JAZZ BASSIST NOAH JACKSON CELEBRATES THE RELEASE OF ‘FULL CIRCLE’ AT CLIFF BELL’S

Bassist Noah Jackson

I first met jazz bassist Noah Jackson when he played in the DSO Civic Jazz Orchestra as a teenager, and his outgoing nature and talent convinced me he'd become a prominent figure in jazz. After graduating from Michigan State University and earning a master's degree from the Manhattan School of Music, Jackson rose to fame by touring with noted jazz musicians such as Abdullah Ibraham, Branford Marsalis, and Kenny Garrett. He also became a respected bandleader. On Saturday evening, Jackson and Full Circle celebrated the release of their new self-titled album. During the first 90-minute set, they played only two tracks from the album, instead focusing on standards like “Jeanine,” “Along Came Betty,” and “Embraceable You,” with Jackson surprising the audience by singing. The ensemble began with Jackson’s “Centrifuge” and concluded with “Hope Comes with Morning.” With a modern post-bop style, Jackson’s group appeals to younger listeners by reinventing standards. The show spotlighted saxophonist Stephen Grady Jr. and trumpeter Dwight Adams, whose solos were crowd favorites. Adams has crafted an immediately recognizable sound that’s both old-school and youthful. He gets to the point instead of being a note-monger. Jackson was right in introducing Adams as Detroit jazz royalty. Most of the set, Adams dwelled brilliantly in the upper register of the trumpet, and on the opener “Centrifuge", he almost blew the linen off the tables in front of the stage. There was some fine playing from the rising piano sensation, Brendon Davis, a key role player of the ensemble. Davis infused it with needed youthfulness and energy, and pro drummer Nate Winn, the one member who kept the set focused. It’s worth noting that Cliff Bell’s is no longer the noisiest jazz club in Detroit. I’m not sure if the club management has implemented a no-talking policy during the performances or if Jackson and Full Circle had the audience so completely engrossed. I’m confident it was the latter.

 

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

 

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

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

 

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

 

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

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

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.