After a multi-year hiatus, the Blues Ignition Band will start up opening day performances for the 2022 New York State Blues Festival from Saturday June 16 to 18.
The free event, which reaches its 30th anniversary this year, will take place at Chevy Court inside the New York State Fairgrounds in Syracuse.
Reggie Seigler, the coordinator of this year’s Blues Ignition Band.
The Blues Ignition Band is part of the festival’s youth development program, along with the K.J. James Memorial Scholarship and Blues In The Schools. Blues Ignition offers kids 18 and younger the opportunity to audition for spots in the group, and those selected are led by an instructor heading up to the day of their performance.
The Blues Ignition Band’s leader in 2022 band is Reggie Seigler, the coordinator of JAMS. (Joined Artists, Musicians, Singers, Inc.) A 501(c)(3) non-profit based in Syracuse, JAMS’ mission “is to enhance the local arts scene through the offerings of diverse creative artists.” Seigler is also a columnist for The Stand, a publication which covers news and current events in Syracuse’s South Side.
The rich music history of the Capital Region was celebrated on Tuesday, June 7 with the Eddies Hall of Fame Induction Ceremony. Held at Universal Preservation Hall in Saratoga Springs. The eight honorees included folk, ambient, rock, and acoustic artists, as well as a promoter, writer/musicians, and an independent radio station founder.
Paul Rapp, a musician and entertainment rights lawyer, as well as a 2020 Eddies Hall of Fame inductee knew them all and gave opening remarks noting such. Rapp, drummer for renowned Albany act Blotto, weighed in on each musician, offering heartfelt thoughts and a few laughs as he discussed his connection and the impact each of the eight left on the Capital Region scene.
Paul Rapp – photo by Erin Reid Coker
Honorees included Joel Ross, a 7-time Grammy Award winner who engineered songs for Broadway musicals and TV shows, and worked with Ray Charles and Tony Bennett among many others.
Joel Ross – photo by Joe Putrock
Brooks Brown, founder of WEQX, an independent radio station, was referred to by Rapp as having “saved the Albany Music scene” by creating a radio station that played local bands that couldn’t be heard elsewhere. Rapp noted that Brown took great joy in telling corporations looking to buy his station to “go fuck themselves.”
Jason Keller and Mimi Brown – photo by Erin Reid Coker
Super 400 from Troy has had an impact felt as far away as Spain, which led to Spanish band Red Apple sharing via prerecorded video how they were looking for bands that were real and similar to them. In discovering Super 400, they found a band on the same wavelength, as well as future friends. Red Apple then performed “Green Grass End” in tribute to Super 400.
Super 400 – photo by Erin Reid Coker
Greg Bell, the promoter who made Albany a jam band mecca and must hit tour stop, has run Guthrie/Bell Productions since the early 1990s. His presence in the Capital District will be profiled in the upcoming documentary from Mirth Films, Grapplin’ Greg. Rapp noted that no one has done more to support local bands than Bell, adding, “Music promoters are like adding kindling to a fire. The good ones make it burn bright.”
Greg Bell – photo by Erin Reid Coker
Rich Ortiz, the “fishin’ musician,” comes from a family rich in music history and plays more than 300 gigs a year and has been featured on the cover of numerous fishing magazines.. If night fishing were a thing, we may not have this legend from the Lake George region. Saratoga Springs guitarist from 80’s band The Morons, Steve Candlen, later performed Ortiz’ “I Love You Everyone.”
Rich Ortiz – photo by Erin Reid Coker
Michael Eck is many things – a painter, arts writer, Caffe Lena board member, and Ramblin Jug Stompers spoke with great emotion in receiving the Eddies Hall of Fame honor. Candlen later performed an Eck original “You’re a Mountain,” with the fitting lyrics “you’re a mountain, you’re a legend, you’re a king.”
Michael Eck – photo by Erin Reid Coker
Sara Ayers, with an eclectic career that includes folk, punk, bubblegum, rock, electronica and especially ambient music, was a crowd favorite as she was honored for her contributions to the scene.
