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.

 

DWIGHT ADAMS QUARTET OPENS WJZZ’S CONNOISSEUR CONCERT SERIES AT THE RADISSON-SOUTHFIELD

Trumpeter Dwight Adams

In recent years, Detroit’s jazz scene has produced several praiseworthy concert series. The most prominent has been the Detroit Jazz Preservation Concert Series, founded by jazz educator and trombonist Vincent Chandler, which has honored departed Detroit legends like Geri Allen, Donald Walden, Curtis Fuller, Betty Carter, and Harold McKinney. This year, it expanded its reach to include active swingers like saxophonists Kasan Belgrave and Marcus Elliot. The series recently ended its third consecutive year of exceptional programming. DJPCS set a high bar for any emerging new series. On Friday evening at the Radisson in Southfield, MI, a new series, the WJZZ Connoisseur Concert Series, debuted. Rodger Penzabene, Jr., president of WJZZ, started the jazz concert series and chose trumpeter Dwight Adams’s Quartet for the opening concert. Adams, one of Detroit’s most enduring jazz stars, delivered the best jazz concert I’ve attended this year. Adams’s quartet—drummer Andre Wright, pianist Bob Mervak, and bassist Jeff Pedraz—opened the 90-minute set with Horace Silver’s “Barbara” before moving into Lee Morgan’s “Mr. Kenyatta.” By the end of the second selection, the musicians were sweating like union laborers. To give them a breather, Adams called the ballad “Angel Eyes,” which shifted the attention to Mervak’s vocals, and he proved to be not only a versatile jazz pianist but also a fine singer. Mervak’s voice was smooth as patent leather. After the ballad, the quartet returned to its deep-swinging. Adams was clearly the star, though Pedraz and Wright delivered goosebump-inducing solos the entire set. Wright’s chops are akin to the late jazz drummer Pete La Roca in both decisiveness and taste. Like La Roca, Wright understands a jazz drummer’s first job is to keep time, and he managed that responsibility all night without the showboating common among other jazz drummers. As for Adams’s trumpet playing, there is little left to say that I haven’t already said over the decades I’ve known him. He is one of the last jazz musicians of the 1990s with an instantly recognizable sound. Within a few choruses in the upper register of his horn, any seasoned Detroit jazz listener would know it’s Adams’s voice. After the concert, attorney and avid jazz devotee Mark Brown told me that Adams is a complete soloist whose improvisations have a clear beginning, middle, and end. Adams knows how to tell a story through his solos. That was evident when he waltzed with the changes of “The Last Minute.” Every moment of the concert qualified as a highlight, especially the arresting guest appearance by flutist James Russell, who sat in for one tune. The quartet also performed Adams’s original “The Last Minute,” repurposed Benny Golson’s “Blue Walk,” and closed with Freddie Hubbard’s “Mr. Clean.” For the encore, Adams once again cast the zoom lens on Mervak, who thrilled the full house with a jazzy take of Erykah Badu’s “I’ll See You Next Lifetime.” The WJZZ Connoisseur Concert Series clearly met the high standard set by the Detroit Jazz Preservation Concert Series, and Adams raised expectations even further for the jazz bands Penzabene Jr. has lined up next. Also worth mentioning is that many of the jazz fans who attend the DJPCS were in attendance. Unfortunately, Penzabene Jr. announced the date of the next concert but did not reveal who the band is. 

THE XAVIER DAVIS NEW YORK JAZZ QUARTET OPENS THE MIDTOWN JAZZ CRAWL AT THE DETROIT INSTITUTE OF ARTS.

 

Pianist Xavier Davis

The Midtown Jazz Crawl, presented by the Carr Center, exemplifies the organization’s commitment to outstanding jazz programming. The first event in 2022 featured top jazz musicians, including Tia Fuller, Camelle Thurman, Keyon Harrold, Terri Lyne Carrington, and Jazzmeia Horn. Due to budget reductions, this year's crawl—taking place at the Detroit Institute of Arts, the Detroit Historical Museum, and the Cathedral of St. Paul—is less star-heavy compared to its debut. Nevertheless, the opening performance by the Xavier Davis Quartet on Friday evening in the Rivera Court at the Detroit Institute of Arts was exceptional. The quartet performed material from his discography and from the works of well-regarded Detroit icons such as Pepper Adams and Tommy Flanagan. Davis introduced saxophonist Greg Tardy, drummer Quincy Davis, and bassist Vincente Archer by joking that he might call the group the Professors of Jazz, as each member teaches at a prominent university. Davis himself is a Jazz Piano professor at Michigan State University. The 90-minute performance felt like a graduate seminar exploring every nook and cranny of acoustic jazz. No fanfare or unnecessary grandstanding—just four adult jazz musicians cooking. This jazz quartet is about as excellent as you could hope for in a straight-ahead. group. Davis never clarified when the band got together or how long they had been performing as a group. If I had to guess, I would say as long as established other powerhouse jazz outfits like the Branford Marsalis Quartet and the James Carter Trio. Davis opened with "Plan Unknown” from his first album. Tardy, who established a solid reputation in the late 1990s alongside notable musicians such as Roy Hargrove, Mark Shim, Christian McBride, and Jason Moran, truly made an impact several choruses in, wolfing down the chord changes like snack cakes. Tardy’s tone was arresting but never too aggressive, which perfectly fits Davis’s sophisticated and thoughtful brand of piano playing. It’s so pleasing to hear a jazz pianist like Davis treat the piano with such care and reverence, as do pianists Kenny Barron and Eric Reed. Davis never whips and bangs the piano like some nut working out his aggression. On “Quiet Corner” and “Dance of Life,” Davis’s fingers melt over the keys. He surrounds himself with like-minded chops like his brother Quincy Davis, an undemonstrative drummer who never gets in the way or attempts to divert the audience’s attention to himself. Midway through the set, Davis confessed that he struggles with assembling setlists. I found that hard to believe, given the unified beauty of each composition the quartet performed.

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.