backstage Ingram burst on stage both wailing away and playing tenderly, while singing robustly for “She Calls Me Kingfish.” As Ingram tuned his guitar and introduced his band members, keyboardist Eric Robert, drummer Chris Black, and bassist Paul Rogers, he mentioned, “The last time I was in LA I was turning 21.”

Ingram afterwards got down to business with “Stormy Monday” styled “Fresh Out” featuring him singing soulfully and working out extensively with his cohorts to impress the audience. In light of the wave of civil and social unrest, due to all the unjustified deaths of Afro-Americans, mid-tempo “Another Life Goes By” was performed. Staying in the same vein musically, but with scorching guitar solos was Michael Burks’ ballad “Empty Promises”

Rocking blues oriented “Long Distance Woman” turned the heat back up and the young blues man also integrated BB King and Stevie Ray Vaughan methods into “Your Time is Gonna Come.” He further delighted the audience by playing with his teeth, and going in the audience, even up into the balcony to solo as his band held down the fort.

Ingram also spotlighted his acoustic guitar skills playing “Something in The Dirt” referring to the blues holy grounds of Mississippi, “Listen” and “You’re Already Gone.”

He returned to electric guitar with an extra bonus, guitarist Gino Matteo sitting in with the band for “Not Gonna Lie.” They damn near burnt down the theatre with intense jamming and beyond belief soloing to blow the crowd away. After all that, Ingram played the title track of his new album with everyone clapping along to end the set. He couldn’t get away without an encore though, and served up rocking “Outside of This Town” that segued into a lengthy version of blues/rock classic “Hey Joe.”

Opening the show was the Peterson Brothers Band from Austin, TX who played an appealing mix of R&B and blues. For more info go to:


Text Special Mention

Composer, educator, arranger, producer, trumpeter, Grammy-winner and big band leader John Daversa brought his progressive big band to the Baked Potato for a four-night engagement. The 17-piece band showcased his compositions and arrangements that encompassed elements of rock, fusion, and traditional big band. Rousing chart “Cheeks” featuring the band reeling away, and exotic slow winding “Camels” propelled by bass clarinet, trombones and another trumpeter, both from

Junk Wagon: The Big Band Album, got things started.

Drawing from the bandleader’s near-death hospital experience “Missing Platelets” opened with drums and trumpet firing away before the rest of the ensemble eased in for savory and thematic interactions. It included extensive soloing from Daversa with powerful, but also swinging brass choruses.

Changing things up, the bandleader played EVI (electronic wind instrument) a mixture of melodica and synthesizer, for  “Slick” an easy-flowing theme with reggae rhythms, bolstered by a powerful brass close. Somewhat related, but without electronics was ballad “Most of All” pleasantly augmented by trumpet. The set closer was the epic and rowdy tune “Chuck Wagon” that melded driving rhythms, high flying brass forays and Daversa wailing on EVI, all to the audience’s delight.

Band members were: John Daversa-trumpet/EVI; saxes, Jeff Driskill, Phil O’Connor, Phil Feather, Sal Lozano, Tom Lure; trumpets, Ron King, Mike Copana, Dan Rosenboom, Chad Willis; trombones, Scott Whitfield, Derek Pyle, Charlie Morillas, George Thatcher; rhythm, Zane Carney-guitar, Jerry Watts-bass, Chris Wabish-drums. For more info go to: and

The Lounge Art Ensemble consisting of drummer Peter Erskine, saxophonist Bob Sheppard and bassist Darek Oles were originally scheduled to perform at the Mount Wilson Observatory as part of its concert series. But as is the case currently, COVID-19 precautions forced the gig to relocate to the Pasadena Presbyterian Church. There, health mandates were easily adhered to and the trio was able proceed. Monk’s classic “In Walked Bud” was breezy and nearly ethereal with the players having plenty of space, while remaining cohesive.

Contrarily, “Oldies But Goodies” had even more of a bebop feel, featuring Sheppard’s airy playing to linger and float above his trio mates. Bossa staple “No More Blues” had a similar vibe, but with rhythm and adorned with a sumptuous bass solo, along with a spry drum solo. For even more variety ballad “The Nearness Of You” was sultrily performed and mostly featured Sheppard with the other players backing minimally. “12 Tone Row “ was a drum treatise and followed by “Easy to Love” with sax and drums reuniting for sophisticated interactions.

