Category: Blues/Jazz

Kamasi Washington to Play Beacon Theatre Upon Release of New Album “Fearless Movement” – Listen to “Prologue” now

Legendary west coast jazz saxophonist Kamasi Washington has announced a new album – Fearless Movement – along with a tour that kicks off on May 4 at the Beacon Theatre.

Along with the tour announcement, Washington has released the first track from Fearless Movement, “Prologue,” alongside a mesmerizing video directed by longtime collaborator AG Rojas and choreographed by Samantha Blake Goodman.

Kamasi Washington is a multi-instrumentalist, composer and bandleader born and raised in Los Angeles, who has released three albums, all acclaimed – The Epic; Harmony of Difference, and Heaven and Earth. In 2020, Washington scored the Michelle Obama documentary Becoming, earning Emmy and GRAMMY nominations for his work.

Washington views Fearless Movement his dance album: “It’s not literal. Dance is movement and expression, and in a way it’s the same thing as music—expressing your spirit through your body. That’s what this album is pushing.”

With his previous albums dealing with cosmic ideas and existential concepts, Fearless Movement focuses on the everyday, an exploration of life on earth. This change in scope is due in large part to the birth of Washington’s first child a few years ago. A dance album as an embodied form of expression signals a shift in focus for Washington.

“Being a father means the horizon of your life all of a sudden shows up. My mortality became more apparent to me, but also my immortality—realizing that my daughter is going to live on and see things that I’m never going to see. I had to become comfortable with this, and that affected the music that I was making.”
Kamasi Washington, on Fearless Movement

The album also features Washington’s daughter, who wrote the melody to “Asha The First” during some of her first experimentations on the piano, as well as a host of collaborators. Among them, André 3000 appears on flute, George Clinton lends his voice, as do BJ The Chicago Kid, Inglewood rapper D-Smoke and Taj and Ras Austin of Coast Contra, the twin sons of West Coast legend Ras Kass. Washington has also enlisted lifelong friends and collaborators Thundercat, Terrace Martin, Patrice Quinn, Brandon Coleman, DJ Battlecat and more.

Fearless Movement also features “The Garden Path,” a song Washington performed for the first time ever, making his late-night television debut, on “The Tonight Show Starring Jimmy Fallon.”

Washington has announced an extensive North American tour kicking off May 4 at Manhattan’s Beacon Theatre with dates in Chicago, Houston, San Francisco and the Hollywood Bowl Jazz Festival, which he will co-curate with Herbie Hancock for the second year in a row, on June 16.

Pre-order/Pre-save Fearless Movement here. Tickets for Kamasi Washington at the Beacon Theatre, and all shows, are on sale March 8 at 10am, here.

KAMASI WASHINGTON 2024 TOUR

May 4—New York, NY—Beacon Theatre

May 5—Philadelphia, PA—Union Transfer

May 7—Toronto, QC—History

May 8—Cincinnati, OH—Ludlow Garage

May 9—Detroit, MI—St. Andrews Hall

May 10—Chicago, IL—Thalia Hall

May 11—St. Paul, MN—Fitzgerald Theater

May 12—Omaha, NB—Slowdown

May 14—Houston, TX—House of Blues Houston

May 15—Dallas, TX—House of Blues Dallas

May 16—San Antonio, TX—Empire Theater

May 17—Austin, TX—Empire Garage

May 30—Vancouver, BC—The Vogue Theatre

May 31—Seattle, WA—The Showbox

June 1—Eugene, OR—McDonald Theatre

June 2—Portland, OR—Crystal Ballroom

June 5—Sacramento, CA—Crest Theatre

June 6—Monterey, CA—Golden State Theatre

June 7—San Francisco, CA—Warfield

June 8—Santa Cruz, CA—The Catalyst

June 9—Solana Beach, CA—Belly Up

June 11—Mesa, AZ—Mesa Arts Center

June 16—Los Angeles, CA—Hollywood Bowl Jazz Fest

July 31—Alexandria, VA—The Birchmere

March 7, 2024
Innovations of Jazz’s Small Swing Groups of the 1940s-1960s Explored in New Book “Jazz with a Beat”

It was equal parts the lingering Depression economy and the wholesale enlistment of musicians during WWII that ended the Big Band era of jazz. What emerged in its wake were radically downsized swing ensembles that took one of two roads at this fork in the developmental history of jazz. The first was the crowd-pleasing, danceable sounds of artists like Louis Jordan and Illinois Jacquet, something that would lead to the emergence of R&B and rock-n-roll. The second was a more challenging idiom typified by frenetic tempos and advanced harmonic structures. It was a genre pioneered by Dizzy Gillespie, Charlie Parker, Thelonious Monk and a handful of others at late night jam sessions at Minton’s Playhouse in Harlem – the fiercely virtuosic and intellectually-rich genre called bebop.

