I DIG JAZZ

IMMANUEL WILKINS, GRAMMY-NOMINATED SAXOPHONIST, MAKES HIS BLUE LLAMA DEBUT

noreply@blogger.com (Charles L. Latimer) — Mon, 16 Mar 2026 23:54:00 +0000

Saxophonist Immanuel Wilkins

It’s such a pleasure to hear a young jazz musician whose influences are instantly recognizable after he or she plays a note or two. That’s how I felt Saturday evening listening to the alto saxophonist Immanuel Wilkins perform with his quartet at the Blue Llama jazz club in downtown Ann Arbor, Michigan. A Juilliard graduate, a Grammy-nominee, and a Blue Note artist, Wilkins performed at the Blue Llama for the first time, and it didn’t take long for his quartet to win over the packed club. The quartet is unflashy and woven tightly, featuring bassist Ryoma Takkenaga, drummer Kweku Sumbry, and pianist Micah Thomas. From the opening number, it was apparent that Wilkins had spent considerable man-hours dissecting the licks and mechanics of saxophonists James Spaulding and James Carter. Wilkins embodies Spaulding’s completeness and vast tone and Carter’s fearlessness and command of every inch of the saxophone. Throughout the 90-minute set, the quartet performed original compositions—though Wilkins never announced any title, which was disappointing. But it was an easy flaw to forgive, given how inviting the music presented was. He showcased his range with brisk, fast-tempo numbers, slow grooves, and even an avant-garde-leaning number. The standout for me was a ballad, which he approached with such warmth and tenderness that his saxophone seemed to melt in his hand. What I admire most about his quartet is their sure-footedness. They get to the point without taking any shortcuts. Wilkins is a fantastic saxophonist who truly deserves all the press he’s received since hitting the jazz scene. Yet, if there’s one noticeable weakness in his game, it’s his lack of stagecraft—an area in need of immediate attention. Engaging the audience between numbers and explaining the genesis of his compositions would be an excellent starting point.

THE DETROIT JAZZ PRESERVATION CONCERT SERIES FINALLY CELEBRATES ITS FOUNDER, TROMBONIST VINCENT CHANDLER

noreply@blogger.com (Charles L. Latimer) — Mon, 09 Mar 2026 23:16:00 +0000

Trombonist Vincent Chandler

After three years of outstanding programming, Trombonist Vincent Chandler, the founder of the Detroit Jazz Preservation Concert Series, finally took the stage himself with a concert celebrating his own music. The 90-minute concert featured nine of his lesser-performed compositions, such as “Transformers,” “Hidden in Plain Sight,” and “Praying Hands.” His compositions are multidimensional and demanding, and you must be an exceptional musician to play them, his wife, opera vocalist Kimwana Doner-Chandler, stressed, while introducing him. Unfortunately, he decided against including some of his signature works like “The Beast,” “Deciduous,” and “Embraceable,” gems that surely many attendees were hoping to hear. He also didn’t invite any of his former Urban Transport bandmates, Sean Dobbins, Dean Moore, and Josef Deas, musicians who were next to him when he built his chops brick by brick, to join him. Chandler performed with his current group, which includes saxophonist Kasan Belgrave, pianist Jordan Anderson, drummer Tariq Gardner, bassist Michael Abbo, and guitarist Max Bowen. This group differs significantly from many of the other straight-ahead acoustic bands Chandler has traditionally led. This new ensemble leans strongly toward fusion and smooth jazz. I tried to understand why, at this point in his career, he chose this direction. Of all the bands I’ve seen him lead, this one resonates the least with me, mainly because fusion and smooth jazz are so far removed from the music that originally drew me to him. For the first time in the history of this remarkable concert series, I left wondering if we would lose Chandler to these weaker forms of jazz. I left the previous tribute concerts he organized feeling inspired. Days passed before I could stop thinking about the performances. Over the years, I have honestly and proudly written about his music and his contribution to Detroit’s vibrant jazz culture. His monthly concert series has been one of the brightest developments in Detroit’s jazz scene in a long time. My discomfort with his new direction isn’t due to any shortcomings on his part but stems from my own long-standing dislike of fusion and smooth jazz. That’s not his fault. He’s been a hero of sorts to me, a musician whose work ethic and the beauty of his playing reaffirm my commitment to acoustic jazz. Still, that’s what made Sunday night’s performance seem so off-putting. The concert opened with “The Professor,” and I quickly sensed something was different. His trombone tone sounded processed, as if there were a sound system issue. Only later did he tell the audience that he’d bought a new device that expands the sonic possibilities of the instrument. The group moved through “Reverie,” “Lion King,” and “The Journey,” the latter sung magnificently by Chandler’s wife. “Reverie” embodied the complexity of compositions by McCoy Tyner and Wayne Shorter. There were some standout moments from Bowen and Belgrave. Especially, Belgrave, whose blowing demonstrated an old-soul strength and intensity that far exceeded his age. Anderson is typically a rock-solid pianist, but he reduced himself to a lot of unnecessary horseplay on the electric keyboard. The concert wasn’t poor by any means, but it didn’t quite feel like a tribute. Instead, it seemed as if Chandler was giving his fascination with fusion and smooth jazz a test run. Here's the truth that I struggle with often: I find it hard to watch jazz musicians I admire drift away from the music that shaped their cultural identity. As a long-time fan of Chandler’s music and cultural significance, I can only hope that his venture into fusion and smooth jazz is short-lived.

TERENCE BLANCHARD AND RAVI COLTRANE CELEBRATE MILE DAVIS AND JOHN COLTRANE’S CENTENNIAL AT THE UNIVERSITY MUSICAL SOCIETY CONCERT SERIES

noreply@blogger.com (Charles L. Latimer) — Mon, 16 Feb 2026 16:34:00 +0000

Terence Blanchard and Ravi Coltrane

On Sunday afternoon at Hill Auditorium on the University of Michigan campus, a terrific concert commemorated the 100th birthday of jazz legends Miles Davis and John Coltrane. The event featured trumpeter Terence Blanchard, his band the E-Collective, and special guest Ravi Coltrane. Before the performance began, Blanchard addressed the near-capacity audience, explaining that the music he selected for the band to perform would not mirror the original arrangements. Instead, he intended to honor Davis and Coltrane’s legacy by performing new arrangements and staying true to his and Ravi’s artistic voice — a principle Davis had implored Blanchard to follow decades earlier. Blanchard’s words set the tone for the concert, preparing the audience for interpretations that resuscitated the originals. The concert opened with an extended, reimagined version of “Flamenco Sketches,” followed by an electronically tinged take on “Green Dolphin Street.” The band’s innovative take on the opening selections made it clear that modernizing the arrangements was the right choice. Both Blanchard and Coltrane delivered breathtaking solos, moving through the changes like snowplows. Blanchard and Coltrane got top billing, but the scene stealer was the E-Collective’s pianist, who raced up and down the piano like a madman with a style and enthusiasm like pianist Joey Caldarazzo. Despite the musical excellence, it was disappointing that Blanchard never discussed the musical relationship between Davis and Coltrane, or how their collaboration helped shape jazz. Equally disappointing was that Coltrane did not share personal reflections about his father. Coltrane did not speak at all during the concert. The performance continued with a funk-inspired reinterpretation of “All of You.” The concert’s highlight came when Blanchard paired “All Blues” with “Teo.” To close the evening, Blanchard completely renovated “Two Bass Hit,” noting that it was the band’s first time performing this arrangement. Sunday’s concert was a big hit, keeping the audience engaged from start to finish through modernized arrangements. Blanchard and Coltrane honored the spirit of these jazz icons without attempting to emulate their style. Although the absence of spoken tributes left some questions unanswered, the music itself served as a heartfelt celebration.