For a bit of fun, standard “It Had to Be You” was transformed into “Did It Have to Be You,” and was coolly performed. While, original “The Honeymoon” was straightforward with a bebop edge. “Willow Weep For Me” was the longest number performed to end the fast-paced set that overflowed with extensive playing and solos. It garnered the musicians a standing ovation. For more info go to:

Jazz at LACMA honored Quincy Jones (he wasn’t present) with the L.A. Jazz Treasure Award and a special program, which included a special introductory video with snippets from a documentary about him (on Netflx). Afterward, Lois Saffian Artistic Chair for the LA Jazz Society, presented  the special award to Jones and John Clayton accepted it for him. Via a pre-recorded video the noted producer, trumpeter, humanitarian, composer, and arranger spoke to the audience. Also recognized was Clayton’s recently departed brother saxophonist Jeff Clayton.

The 18-piece Quincy All-Star Orchestra, led by Clayton, highlighted Jones’ music. They came out roaring for Jones highflying chart  “Nasty Magnus” recorded by Count Basie. The title track of Jones’ 1959 album The Birth of a Band was equally riveting and totally excited the audience. Pianist Luca Mendoza’s nimble skills were showcased for fiery “Li’l Ol’ Groovemaker.”

Slowing things down just a little was thematic and soulful “G’wan Train,” while master flautist Hubert Laws added tang for “Soul Bossa Nova” popularized as the theme for the Austin Powers film, which thoroughly delighted the crowd. In between Jones’ tunes Laws injected interesting tidbits about Jones that amused the concertgoers.

Heightening things even more was Jones’ best-known arrangement, Benny Golson’s very sophisticated “Killer Joe” that also featured Laws. It was the perfect ending for the entertaining and engaging tribute. For more info go to: and

After being a virtual event for the 2020 Monterey Jazz Festival 632021 MJF64 came roaring back, but with only 50% capacity in its main venue, the Jimmy Lyons Stage. Entry required proof of vaccinations or a negative test within three days and a mask. The comparatively intimate Yamaha Courtyard Stage dotted with picnic tables and bench row seats adjacent to a variety of food venues, showcased artists doing three to four sets daily. This was miniscule compared to the MJF of pre-COVID years, when it overflowed with at least half-dozen larger performance areas.

(photos: by Amanda Wheeler)

The opening day notably incorporating the only night concerts of MJF64 was the “brass-less” day featuring Pat Metheny Side-Eye, Herbie Hancock, and Mimi Fox’s Organ Trio for three sets in the Courtyard. Metheny’s newest project with fast rising keyboardist James Francies who’s on the recording and drummer Joe Dyson presented leaner and more muscular versions of the 20-time Grammy-winner  and NEA Jazz Master’s repertoire. Highlighting the set was breezy “Bright Size Life,” hard-bop swinging “Timeline” and world-fused “Minuano.” All were laden with Metheny’s arsenal of axes, including a synth-guitar, 42-string Pikassoguitar (auto harp/guitar combo) and an acoustic guitar with effects.

Hancock MJF64’s elder musician also integrated young talent into his segment with flautist/vocalist Elena Pinderhughes and powerhouse drummer Justin Tyson, along with veterans, bassist James Genus and guitarist/vocalist Lionel Loueke. The NEA Jazz MasterGrammy-winner and UNESCO Goodwill Ambassador  launched into atmospheric funk grooving featuring him and flute, while the other band members accented and soloed, including Loueke scatting through electronic effects. Stylistically, Hancock focused on his very popular Headhunters fusion era of the early to mid-70s with “Actual Proof” and the immortal “Chameleon” peaked by the keyboardist playing a strap-on synthesizer.

Providing multiplicity was Pinderhughes’ neo soul-tinged original “Breathe In, Breathe Out,” which significantly spotlighted her singing and flute playing with Loueke’s backing vocals coolly enhancing. Additionally, Hancock served up a 21st century version of “Elegy” garnished with his vocorder attenuated singing, and a thoroughly modernized version of his 1964 classic and mid-90’s hip-hop chart topper “Cantaloupe Island.”

Alternatively, Fox provided tantalizing interactions with her trio consisting of organist Brian Ho and drummer Lorca Hart. They played standards “Willow Weep For Me” and “Caravan,” along with the guitarist rendering exquisite solo interpretations of “500 Miles High” and “Darn That Dream.”