Sara Ayers – photo by Erin Reid Coker
Greg Haymes, a man who did so much for local bands, venues and aspiring writers and photographers, was the final honoree of the night. The late “Sarge” Blotto has a varied career in multiple genres and styles, and in founding local music website Nippertown, he had a connection to nearly the entire room of musicians, journalists and fans. Rapp pointed to one of the many quirks of Haymes, was his mentions in reviews of a musician’s shoes, considering those with good shoes to have ‘made it’, and with that, Rapp pulled out a ruby slipper. The unofficial Jug Stompers theme song, “Jug Band Music,” by the Memphis Jug Band, and performed by Tom Lindsay to honor Haymes.
A young Greg Haymes. Photo by Amy Modesti
While Haymes passed away in 2019, he was fêted by his fellow inductees in a slideshow retrospective. Ayers accepted on behalf of her late husband, noting that he lived an artistic life as a musician, a writer and a website publisher, and it was a life he was proud of. His not too serious approach to preparing himself for a performance on stage (whether with a customized washboard, or a typewriter for a percussion instrument), his experience as a musician made him want to share the passion of local musicians in the Capital District through his writing. In doing so, Haymes gave many writers and photographers a chance to, a tradition we continue at NYS Music.
Ron Carter received the perfect celebration for his 85th birthday at Carnegie Hall on May 10. The prolific Michigan-born jazz bassist is regarded as one of the most influential jazz musicians in the world, with a world record 2,221 recording session appearances since his career started in the 1960s.
Jazz connoisseurs were delighted by Carter’s presentation of three of his ensembles showcasing the diversity of his musical talents fit for the pristine acoustics of Carnegie Hall. His first set featured two traditional jazz settings supported by phenomenal musicians – the Golden Striker Trio and the Foursight Quartet – while his second set featured an orchestrated octet blending jazz and world music sounds. Closing the night after a sentimental birthday wish on stage from Carter’s son Quintell Williams Carter, he performed a solo piece on piccolo bass which is a signature invention by him and Stanley Clarke (a piccolo bass looks like a regular bass but is tuned an octave higher to give more prominence to solos and lead parts on the instrument).
Throughout the program, emcee Lester Holt and guest speakers/fellow bass virtuosos Stanley Clarke and Buster Williams spoke in great repute about Carter’s diverse talents in music, writing, collaboration, and education and each echoed his great character and humor as a person which he demonstrated throughout the night while explaining the compositions or sharing an off-the-cuff story. “We’re gonna keep comin’ out here til we get it right!” he exclaimed during each of his ensembles sets, slightly ironic to Carnegie Hall’s famous line of “practice, practice, practice!” before his closing remark of “well, I guess we finally got it right.”
After a brief intermission, Lester Holt welcomed to the stage Mikio Mori, Ambassador and Consul-General of Japan in New York. Amb. Mori expressed the deepest of gratitude to Carter for “helping jazz evolve as a language between Americans and the Japanese in the spirit of friendship and peace” which has flourished a jazz movement in Japan over the last several decades. From his various contributions along with performances in Japan following the Sept. 11, 2001 attacks and following the devastating earthquake in March 2011, Carter was bestowed the honor of the Order of the Rising Sun with Rosette in 2021.
Witnessing Mr. Carter’s performance at Carnegie Hall was an immersive exhibit of world-class talent. We would like to extend our warmest of wishes for his 85th birthday and look forward to hearing more of his virtuosity.
Ron Carter at Carnegie Hall Setlist (composer listed in parenthesis):
Golden Striker Trio: Laverne Walk (Pettiford), Candlelight (Carter), Soft Winds (Henderson)
Ron Carter Foursight Quartet: 595 (Carter), Mr. Bowtie (Carter), My Funny Valentine (Henderson), You and the Night and the Music (Schwartz)
Intermission
Ron Carter Octet: Abide with Me (trad.), El Rompe Cabeza (Carter), Song for You (Russell), Song for a Friend* (Carter), All Blues (Davis), Just a Closer Walk with Thee (trad.)