In his new book, Jazz with A Beat (SUNY Press), Tad Richards provides an exhaustively-researched but eminently readable look at this under-explored and under-appreciated flavor of small group/post-Big Band swing, and the new styles it would birth.

Still cooking on several burners at 84 years of age, Richards is a true Hudson Valley original. He is author of more than three dozen books, a much-published poet and journalist, visual artist and sometimes songwriting partner of local legends like John Hall of the band Orleans. Tad was even the screenwriter of two soft-core sex comedies of the ‘70s that are now considered cult classics, The Happy Hooker Goes to Washington and The Cheerleaders!

But Richards may be best known for his long-running role as Artistic Director and President of Opus 40, the famed sculpture park/renowned earth artwork singlehandedly built by his stepfather, Harvey Fite. Tad came to Opus 40 in 1944 when his mother married Fite. After Fite and his mother passed, Tad and his wife ran the park, from 1987 through their retirement in 2018. For three decades, Richards also worked to present some of the most memorable concerts in the Hudson Valley at Opus 40. They included the dramatic performance by jazz great Sonny Rollins captured in the documentary, Saxophone Colossus. You can read my feature on this legendary event here.

With the move to small groups, jazz soloists came to the fore. Most notable was tenor saxophonist Illinois Jacquet, a Texas virtuoso who set the template for “honking” soloing on “Flying Home,” first with Lionel Hamptons’ band and later with his own ensemble. Unlike in large bands, in these compact quintets and sextets, there was no music being read on stage; the magic was made when soloists like Jacquet cut loose and fired up the audience. There’s also a lengthy look at the career of Louis Jordan, a man widely regarded, and noted in his Rock and Roll Hall of Fame induction, as the “Father of Rhythm & Blues.” Jordon and his Tympani Five were huge stars in the 1940s and 1950s, thanks to a string of hits including “Choo Choo Ch’Boogie,” “Is You Is or Is You Ain’t My Baby” and “Saturday Night Fish Fry.” The latter was one of the first tunes to feature the word “rocking” in its chorus, and a distorted electric guitar as well. Jordon’s “jump blues” style and captivating stage demeanor would be a huge influence on rock-n-roll’s first superstar, Chuck Berry.

Richards’ investigation largely focuses on the influence small band swing had on the development of R&B and proto rock-n-roll in the fertile music scene around Central Avenue in Los Angeles. A host of small independent record labels fueled this evolution. Jump blues tunes like Joe Liggins’ “The Honeydripper” (1945) and Wynonie Harris’s “Good Rockin’ Tonight” (1947) are often credited as the first true rock-n-roll songs. Schooled musicians like Big Jay McNeely, who could’ve pursued more challenging bebop, went for more mainstream R&B styles. His over-the-top soloing and stage antics are best captured on “The Deacon’s Hop,” maybe the most sax-honking-ist song of all-time and a #1 R&B hit (1949). According to the book, McNeely was playing a raucous gig in Berlin on November 9, 1989, the night the famous wall came down. Coincidence?

Richards’ journey continues to connect the dots to other music scenes across America. He addresses everything from Dave Bartholomew’s early works with Fats Domino and Little Richard in New Orleans to the Xerox copy works of white artists like Bill Haley’s and his “Rock Around the Clock.” White artists like Haley and Elvis would strike gold mining the styles, sounds and even many songs composed and first recorded by early R&B and jump blues practitioners.

“Jazz with a Beat” is a deeply informative yet easily digestible trip back to the days when jazz explored new beats and ferocity, ones that were perhaps the truest and deepest roots of modern day R&B and rock.