The second day of music, only occurring during sunlit hours, was notably twice as long as the first day. Miho Hazama and her 13-piece M_Unit’s artistry on the Lyons Stage nearly rivaled the sun in terms of brilliance and creativity. Conductor Hazama, a Tokyo native and graduate student alumnus of the Manhattan School of Music, has composed for orchestras throughout the world and been the Chief Conductor for the highly esteemed Danish Radio Big Band, among with other appointments. She unquestionably was the perfect choice for MJF64 Commission Artist and premiered the superlative and highly enthralling three movement Exoplanet Suite.

Los Angeles-based Las Cafeteras sextet representing Latin oriented world music with a strong melding of hip-hop and folk unfortunately canceled several days prior due to several band members contracting COVID-19. Stalwartly filling the void was MJF64 Next Generation Orchestra Director Gerald Clayton. The pianist also playing organ and electric piano quickly enlisted friends, Immanuel Wilkins on alto saxophone, Matthew Stevens on guitar, Kaveh Rastegar on bass and Eric Harland on drums for A Gerald Clayton Experience. Their set was highly nuanced intermixing Miles Davis Bitches Brew fusion, gospel, and neo-soul through De Angelo’s “Africa” and ended with “Frederick Douglass” a neo-bop composition inspired by muralist Charles White’s portrait.

Multi-Grammy-winner and one of the youngest NEA Jazz Masters, drummer Terri Lyne Carrington + Social Science took a stand against a plethora of social and civil injustices. Carrington’s ensemble consisted of singer Debo Ray, guitarist Matthew Stevens, keyboardist Aaron Parks, bassist Morgan Guerin, MC/electronics master Kassa Overall and guest alto saxophonist Immanuel Wilkins. Mixing hip-hop, modern soul and fusion they intermingled Ray’s caressing vocals and Overall’s attacking rapping to explosively delve into subjects such as mass incarceration, gender inequality, hemophilia, racism and political imprisonment.Concluding day two of MJF64 was recent Grammy-winner vocalist Ledisi, who with her entourage that included two backup singers dramatically lightened things with mostly playful and seductive R&B songs. In the last year the Oakland-based singer released albums The Wild Card including Grammy-winning “Anything for You,” and much more jazz related Ledisi Sings Nina. Surprisingly, she focused on the earlier project with heartfelt ballads and bumping grooves over the Simone’s music. During the last half Ledisi did a evocative reggae mash of the “High Priestess Of Soul’s” cover of “Baltimore” with her own “Shot Down,” and the very dramatic and immortal “New Day” which inspired some of the audience to dance in front of the stage.

Trumpet Giveton Gelin’s Quartet, which included pianist Micah Thomas, bassist Philip Norris and drummer Kayvon Gordon jubilantly blasted through their short sets on the Yamaha Court Stage. Bandleader Gelin the 2020 Northern America Letterone Rising Stars Award Recipient played intensely with his cohorts and stayed “in the pocket.”

Sunday, the concluding day of MJF 64 maintained its tradition of showcasing youthful ensembles that will possibly develop into the jazz artists and innovators of the future. The Next Generation Women In Jazz Combo, directed by Katie Thiroux, got things underway on the Yamaha Courtyard Stage. Promising and very adept players: trumpeter Skylar Tang, reedist Kaela Seltzer, pianist Brenda Greggio, bassist Laura-Simone Martin and drummer Ruby Laks, all high school students in California and New Jersey, rolled out an impressive and crowd-pleasing program belying their age. Among the numbers they played were Ray Brown’s pulsating “FSR (For Sonny Rollins),” Tang’s sophisticated original “Tree Tree Tree We,” Thad Jones flowing “Lady Luck” and Ray Hargrove’s thematic groove “Strasbourg/St. Denis.”

On a grander scale, the Next Generation Jazz Orchestra, directed by Gerald Clayton captivated the audience with robust arrangements of Thad Jones/Mel Lewis’ “Don’t Get Sassy,” Roy Hargrove’s “Tschpiso” and Don Sebesky’s expansive “Waltz For Debby.”

Additionally, vocalist Ellah Brown shined for Quincy Jones reworked “I’m Beginning to See The Light” and Percy Mayfield’s poetic blues gem “River’s Invitation.”