*”Song for a Friend” written in dedication to Carter’s father
The Great Blue Heron Music Festival in Sherman, NY, will happen once again during the first weekend of July. For nearly 30 years, the festival has drawn in thousands of fans from across the U.S. and has remained a tradition for people young and old to celebrate self-expression and music.
This year, the festival will expand the summer music series and implement “Beyond The Blue,” which will be weekend events running from the middle of July through Labor Day Weekend. The diverse and eclectic lineup will carry over into these “Beyond The Blue” events. Julie Rockcastle, festival’s co-founder, spoke about this new addition to the festival.
Our goal of this season, and the future, is to create a vibrant Great Blue Heron experience that honors both the traditions of the past and the land, by operating at a scale that doesn’t over-stress the natural and human resources we are entrusted to care for. The genre-focused Beyond the Blue mini-festivals present diverse and family-friendly experiences all summer long that enable us to welcome more people who share our passions for music, the outdoors, and sustainability.
Beyond the Blue I starts July 16 and is full of funky bluegrass, soulful rhythms, and sweet harmonies with artists like Dirty Blanket, Folkfaces, and Bella’s Bartok. Beyond The Blue II starts July 30 and it will be a full day of progressive Reggae beats, island music, and Native American sounds. The event headliner Giant Panda Guerrilla Dub Squad, will play on the main stage, along with Keith Secola, Root Shock, and Mosaic Foundation.
On August 20, Beyond the Blue III will have electrifying funk and electro-rock jams with headliner Jimkata. They are based in Ithaca, and Los Angeles that use bold arrangements and synthesizers to create their music.
To end the season, Beyond The Blue IV will happen on Labor Day weekend with more than 20 artists, including old-time country blues band Pokey Lafarage. Also headlining is acclaimed singer/songwriter Ryan Montbleau, who has spent much of his life going across the globe on a search for meaning and purpose, shown through his music.
The Great Blue Heron Music Festival sits on top of an award-winning campground. Voted the #1 campsite in the U.S. by HipCamp, The Heron is open daily for seasonal camping from May through October along with the Green Heron Growers Farm Store. For more information on the festival, go here.
Unique NYC duo MoonTree has released their debut EP For the Time We Have Left, an avant-garde, jazz-oriented record that shows the breadth of the duo’s creativity in 20 minutes.
Eight songs long, the tracks on For the Time We Have Left follow loose, unconventional song structures and feature an array of instrumentation. Accents of mandolin and guitar in the waltzy and cybernetic “No Point of Reference,” and hints of oboe and flute in the cold and ambient “On Q” enhance the EP’s character.
Cover art of For the Time We Have Left. (found on Spotify)
Tone-wise, For the Time We Have Left can range from being eerie and moody to light and melodic. The space-agey shuffling of “UNEARTHLY” contrasts the arrhythmia and creepy vocal snippets of “LOCKET/SOLES,” while never ceasing to create an enveloping atmosphere.
The EP is very textural, with MoonTree leaning heavily on reverb and never overplaying themselves on percussion, also subtly implementing vocal samples here and there to add an interesting rhythmic and melodic element.
Especially spacious and free-formed moments like the closer “your tree” reminisce slightly of Arthur Russell’s experimental 1986 album World of Echo, however MoonTree’s songs on For the Time We Have Left are consistently more focused than Russell’s offerings.
The EP is lyrically sparse overall, with Jaya Franceschini’s echoey lounge-esque vocals conveying a general focus on the complexities of romantic intimacy. This is made clear at points where reverb stripped away, such as the duet-spoken word piece “A Shoulder to Rain On” about an intense romantic moment between two lovers with a disjointed saxophone-driven instrumental sitting in the background.