March 5, 2024
Tedeschi Trucks Band Triumphs at Beacon Theatre, Kickstarting the Deuces Wild Tour with a Bang

On the night of February 29, the Tedeschi Trucks Band brought their electrifying performance to the Beacon Theatre in New York City, initiating the first of three remarkable shows at this iconic venue. This marked a pivotal moment as the band transitioned to the Beacon after rocking the stage for the initial two nights of the Deuces Wild Tour at the Hard Rock Live at Etess Arena in New Jersey.

Led by the incomparable duo of Susan Tedeschi and Derek Trucks, the band continued to captivate audiences, showcasing their musical artistry throughout this third show of the tour.

The Deuces Wild Tour is happening from February to October 2024, and it’s all about the Tedeschi Trucks Band playing a bunch of different songs, some they wrote, some they didn’t. If you’re a fan in New York City, you’re lucky because they’re doing more shows at the Beacon Theatre, Kings Theatre in Brooklyn, and the Capitol Theatre in Port Chester.

The February 29 show opened with the soulful and atmospheric “Hear My Dear,” a track from the band’s 2022 album, I Am the Moon. The light and dreamy music set the stage just right, surrounding the audience in the band’s special mix of blues, rock, and soul.

The first set reached its climax with a powerful rendition of Blind Faith’s “Had to Cry” and the mesmerizing “Pasaquan.” Trucks’ virtuosic guitar playing took center stage, leaving the audience in awe of his unmatched skill and emotional depth.

As the second set unfolded, Susan Tedeschi showcased her singing skill with a soul-stirring cover of Mike Reid’s “I Can’t Make You Love Me,” famously performed by Bonnie Raitt. The emotional depth of Tedeschi’s performance resonated throughout the Beacon Theatre, capturing the hearts of everyone in attendance.

A memorable part of the night was when Alecia Chakour, a strong member of the Tedeschi Trucks Band, stepped up and sang Aretha Franklin’s “It Ain’t Fair.” Chakour’s amazing singing and stage presence really impressed the audience, showing how important she is to the band’s overall performance.

Gabe Dixon, another gifted member of the group, showcased his exceptional singing skills in a soulful performance of “Gravity,” highlighting the band’s diverse musical abilities and collective talent.

The second set also featured a memorable cover of Derek and The Dominos‘ “Anyday,” where Susan Tedeschi and Mike Mattison engaged in a vocal duet, exchanging verses and harmonizing seamlessly. The band members worked really well together, making the music feel extra special and going beyond just the stage.

The night culminated in a soulful tribute to the late Bill Withers with a cover of “I Wish You Well.” The band’s emotional delivery of Withers’ timeless classic served as a fitting conclusion to an evening filled with musical brilliance and camaraderie.

Tedeschi Trucks Band – Beacon Theatre, NYC – Thursday, February 29, 2024

Setlist: Hear My Dear, Ain’t That Something, Laugh About It, I Am the Moon, Everybody’s Got to Change Sometime, Circles Round the Sun, Had to Cry Today, Pasaquan, I Can’t Make You Love Me, Soul Sweet Song, It Ain’t Fair, Gravity, Do I Look Worried, Last Night In the Rain, Anyday, Part of Me, How Blue Can You Get, I Wish I Knew (How It Would Feel To Be Free), I Wish You Well

March 1, 2024
Celebrating the “Year of Alice”: A Remarkable Evening at Birdland Unveiling the Coltrane Legacy

In the dimly lit, historic Birdland theater, a magical atmosphere enveloped the audience as the “Year of Alice” event unfolded. Hosted by the John and Alice Coltrane Home, the evening was a celebration of the legendary jazz couple, John and Alice Coltrane, whose impact on the world of music continues to resonate. Held in the same venue where John and Alice first crossed paths, the event promised a journey through the Coltrane legacy and a glimpse into the upcoming events, concert series, exhibits, and special projects planned for the year 2024-2025.

Ravi and Michelle Coltrane

The evening began with Michelle Coltrane, Alice’s daughter and John’s stepdaughter, setting the tone by warmly welcoming everyone. She spoke passionately about her mother’s enduring influence on the world of music, laying the foundation for an evening that would be a tribute to the Coltrane’s artistic brilliance.

Michelle Coltrane

The founder and President of the Coltrane Home, Steve Fulgoni, took the stage to make an exciting announcement â the restoration of the Coltrane home in Dix Hills had commenced, with plans to open its doors to the public within two years. This revelation sparked anticipation among the audience, eager to witness the preservation of the historic space where the Coltranes once lived and created.