THE JAZZ AT LINCOLN CENTER WITH WYNTON MARSALIS PERFORMS ‘DUKE IN AFRICA’ AT THE UNIVERSITY MUSICAL SOCIETY CONCERT SERIES

noreply@blogger.com (Charles L. Latimer) — Mon, 09 Feb 2026 02:55:00 +0000

Trumpeter Wynton Marsalis

What makes the annual Jazz at Lincoln Center concert with Wynton Marsalis, presented by the University Music Society, worth attending each season is that each performance is unique. That has been my experience over the two decades I've reviewed the shows. On Saturday, the orchestra returned with a program titled "Duke in Africa," once again demonstrating its mastery of Ellington’s canon. For 90 minutes, the JLCO highlighted its collective virtuosity, dedicating the first half to Ellington's “Togo Brava Suite” and the second half to his “Liberian Suite.” What stood out most in each interpretation of Ellington’s music was the soloing. Before the music started, Marsalis passed the reins to the co-music directors' saxophonists, Alexa Tarantino and Chris Lewis. Tarantino, one of the youngest musicians in the orchestra, spoke about the orchestra’s tour of Africa, its collaborations with noted African jazz musicians, and how this presentation of “Duke in Africa” would be mixed with music from those collaborations. Those compositions warmed the audience, but it was Ellington’s music that stirred their souls. Tarantino and baritone saxophonist Paul Nedzela delivered the first memorable solos on “Soul Flute,” followed by Dan Nimmer, who made his piano float on “Conscious.” But the solo that almost caused a riot inside Hill Auditorium was Lewis on “Naturally.” Trombonist Chris Crenshaw and trumpeter Marcus Printup dazzled when the zoom lens was focused on them. The crowd ate up the changes the musicians played like a hardy holiday brunch. Surprisingly, Marsalis didn’t make too much noise. He appeared content, minding his business in the trumpet section. Recently, Marsalis announced that he was stepping down as the artistic director of Jazz at Lincoln Center. So, I wondered if he also plans to leave the trumpet section. Anyway, the orchestra was in strong form, managing Ellington’s music with the reverence his legacy deserves.

SAXOPHONIST MARCUS ELLIOT KILLS AT THE DETROIT JAZZ PRESERVATION CONCERT SERIES

noreply@blogger.com (Charles L. Latimer) — Tue, 03 Feb 2026 03:37:00 +0000

Saxophonist Marcus Elliot

I was surprised when trombonist Vincent Chandler, founder of the Detroit Jazz Preservation Concert Series, announced last month, following the tribute to the late pianist Harold McKinney, that saxophonists Kasan Belgrave and Marcus Elliot would be featured next. This decision was surprising, not because of any absence of genuine talent, but because neither artist has yet developed an extensive body of work as previous honorees in the series have. Chandler explained that Detroit's young jazz musicians are producing great music and deserve recognition. On Sunday evening, Elliot delivered one of DJPCS's best concerts, proving that Chandler's move to spotlight younger composers was wise. Belgrave and Elliot have graduated with high honors from the young lion stage of their development. They are respected and popular members of Detroit’s jazz community. Their respective performances have been DJPCS’s largest turnouts. Elliot’s quintet featured trumpeter Dwight Adams, pianist Cormac Avila, bassist Noah Jackson, and drummer Caleb Robinson. They opened with Elliot’s hot. “Hills of Pinar del Rio,” with Adams and Elliot setting the tone for the elevated level of swing maintained all evening. Adams swung with the top down throughout the concert, a perfect complement to Elliot’s luminous blowing. In terms of swing, the quintet was evenly matched, but Elliot was the centerpiece. I met him years ago during his tenure at the jazz club Cliff Bell’s. I was drawn to his blowing because he’d clearly modeled his tenor sax approach on greats like Joe Henderson and Jimmy Forrest. Over the years, every time I attended one of Elliot’s sets, I was amazed at how his sound continued to mature. At Sunday’s show, his compositional skills were the focal point. His compositions show depth, allowing space for unbridled improvising, a defining aspect of his performance. On his original like “Words for the People,” “Learning to Remember,” and “On a Good Day,” he consistently showed his improvisational marksmanship. During certain solos, his blowing was akin to a youthful Yusef Lateef, and at other moments, Elliot stirred the spirit of Rahsaan Roland Kirk. Big contributions were also made by Avila, a recent Michigan State University graduate, and Robinson, the quintet’s secret weapon. Chandler’s decision to celebrate Belgrave and Elliot proved to be a smart addition to an already world-class concert series.

THE DETROIT JAZZ PRESERVATION CONCERT SERIES CELEBRATES THE MUSIC OF THE LATE PIANIST HAROLD MCKINNEY

noreply@blogger.com (Charles L. Latimer) — Mon, 15 Dec 2025 18:10:00 +0000

Pianist Harold McKinney

On Sunday evening, the Detroit Jazz Preservation Concert Series paid tribute to the late pianist and composer Harold McKinney with a two-hour concert co-curated by his wife, Michelle, and daughter, Gayelynn. The ensemble featured a multigenerational lineup of Detroit jazz musicians: trombonist Vincent Chandler, bassist Laura Simone, pianist Aya Sekine, saxophonist Jefferey Trent, trumpeter Jauron Perry, and special guest vocalist Naima Shambouguer, whose performance added warmth to the program. McKinney was a cultural powerhouse in Detroit, mentoring generations of jazz musicians and building programs like Discover Jazz and the Detroit Jazz Heritage Performance Lab. His discography, though small, was impactful, highlighted by collaborations with Detroit greats such as saxophonists Charlie Gabriel and Wendell Harrison, and by McKinney’s contributions to the Tribe label. His most celebrated work remains the classic McKinFolk album. Since his passing in 2002, his daughter has kept his legacy alive through projects like the landmark McKinFolk: The New Beginning, which united a cross-generational group of Detroit jazz musicians to perform his music. Sunday’s concert echoed that spirit of the recording. Michelle McKinney added a deeply personal touch, sharing stories from her life with McKinney and growing emotional while singing “Nostalgia.” And “Warm & Electric.” The concert opened with McKinney’s well-known works “Juba” and “Conjured Man,” featuring lively solos from Simone and Sekine alongside strong front-line work by Trent, Perry, and Chandler. Throughout the concert, Sekine appeared on course to channel McKinney’s spirit. Michelle McKinney joined the band for “Wide & Blue,” shifting the tone from swinging to sentimental as she explained the impetus behind her husband’s music. Unfortunately, microphone issues diminished the impact of her singing, and Shambhuguer’s single-song appearance was a missed opportunity to show the influence McKinney had on vocalists of her caliber. The stories shared about McKinney’s looming personality were equally engaging as his music. Chandler had the audience cracking up when he shared the story of McKinney inviting him to his home for a music lesson that turned into a lengthy history lesson on jazz, dating back to Africa. Toward the end of the concert, Gayelynn added that her dad was foremost an educator, and she was exposed to those profound history lessons and philosophical discussions as early as age eight. As always, Gayelynn was the band's energy source. I find it impossible to sufficiently describe the beauty of the three solos that she took--a masterful demonstration of improvisational brilliance. Despite microphone issues and Shambouguer only singing once, the concert was a hit, a fitting tribute to a Detroit cultural leader whose genius and music continue to inspire through the efforts of his wife and daughter.

THE LIVING LEGACY CONCERT SERIES HONORS JAZZ TRUMPETER DWIGHT ADAMS AT THE CARR CENTER

noreply@blogger.com (Charles L. Latimer) — Fri, 12 Dec 2025 19:22:00 +0000

Trumpeter Dwight Adams

Thursday evening, the Carr Center hosted a concert celebrating one of Detroit’s most influential jazz musicians: trumpeter Dwight Adams. This tribute was part of the Living Legacy Jazz Series, created by saxophonist and bandleader De’Sean Jones in partnership with the Carr Center President, Oliver Ragsdale. Their vision is simple—honor Detroit jazz musicians making lasting contributions while they’re still alive and performing. Jones has long believed that jazz musicians deserve recognition during their lifetimes. His commitment to this idea led to the launch of the Living Legacy series, which has already honored jazz concert producer Bill Foster and trombonist Vincent Chandler. Jones seemed destined to start such an effort. I first met him as a teenager learning jazz at the Detroit Symphony Orchestra Civic Jazz program. Even then, his talent and determination were undeniable. Today, Jones is an accomplished musician, bandleader, father, and husband who has performed internationally and built a reputation across multiple genres. Currently, he leads the acclaimed Urban Art Orchestra, a cross-genre ensemble with a growing national following. Adam’s tribute closed the inaugural installment of the Living Legacy series. For decades, Adams has been a cornerstone of Detroit’s jazz scene—as a sideman, bandleader, and educator. Though he didn’t pick up the trumpet until his pre-teen years, he developed quickly and has been swinging and blowing since. Today, he is not only a respected jazz statesman but also one of Stevie Wonder’s trusted bandmates, inspiring countless young musicians. To honor Adams, some of Detroit’s and the Midwest’s best trumpeters gathered for what was titled The Trumpet Summit. The lineup included John Douglas, Allen Dennard, Terrell Williams, Trunino Lowe, Jauron Perry, Russ Macklem, Will Mallard, and Aaron Janik—all musicians who cite Adams as an influence. For two hours, they played with rawness and sincerity as Adams sat in the front row with family, soaking in what felt like a musical love letter to him. Though Lowe tried to coax him onstage several times, Adams declined to play. The setlist featured some of Adams’ favorite standards to perform, beginning with a foundation-shaking version of “Caravan” that lasted over ten minutes. The soloing from each trumpeter was so satisfying that the concert could have stopped at that point, and surely the bulk of the audience would’ve left feeling it was time and money well spent. But the musicians—and the rhythm section led by drummer Nate Winn and an abridged version of the Urban Art Orchestra—doubled down on the intensity, reimagining classics like “Stablemates,” “Fall,” “Donna Lee,” and “Dolphin Dance.” One unforgettable moment was Douglas and Dennard trading on “Stablemates.” The atmosphere recalled the legendary trumpet summit organized by the late Marcus Belgrave at the 2004 Detroit Jazz Festival, featuring trumpeters Sean Jones, Corey Wilkes, Dominick Farinacci, and Kris Johnson. Adams participated in the summit, blowing his peers off the bandstand. Jones deserves credit for keeping the tribute focused and preventing it from turning into a run-of-the-mill jam session. Without question, the tribute was the best concert I’ve attended this year. After two hours of music, Adams finally took the stage to express appreciation. Visibly emotional, he spoke eloquently about his role as a torchbearer for jazz and his commitment to inspiring future generations. It was the most I’ve ever heard him speak about himself—a humble man who usually lets his horn do the talking. Adams closed by thanking many of his late mentors, like Teddy Harris Jr., Marcus Belgrave, and Donald Walden, before the participants returned to the stage to end the concert with a performance of “Byrd Like.” The Living Legacy Jazz Series is a resounding success. It reminds us of the importance of honoring musicians while they are still here. Let’s pray Jones and the Carr Center continue this much-needed series, celebrating trailblazers like Foster, Chandler, and Adams.