Baritone saxophonist Noa Zebley was a force of nature during Charles Mingus’ raucous “Moanin.’” These budding musicians also amazingly interacted with MJF64 Artist-in-Residence pianist Christian Sands for John Clayton’s refined “For All We Knew,” and also with guest saxophonist Wilkins during brass juggernaut “Eternal Triangle.” Clayton commented between selections, “It’s truly an honor to count these beasts off. I say one, two, three, four and they go for it.”

Sands returned for his own full set supported by Yasushi Nakamura on bass, Clarence Penn on drums and on guitar Marvin Sewell. The trio focused on the bandleader and Artist-in-Residence’s recent recording Be Water. Similar to Ahmad Jamal, Sands smoothly fluctuated between a variety of tempos and moods that kept his cohorts engaged and never overlooked melodies for “Sonar” and “Crash.” From the NGJO Skylar Tang on trumpet, Bruno Tzinas on trombone and Zeb J-A on tenor saxophone joined the quartet for the spirited and far-reaching title track of Sands’ 2020 project drawing a standing ovation.

For something different, Stevie Winwood/Blind Faith’s “Can’t My Way Home” was performed featuring a gutbucket slide guitar intro that transformed into a flowing contemporary piece as the pianist reeled away. During the concluding moments of the segment he also served up gospel and hard-bop excursions, which gave all the band members opportunities to solo.

Keyboardist/vocalist Kandace Springs in keeping with Prince’s advice of “just be yourself” brought a much lighter and inviting vibe to MJF64. With Caylen Bryant on bass/vocals and Taylor Jones on drums/vocals, she displayed plenty of energy and a playful attitude. Neo soul tinged jam “Why You Got to be Like That” got things underway. Springs spotlighted her lush alto voice for bossa ballad “Don’t Be Afraid,” featuring Wilkins helping out. She also did a duet with Bryant, who actually is a stronger singer for “Angel Eyes” as a tribute to Ella FitzgeraldDiana Krall was also honored through “Devil May Care” with bass and drums soloing.

For a change of pace, Springs ventured into Chopin  and Beethoven before singing Jobim’s timeless “How Insensitive,” adorned with bowing bass and alto sax. Roberta Flack, also an influence of Springs was recognized through dreamy ballads “The First Ever I Saw Your Face” and “Killing Me Softly” on electric piano. The singer/keyboardist closed out her section of MJF64 by doing a crowd pleasing melding of “Moonlight Sonata” and Nina Simone for Screaming J. Hawkins vintage rock classic “I Put a Spell on You,” lightly supported by the trio and sax.

MJF64 came to a close with another jazz elder, guitarist/vocalist George Benson. From the offset he worked out with his group: guitarist/vocalist Michael O’NeillMusical Director/keyboardist Randy Wald, keyboardist Thom Hall, bassist Chris Walker, drummer Mark Simmons and percussionist/vocalist Lilliana de los Reyes. Afterwards, the multi-Grammy-winning artist started singing pop/R&B hits “Don’t Let Me Be Lonely Tonight,” “Feel Like Making Love,” “We Got The Love” and “Love X Love.”

Bebop classic “Moody’s Mood For Love” done as a duet with de los Reyes gave Benson some jazz cred. Brazilian-tinged “At The Mambo Inn,” displayed strong band interactions as well, with riveting soloing and infectious scatting.

Following that juncture, a cavalcade of contemporary jazz and R&B hits ensued highlighted by “Turn Your Love Around,” “Shiver,” and “Give Me The Night.” As expected, landmark hits “This Masquerade” and “Breezin’” ramped up the excitement even more as the concert attendees danced in front of the stage to turn the set into a bust-out party.

Benson, 78, recalled his first time at MJF in 1975. He was called by the Modern Jazz Quartet to sub for guitarist  Laurindo Almeida, whose name he couldn’t remember initially, and claimed that back then he didn’t even know where Monterey was. Now, many years later, he definitely knows where it is and relishes playing there.

Alto saxophonist Immanuel Wilkins’ Quartet with Micah Thomas on piano, Daryl Johns on bass and Kweku Sumbry on drums highlighted selections from their 2020 Pandemic recording Omega produced by Jason Moran. In performance, they generated unrelenting torrents at times akin to Coltrane and bordering on avant-garde. Wilkins, the 2021 Letterone Rising Stars Award recipient, was in constant movement throughout the day with guest appearances and doing with four sets with his group on the Yamaha Courtyard Stage.