Grammy-nominated harpist Brandee Younger, leader of the Alice Coltrane Ensemble and board member of the John and Alice Coltrane Home, shared insights into the world of harps, the instrument Alice mastered. Joined by Ravi Coltrane, the duo mesmerized the audience with two enchanting renditions of Alice’s compositions, a heartfelt tribute to her exceptional skill and talent.

Ravi Coltrane and Brandee Younger

Ravi Coltrane took a moment to share his thoughts about his iconic parents, providing a personal touch to the evening. The family’s warmth and love for music were clearly felt in Ravi’s words, creating a special connection between the audience and the Coltrane legacy.

Ravi Coltrane

President of Impulse records, Jamie Krents, stepped forward to share exciting news about the upcoming release of “Alice Coltrane at Carnegie Hall” on March 22nd. The revelation was met with enthusiastic applause, affirming the continued appreciation for Alice’s vast musical contributions.

The evening also featured Matthew Garrison from Shapeshifter Plus, a Brooklyn-based non-profit he co-founded with Ravi Coltrane and Fortuna Sung. Their mission, to promote innovative artistic expression, resonated with the audience as they announced their involvement in curating Alice’s music.

Brandon Bibbi, Senior Preservation Architect for the African American Cultural Heritage Action Fund, took the stage to discuss their role in saving the family home from demolition. Their dedication to preserving cultural heritage underscored the significance of the Coltrane legacy in the broader context of American history.

Christopher Collins, President and Artistic Director of the Detroit Jazz Festival, unveiled plans for a special event on Labor Day weekend 2024. Curated by Ravi Coltrane, the festival promised an ambitious musical experience, featuring both Ravi’s musical associates and local string players.

Christopher Collins

Erin Christovale, curator of the Alice Coltrane exhibit, provided a thrilling finale by announcing the showcase of Alice’s archive at the Hammer Museum. For the first time, the public would have access to photographs, posters, handwritten letters, paintings, sculptures, and more, offering a comprehensive view of Alice’s multifaceted artistry.

As Michelle Coltrane wrapped up the evening with heartfelt gratitude, the audience left Birdland with a profound appreciation for the Coltrane legacy and an eagerness to witness the “Year of Alice” unfold. The event was not just a celebration; it was a promise of a year filled with musical treasures and a continued exploration of the extraordinary contributions of John and Alice Coltrane to the world of jazz.

February 26, 2024
Hearing Aide: The Pit Brothers Band ‘Through The Fog’

The Pit Brothers Band has announced the release of their latest album, Through The Fog. The band consists of four members including two brothers, Eric and David Pitagorsky, who hail from Queens, NY. The album showcases the band’s multi-genre talents and intense groove.

Through the Fog is a testament to The Pit Brothers’ dedication to their craft and their commitment to delivering unforgettable live performances. This album serves as a milestone in the band’s journey to a new era while paying homage to their roots. Listeners can expect a captivating experience that showcases the band’s raw talent and vibrant energy.

The album is compiled of nine live tracks. Many of the songs on the album have very strong Grateful Dead and Allman Brothers Band inspiration to them that is very apparent. The sound that The Pit Brothers Band achieved is comparable to groovy, bluesy jam bands. A common theme throughout the album is a high intensity groove with various titillating sounds playing parts of their own.

The live album has unique and captivating energy and sound. The group displays compelling organ sounds, quick and witty guitar riffs, and a jovial vocal style that keeps the listener bopping. There is much Pink Floyd, Rolling Stones, and even Bob Dylan undertones sprinkled throughout.

To listen to The Pit Brothers Band’s latest album, Through The Fog, click here.

February 25, 2024
Cafe Society: A Bastion of Solitude, a Beacon of Hope

In honor of Black History Month, we take a dive into the pivotal people, places, and events that have kept lasting impressions on the culture of America. The Harlem Renaissance was one of the monumental events in history that altered the way we as a collective view the world.

A 1930s photograph of Cafe Society’s packed entrance

With the Harlem Renaissance taking musical culture by storm in the 20s and 30s, musicians and music enjoyers alike found refuge from harsh realities in multi-cultural venues of the time period. These venues were beacons of hope and togetherness, where music was the uniting factor, and the outside world could not penetrate that.