TRUMPETER TERENCE BLANCHARD REVIVES THE MALCOLM X JAZZ SUITE AT THE PARADISE JAZZ SERIES

noreply@blogger.com (Charles L. Latimer) — Mon, 08 Dec 2025 03:13:00 +0000

Trumpeter Terence Blanchard

In 1993, the jazz trumpeter Terence Blanchard recorded the landmark album “The Malcolm X Jazz Suite,” breaking new ground by mixing jazz with poignant moments from Malcolm X's life, used in filmmaker Spike Lee’s landmark film X. This album was one of many major projects Blanchard would make during his Hall of Fame-worthy career. He has composed music for Lee’s best-known movies. Blanchard’s opus, “A Tale of God’s Will (A Requiem for Katrina),” is considered a classic, and he has also written acclaimed operas such as “Champion” and “Fire Shut Up In My Bones.” Although the "Malcolm X Jazz Suite" was released 32 years ago, each time Blanchard chose to perform it, the suite always sounded as if it were fresh from the showroom floor. That’s how Blanchard’s current iteration of the suite came off Friday evening at the Paradise Jazz Series at Detroit’s Orchestra Hall. Blanchard performed with his time-tested band, The E-Collective—a swing-conscious outfit—and the Turtle Island String Quartet, a group known for fusing classical with other genres. They didn’t perform all the suite’s movements. Instead, they opened the concert with “Flow” and “Wondering,” cuts from Blanchard’s 2004 album “Flow,” before playing “Opening” and “Melody for Laura,” the opening movements of the suite. The playing throughout was exceptional, particularly the soloing of pianist Taylor Eigsti and violinist Gabriel Terracciano. Having two bands on stage at the same time could’ve been a lot to consume at once, but the two bands blended wonderfully, and Blanchard was in top form, swinging at posted speed. He’s one of those seasoned trumpet players comfortable in the upper register. But aside from the individual playing, the movement captured Malcolm X’s spirit and the pivotal personages and moments in his life. Unfortunately, for a night dedicated to one of America’s most sincere, eloquent, and passionate leaders, Blanchard didn’t talk about Malcolm’s legacy. He did mention what heavy responsibility he felt when Lee asked him to write music for X. The music was, however, so marvelously executed. The two bands in sync, Blanchard was right to let the music do all the talking.

JAZZ DRUMMER TARIQ GARDNER AND HIS VERSATILE GROUP THE EVENING STAR, PERFORMS TO SOLD-OUT CROWD AT CLIFF BELL’S

noreply@blogger.com (Charles L. Latimer) — Sun, 16 Nov 2025 18:22:00 +0000

Bandleader & Drummer Tariq Gardner

The jazz drummer Tariq Gardner leads a multi-faceted band called The Evening Star, known for its hard-to-classify style. The Evening Star’s setlist seamlessly blends jazz, funk, and world music, creating an eclectic sound that defies easy categorization. If a classification is warranted, The Evening Star could be called a marvelous, tightly knit group—and that cohesion was clear Saturday evening at Cliff Bell’s in downtown Detroit. From the very first number, the musicians locked into each other's musical psyches, effortlessly moving through tempo changes and improvisational bursts from saxophonist Stephen Grady, Jr. It was the kind of performance where the band’s energy drew in the crowd. The setlist highlighted a diverse range of musical influences, featuring songs from Stevie Wonder, Slum Village, and originals by bandmates pianist Leroy Micken and guitarist Caelin Amin, displaying their creative voices. Although the setlist lacked cohesion, the band more than made up for it with their chemistry and Gardner’s leadership. He guided the group through dynamic shifts, knowing when to lounge in the pocket and when to encourage the musicians out of their comfort zones. As an admirer of Stephen Grady Jr, I was floored by his expressive solos marked by daring phrasing. His improvising felt noticeably freer than in recent performances—he played with greater boldness, and he took more improvisational risks, unexpected melodic twists, and turns. At times, he can be an improvisational conservative, but Gardner has a knack for erasing his bandmates' comfort zones. Watching Gardner push Grady was like witnessing Elvin Jones ignite John Coltrane. The band’s centerpiece and crowd favorite was vocalist Coleman Ward, who did an excellent job, given that Cliff Bell’s acoustics are necessarily vocalist-friendly. Anyway, Coleman, the consummate entertainer, made the best of things by walking through the club while singing. The capacity crowd ate up every lyric. Mentored by master jazz drummers Gaylynn McKinney and Djallo Djakate, Gardner has quickly matured into a versatile and skilled drummer across all genres. My only criticism of Gardner is that he sometimes plays with too much reckless abandon, and while listening to him last night, I briefly wondered if the Detroit jazz community might eventually see him move into the funk genre. Apart from that, Gardner has a talented group that defies easy classification and adeptly moves among different popular genres

VOCALIST NAIMA SHAMBORGUER WARMS HEARTS AT THE BLUE LLAMA

noreply@blogger.com (Charles L. Latimer) — Tue, 11 Nov 2025 01:34:00 +0000

Vocalist Naima Shamborguer

The jazz vocalist Naima Shamborguer's voice wraps around you like an expensive quilt. I experienced that firsthand Sunday evening, listening to her perform standard songs from the American songbook at the Blue Llama in Ann Arbor, MI. At times, the warmth of her voice made me want to climb on the bandstand and snuggle up next to her. At her concerts, you’ll experience pure singing that draws you in and makes you feel instantly connected to her. Her knack for conveying vulnerability, beauty, and strength in a single phrase is remarkable. One thing you won’t encounter, thankfully, is a bunch of gratuitous scatting; unlike many of her peers, who rely heavily on that. Shamborguer is always the consummate professional, understanding her audience pays good money to experience the fullness of her gift. Unfortunately, she doesn’t perform around the state as often as she should. However, she has an impressive discography, so if you can’t experience her live as often as you’d like, at least you have the wonderful albums that she’s released, like “Naima,” “Round Midnight,” and “A Blossom Sings” to quench your desire to hear her singing. She opened her hour-long set Sunday with the classic “Autumn Leaves,” moved gracefully to a heartwarming version of “Song for My Father,” then showed the depth of her gift on Geri Allen’s “Unconditional Love.” Shamborguer sang the notes just as Allen originally conceived them. The highlight of the set was Shamborguer inviting two of her family members, vocalists Penny Wells and Michael Hanna, the late pianist Sir Roland Hanna’s son, on stage to sing with her on “Feelings.” The vocalists were of good form, adding rib-sticking nuances to Morris Albert’s classic. The downside was that they only performed that number. Not that Shamborguer needs any help serving a marvelous set. Bassist Jaribu Shahid and pianist Sven Anderson backed her. Shamborguer voice melted over Anderson’s fingers. The set would’ve been incomplete without the inclusion of a reworking of Thelonious Monk’s “Rhythm-A-Ning.” One of her best albums is her interpretation of some of Monk’s signature compositions. The Monk gem was the song the trio had the most fun reinventing. Although Shamborguer’s setlist featured songs that have been performed for decades, her trio’s take made each seem fresh from the showroom floor.

