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.

 

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