Cafe Society – A Refuge in Greenwich Village

Opening their doors on December 18th, 1938, Cafe Society in Greenwich Village, Manhattan was home to a multitude of unique musicians and comics. The mind behind the club, Jewish shoe salesman Barney Josephson, hailed from Trenton, NJ and was a lover of jazz music.

Barney was incensed at the fact that in the Cotton Club, blacks were limited to the back one-third of the club. It infuriated him that even in their own ghetto they had to deal with this treatment. Of course, in any club below Harlem, which had black entertainment, such as the Kit Kat Club, a Black person couldn’t even get in.

A few notable acts from the era that were no stranger to the venue include Art Tatum, Lena Horne, Sarah Vaughn, Mary Lou Williams, Lester Young, Burl Ives, the Golden Gate Quartet, Billie Holiday and Ella Fitzgerald.

An early performance by Billie Holiday at Cafe Society

Racial Harmony in 1938

The Harlem Renaissance saw a monumental explosion of musicianship, racial harmony, and advancements in art. Cafe Society was a perfect example of this. Folks of all races, ethnicities, religions, and art forms attended crowds at Cafe Society. It was a community of tolerance, artistic expression, and racial harmony and prosperity in a time when this was furthest from the norm. The jazz club was a bastion of solitude, a beacon of hope, and mothership of talent.

Barney wanted to create a club so inclusive and so different from the rest and wished to change from the norms that other nearby jazz clubs have set as standard. He wanted to create a place where folks of all races, ethnicities, religions, and orientations could join together and enjoy the music of the city – jazz.

Billie Holiday’s Legendary Start

Billie Holiday, one of the most iconic jazz vocalists of all time, made a significant impact during her early career at Cafe Society. In 1938, she began performing regularly at Cafe Society Downtown, the venue’s location in Greenwich Village. Holiday’s emotionally charged and distinctive voice, coupled with her unique interpretations of jazz standards, quickly garnered admiration.

The intimate layout of Cafe Society allowed her to connect with the audience sharply and meaningfully. Holiday’s performances there contributed significantly to her rise to fame. Billie Holiday performed “Strange Fruit,” a powerful anti-lynching anthem that took the crowd by storm. Billie Holiday’s time at Cafe Society marked a pivotal chapter in her career, showcasing her as a renegade in the jazz world and a courageous voice against social injustice, a common theme of the club.

Far From Typical

Cafe Society’s commitment to left-wing politics was not merely symbolic, it was deeply ingrained in the club’s firmament. Barney Josephson envisioned the club as a space where artists could freely express their political and social views through their performances. The location became a hub for artists and intellectuals sympathetic to leftist causes, such as civil rights, workers’ rights, and anti-fascism. This kind of club was far from the standard and quite eccentric to many. The club hosted acts that addressed these issues in their music and engaged in discussions about social and political matters.

Performers like Billie Holiday, Paul Robeson, and Josh White were known for their activism. These artists found a platform at Cafe Society to use their art as a means of social commentary and political action. The club’s left-wing orientation also extended to its audience, attracting a diverse and politically conscious crowd. In an era marked by racial segregation, Cafe Society stood out as a progressive and inclusive space that challenged norms and ushered in a sense of unity and community among its patrons.

Cafe Society was known as “the right place for the wrong people.” In short, the place was strictly anti-snob, anti-segregation, and anti-standard. The building was draped in eccentric cartoon murals and the club’s doorman was intentionally dressed in raggedy, tarnished clothing to mock the notion that poor folk could not gain entry into the club. Josephson wanted all to know that all were welcome, not just upper-class snobs.

Cafe Society’s Policy

The club had a very unorthodox means of contracting artists. Firstly, Josephson was not a believer of traditional contracts. In fact, there weren’t any. Josephson believed an artist should never be bound to a contract or club, instead he offered long, several-week engagements that would also allow artists to play at other clubs in between.

Along with this, the club was extremely pro-union, something quite rare for the time. Josephson was a committed advocate for workers’ rights and ensured that all the musicians who performed at his club were members of the musicians’ union. This policy helped to guarantee fair wages, reasonable working conditions, and benefits for the artists. In an industry where exploitation of performers was not uncommon, Cafe Society stood out as a venue that prioritized the welfare of its musicians.