JAZZ SAXOPHONIST WENDELL HARRISON CELEBRATED AT THE CARR CENTER

noreply@blogger.com (Charles L. Latimer) — Tue, 04 Nov 2025 02:29:00 +0000

Saxophonist Wendell Harrison

Those familiar with jazz saxophonist Wendell Harrison's history know he wears many hats: the co-founder of the iconic band Tribe, composer of classics like “Dreams of a Love Supreme,” music educator at Metro Arts, mentor to generations of jazz musicians, and business executive behind independent jazz label, WenHa. His discography is populated with jewels like “Get Up Off Your Knees,”"Rush and Hustle," “Fly by Night,” and “Wait Broke the Wagon Down.” His Moma's Licking Sticks Clarinet Ensemble became one of the more acclaimed jazz ensembles regionally. In 2018, he received the highest honor given to a Michigan artist, the Kresge Eminent Artist award. Saturday night, key areas of his accomplishments and genius were highlighted during a two-hour tribute to him at the Carr Center. The center was packed with admirers, family, and young and accomplished musicians whom Harrison has influenced. The celebration offered musical performances, poetry, and testimonials. Saxophonist Stephen Grady Jr. and pianist Jacob Hart opened the evening with “Stablemates,” “Take the Coltrane,” and “Peace,” recreating much of the magic that Harrison and the late pianist Harold McKinney summoned up on their duet album “Something for Pops.” Grady, Jr. has a clean and uplifting tone, as well as a command of the tenor saxophone akin to Joe Henderson. Hart—who’s still a high schooler—has already made a name for himself, headlining top jazz clubs around Detroit. For a teen jazz pianist, he has an OG’s ability to efficiently groove and move through chord progressions. And he demonstrated that he’s a thoughtful accompanist. Grady, Jr, and Hart’s terrific opening set was augmented by poetry from wordsmiths Professor Gloria House and the pastor of the Shrine of the Black Madonna Church, and a short but soul-soothing number from pianist Pam Wise, trumpeter Ingrid Racine, and saxophonist Salim Washington. Harrison schooled him, and although he's now a world-renowned bandleader and music educator, he still considers Harrison to be his north star. After the great performances and anecdotes by bassist Ralphe Armstrong and Carr Center President Oliver Ragsdale, Harrison took the stage, obviously touched and appreciative of all the love lavished on him. Harrison discussed the origins of his organization, Rebirth, and its cultural impact in Detroit. He also shared stories about meeting his wife, the accomplished and woefully underpraised jazz pianist Pam Wise. Together, they performed a duet on her original piece, “Fly by Night.” It was a pleasure listening to them swing lovingly and showing their fondness for each other and the music. The celebration ended with Harrison and Hart performing a blues. Here’s where I gained a deeper sense of Hart’s true potential, particularly in his ability to expose the marrow of the blues, as if he had vast life experience. The tribute’s only shortcoming was that none of Harrison’s signature compositions were performed. Still, it was a fitting celebration for a musician, educator, mentor, and business executive who’s been a cultural force in Detroit for decades.

THE DETROIT JAZZ PRESERVATION CONCERT SERIES CELEBRATES ACCLAIM JAZZ BASSIST MARION HAYDEN

noreply@blogger.com (Charles L. Latimer) — Tue, 07 Oct 2025 01:36:00 +0000

Bassist Marion Hayden

Many people know jazz bassist Marion Hayden for her impressive career, whether she's leading a band, working alongside renowned jazz musicians, teaching music, or guiding up-and-coming jazz talents. However, it's rare to find a concert dedicated exclusively to Hayden's own compositions. Hayden was honored as a composer on Sunday night at the Detroit Jazz Preservation Concert Series. I need to confirm with the series’s founder trombonist, Vincent Chandler, if this was the first time an honoree has performed in the series. Hayden assembled an outstanding group featuring Steve Woods and Stephen Grady on saxophone, Vincent Chandler playing trombone, Jordan Anderson at the piano, Tariq Gardner on drums, and Tim Blackmon on trumpet. Hayden wrote the arrangements and narrated a ninety-minute concert featuring eight of her original compositions. The performance started with four movements from her Phillis Wheatley Suite: "Middle Passage," "Woik," "Duality," and "From a Flicker to a Flame." The band executed the songs with remarkable ease and cohesion. No single solo stood out more than the others. This was the most evenly balanced band that I’ve witnessed in a long time. Blackmon's playing was sharper than the creases in his dress slacks, and Grady possessed an old-school elegance. His blowing was consistently clean and exact. Gardner, the youngest in the lineup, plays drums with a journeyman’s maturity, knowing when to be subtle and when to blow the barn doors open, as shown by his precise solos on “The Drummmm” and “Teddy’s Dance/H.P. For Life.” “A compelling demonstration of his development as a jazz drummer. Anderson was the band’s linchpin, acting as a facilitator whose high rhythmic IQ pushed all his bandmates to heights they may not have known were achievable. This is a jazz pianist’s top trait. As for Hayden, she faced a tough challenge during the performance, having to cope with hip pain, forcing her to perform seated on a stool. Despite the physical discomfort, she managed to keep the packed audience captivated with one mic-dropping solo after the other. Her high swing aptitude allowed her to direct the band and walk the bass astonishingly for 90 minutes, all while seated—an achievement only a skilled jazz musician like her could pull off.

THE DETROIT JAZZ PRESERVATION CONCERT SERIES KICKS OFF ITS THIRD SEASON WITH THE IAN FINKELSTEIN TRIO HONORING GERI ALLEN

noreply@blogger.com (Charles L. Latimer) — Tue, 16 Sep 2025 00:47:00 +0000

Pianist Geri Allen

Since its inception in 2023, the Detroit Jazz Preservation Concert Series has become a must-attend event in Detroit’s jazz community. Vincent Chandler, the creator of the series, continually adds nuances to it, refining each season. Before Sunday’s set commenced, he shared with the near-capacity audience that this season will feature more concerts by notable Detroit jazz musicians who are currently active. This was also the first time Chandler neither performed nor arranged any of the music. The season-opening concert featured the music of the late jazz pianist Geri Allen, performed by pianist Ian Finkelstein, a former student of Allen at the University of Michigan. Since graduating from the University of Michigan, he has become a well-rounded jazz pianist adept at accompanying vocalists and leading ensembles and trios. At Wayne State University's Schaver Music Recital Hall, Finklestein’s trio maneuvered seamlessly through some of Allen’s signature compositions—including “Timeless Portraits and Dreams,” “Skin,” “Drummer’s Songs,” “Unconditional Love,” and “Feed the Fire”—with the capable young talent drummer Caleb Robinson and bassist Michael Abbo. Abbo is an emerging star with considerable bandwidth, and Robinson is a drummer with chops akin to Ulysses Owns, Jr, and Rudy Royston. The trio sounded fit and sophisticated, handling Allen’s music as if they had invested most of their careers dissecting her work. Finkelstein deserves credit for choosing not to copy Allen’s phrasing or the way she wolfed down chord changes to the many songs she immortalized. He stretched out on his mentor’s music while maintaining his own identity. The trio’s adherence to details made it impossible to identify a specific highlight. It’s not off base to reason that every part of the concert was a highlight for the appreciative audience. However, If pressed, I must acknowledge Finkelstein’s solo rendering of "Amazing Grace" as a pure crowd-pleaser executed with such gravitas and sensitivity that it could’ve made Allen’s spirit and God cry.

STANDOUT SETS FROM THE 2025 DETROIT JAZZ FESTIVAL

noreply@blogger.com (Charles L. Latimer) — Wed, 03 Sep 2025 01:54:00 +0000

Pianist Jason Moran

Jason Moran and Jeff Mills with special guest Jessica Care Moore (Friday Carhartt Amphitheater Stage)

I believed wholeheartedly this opening night performance was one of the more inventive in recent years and set the tone for how special this year’s Detroit jazz fest was going to be. Moran is a worldwind force in jazz, Mill is one of the founding fathers of Techno music, and Moore is one of the best writers Detroit has ever produced. Mixing their respective talents was pure delight. And Moore’s culturally and politically conscious poems mixed beautifully with the improvisational magic Moran and Mills created.

Chris Potter Trio featuring Matt Brewer and Kendrick Scott (Saturday Carhartt Amphitheater)

Listening to Potter’s Saturday afternoon set, I couldn’t help thinking about something that saxophonist Sonny Rollins told me. That you must be an exceptional musician to play in a band without a pianist. No one in their right mind would argue that Potter, Brewer, and Scott aren’t world-class jazz musicians who could swing in whatever musical situation they are in. A whole lot of swinging was exactly what the Potter trio served up, moving proficiently from standards to original material. Potter is a tenor saxophonist with a substantial discography and mastery of his instrument. Solo after solo, Potter gobbled up the music changes like Halloween candy.