There’s also the more traditional jazz cut “open book” which offers the record’s sole guest feature. Brooklyn rapper Zedikaya’s guest verse is as open-book as possible, with him offering musings about a love affair gone sour. This brief detour offers a change of pace on the EP and gives MoonTree a good opportunity to incorporate their hip-hop influences.
Despite juggling various ideas and influences, this project weaves these concepts together into a cohesive, inspired project. With tight musicianship on display, this duo of Jaya Franceschini and Ben Cuomo gives an inspired showing of what they have to offer on For the Time We Have Left.
The daily lineup for the 10th anniversary Peach Music Fest has been released, with a lineup that makes this installment head and shoulders above past years.
The four-day live music and camping experience returns to Montage Mountain in Scranton, PA, from Thursday, June 30 through Sunday, July 3.
The Peach Music Festival began in 2012 as the first-ever Allman Brothers Band-inspired festival in the Northeast and quickly evolved into one of the most highly-anticipated summer musical events loved by music enthusiasts from across the nation.
To celebrate the 10th anniversary of The Peach Music Festival, Trey Anastasio Band and The Black Crowes will headline The Festival, and be joined by Billy Strings, Joe Russo’s Almost Dead, Goose, the Revivalists, Pigeons Playing Ping Pong, and the reunion of The Word.
Additionally, Trouble No More, featuring Brandon “Taz” Niederaurer (Guitar, Vocals), Daniel Donato (Guitar, Vocals), Dylan Niederaurer (Bass Guitar), Jack Ryan (Drums), Lamar Williams Jr. (Vocals), Nikki Glaspie (Drums), Peter Levin (Keys) and Roosevelt Collier (Pedal Steel Guitar), will celebrate the 50th anniversary of the Festival’s founders, the Allman Brothers Band’s seminal “Eat A Peach” album.
The Peach Music Festival, which was inspired by the legendary music of the Allman Brothers Band, will feature founding member Jaimoe with Jaimoe and Friends, as well as Friends of the Brothers, and Brother & Sister (featuring Butch’s kids, Melody and Vaylor).
Thursday, June 30
Billy Strings, Trouble No More: Performing Eat A Peach, Keller Williams, Samantha Fish, Midnight North, Yam Yam, Consider the Source, JD Simo, Miss Mojo, Carly Moffett, and Tand Band.
Friday, July 1
Joe Russo’s Almost Dead, Pigeons Playing Ping Pong, Jason Bonham’s Led Zeppelin Evening, Steel Pulse, Andy Frasco & the U.N., Eric Krasno & the Assembly, the Motet, Marco Benevento, the Bogie Band featuring Joe Russo, Lacuna featuring Tom Hamilton & Holly Bowling, Doom Flamingo, Kitchen Dwellers, The Nth Power featuring Jennfier Hartswick, Funk You, Eggy, Little Stranger, Brother & Sister, Snacktime, Wax Owls, Gabriel Kelly, Evanoff, and the Jauntee.
Saturday, July 2
Trey Anastasio Band, Goose, the Revivalists, Ripe, Rayland Baxter, Celisse, Karina Rykman, Jaimoe and Friends, Brandon “Taz” Niederauer and Friends, the Shady Recruits, Neighbor, Melt, Cordovas, Friends of the Brothers, Cycles, One Time Weekend, Pixie & the Partygrass Boys, Chalk Dinosaur, Dry Reef, JB Strauss, Daniel Donato’s Cosmic Country, and Muskrat Lightning.
Sunday, July 3
The Black Crowes, the Word featuring Robert Randolph, John Medeski, Luther Dickinson, Cody Dickinson, and Ray Ray Holloman, G. Love & the Juice, the Wailers, Duane Betts, Star Kitchen, Spaga, Tauk, Dogs In A Pile, Maggie Rose, Daniel Donato &. Friends, Hannah Wicklund, the Wild Feathers, Bobby Lee Rodgers, Sicard Hollow, GA-20, and Great Time.
