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

  

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

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

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

 

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

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

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

 

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.