MJF64 was also devoid of its ancillary events, such as film screenings, interviews and panels. However, during pre-concert hours, Sands by way of his Sands Box, Live! had interview/conversations with Clayton, Thiroux and Springs. Additionally, MJF After Hours partnered with offsite venues for those wanting music after sundown.

MJF PR and Marketing Associate Timothy Orr commented, “We didn’t have the rest of grounds (Monterey County Fairgrounds) and there’s usually a three-hour gap between the afternoon and evening shows. So we just compressed those arena shows and it’s the same amount of music. Overall, we condensed a year’s worth of work into three months to make this happen.” Unquestionably, concertgoers and musicians were both relived and overjoyed MJF64 occurred and thoroughly enjoyed being together.

the word cinema

Wakanda lives! Black Panther in Concert at the Hollywood Bowl for three nights was a special live-to-picture event featuring the Los Angeles Philharmonic conducted by Thomas Wilkins. For extra sensation Senegalese world music singer Baaba Maal with a half dozen percussionists injected reverberating textures and layers, especially during action and sweeping panoramic scenes. Adults, teens and children alike, with some donning costumes and masks, were all on the edge of their seats for the truly scintillating experience.

The Marvel Productions sci-fi film depicting a secret and technological advanced African nation directed by Ryan Coogler was a mega-hit in 2018. It starred Chadwick Boseman as T’Challa who becomes King (one of his last roles) and Michael B. Jordan as Killmonger his mortal enemy. In 2019 Black Panther won three Academy Awards including Best Original Score– Ludwig Göransson, Best Costume DesignRuth Carter and Best Production DesignHannah Beachler. Carter and Beachler were the first Afro-American women to win Oscars in those categories.

Prior to the performances at the Hollywood Bowl,  Göransson who literally just won a Primetime Emmy for Outstanding Music Composition for a series (The Mandalorian), cited that it was first time a Marvel film was ever show live-to-picture and with all the original elements. The composer introduced all the Sengalese musicians who each played briefly.

He handed off to Marvel Pictures President and Producer Kevin Feige who further elaborated about film details and showed a quick clip of Göransson first playing the raw theme for Coogler. The director couldn’t be there, because he was working in Atlanta on the next Black Panther movie. Interestingly, the film was on a limited tour and was also shown live-to-picture in Philadelphia, Washington D.C. and in Atlanta.

Instagram Live Friday
Fulton Street Collective

Oct 4 Lennon’s Tuba – Christ Siebold’s and John Elmquist’s collaborative writing project – will unveil a new tune amid classics that seem slightly preoccupied with the Bush administration.

Chris Siebold – guitar
John Elquist – bass
Katherine Hughes – violin
Andrea Tolzmann – violin
Chuck Bontrager – viola
Sara Sitzer – cello
Guest vocalist Bethany Clearfield

Andy Baker – trombone
Chuck Bontrager – violin
Geof Bradfield – reeds
Jocelyn Butler – cello
Marques Carroll – trumpet
Bethany Clearfield – vocals
Jo Ann Daugherty – piano
John Elmquist – bass/compositions
Bob Garrett – percussion
Dominic Johnson – viola
Paul Mutzabaugh – keyboard/guitar
Vance Okraszewski – drums
Sarah Marie Young – vocals

Zubin Edalji – Trumpet
Paul Bedal – Piano

1974 release 

Andrew Lawrence: Piano
Ben Schmidt-Swartz: Tenor Sax
Sam Mosching: Guitar
Andrew Vogt: Bass
Greg Artry: Drums
Jon Marks: Percussion

David Polk – Sax
Zoey Szmulewitz – Guitar
Andrew Lawrence – Keys
Tim Seisser – Electric Bass
Frank Alongi – Drums

Oct 9 Next Music Productions Presents
Showcase Performance
Featuring Rising Jazz Artist

LEO MILANO – Tenor Saxophone
With Special Guests:

Chris Madsen – Tenor Saxophone
Kyle Madsen – Tenor Saxophone
Ben Dillinger – Bass
Jonathan Marks – Drums

