WHEN JAZZ PIANIST CYRUS CHESTNUT TOUCHED THE KEYS, CLIFF BELL’S FELL SILENT

Pianist Cyrus Chestnut

After a jazz concert, my notepad is usually filled with remarks on how each musician swung or did not, the crowd’s reaction to the music, vivid descriptions of the musicians’ solos, and the band’s overall unity. Turning those remarks into a sound review takes an hour or so. On Sunday evening, after jazz pianist Cyrus Chestnut’s debut at Cliff Bell’s in downtown Detroit, my notepad was blank—not because the 90-minute concert was bad, but because the music was so bold that I felt paralyzed. I could not hold my pen long enough to describe the wonderful exchanges among Chestnut, bassist Laura Simone, and drummer Sean Dobbins. The trio blew the safe door open with Chestnut’s original “Sizzle Shake.” Dobbins and Simone each took spirited solos. Simone, an in-demand bassist, has made a name for herself on Detroit’s jazz scene. She has qualities Detroit bassists have historically been praised for, especially the ability to keep a band tight. It is easy to compare her to Detroit bass queen Marion Hayden. There are similarities, particularly in Simone’s use of the bottom notes. Watching her walk the bass is a joy. Few things are more satisfying than seeing a serious young jazz musician develop before your eyes. Chestnut choosing her first for this gig says a great deal about her talent and promise. Dobbins, one of Detroit’s most colorful and fiery jazz drummers, fit Chestnut’s hard-driving style perfectly. Years ago, Dobbins was a ham. He readily admits it. On Sunday evening, however, he played with more class and control than I have ever seen from him. This is a trio Chestnut should consider recording with. He has performed with known jazz musicians throughout his career. Even so, he quickly established a remarkable bond with Simone and Dobbins. As expected, Chestnut was all over the piano. One moment, he hammered the keys. The next, he played softly and warmly, as if his fingers were feathers. Cliff Bell’s is a noisy jazz club. Yet when the trio performed the standards “It Could Happen to You,” “Darn That Dream,” “In a Mellow Tone,” and “In a Sentimental Mood,” the crowd was unusually attentive. It was the most focused audience I have experienced in all my years attending concerts at Cliff Bell’s.

JAZZ TRUMPETER JEREMY PELT PERFORMS MUSIC FROM HIS SONGBOOK AT ARETHA JAZZ CAFÉ

An irrefutable case can be made that jazz trumpeter Jeremy Pelt is the most polished and charismatic trumpeter of his generation — hell, perhaps of any era. He swings with equal aplomb across every register of the horn, a skill he demonstrated during his 90-minute Wednesday evening concert at the Aretha Jazz Café in downtown Detroit. Pelt was in strong form, backed by his swing-conscious band: bassist Leighton Harrell, vibraphonist Jalen Baker, guitarist Misha Mendelenko, and drummer Dana Hawkins. Hawkins, subbing for Pelt’s regular drummer, kept impeccable time, as if making a case for a permanent spot in the drum chair. The band performed songs from Pelt’s extensive discography, opening with two tracks from his 2025 album Woven. They then swung below sea level on “Princess Charlie,” “Michelle,” and “Suspicion.” Pelt played beautifully on each tune, but Baker’s playing stood out most. His command of the vibraphone recalls the late Bobby Hutcherson. Baker’s colorful, muscular lines also recall Stefon Harris in his early, reputation-building years. Pelt’s band is attractive because he gives his bandmates freedom. Mendelenko, a former student of Pelt, used that freedom. His cool demeanor and meticulous execution of each note place him in the lineage of greats such as Pat Martino. Although Pelt generously showcased his bandmates, he claimed the spotlight during a ballad medley featuring “Time for Love,” “I Will Never Stop Loving You,” and “Who Can I Turn To.” On each, Pelt played with such warmth that the trumpet seemed to melt in his hands. It was a moment of pure virtuosity, offered for the capacity café to savor.

 

ALTO SAXOPHONIST DONALD HARRISON BRINGS NOUVEAU SWING TO THE ARETHA JAZZ CAFE

Tuesday evening at the Aretha Jazz Café in downtown Detroit, alto saxophonist Donald “Big Chief” Harrison delivered the best jazz concert I have seen this year. Despite limited promotion, the café was packed as Harrison and his band, pianist Dan Kaufman, bassist Nori Naraoka, and drummer Rehaan Rouege, served up two hours of Nouveau Swing, Harrison’s mix of jazz, funk, and hip-hop built on a recognizable New Orleans swing foundation. Harrison created this eclectic musical style over two decades ago, and much to his surprise, it has become a global hit. The New Orleans native has recently overcome health issues, but on Tuesday night, his chops were in pristine shape. The band opened with Harrison’s original composition “Free to Be,” immediately setting the swing level the capacity crowd could expect for the entire set. From there, the musicians moved through jazz spanning the 1920s, ’30s, ’40s, and ’50s before offering a mini tribute to Miles Davis, John Coltrane, and Sonny Rollins. After burning through “Trail of Fire,” “One for Bird,” “Bye Bye Blackbird,” and “Impressions,” Harrison called cuts from the band’s new date, “Magic Touch,” which explores ten variations of a single composition. At the Aretha, the band offered stripped-down takes inspired by second line, salsa, soul, and Motown music. Two centerpieces of the band were Kaufman and 19-year-old drummer Rouege, who already possesses a veteran jazz drummer’s command of his instrument. He is the latest young talent to emerge from one of Harrison’s bands, which over the decades have included musicians such as Sullivan Fortner, Christian Scott, Esperanza Spalding, and Robert Glasper. Rouege’s rimshots and ride-cymbal work were meticulous. His rhythm-section partner, Kaufman, proved solo after solo that he is everything a bandleader could hope for in a jazz pianist, cutting straight to the marrow of a tune while pushing his bandmates beyond their comfort zones without ever becoming overbearing. Harrison, meanwhile, blew with murderous intent, wolfing down the changes on the grown-folks-tempo numbers the band performed, like a starving man a hot meal. He is a complete saxophonist, equally at home in every area of jazz while remaining fluent in other musical genres. At heart, Harrison is a musical unifier, and that quality shone at the Aretha. He can be over the top, but never to the point of being excessive or distracting. Instead, his stylistic range gave the evening much of its verve. What made the two-hour concert the best I have seen so far this year was the feeling that I had witnessed three concerts in one. It was at once a jazz performance, a tour through musical history, and a celebration of New Orleans’ music. Near the end of the evening, Harrison invited drummer Ali Jackson to sit in. Jackson played the tambourine on Frankie Beverly’s “Before I Let Go” and stayed for two original New Orleans numbers that closed the concert.

 

TRUMPETER TERENCE BLANCHARD OPENS THE 2026-2027 PARADISE JAZZ SERIES WITH A DISAPPOINTING TRIBUTE TO MILES DAVIS AND JOHN COLTRANE

If I could have asked the jazz trumpeter Terence Blanchard one question after the opening concert of the 2026–2027 Paradise Jazz Series—a tribute to Miles Davis and John Coltrane—it would be this: How do you honor Coltrane without performing any of his music? During Friday's 90-minute concert at Detroit's Orchestra Hall, Blanchard played none of Coltrane's signature compositions. It was the second time I had seen his Davis-Coltrane tribute. The first, in February at Hill Auditorium in Ann Arbor, even featured Coltrane's son Ravi on saxophone, but it also omitted Coltrane's music. At neither concert did Blanchard discuss the two musicians' influence on jazz. In Detroit, Blanchard led drummer Oscar Seaton Jr., guitarists Charles Altura and Alex Smith, and pianist Tom Oren, with Joshua Redman as guest saxophonist. The set drew heavily from Davis's “Kind of Blue,” reimagining its songs with a modern electronic sound. By opening with his own “Flow,” Blanchard signaled he wouldn't approach Davis's classics conventionally—and that was fine. After the band tore through the piece, Redman joined them and quickly became the highlight of an otherwise disappointing tribute. His multilayered solos animated “Flamenco Sketches,” “All of Us,” “Teo,” “All Blues,” and “Someday My Prince Will Come.” Because Coltrane helped immortalize many of these Davis compositions, perhaps Blanchard believed this was a way of honoring the legends without playing any Coltrane originals. Redman, to his credit, never resorted to imitation. Although the concert's premise felt misleading, Blanchard still produced flashes of brilliance, soaring into the trumpet's upper register and at times aiming the horn toward the stage and blowing with sandblasting force. Seaton, by contrast, often sounded as though he were performing a separate concert; his drumming was needlessly loud and ostentatious. Midway through the set, another question emerged: If Blanchard intended to electrify Davis's hard-bop classics, why not perform music from “Bitches Brew,” “In a Silent Way, and “On the Corner?” By the end of the concert, I was also wondering whether, despite his brilliance and achievements, Blanchard was the right musician to lead a tribute to Davis and Coltrane. Redman's magnificent playing offered some redemption, but the concert remained a colossal disappointment. Blanchard owes listeners an explanation for leaving Coltrane's music out of a tribute bearing his name.

 

NOTEWORTHY PERFORMANCES FROM THE 47TH ANNUAL DETROIT JAZZ FESTIVAL

 Ravi Coltrane Quartet Centennial Celebration (Carhartt Amphitheater Stage)

In 2009, when I profiled saxophonist Ravi Coltrane for the Metro Times, I asked why he had not performed his father John Coltrane’s music. At the time, he was determined to build his own name rather than ride his father’s coattails, and he told me the best way to honor that legacy was not to recreate it. Since then, recordings including “Spirit Fiction,” “Moving Pictures,” and “In Flux” have established him as a force. During this hour-plus set at the 47^th Annual Detroit Jazz Festival, he sounded fully at ease playing his father’s repertoire. My favorite moments of the set were the opening “Acknowledgment” and “Resolution,” movements from the landmark album “A Love Supreme.” On “Equinox” and “Expression,” Coltrane played with more daring and aggression than I had ever heard from him live. His solo on “Naima” sounded as if his father’s spirit was beside him, whispering in his ear what notes and changes to play.

 

Bob James (JPMorgan Chase Stage)

Pianist Bob James has long blended post-bop and smooth-jazz elements with unusual fluency, and on Saturday evening he delivered a rousing hour-long set. It was my second-favorite performance of the festival—a surprise because smooth jazz has never been my preference. James won me over through the elegance of his phrasing, especially on Roberta Flack’s classic “Feel Like Makin’ Love.” He was in top form, but Ukrainian saxophonist Andrey Chumut often became the center of attention, moving from a sweet tone on his original “Moving Forward” to a more commanding attack on James’s “The Music of Freedom.” By the middle of the set, he had the capacity audience in his hands.

African Rhythms Alumni Quintet: Celebrating the Centennial of Dr. Randy Weston (Carhartt Amphitheater Stage)

Jazz pianist Randy Weston would have turned 100 this year, and several former bandmates—including alto saxophonist TK Blue, pianist Sharp Radway, percussionist Chief Baba Neil Clark, trombonist Ku-umba Frank Lacy, and bassist Alex Blake—honored him with the festival’s most thoughtfully conceived tribute. The quintet opened with Weston’s classic “Hi-Fly,” then remodeled his signature works “Anu Anu,” “The Gathering,” and “Portrait of Patsy J.” Rather than merely reproducing his arrangements, the musicians channeled his expansive rhythmic language, with longtime collaborator Blake adding especially vivid color on bass.

Artemis (Waterfront Stage)

Artemis had made a persuasive case for being one of jazz’s finest ensembles. Pianist Renee Rosnes, drummer Allison Miller, bassist Noriko Ueda, trumpeter Ingrid Jensen, and saxophonist Nicole Glover offered a master class in collective virtuosity. Their set leaned heavily on standards including “What the World Needs Now is Love Sweet Love,” “Hackensack,” and “Flamenco Sketches,” but the original “Sight Unseen” revealed the group at its most distinctive. The musicians listened and responded with such precision that even familiar standards seemed fresh off the assembly line, each player in lockstep with the others without sacrificing an individual voice.

 

Ron Carter Foursight Quartet (Waterfront Stage)

Ron Carter’s set was not billed as a tribute to his former boss, trumpeter Miles Davis; however, its emphasis on Davis-associated compositions made it feel like an unofficial centennial celebration. Carter is known for threading tunes together until the compositions take on the shape of a carefully built suite, and his quartet sustained that continuity with remarkable ease. Pianist Renee Rosnes, drummer Payton Crossley, and tenor saxophonist Jimmy Greene swung with seemingly inexhaustible energy, while Carter anchored every transition with his polished tone. At 89, he remains a commanding bassist, and this was post-bop at its finest.

Cindy Blackman Santana (Carhartt Amphitheater Stage)

Cindy Blackman delivered the festival’s funkiest set. Few drummers I have encountered in my years as a music journalist match her combination of power and control. She sucks you in and releases you when she is damn good and ready. Her saxophonist was equally captivating. The set moved furthest toward the jazz tradition when Blackman surprised the crowd with a revamped take on Miles Davis’s “Blue in Green.”

VOCALIST CARMEN LUNDY AND SAXOPHONIST GARY BARTZ DELIVER NEAR-FLAWLESS SETS AT THE CONCERT OF COLORS

Carmen Lundy

At the 2026 Concert of Colors at the Detroit Institute of Arts on Sunday evening, jazz vocalist Carmen Lundy proved the widely held belief that the human voice is an instrument. I first heard that years ago from the renowned Detroit jazz radio host Ed Love, and it has stayed with me. I hadn’t experienced it firsthand until Lundy’s performance that Sunday. Her ability to make her voice sound like an instrument sets her apart from her peers. Her stage presence is equally engaging. Lundy never spends her set reinterpreting jazz standards; instead, she draws from her discography. Sunday, she started with “Blue Woman,” then seamlessly moved into “Lonesome Blue Butterfly” and “Lone Journey Home,” composed by her brother, bassist Curtis Lundy. When she ended “Old Friends,” I bet most attendees had tears in their eyes. She clearly embodies near-superhuman powers, able to evoke and manipulate every emotion imaginable. But the true joy isn’t always in hearing her sing from the far reaches of her soul; it’s in watching how she inspires her bandmates. For this concert, her band included her brother Curtis, guitarist Andrew Renfroe, drummer Terron Gully, and the rising pianist Sequoia "Redwood" Snyder. Her touch and temperament at the piano resemble those of the late Geri Allen, and Snyder was unquestionably Lundy’s favorite band member, brimming with pride as Snyder played with grace, color, and self-assurance. Man, the young lady can swing when encouraged. At a young age, she understands the mechanics of accompanying a world-class vocalist. Although Lundy believes in sharing the spotlight, the near-flawless set hinged on her voice—that wonderful instrument.

Gary Bartz

Before saxophonist Gary Bartz blew the audience out of their seats at the DIA after Carmen Lundy’s set, he told the audience that he and his band, bassist Ralphe Armstrong, drummer Eric Kennedy, pianist Joe Block, and guitarist Paul Bollenbeck, would perform the set without commercial interruptions. They planned to swing and only come up for air if necessary. They never broke stride. At 85, Bartz sounded even more robust and together than when he ran the streets with Art Blakey, Charles Mingus, and Miles Davis. Bartz never revealed the setlist, but the music, an amalgamation of bop, funk, R&B, and free jazz, came off like one extended composition designed for the Concert of Colors. Honestly, I only planned to stay for a few of the tunes in Bartz’s set. I was there for Lundy, and she didn’t disappoint. Twenty minutes into Bartz’s set, I couldn’t in good conscience leave such a marvelous improvisational swing fest. It was the first time I had heard him live with his own band. I'm not sure if this band is his regular touring band. I know Armstrong was a last-minute replacement for Bartz’s regular bassist. Anyway, collectively they were tighter than a size 10 foot in a size eight dress shoe. Their individual solos were as satisfying as home cooking, especially those of Bollenbeck and Kennedy. He’s one of those likable jazz drummers who never tries to be the center of attention. His drumming is direct, and he is a stickler for time management. Each member was a perfect complement to Bartz's worldly swing ethic.

 

CHRISTIAN MCBRIDE AND URSA MAJOR CLOSE THE 2026 PARADISE JAZZ SERIES

Christian McBride and Ursa Major

The jazz bassist Christian McBride has a gift for spotting and developing young jazz musicians. Much like Art Blakey with the Jazz Messengers, he has built bands that serve as launching pads for emerging jazz musicians who go on to become major bandleaders, often stars. Among those McBride has helped elevate are drummer Ulysses Owens Jr., pianist Christian Sands, and vibraphonist Warren Wolf. McBride’s current group, Ursa Major, features drummer Savannah Harris, pianist Mike King, saxophonist Nicole Glover, and guitarist Ely Perlman. On Friday night at Orchestra Hall in Midtown Detroit, the group closed the 2026 Paradise Jazz Series in grand fashion. McBride describes Ursa Major as an all-in-one group that incorporates elements of his other ensembles: New Jawn, Inside Straight, and the Christian McBride Big Band. It is an ambitious concept, but the group carried it off easily over a terrific, mostly swing-driven 90-minute set. Their debut recording, “Point of Light,” is due out this summer, and McBride drew much of the evening’s set list from that project, along with songs from his earlier recordings. The band opened with an abstract original by Glover before igniting a brushfire with the next, which Glover gobbled the changes like a hungry man ripe fruit. Throughout the performance, she demonstrated that she can blow lovingly and freewheelingly. The performance was filled with ravishing highlights. I awoke this morning thinking about the exchange between King and Harris on McBride’s “Black Mood.” Their interplay matched the energy and intensity of pianist Joey Calderazzo and drummer Justin Faulkner during their heated musical dialogues. Harris’s attack, rim shots, and cymbal work have a strong kinship to Faulkner's style of drumming. There were times when the musicians came up for air, playing slow-tempo numbers that were not as arresting as the harder-swinging selections that immediately won the audience over. Although McBride assembled Ursa Major largely so Harris, King, Perlman, and Glover could swing and develop, he never languishes in the background. He reminded the audience of his considerable virtuosity with death-defying bass work on Chick Corea’s “La Fiesta.” Yes, he was showboating some, but the near-capacity audience was totally invested. McBride has long favored forming new bands every couple of years, and continuing to staff them with ambitious, swing-conscious young musicians has proven a winning formula.