Pianist Kenny Barron

Kenny Barron Voices featuring Tyreek McDole (Saturday JP Morgan Chase Main Stage)

Kenny Barron is one of the best jazz pianists in the history of jazz, and he doesn’t need to bring any extras during a performance because his playing is so soul-grabbing that any extras are overkill. For his Detroit fest performance, Barron offered more than himself this time around. He introduced to the jazz fest a magnificent young vocalist named Tyreek McDole, who had the audience eating out of his hands a short time after he began singing. Two of my jazz friends, Ronald Lockett and Debbie Tent, implored me to catch this set, and I'm glad that I listened to them. Barron, of course, was amazing, and McDole's mature and enticing voice melted in the audience’s ears.

Pianist Hiromi
Hiromi’s Sonicwonder (Saturday Carhartt Amphitheater)

Hiromi’s performance was a fitting follow-up to Jason Moran’s opening night set, although it wasn’t designed to be. Hiromi is an energetic pianist and a creative dynamo, rare these days in jazz circles. She raced up and down the piano like a madwoman, even at times banging the keys with her elbows. Her brand of swing may not appeal to the average jazz purist, but it would appeal to a listener searching for a pianist who is comfortable swinging outside the lines.

Vocalist Joan Belgrave

Detroit Jazz Queens-Paying Homage to Those Upon Whose Shoulders We Stand Ella, Nancy, Dinah, Etta (Sunday Absopure Waterfront Stage)

This set was a beautifully produced homage to four jazz vocalists who had a lasting impact on the music. And a tribute of this magnitude could have only been pulled off by vocalists who also profoundly impacted the music: Joan Belgrave, Joan Crawford, Diane Mathis, and Tonya Hood. The wonderful thing about this set was that neither of the vocalists attempted to emulate the style of the vocalists they were honoring. Belgrave, Crawford, Mathis, and Hood brought their own uniqueness to the songs that Ella, Nancy, Dinah, and Etta immortalized. This set was unadulterated vocal jazz at its absolute finest.

Saxophonist Lakecia Benjamin

Lakecia Benjamin (Sunday Carhartt Amphitheater)

I had my fingers crossed for years that the organizers of the Detroit jazz fest would book saxophonist Lakecia Benjamin. I have experienced her twice before in Detroit. The last time at a church. She couldn’t cut loose like she usually does. I felt the Detroit jazz fest would be a good place for her to be herself, and her Sunday afternoon set didn’t disappoint. She opened the set with an ode to John Coltrane, nearly blowing the sun out of the sky. Then she moved to selections from her Grammy-nominated albums. The best part of the set was her band stretching out on “My Favorite Things” and the dynamic exchange between Benjamin and drummer Terreon Gully, a newcomer to her band.

Pianist Jason Moran

Jason Moran Presents the Music of Duke Ellington featuring the Detroit Jazz Festival Collegiate Jazz Orchestra (Sunday JP Morgan Chase Main Stage)

For the past few years, pianist Jason Moran has been immersed in the music of Duke Ellington, and he let the Detroit jazz festival audience in on the extent of his immersion with Ellington's music by performing many of Ellington’s signature compositions with the Detroit Jazz Festival Collegiate Jazz Orchestra. In the hands of Moran and the collegiate musicians, Ellington's music was expertly performed, and it was good to hear the next generation swing their way through the music. The highlight of the set was the orchestra burning through Ellington’s “Bragging in Brass.” Jason was so taken with how the orchestra handled that complicated piece, Moran surprised the orchestra and the audience by having the orchestra perform it again.

Pianist Omar Saso

Omar Sosa Quarteto Americanos (Sunday Carhartt Amphitheater)

Pianist Omar Sosa is the reigning king of Afro-Cuban jazz, and he proved why that title is apropos. Sosa had the piano sweating like a personal trainer. Sosa delivered an hour-plus of feel-good swing.

The Branford Marsalis Quartet

The Branford Marsalis Quartet (Sunday Carhartt Amphitheater)

This was Marsalis' first set at the Detroit jazz festival in 15 years. It was a set that I’ve seen Marsalis deliver many times, and yet his band pianist, Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner never disappoint. The set opened with “The Mighty Sword” followed.

by “There’s No Sweet Man Worth the Salt of My Tears.” Here’s where you get to see the best pianist and drummer duo in the business show their ass. Witnessing the two music soulmates trading is always engaging. Marsalis surprised the audience by inviting Lakecia Benjamin to join his band. I thought Benjamin needed at least 24 hours to recover from her thunderous set.

JAZZ BASSIST RODNEY WHITAKER PERFORMS MUSIC FROM HIS NEW ALBUM ‘MOSAIC: THE MUSIC OF GREG HILL’ AT THE DIRTY DOG JAZZ CAFÉ’

noreply@blogger.com (Charles L. Latimer) — Mon, 19 May 2025 19:21:00 +0000

Bassist Rodney Whitaker

Rodney Whitaker, a jazz bassist, played music from his new album “Mosaic: The Music of Gregg Hill” at the Dirty Dog Jazz Café over the weekend. I caught the late show on Friday and noticed something about Whitaker that people don’t often talk about. Those who know his background are aware of his time with Jazz at Lincoln Center, his success as a bandleader, and his role in making the jazz program at Michigan State University one of the best in the world. He is also great at putting together top-notch bands, often mixing his students, local Detroit musicians, and well-known jazz musicians. This was clear at Friday’s show. His band featured trumpeter Dwight Adams, drummer Dana Hall, pianist Brendon Davis, saxophonist Allen Paige, and special guest Rockelle Whitaker, his daughter, who was the star of the band. The set began with a Joe Henderson classic. Then, Whitaker led the band through songs from “Mosaic,” featuring Gregg Hill’s music. Hill’s work has been on albums by guitarist Randy Napoleon and trombonist Michael Dease. Hill started his music career later in life, but he quickly became a sought-after composer. Whitaker has been a great promoter of Hill’s music. The concert’s highlights were solos from Adams, Detroit’s top trumpeter, and Davis, one of the best pianists of his generation. Adams’s soloing on songs like “Slow Gin Fizz” shook the Dog’s foundation. I only get to hear Adams once or twice a year, but he always manages to sound better each time. This is impressive since his skills are already comparable to those of great trumpeters like Donald Byrd and Freddie Hubbard. Davis’s playing has grown a lot in the brief time he’s been in the Detroit jazz scene. He swung on Friday night as if playing in Whitaker’s band was a major goal on his career vision board. What is striking about his playing is his control and his ability to dazzle without being overly showy. Rockelle Whitaker is always delightful when she joins in. She came on stage after the fourth song and captivated the audience with her first song. She is a pure vocalist with a calm stage presence, like Shahid Nurullah. The hour-long concert was nourishing and satisfied my week-long craving for good jazz.

DETROIT FEMALE JAZZ MUSICIANS ARE ALWAYS THE EPITOME OF PROFESSIONALISM

noreply@blogger.com (Charles L. Latimer) — Sat, 17 May 2025 17:47:00 +0000

Bassist Marion Hayden

In April, I wrote an essay about young Detroit jazz musicians' lack of professionalism and indifference toward dressing well during their performances. A close friend in the jazz community recommended that I refrain from publicly sharing these opinions to avoid upsetting young musicians trying to build their careers. While many veteran musicians agreed with my viewpoint after reading the essay, younger musicians were not pleased with my comments. One well-known trumpeter checked me indirectly at a recent Dirty Dog Jazz Café concert, accusing me of hating his generation of jazz musicians, which is untrue. The young musicians can swing; I've written about that numerous times. I hate how his generation carries itself and their collective lack of professionalism. A displeased young saxophonist explained his choice of sneakers and jeans at jazz venues, attributing it to hip-hop's relaxed fashion rather than the polished sophistication of jazz musicians such as Terrell Stafford, Tim Warfield, and Jeremy Pelt. Some readers called me old-fashioned, questioning the relevance of attire to a musician's music. It's a valid question to ask. Young musicians dressing poorly for a concert disrespect the audience, venue, and music. Isn't it honorable to dress up for music? Jazz musicians traditionally dressed well as part of their professional persona. I shared insights from renowned jazz musicians on the importance of stage appearance. For example, Art Blakey advised Ralph Peterson that audiences judge musicians by their appearance before listening to them. I questioned whether jazz educators in Detroit emphasize this to young musicians.

My essay sparked a lively discussion. Vocalist Bettye LaVette mentioned she joined show business to dress up. One reader argued about the stagnant pay for jazz musicians at local clubs like Baker's Keyboard Lounge and Bert's Marketplace since the early 1980s. The comment that motivated me to write this follow-up essay questioned why I did not criticize female jazz musicians in Detroit. There was no need for criticism. Over the past 20 years, the female jazz musicians I have written about have consistently demonstrated professionalism. They are accomplished musicians who conduct themselves appropriately and merit acknowledgment.