Cafe Society’s building today (taken 2024)

The Club’s Closure and Legacy

Cafe Society Jazz Club faced closure due to a combination of financial challenges and changing cultural dynamics. The original Downtown location closed its doors in 1948, primarily attributed to economic struggles and declining attendance. Along with this, the Josephson brothers’ leftist views landed them in hot water with the FBI, specifically his brother Leon. The club struggled to maintain financial viability. New owners eventually took over the club, but it was later closed permanently due to the new owner’s failure to pay back taxes.

The changing cultural landscape, combined with financial difficulties, led to the closure of the Uptown location in 1950. Cafe Society’s legacy, however, endures as a pioneering venue that championed racial integration, left-wing politics, and fair treatment of artists. The club left an indelible mark on the history of jazz and racial integration.

Barney Josephson went on to open The Cookery, also in Greenwich Village. This establishment opened in the early 1960’s as a music-supper club, where many artists would perform while audiences ate dinner. Much like Cafe Society, The Cookery was an all-inclusive, racially integrated, and culturally diverse place where standards were challenged.

The location where Cafe Society jazz club once was is now a historical landmark. The building is part commercial, and part residential. What has stayed the same, is the memory and legacy of Cafe Society. Its indelible mark will never be forgotten.

February 24, 2024
Great South Bay Music Festival is Back with Another Stellar Lineup for This Summer

Long Island’s largest and longest running four-day music and art festival is back with another groovy lineup. The Great South Bay Music Festival will host their 16th anniversary at Shorefront Park in Patchogue, NY. The festival is sponsored by Voodoo Ranger.

The Great South Bay Music Festival in 2019

The elite festival will take place July 18 through 21 and will host a wide variety of artists of many genres. Contemporary and classic rock, jazz, jam, blues, Americana, ska, reggae, alternative and funk will be represented this summer with over 60 featured artists.

Also included in the festival are several draft beer and wine tents, along with a food court of diverse selections. A craft market will also be showcased. The fest will present four very different days of music, with a lineup of headline artists alongside cutting-edge rising stars.

Featured artists include blues-rock legend Joe Bonamassa, Jim Messina of Buffalo Springfield, and phenom guitarist Brandon “Taz” Niederauer. Saturday is Jam Day and continuing the Grateful Dead Live Concert Experience as no one else can, is Dark Star Orchestra. Newly added acts include Start Making Sense, Aqua Cherry, Funkin A, Enrose, Rob Europe, Chris Ruben Band, Lex Grey & Urban Pioneers, Stanton Anderson Band, Imposters, Drop The 4, Chloe Halpin, & IRIEspect.

The Disco Biscuits support with their brand of “Trancefusion”, bridging the gap between electronic music and jam bands. Also appearing is Asbury Park New Jersey’s famed quintet: Dogs In A Pile, Dopapod, psychedelic indie-rocker Karina Rykman and more.

Closing out the Great South Bay Music Festival is legendary rock group YES. Accompanying the Sunday stage is Jethro Tull guitarist Martin Barre, and Talking Heads Tribute: Start Making Sense.

Festival Times:

Thursday, July 18: Doors are at 3:00 pm, fest goes till 10pm.

Friday, July 19: Doors are at 3:00PM, music till 11pm,

Saturday July 20.: Doors are at 1:00pm, music till 11pm,

Sunday July 21: Doors are at 2:00pm with performances till 10pm.

Ticket price includes all concerts and entertainment. Food and beverages not included. Children under 10 are free. For more information on The Great South Bay Music Festival and tickets, click here.

February 21, 2024
Guitar Masters Festival to Return to NYC in April with Fantastic Lineup

Charles Carlini Presents has announced the return of the inaugural Guitar Masters Festival in NYC this April. The bash lasts for five days from April 25 to 29, featuring a lineup curated with some of the world’s most exceptional guitarists, celebrating the art of string mastery.

The show will kick off at the John Birks Gillespie Auditorium with the wildly talented acoustic guitarist Kaki King. The following night will take place at Klavierhaus with six wonderous guitarists scheduled to perform. These artists are Steve Cardenas, Joel Harrison, Brad Shepik, Max Light, Pete McCann, and Grant Gordy. This entire show will be a diverse showcase of musical talent.

Guitarist Gilad Hekselman

Audiences can expect to be dazzled by several genres, styles, and musical artists throughout the progression of the event. The final night, April 29 will see a large lineup of top-of-the-line jazz musicians performing all-time hits for audience enjoyment.

Charles Carlini, the visionary behind the event, has an enthusiastic hope for an amazing, unforgettable music experience with only the best guitarists in the world. The Guitar Masters Festival is one to attend, and Carlini hopes to continue the tradition every year.

Featured Guitarist Badi Assad

For more information on the event or to buy tickets, visit GuitarMastersFestival.com

February 21, 2024
Dave Solazzo Trio: Breaking Jazz Norms with Unusual Charm

Dave Solazzo & The Bridge, a trailblazing trio within the Westchester jazz community, has been raising eyebrows and stirring up controversy.

The “jazz police” have turned their attention toward pianist Dave Solazzo, bassist Matthew Vacanti, and drummer Bill D’Agostino due to their daring distaste for typical harmonies. The trio are set to perform on March 22 in Downtown Mount Kisco, NY at 37 S. Moger Ave.

Additionally, the musical outlaw Solazzo enjoys pushing boundaries, making him accustomed to breaking the law. He has studied the greats, exploring the piano trios of legends such as Bill Evans, Oscar Peterson, and Ahmad Jamal. However, the nature of his musical ideas has landed him in hot water with purists of jazz.

According to co-conspirator Matthew Vacanti, the trio’s Locrian Skye album explores the unusual Locrian mode, which is uncommon in jazz. Despite the controversy, their interpretation of the piano trio is nothing short of intriguing.

“I think we went for it in the studio, stretching, and taking chances. We wanted to put some of those elements into the music — the elasticity of time, the unconventional harmonies, the group interplay.”
-Dave Solazzo

Performers like Giacomo Gates, Martha Reeves, and Kevin Mahogany are offended by Vacanti’s styles, which has exposed minors to questionable jazz methods.

Drummer and rhythm renegade from Auburn, New York, Bill D’Agostino gained notoriety by copying licks from legendary drummers like Tony Williams and Steve Gadd. He is practically banned from most venues for his politically incorrect use of forbidden rhythms and funky grooves.

Together, Solazzo, Vacanti, and D’Agostino—each recognized for their partnerships with notable jazz artists—have produced the free-form and improvised debut album “Locrian Skye.” Their music is sure to thrill, challenge, and make lasting impressions on jazz fans, defying the conventions of Post Bop.

This corrupt yet intriguing piano trio, called “The Bridge,” is scheduled to perform at Jazz on Main despite their antics. On March 22 at 7 PM and 9 PM, the venue—37 S. Moger Ave. in Downtown Mount Kisco, NY—will host two shows. $32 tickets give you the opportunity to see three first-call sidemen collaborate in real time, unfiltered.

Tickets for Dave Solazzo Trio’s March 22 performance are now available at Jazzonmain.com.

February 19, 2024
Carnegie Hall Celebrates Steve and Eydie – One of Show Business’ Greatest Couples

Carnegie Hall will celebrate an iconic show business duo, Steve Lawrence and Eydie Gormé, this Valentine’s Day. The Hall will host a private reception on Wednesday, February 14 in their Susan W. Rose Archives as The Lawrence Family Foundation honors Steve & Eydie with a generous endowment contribution to the Carnegie Hall Education Endowment Fund.

Steve and Eydie were 1950s hits, where they performed for decades on various shows beginning with Tonight Starring Steve Allen. The duo would perform musically in the big band, swing, and doo-wop styles. Together, the duo became iconic, and their impact lasts to this day. The duo left an indelible impression on popular music.

The celebration will showcase an orchestra conducted by the couple’s son David Lawrence. Alongside David will be Tony Award-winner Debbie Gravitte. Together, they will honor Steve and Eydie by playing and performing their classic hits from back in the day.

“As native New Yorkers, we know that Steve Lawrence & Eydie Gormé’s Carnegie Hall concerts in the 1980s represented a special musical homecoming for both of them, even after they had experienced so many great successes across the music world. Fans absolutely loved their Carnegie Hall performances, now considered a cherished part of the Hall’s history. We’re very grateful to the Lawrence family for honoring their legacy in this meaningful way, providing generous support that will help young musicians as they prepare to take to Carnegie Hall’s stage and beyond.”
Clive Gillinson, Carnegie Hall’s Executive and Artistic Director

For tickets, ranging from $59 – $129, visit CarnegieHall.org or visit the Carnegie Hall Box Office (at West 57th Street and Seventh Ave).

February 13, 2024