The VIP sets, performed exclusively to VIP ticket holders in the “Midland” above the water park with firepits, a bar, and concession stands, will feature Andy Frasco’s World Saving Podcast with special guests, Brandon “Taz” Niederauer with Kanika, the Cordovas performing an acoustic set, Daniel Donato, Dogs In A Pile, Duane Betts, Karina Rykman performing a DJ set, Kitchen Dwellers, and Maggie Rose.
In addition to the four days of live music with over 50 artists, this one-of-a-kind experience features food and craft vendors on the grounds and access to the scenic Montage Mountain Ski Resort’s large water park, zip line and ski lift rides.
The 10th-anniversary celebration of The Peach Music Festival will conclude with a spectacular Independence Day Weekend fireworks display on Sunday, July 3.
To purchase VIP tickets, ticket packages, reserve travel packages, camping, glamping tent, RV passes, and individual tickets, or for the most up-to-date information on the Peach Music Festival, including additional artist announcements, visit ThePeachMusicFestival.com.
The Jersey City Jazz Festival has returned for its ninth annual celebration on the weekend of June 4th and 5th in the Powerhouse Arts District.
Just across the Hudson River, the free-to-the-public event will include performances from fourteen bands on two stages, food trucks, a full bar, and a VIP experience at the parking lot on 107 Morgan Street. The festival will also coincide with Bike JC’s annual Ward Tour on the 5th, with there also being an “after-party jam session” at Moore’s Place.
Jazz group Nation Beat will lead off the festival with their performance at noon on the 4th. (photo by Carolina Mama)
Brazilian-inspired group Nation Beat will lead off performances at noon on the 4th, followed by singer & WBGO radio host Lezlie Harrison at 1, pianist David Kikoski at 2, Winand Harper and his band the Jeli Posse at 3, flamenco guitarist Andreas Arnold at 4, Afro-Cuban jazz group Santi De Brian’s Arkestra Bembe at 5, and acclaimed vocalist Svetlana at 6.
The next day, award-winning duo Sounds of A&R will lead off at noon, followed by guitar-driven ensemble Walter Parks and the Unlawful Assembly at 1, modern gypsy jazz artist Gonzalo Bergara at 2, New Orleans-based trad group Aurora Nealand and the Royal Roses at 3, and guitarist Julian Lage at 4.
Both days will close out with dancing to salsa performances by percussionists Little Johnny Rivero on the 4th at 7, and Johnny Rodriguez and the Dream Team the following day at 5. Shows will alternate on an hourly basis between the Bank of America and Exchange Place stages.
Little Johnny Rivero’s career watermarks include the eighteen albums he recorded with the La Senora Ponceña Band and having performed with names in Latin Music such as nine-time Grammy Award winner Eddie Palmieri.
The festival, which was first held in 2013, is produced by Jersey City-based non-profit Riverside Jazz, and is presented by Exchange Place Alliance. “We have some of the best players in the world here – and it’s not just one style of music or jazz, it’s everything!” says Riverview Jazz director Brian Beninghove. “Not everyone has access to great music and art, but we do here – and we want to celebrate it with a big, free party for the people.”
Information on purchasing VIP tickets, directions, parking, volunteering, and links to the artists can be found on Riverview Jazz’s website.
Summer 2022 free music lineups are popping up all around the state, and the annual “Jazz on Jay” series in Schenectady once again has a stellar lineup to share.
Every Thursday, a free jazz performance will take place on the corner of Jay Street and State Street from 12 noon to 1:30 p.m., perfect for lunchtime enjoyment in the Electric City. Jazz enthusiasts will get to enjoy singers and instrumentalists from across the region.
The series kicks off on Thursday, June 9 with Colleen Pratt and Friends, in conjunction with Downtown Schenectady ArtsWeek.
If you’re a fan of jazz, then Jay Street in Schenectady is the spot to be. The performances will go on rain or shine, with a rain location inside Proctors Theatre’s Robb Alley.