Marion Hayden, Gayelynn McKinney, Leslie DeShazor, Joan Belgrave, Ursula Walker, Pam Wise, and Kate Patterson display flawless style and professionalism. Their concert appearances are as meticulously executed as their music. I consistently leave their performances feeling satisfied and eager for more. Patterson and Spanky Wilson are consummate performers. I experienced Patterson for the first time many years ago at a Grosse Pointe Unitarian Church jazz concert. She sang for an hour and made four wardrobe changes during the concert. She chose a different gown for each song. Both she and her band presented themselves elegantly that evening. The show was memorable. Spanky Wilson was another accomplished vocalist who loved dazzling an audience with her style, influencing the style of musicians like Marion Hayden. Recently, I spoke with Hayden about female jazz musicians' passion for their craft and elegant bearing. Asked if they possess something unique compared to male peers, she noted that women are more scrutinized, which necessitates careful attention to their appearance. Professionalism was ingrained in her from a young age throughout her career. She admired stylish artists like Ursula Walker and Naima Shamborguer. Spanky Wilson influenced Hayden the most. She began wearing makeup during performances after Wilson lectured her about the importance of glamour. I don't know if other female jazz musicians like Hayden were taught the importance of professionalism growing up and taught that the stage was sacred. However, their behavior suggests they learned this lesson. Hayden read my essay and discussed it with the young musicians in her current band. She agreed with several of my points but acknowledged that times have changed, and the current generation has a different sense of style. She likes stylish musicians but implores young jazz musicians to follow the band leader's dress code. Young Detroit jazz musicians should be inspired by professionals like Hayden, Wise, DeShazor, Wilson, Walker, and Shamborguer, who exemplify how to represent jazz properly.

JAZZ PIANIST JOEY ALEXANDER PLAYS THE BLUE LLAMA FOR THE FIRST TIME

noreply@blogger.com (Charles L. Latimer) — Sun, 11 May 2025 20:27:00 +0000

Pianist Joey Alexander

In 2018, I heard jazz pianist Joey Alexander live for the first time. He made history, opening the 2018-2019 Paradise Jazz Series at age fifteen. I recall him fascinating the series regulars with his journeyman piano command and ability to make his sidemen appear bigger than life. Since then, he has put out nine albums and performed regularly as a featured soloist with Jazz at Lincoln Center Orchestra. Now he's twenty-one, leading a highly touted jazz trio with drummer Johnathan Barber and bassist Kris Funn. On Friday night, they played the Blue Llama in Ann Arbor, MI, presenting mainly songs from Alexander's new album, "Continuance." It was an hour of expertly executed jazz. The trio members were evenly yoked and effortlessly roamed each other's musical psyches. They started the second set with "Remembrance" and soon after won over the capacity crowd with a reupholstered version of "My Favorite Things." Here, Alexander showed off his pristine and multi-layered chops. Sometimes, the music was so moving and compelling that he played standing on his tiptoes, like Keith Jarrett, who often plays standing when the music moves him. I've noticed Alexander's influences aren't always obvious like other accomplished jazz pianists. For example, after hearing Jason Moran's solo, it's clear that pianist Jaki Byard influenced him. The same goes for pianist Cyrus Chestnut. Witnessing him running through chord changes, it's clear that pianist John Hicks was his north star. With Alexander, I was immediately drawn to how perfect his playing is, how comfortable he is with standards, and how adult his original songs are. He's also masterful at quickly drawing a crowd into his orbit. He has always had a strong command of the piano and, surprisingly, the stage. That was clear during his Blue Llama debut.

WHY DOESN'T THE CURRENT GENERATION OF DETROIT JAZZ MUSICIANS CARE TO DRESS UP?

noreply@blogger.com (Charles L. Latimer) — Mon, 28 Apr 2025 23:15:00 +0000

Bassist Ron Carter

I attended the Ron Carter quartet concert at the Paradise Jazz Series in April. The first thing I noticed was how sharp they were in their matching black suits. Their appearance made me wonder why many young jazz musicians, particularly those from Detroit, never dress up like jazz musicians did back in the day. I thought about a question I asked the late jazz drummer and former Jazz Messenger, Ralph Peterson Jr., during an interview for my upcoming book, "Chasing the Note." Why band leaders like Art Blakey required their bandmates to dress up. According to Peterson, Blakey believed that before the musicians played a single note, the audience first saw their attire. Discerning audience members tend to make assumptions about the music based solely on the musicians' appearance. Many fans might believe such a claim to be silly. Blakey was right, though. If musicians look raggedy, it's likely their music will reflect that. What Blakey said has stuck with me. I’m embarrassed at how poorly dressed the current generation of Detroit jazz musicians is. Hoodies, jeans, and sneakers are acceptable attire. I question whether the colleges where young musicians learn the nuts and bolts of music theory, orchestration, and harmony emphasize proper stage etiquette. If so, it appears that too many of the young musicians who play at the Dirty Dog Jazz Café, Bert's Music Café, the Blue Llama, Cliff Bell's, Baker's Keyboard Lounge, and Aretha's Jazz Café skip those lectures on etiquette. How can jazz musicians perform at upscale clubs like the Dirty Dog and Blue Llama, which have a cover charge yet dress as if they were playing at a fraternity house? It's outright disrespectful to the audience. If you bring a date to either venue, you could drop $250.00 to hear one set. I once overheard the jazz pianist and educator Teddy Harris Jr. tell a young musician that the audience should never look better than the musicians whom they have paid good money to see. Harris added that the bandstand is sacred and must be treated as such.

I hesitated about writing this blog, knowing that it would offend many of the young players who, aside from their lack of attention to their appearance, are excellent musicians. I was also unsure if I would sound old-fashioned and superficial. At first, I decided to keep my observations and thoughts to myself. That changed at the Detroit Jazz Festival Press Conference. The band performing looked awful. One musician wore scuffed-up black and white Air Jordans. Another had on Crocs sandals, but at least they were new. The musicians' shabby appearance distracted from their music. My attention shifted from their clothes to the music, never thoroughly enjoying their original music. That's what Art Blakey was getting at when schooling Ralph Peterson. The musicians were hired to perform at a media event for one of the biggest jazz festivals in the world. Still, they didn't understand such an honor call for dressing up, given that the festival sponsors, city officials, and media personalities were in attendance. I later learned that the same musicians would represent Detroit and the DJF in an upcoming tour of Japan.

Musicians don't always have to wear suits and ties, but they should at least be well put together. The tenor saxophonist Donald Walden was stylish. No fan of his would deny that. I caught many of his local gigs. I don't recall him ever sporting a suit. Yet, his appearance was always impeccable. Decades ago, jazz musicians were written about in national magazines such as GQ and Esquire for their stylishness. Miles Davis, Duke Ellington, Roy Haynes, and Coleman Hawkins were fashion icons always on someone's best-dressed list. Non-musicians tried to mimic the style of jazz musicians. My mentor, who introduced me to jazz, once told me that when he proposed to his wife of 60 years, he wore a tailored suit like the one trumpeter Lee Morgan wore as a Jazz Messenger. Jazz musicians of the past possessed a certain dignity. Yes, they had struggles with addiction and other vices, but it meant something to be a jazz musician. How they talked, walked, and dressed spoke to that reality. It was easy to distinguish between jazz musicians and other musicians. You wouldn’t be wrong to mistake a jazz musician now for rock & roll or hip-hop musicians.

Last week, I saw the famous Great Day in Harlem photo. On a hot summer day in 1958, all the male musicians pictured were dressed like leading men. There are all sorts of jazz lore about how meticulous jazz musicians were about their clothes. For example, trumpeter Miles Davis said the great tenor saxophonist Dexter Gordon wouldn't allow musicians to hang around him if they weren't dressed right. In his autobiography, Miles wrote that Gordon told him he couldn't be seen with Miles until he got some vines (clothes). Trumpeter Rex Stewart noted in his book "Jazz Masters of the 30s," which documented some of the quirks of famous jazz musicians, that Duke Ellington was so fussy about his clothes that he wouldn't wear a suit coat if any of the buttons were slightly loose. The Jazz at Lincoln Center Orchestra’s appearance is always polished. Its leader, Wynton Marsalis, joked that if the music isn't happening, at least the band looks good.