Matthew Muneses – Sax
Zubin Edalji – Trumpet
Stu Mindeman – Piano
Clark Sommers – Bass
Dana Hall – Drums

Scott Burns – Tenor Sax
Reggie Thomas – Piano
Clark Sommers – Bass
Dana Hall – Drums

Hannah Marks – Bass
Alfredo Colon – Alto
Connor Parks – Drums


Harry Tonchev – Guitar
Clark Sommers – Bass
Neil Hemphill – Drums

Tim Seisser – Bass
Andrew Lawrence – Keys
Jon Marks – Drums

Corbin Andrick – Woodwinds
Andrew Lawrence – Keys
Cole DeGenova – Key
Justin Canavan – Guitar
Anders Norstrom – Guitar
Andrew Vogt – Bass
Zack Marks – Drums
TBA – Vocals

Paul Hecht – Piano
Harry Tonchev – Guitar
Sam Peters – Bass
James Russell Sims – Drums

Doug Bistro – Bass
Jim Jim Gailloreto – Sax
Roger Harris – Piano
Makaya McCraven – Drums

Marques Carroll – Trumpet
Quentin Coaxum – Trumpet
Victor Garcia – Trumpet
Amr Fahmy – Piano
Christian Dillingham – Bass
Isaiah Spencer – Drums

Fulton Street Collective
1821 W. Hubbard St.
Chicago IL, 60622

Multi-Grammy Award winner Marcus Miller and Entertainment Cruise Productions Launch New Original Streaming Concert Series Saturday Night with Marcus Miller & Friends, with the Iconic George Benson as a Special Guest and Guest Bandmembers Patrice Rushen and Joey DeFrancesco

Concerts available on demand


107 Suffolk Street
New York, NY, 10002

Van Gelder Studio, the legendary recording studio home to hundreds of jazz icons from John Coltrane to Herbie Hancock, has announced the launch of “Live from Van Gelder Studio,” a new virtual music series that will stream live from

Live from Van Gelder Studio is expected to continue through 2021 with a 10-show immersive and interactive program. The series will feature talent from original seminal recordings joined by multi-generational artists who will pay tribute to important records that were originally put to tape within the four walls of the studio. Tickets can be purchased directly on the site for $15. 2021 shows will be announced in the near future.

Performances will be live streamed using a new technology built from the ground up that is true to the Rudy Van Gelder sound. It will allow audiences to fully experience the unique studio and its sound in their homes. Upcoming experiences will be crafted to make the audience and musicians feel like they are at an actual live performance.

Live from Van Gelder Studio is created and produced by a team of jazz industry veterans including:

• Five-time Grammy Award-winner Don Sickler, who produced many                           Van Gelder-recorded artists including Joe Henderson, Freddie                                          Hubbard and Cindy Blackman Santana.
• Phil Coady, producer of The Ultimate Blue Train, which was created while he was the lead producer in the Microsoft MS4Music Group and where he and Van Gelder first connected.
• Sam Kaufman, who as a talent agent worked with Van Gelder-recorded artists including Ray Charles, Pharoah Sanders and Jason Moran.
• Maureen Sickler, distinguished associate and long-time assistant engineer for Van Gelder, who now carries on the traditions forged in their 30+ year collaboration.

Live from Van Gelder Studio

Back on FB Live: Adam will be back at the same time, same place this Mondays at 7pm PST/10pm EST.  He’ll be back with your requests, do another show-and-tell on his studio and recording process, and we’ll definitely see an encore performance from his wife and vocalist extraordinaire Kat Hawley.
Just go to his Facebook page!

During the entire quarantine period, Qwest TV also broadcasts a flagship program from its catalog every day at 9pm (CET) / 3pm (EST), available from the platform’s Facebook and YouTube accounts. Among the Qwest TV gems, Internet users will discover next week:
For more information on Qwest TV, visit

Provides five free services:

1. A searchable archive of thousands of carefully hand picked and annotated jazz videos

2. A free Video-of-the-Day service. Love jazz? We deliver a great jazz video to your mailbox every day. You can subscribe here free.

3. The Internet’s only free up-to-date world-wide directory of jazz clubs, jazz festivals, jazz radio stations, and jazz organizations.

4. A podcast series, unique in jazz, that features in-depth interviews on the history – and future – of jazz with jazz scholars, educators, and presenters.