2022 Jazz on Jay Concert Schedule
June 9: Colleen Pratt and Friends (in conjunction with Downtown Schenectady ArtsWeek) June 16: Arch Stanton Quartet June 23: Wize Guyz June 30: Music by McIntosh July 7: Keith Pray’s Ortet July 14: Kevin Carey Group July 21: The Dylan Canterbury Quintet July 28: Kaitlyn Fay Quartet August 4: Art D’echo Trio featuring Joshua Nelson August 11: Chris Pasin’s Ornettiquette August 18: GNP August 25: Curley Lamb Nu-Soul-Jaz Quartet featuring Ria Curley and Chuck Lamb September 1: Pete Bellino Trio
We’re very opinionated when it comes to music. That stands to reason, since music is so much a guiding force in our lives. So, we listen to songs, and when we find one we love, we want to hear every song like it. That’s how we ended up with genres. And it is not easy for a band like NEQ that crosses genres to gain traction, because, essentially, they are creating their own, new genre.
NEQ, a.k.a. Nelson Esposito Quintana, is just such a band, and their new album, Nevertheless is a fine example of how to cross musical boundaries. The band is comprised of Todd Nelson, Kyle Esposito, Manuel Quintana, Mike Kelly and Carlos Valdez.
RRX: Okay, so not to bury the lede, you have a new album out, “Nevertheless.” It’s amazing. Tell us a little bit about it, if you will. How long did it take to put it together? And what was your concept for it going in, or was it more a collection that precipitated from some jam sessions?
TN: All told, it took a couple of years, although we weren’t working steady on it. We did a couple of tracks in 2018, and then the band kind of took a hiatus for a little while from live gigs, and we can talk about the reasons for that, but then we reconvened when COVID was getting kind of hard and realized we could keep working on this if we did it in such a way that the recording was done remotely. Rather than having such a large ensemble all playing together, we’d have maybe two or three people in the studio at a time. It was all put together in Manuel’s studio, although some of the recordings are done here at my house, and Manuel very expertly integrated all of those things.
KE: I think the concept sort of snowballed as it went along, as far as our approach, I mean, it became evident to us what it was like, what the strength of it was, which it became almost more of a cinematic approach where we weren’t really thinking about can the trio play this live? But more, what does the individual song call for? And we just went with it completely. So, in a way, that’s different from our previous recordings, where we kept it closer to a trio format. No holding back there as far as overdubs, adding what it seemed to need.
RRX: NEQ is so-called because of Todd Nelson, guitarist Kyle Esposito, and Manuel Quintana. And the great thing about the band is that, by listening, none of you are clearly ‘leading.’ It seems very much an equal contribution to the music. Now you usually think in a band like this, one person puts everyone together. Was that true with NEQ?
MQ: I think it was a team effort, but I think Todd led the way, as far as bringing in both full compositions and sections that were completed to some extent. But it was a big collaboration, I think we all put our stamp on it and what not.
TN: I have to say that you were the person that was the impetus behind the recording. If you didn’t have this great studio and the motivation to work on this stuff, because you did a lot of the work on your own. And as far as the composition of the stuff, it kind of just worked out that I’d written all of the composition of this particular album. We’d written together in the past, and I’m sure we will in the future. But usually, the way we would do that is through jam sessions, we would get an idea, and take it home and develop it, decide what needs another section. So, we would work that way. But we couldn’t really work that way with the COVID thing going on.
RRX: When I hear NEQ, I think fusion. I think Mahavishnu Orchestra, Weather Report, with a feel of a Friday Night in San Francisco – McLaughlin, Dimeola, DeLucia. A lot of references, but it’s a feel of musical exploration. But fusion is something more than simple experimentation. How does NEQ transcend ‘noodling around?’
