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.