Trumpeter Miles Davis

Closer to home, I recall the Detroit drummer Sean Dobbins telling me the pianist Claude Black chastised him about how he dressed. According to Dobbins, Black was embarrassed to be on stage with him and made him buy some suits. That's how seasoned jazz musicians used to tear into younger musicians for any breaches of etiquette. Somehow, that type of homegrown mentoring has stopped. I asked Dobbins once after his performance at the Dirty Dog why young guys don’t care how they look on stage. He said he could only require that musicians dress up in his band. Why does dressing well matter? Deep down, who gives a shit what jazz musicians perform in? Those are reasonable questions. Jazz musicians dressing up are part of tradition and acknowledge what Teddy Harris believed was sacred, the bandstand. I’m not sure if anyone cares about my observations, opinions, or agrees that the current generation of Detroit jazz musicians needs to be concerned about professionalism. Performing at a concert hall or popular jazz club in a hoodie, sneakers, and jeans is in bad taste. Here are a few suggestions: Club owners should establish a dress code for the performers. Universities could offer classes in grooming and professionalism. That would be a good starting point. Ron Carter informed his students at City College in New York, if they wanted to perform with him in the concert at the end of the semester, a blue suit and tie were mandatory. I left the Carter’s Paradise Jazz Series concert feeling good. At 88, he's still sharp musically, and his style is still impeccable. I wish more of Detroit's current jazz musicians had attended the concert to witness professionalism at its finest.

JAZZ PIANIST JASON MORAN PERFORMS A SPELLBINDING SOLO CONCERT AT THE GRETCHEN C. VALADE JAZZ CENTER

noreply@blogger.com (Charles L. Latimer) — Wed, 16 Apr 2025 16:17:00 +0000

Pianist Jason Moran

If you attended the Detroit Jazz Festival press conference on Tuesday evening at the Gretchen C. Valade Jazz Center, stayed for Jason Moran's short concert, and two hours later left still doubting he is the most exciting jazz pianist of his generation, which includes Benny Green, Cyrus Chestnut, and Charles Craig, I would have to respectfully question your taste and sanity. Moran was there as the DJF’s 2025 Artist-in-Residence. Before Chris Collins, the festival’s president, announced the performers, Moran shared his thoughts on Detroit's rich music history, his love for the festival, and his mixed feelings of honor and fear about being the Artist-in-Residence. He then gave a spellbinding solo concert. I have been attending this jazz festival’s annual press conference for twenty years. Usually, the Artist-in-Residence plays three songs. He played six solo songs, starting with a medley of Duke Ellington tunes, followed by “Melancholia,” Geri Allen’s “Feed the Fire,” mixed with Moran’s “Retrograde.” His original “Barbershop” earned the first of three ovations. He played brilliantly, fiddling with the piano strings with one hand while the other raced across the keys like a child running after an ice cream truck. He made the piano echo the sounds of a bustling Manhattan street. This short concert was just a taste of what he will bring to the festival, starting with a must-see duet with techno music founder Jeff Mills and Detroit’s Poet Laureate Jessica Care Moore, a tribute to Duke Ellington, and a set with his long-time group Bandwagon featuring Meshell Ndegecello. The press conference was a showcase of his vast skills. Every Moran live concert or recording presents music that captivates, whether he is blending jazz with hip-hop, playing behind the backdrop of two women in a casual conversation, or someone scribbling on a notepad. His gift is convincing you that every sound can be music, setting him apart from other pianists. What is truly special about the jazz festival’s Artist-in-Residence position is the outreach programs at high schools and colleges. These programs allow music students to gain experience from a worldly musician like Moran.

SAXOPHONIST KENNY GARRETT'S MUSIC GETS A STAR TREATMENT AT THE DETROIT JAZZ PRESERVATION CONCERT SERIES

noreply@blogger.com (Charles L. Latimer) — Mon, 14 Apr 2025 17:35:00 +0000

Saxophonist Kenny Garrett

Sunday afternoon, when trombonist Vincent Chandler, the founder of the Detroit Jazz Preservation Concert Series, told the crowd at Schaver Music Recital Hall that the concert celebrating saxophonist Kenny Garrett’s music was the second-to-last in the series this season, there was a collective sigh. Their disappointment showed how important the jazz series had become in just two short years. I bet most who showed up wished Chandler could find money to keep the series going year-round. No one knows if he will, but I pray that he does. Sunday’s nod to Garrett was another well-plotted set with a strong lineup of saxophonists Rafael Leafar and De’Sean Jones, drummer Sean Dobbins, bassist Josef Deas, and pianist Roger Jones II. I never knew Garrett was such an outstanding composer. Chandler was smart in choosing to steer the frontline with Leafar and Jones. During the early stage of Leafar’s career, he sounded like Garrett and even swayed back and forth during solos. Listening to Leafar blow up and down Sunday afternoon, I felt he had finally come into his own. Leafar and Jones had their horns honking, screaming, and squealing with such raw force that Chandler should have warned the crowd before the set started to protect their ears. Mine were burning midway through the set. Chandler enjoys scat singing when the spirit hits him. I am not a fan of scatting. However, he always manages to sound damn good. He started “Happy People,” which Garrett usually ends his concerts with, by scatting and drawing the crowd in, but was overshadowed when Jones and Leafar began trading measures. Garrett is all fire, and Jones and Leafar captured that side of his blowing well. Dobbins was the motor pushing the saxophonists to great improvisational depths. At the end of the set, Dobbins probably had to soak his drumsticks in Epson salt to reduce the swelling, given the workout he put them through. I wondered though why Chandler did not choose a heavy-handed piano player, as Garrett likes that type. Jones II is a sharp pianist with chops suited for a trio but never matched the bombs the saxophonists dropped. The sighs heard at the start of the set were replaced with applause as the band moved through Garrett’s “Wayne’s Thang,” “Wooden Steps,” and “Sing a Song of Song.” Give Chandler a pat on the back for giving Jones and Leafar the room to stick and jab. Of the concerts put on so far, this one should have been recorded for future nationwide release.

DID THE RON CARTER FOURSIGHT QUARTET PUT ON THE BEST CONCERT IN THE HISTORY OF THE PARADISE JAZZ SERIES?

noreply@blogger.com (Charles L. Latimer) — Sat, 05 Apr 2025 22:03:00 +0000

I wonder if anyone at jazz bassist Ron

Payton Crossley, Renee Rosnes, Ron Carter & Jimmy Greene

Carter's Foursight Quartet concert on Friday evening at the Paradise Jazz Series believes it was the best concert in the series history. The quartet, pianist Renee Rosnes, saxophonist Jimmy Greene, and drummer Payton Crossley put on a concert for the ages. They are the smoothest outfit I've seen. Their way of swinging is different. It has a certain dignity you do not get from other jazz bands. Before they started swinging, they walked out dressed in black tuxedos, locked arms and bowed. Carter sat on a stool next to the piano. The quartet played for an hour without coming up for air. Carter didn't call the first four songs. I had to go to his Facebook page for the setlist. They opened with "Bohemia After Dark" and slid into "Nefertiti" and "One Finger Snap." After they ended "Little Waltz," they finally came up for air, and Carter addressed the house. It was a joyful homecoming for Carter, and he was happy to play for a packed house at Orchestra Hall, his first time hitting there as a band leader. The quartet didn't pause between songs like they were performing a suite. The wondrous thing about this concert was that each moment could rank as the concert's high point, with Rosnes and Carter trading and Greene blowing brilliantly. Greene is a sax player with a lean, pleasing, everyday tone, like the late Harold Land. With so many highlights, my favorite was Crossley's solo, where he only hit the cymbals, which was like watching a hotshot artist painting on stage. Rosnes' playing stood out the most. She's an elegant piano player who plays like her fingers are made of diamonds. Carter shook up the house with a well-crafted bass solo. As a bass player, he waltzes with the bass instead of walking with it. His playing draws you in after playing notes. So, it's worth asking if the Foursight's set was the best in Paradise Jazz Series' history.

TRUMPETER BENNY BENACK III LAUNCHES FIRST MIDWEST JAZZ COLLECTIVE CONCERT AT THE BLUE LLAMA

noreply@blogger.com (Charles L. Latimer) — Mon, 24 Mar 2025 18:07:00 +0000

Trumpeter Benny Benack III

Benny Benack III, a jazz trumpeter from Pittsburgh, reminds me of the late Chet Baker with his trumpet and singing style. I don't know if he means to copy Baker, or if he looks up to him. Benack has played with stars like Christian McBride and Emmet Cohen and released two albums. When I heard Benack sing and blow Saturday night, I could not stop thinking of Baker during his heyday. However, Benack sings better than Baker did. Benack III performed with his band, including pianist Tyler Henderson, drummer Charles Goold, and bassist Caleb Tobocman. They were there to start a new concert series by the Midwest Jazz Collective, a group of jazz clubs and promoters in the Midwest that organize tours for leading jazz musicians. Benack III had performed at Blue Llama before and even recorded a live album there last year, set for release this summer. The band played standards and originals, starting with "Kiss the Good Life Goodbye" and then "The Sound of Music." The band sounded best on songs from Benack's albums “Third Times The Charm,” “One of a Kind,” and “A Lot of Livin’ to Do.” Benack's singing was soothing, making you wish he would never stop. His pianist, Tyler Henderson, a Juilliard graduate, played perfectly behind him, demonstrating how selfless a pianist must be when supporting a singer. During the 90-minute performance, it was surprising to see that Benack, who has such a smooth singing voice, could also play the trumpet so powerfully. He showed this, especially on the song “Catching Drift,” which was a twist on “My Favorite Things.” Here, Goold and Tobocman really carried the heavy parts. Tobocman, only twenty-two, is already making a name for himself. Throughout the set, he strolled with his bass rather than walking it. Goold's drumming was powerfully beautiful, like his peers Nasheet Waits and Brian Blade. At the end of the set, Benack III invited a singer friend to join him for a restructured take of “Willow Weep for Me,” ending the show beautifully and marking a great start for the Midwest Jazz Collective's concert series.

WJZZ CELEBRATES ITS 66TH BIRTHDAY AT BAKER’S KEYBOARD LOUNGE

noreply@blogger.com (Charles L. Latimer) — Wed, 19 Mar 2025 18:21:00 +0000

WJZZ's Rodger Penzabene Jr.

WJZZ celebrated its 66th birthday with an exclusive party Tuesday night at Baker's Keyboard Lounge in Detroit, MI, which included a guest list of notable Detroiters like fashion laureate Chuck Bennett, renowned photographer Monica Morgan, fashionista Fast Freddy Anderson, jazz vocalists Naima Shamborguer, Sky Covington, Joan Belgrave, celebrity journalist Greg Dunmore, and some elected city officials. The drummer and Kresge Fellow Aisha Ellis and her quartet provided the music. Before the quartet launched the two-hour performance with tracks from Ellis’s new album "Luck or Favor," WJZZ's president, Rodger Penazbene Jr., thanked his sponsors and team for organizing the celebration and shared insights into the station's history and its new direction. He then handed the stage back to Ellis's group, whose performance mixed funk and smooth jazz. This style of music, although different from what I usually write about here, aligns with WJZZ's shift from traditional acoustic jazz. The quartet included keyboardist Jame Shelton, bassist William Pope II, and flutist Deblon Jackson played most songs in the same key and at a lively pace, captivating the audience and even me at times. It has been a while since I last visited Baker's. I was a regular at the late pianist Teddy Harris Jr.'s weekly jam sessions years ago. It is surprising that Baker's no longer has a piano, especially since it is known as the world's oldest jazz club—a claim disputed by some jazz historians. During the celebration, I found myself—despite my allegiance to straight-ahead acoustic jazz—lost in the music along with everyone else. Ellis is a witty and exciting drummer, reminiscent of Gaylynn McKinney in her textured rim shots and self-assurance in the pocket, shouldering the bulk of the workload. Jackson, on the flute, was exceptional, though sadly unsung despite her long history of putting out good music. I only hear her play at her annual street performances during the Detroit Jazz Festival. Her talent is remarkable, and I wonder why the festival has not booked her or she has not been featured at any of the jazz clubs in Detroit. Shelton, the keyboardist, played energetically, though his rambunctious style made his bandmates labor harder than they should have at times. Halfway through the set, Ellis was sweating like a construction worker on a hot August day. Shelton might have forgotten he was not leading the quartet. Over the years, I have come to understand that smooth jazz keyboardists are prone to grandstanding. It is an unshakable part of their nature. Overall, the 66^th birthday bash was a perfect tribute to WJZZ, an important part of Detroit's cultural scene. There is good reason to cheer Rodger Penzabene Jr. for his dedication to revitalizing WJZZ.

YOU DON’T HAVE TO EXPERIENCE AN ENTIRE WILLIAM HILL III CONCERT TO KNOW HE’S THE REAL DEAL

noreply@blogger.com (Charles L. Latimer) — Sun, 16 Mar 2025 22:21:00 +0000

Pianist William Hill III

I owe the young jazz pianist William Hill III a heartfelt apology for only staying for half his trio set Friday evening at the Friday Night Live concert series at the Christ Church Cranbrook. Hill’s trio includes drummer Samuel Melkonian and bassist Langston Kitchen. Hill is a Detroit School of the Arts graduate who now studies at the Manhattan School of Music and performs regularly around New York. I left midway through the set because my partner’s seasonal allergies flared up, causing her eyes to swell. Fortunately, the four compositions I heard convinced me that after hearing him for the first time as part of the Detroit Jazz Preservation concert series, my initial impression of him as a force to be taken seriously was accurate. His trio opened Friday night with his original “Keep It Moving,” showing he’s a gifted composer, and the trio is as polished as any professional trio currently working. They followed the opener with a hip take of Thelonious Monk’s classic “’ Round Midnight.” Pianistically, he runs lines with the sophistication and aplomb of a veteran sharpshooter like Cyrus Chestnut, and Hill possesses the piss-and-vinegar swagger of the late Jaki Byard, who could touch on the history of African American music in a single solo. Hill denies that Chestnut and Byard weren’t immediate influences. He attributes that to Wynton Kelly and Oscar Peterson. After the trio’s modernized rendering of the Monk classic, Hill cast the spotlight on bassist Langston Kitchen on the goose-bump-inducing “Alone Together.” Kitchen has a mean left hook and his soloing on the tune was awe-inspired. Melkonian drumming could’ve made the devil blush. Hill didn’t announce how long his trio had been together. The trio is professional from top to bottom. I appreciated that William required his bandmates to wear suits. He understands the significance of first impressions. So many of his peers don’t care how they look on stage, but not Hill. He treated the bandstand as if it were sacred ground. I hated that I couldn’t stay for the entire concert, but what I experienced was top-notch enough to convince me the sky is the limit regarding Hill’s future.

THE DETROIT JAZZ PRESERVATION CONCERT SERIES SHOWS ANOTHER SIDE OF JAZZ BASSIST RON CARTER

noreply@blogger.com (Charles L. Latimer) — Mon, 10 Mar 2025 18:06:00 +0000

Ron Carter

Whenever jazz bassist Ron Carter comes up in conversation, it often centers on his numerous achievements, such as his contributions to over 2,000 recordings, his decades as a leading jazz educator, and his membership in Miles Davis’s second iconic quintet. However, fans and critics seldom discuss him as a composer. His compositions took center stage on Sunday evening at the Detroit Jazz Preservation Concert Series in Schaver Music Recital Hall. Trombonist Vincent Chandler, the series founder, chose nine of Carter’s compositions and assembled a cross-generational band that included pianist Gregory Burk, drummer Louis M. Jones III, bassist Michael Abbo, saxophonist Vincent Bowens, and percussionist Mahindi Masa. The evening began with Carter’s “Uptown Conversation." Although it’s an upbeat piece, the band didn’t allow its nuances to overwhelm the audience. The various bands Chandler has assembled for the DJPS seldom rehearse the music they present. That’s hard to tell and shows the elevated level of musicianship in Detroit that Chandler is helping cultivate. Next, the band performed one of Carter’s ballads, “3 More Days," with patience and warmth, and it’s doubtful that there was a dry eye in the hall when the band finished. In all the years I’ve followed Chandler, this was the first time I remember hearing him perform a ballad. It felt like a love letter to the audience. Chandler was in top form during the concert. As the leader, I’ve never seen him focus the spotlight solely on himself; he’s about laying the groundwork and encouraging his bandmates to build upon it. However, he did mention something that annoyed me while providing context about his touring stint with the Jazz at Lincoln Center Orchestra, implying he isn’t on the same level as trombonist Wycliffe Gordon, who Chandler subbed for in the JLCO. Of course, Chandler was being modest, but I know his chops and feel confident in asserting that he is in the same league as Gordon or any prominent jazz trombonist performing today. This time, his standout selection was the veteran saxophonist Vincent Bowens, who has the softest tone of any professional tenor player I’ve ever encountered. When Bowens soloed on “Aromatic” and “Fill in The Blanks,” I felt his tenor sax might float out of his hands at any moment. Bowens is neither average nor overly muscular as a saxophonist; sophistication is his trademark. The rest of the band was marvelous as well. Burk is a sophisticated pianist who follows the tradition of Kenny Barron. He doesn’t believe in taking out his aggression on the piano and has a light touch as if feathers are attached to his fingertips. Abbo was a crowd favorite, walking his bass like a prom date. When he performed on Carter’s “Little Waltz” and “117 Special,” I understood Chandler’s affinity for him. His style resembles bassist Josef Deas, who played with Chandler in the popular jazz ensemble Urban Transport. And for such a young drummer, Jones III displays a remarkable command of the kit. His solos are concise and impactful. Listening to his drumming, I wondered if his biggest inspirations were drummers Bert Merrick and Sean Dobbins. What stands out most about this incredible concert series is the respectful handling of the music presented.