Kyle: I’m a strong proponent for noodling around, but I think this is the least we’ve ever left to chance as far as putting the songs together. Solos are still solos, but even the sections that are their places are composes, not the solos but sections set aside for someone to improvise on, as opposed to just playing the song over and over again, different people soloing over the same form, that kind of thing, that’s what I’m getting at. There’s a lot more through-composed material, a lot more specific events set out to conquer in this batch of tunes, for the most part. That’s my impression.
Todd: That’s basically what I was going to say. I think that people want to hear soloing, I think they want to hear that kind of thing, but I also get tired of it. I think what we’re trying to do is tread the line between that jam-band thing and a totally composed approach, and not fall too heavily to either side. That might keep people’s interest, hopefully.
Kyle: And I think that the solos are interspersed with other sections which, to go back to my cinematic comment, there are a lot of scene changes going on in the songs that are pretty much designated. We’ll go from a keyboard solo to another section that’s composed for everybody to play their part and move on into another section where there’s space for a guitar solo, that kind of thing. It is kind of Weather Report-ish in that way.
Todd: Yeah, they were not head-solo-solo-head. A lot of that arrangement comes from jazz musicians – it’s their language, and that’s how they get together and play together even if they’ve never met each other, never played together before, makes it easy to gig.
RRX: One thing I would definitely say about NEQ is that it’s a very expansive sound. I had a very worldly signature. I imagine that having such an expansive sound is difficult, not just a matter of skill, but also a matter of vision. I mean, we’re talking about musical sources that evolved and intermingled globally. Are there any guiding principles to this?
Manuel: I don’t think we had any guiding principles, no. However the song came to be what we went with.
Kyle: It’s a bit of a mystery. I think it comes down to tastes and sounds and grooves that we all like as individuals, what overlaps, and really the essence of what Todd’s idea was to begin with. Things didn’t change that drastically; now that I think of it, wasn’t Camoplaid a jam?
Manuel: Yeah, that was a rehearsal from a long time ago. Rehearsal jam; Todd may have had it. Recorded piece for a while too. We definitely sat on that, and I do think it came from a jam.
Kyle: The beginning bassline thing I remember being out of the blue. Maybe I was working on a different song too; maybe it was that song.
Todd: Yeah, I remember writing the melody for it, but I don’t remember jamming on it.
Kyle: Getting back, that’s all to say that it’s stuff we’ve been influenced by that just comes out without too much intention.
Todd: One intentional thing for me is to not censor myself so much, you know? And as a band, we refrain from censoring ourselves, saying ‘oh that’s too Latin sounding,’ or too something else. We embraced it all, we didn’t look at something and say ‘that style doesn’t belong.’ We just let it happen.
JazzFest White Plains has announced the artist line-up for the 2022 festival, to be held from September 14-18 in several locations including ArtsWestchester, Grace Episcopal Church and White Plains Public Library.
Headliners for the festival include the Joey Alexander Trio, the Buster Williams Quartet, Grace Kelly and Ragan Whiteside and Friends. These major acts will also be joined by Miki Hayama and Richie Goods, the Albert Rivera Quintet, the Carlos Jimenez Mambo Sextet, the G. Thomas Allen Quartet and more.
Grammy Award winning instrumentalists Joey Alexander and Buster Williams will command the stage with their refined and unique performances. Alexander has been praised as one of the most engaging pianist-composers of his time, while also being the youngest artist to ever be nominated in the Jazz Grammy category.
Williams, a legend in his own right, has played alongside other big names including Miles Davis, Herbie Hancock and Betty Carter. The “Something More” Quartet, composed of members Steve Wilson (saxophone), Lenny White (drums) and George Colligan (piano/keyboard), will support him.
Grace Kelly has accomplished many milestones in her career despite her young age. She has released more than 10 albums, sold out numerous shows and even appeared on The Late Show With Stephen Colbert as part of the house band.
As a community staple, JazzFest White Plains has brought entertainment and culture to Westchester for more than a decade. It was produced by ArtsWestchester in collaboration with the City of White Plains and the White Plains Business Improvement District.