5. One of the most detailed educational resources available anywhere on the music of Cuba and other Latin countries and their under reported, and often under appreciated, impact on jazz past, present and future.


Symphonic Jazz Orchestra
What is Jazz Concert Presentation

New England Conservatory’s Jazz Studies and Contemporary Improvisation Departments
feature an array of livestream and virtual concerts

Jazz Education Network
1440 W Taylor St #1135
Chicago, IL 60607
United States Join The Music With Jazz Education Network (

January 5-8, 2022 • Dallas, TX


Guitar legend Kenny Burrell took a fall two years ago. He is still recovering and on sabbatical from UCLA. Essentially, he is still unable to play and/or teach. Help is needed and welcomed. Here’s the link for donations setup by his wife Katherine:

Singer/lyricist/pianist Dave Frishberg is not doing well at all. If you who have enjoyed the gift of Dave’s music, please feel inspired to help him now that he needs it.


JOIN JIM WATT’S MULTIMEDIA PROJECT, 1000 WATTS – ART, JAZZ & FILMMAKING TO BENEFIT JAZZ MUSICIANS HARD HIT DURING PANDEMIC 1000 Watts aims to raise $100K through sale of 1000 artworks created as musicians improvise, captured on film by legendary photographer/filmmaker Danny Clinch – funds to be distributed to jazz artists in need.

1000W is a multi-dimensional project that centers on 1000 ink washes, painted with Japanese Sumi ink and water on paper. They will be released in five series of 200. The first two hundred are available now. Each series will include a few curated groups. 1-200 features a group of four, two groups of twelve, and a group of thirty. A short digital film capturing the painting of each group will be included with the purchase. The films will be scored by jazz trumpeter Antoine Drye. Drye is a creative partner on the project, as the ink washes are created in conversation with improvisational jazz. The interaction between the painter and an assemblage of featured musicians, curated by and including Drye, will be featured in live performances of 1000W.

Footage of an overhead camera capturing the works as they are created will be projected for the artists and the audience to see. Each artist’s work informs the other. The music and the art are created in real-time, in the same moment. A film, produced and directed by Danny Clinch, will chronicle the entirety of the project. Clinch will draw from the overhead footage, live performances, and studio visits. In addition to the film, an album featuring the music produced in these sessions will be released at the conclusion of 1000W. 1000W seeks to raise $100,000 for the jazz community, which has been especially hard hit during the Covid pandemic with the prolonged closure of most live performance venues. $100 from the purchase of each painting will go directly to musicians in the jazz community.

Bruce Forman, John Clayton, and Jeff Hamilton
record their mentor’s original instruments!
Reunion: Revisiting The Poll Winners!

 After a 60-plus yeer career that took her around the country and the world, Denise is producing a “legacy” album. It will include songs that have been especially important in her life. Denise hopes to have the CD finished this summer. We will keep you in the loop and please accept our sincerest thanks for helping.

To finance the project, several of her friends and colleages have set up a GoFundMe account with a $10,000 goal. If you would like to contribute, please go to
To send a check, please contact Catherine:
For more info:

Under Director of Music Programs Mitch GlickmanJazz at LACMA and Beyond Symphonic Jazz are celebrations of L.A.’s finest jazz musicians and has featured such legends as Wayne Shorter, John Clayton, Johnny Mandel, Kenny Burrell, Les McCann, Billy Childs, Arturo Sandoval, and Ernie Watts. Jazz at LACMA concerts are broadcast on KJazz 88.1 FM every Sunday evening from 7-9 pm that includes an interview with the featured performer and Beyond Symphonic Jazz every Monday 9- 11 pm. The archives are available for two weeks following the broadcast.

October Special Guests for JAZZ AT LACMA

Oct 3                    säje

Oct 10                  Ernie Watts Quartet

Oct 17                  Yellowjackets

Oct 24                  Angel City Jazz Festival featuring The Pan Afrikan Peoples Arkestra

Oct 31                  Nolan Shaheed

October Special Guests for Beyond Symphonic Jazz

Oct  4                      Dianne Reeves

Oct 11                     Karen Briggs

Oct 18                     Roger Kellaway

Oct 25                     Donald Harrison Jr.

For more info go to: kkjz.or

Any information to be considered for this column can be sent to: