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.