Tag: jazz

REVIEW: Stella Cole at the Blue Llama

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December 15 | 8:30 pm | Blue Llama Jazz Club

 

 

There are few jazz vocalists more in demand than Stella Cole, an up-and-coming jazz singer from New York City who’s got as much glitz and glam as she’s got vocal chops. The Blue Llama Jazz Club welcomes her for the first time on the winter leg of her US tour.

Ms. Cole’s silky voice will surely transport you into a newly colorized film from the 1940s. With a sound reminiscent of The Golden Age of Hollywood, it’s no secret that Ms. Cole is an admirer of that aesthetic. The 25-year-old gained popularity during the pandemic singing jazz standards and Great American Songbook tunes on TikTok. Today, she boasts over 12 million likes on the app and nearly 770k followers on Instagram. Her debut single was released with Scott Bradlee’s Post Modern Jukebox in 2022, and now Ms. Cole has two studio albums: the newly released “Snow!” and the self-titled “Stella Cole”.

Her trio tonight included Michael Kanan (piano), Mikey Migliore (bass), and Henry Allen-Barfield (drums). She began her set with the Jerome Kern and Johnny Mercer tune “I’m Old Fashioned,” which was a perfectly fitting introduction. Standards “The Boy Next Door” and “Get Happy” followed, plainly revealing her influence from the great Judy Garland.

 

There was no shortage of Christmas magic from Ms. Cole either. “White Christmas,” “I’ve Got My Love To Keep Me Warm,” and “It’s Beginning to Look A Lot Like Christmas” (to name a few) all made it into the set.

“I’m singing on the “Today” show later this week…” She said, introducing the next tune. “Is it ok if this is a practice run?” Audience members smiled, knowing they received a first glance at her solo version of “Snow!.”

Her set was modest, focusing primarily on her sumptuous vocalism as she performed an abundance of Great American Songbook tunes in a fairly traditional style. The Songbook tradition can be stifling to some modern jazz musicians, but Ms. Cole fully embraces the beauty and relevance of that tradition in her more “straight-ahead” performances.

 

The ghost of Judy Garland surely beams over Ms. Cole’s recordings of “The Boy Next Door” and “Over The Rainbow,” two of Garland’s most notable performances. Ms. Cole’s suggestive tribute made me consider the history of American music and its influence on our modern times—Songbook tunes pop up all over modern jazz records and are taught thoroughly in academia, and holiday songs released over 60 years ago play on the radio year after year. The pop music of America’s past carries into the future, thanks to its beautiful melodies and heartwarming lyricism, preserved through a modern dedication to tradition.

“So many people of my generation aren’t familiar with these songs, and I’m excited about the opportunity to introduce this timeless music to a new audience,” Ms. Cole says. There is an endurance behind jazz’s relevance, which Ms. Cole is clearly devoted to preserving.

 

 

 

Images thanks to The Blue Llama Jazz Club. 

REVIEW: William Hill III at the Blue Llama

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November 30 | 10:30pm | Blue Llama Jazz Club

 

 

No better place in Ann Arbor to see live jazz than under the magenta-blue lights of the Blue Llama Jazz Club. These dimly lit corners have housed some of today’s most esteemed jazz players since its opening in 2019, featuring all-star players from our own Detroit and beyond.

Tonight’s late-night set featured the spunky William Hill III, a pianist and composer currently based in Manhattan. Hill’s trio included Detroit-based players Dylan Sherman on the bass and drummer Sam Melkonian. I have seen a few of his sets at the Llama now, where he performs standards from the Great American Songbook along with his original tunes. And to celebrate December 1st’s icy debut, he wove in some holiday favorites.

It’s easy to return to Hill’s sets—he is overflowing with creativity and vibrancy in his playing. His improvisational language is deep and complex, with nods to the great Red Garland and Oscar Peterson (favorites of mine). Combined with his technical virtuosity allows for a really interesting exploration of the Songbook tunes we all know and love. He released his debut album “Three’s Company (Live)” this past July, recorded live at Detroit’s historic Cliff Bell’s Jazz Club.

The sound in The Llama is the second best reason to go (the first being the fantastic musicians, obviously), but the space resonates nicely for such an intimate setting and allows for both a beautiful visual and aural experience (at least from the tables along the back wall). A piano trio fills the stage and the sound in the room super nicely.

The very first tune included a tight bass feature from Sherman. He’s got a pliable sound, with light, effervescent improvisational ideas, making his interaction with Hill such fun to encounter. Never underestimate a swingin’ bassist.

I couldn’t catch the name of every tune but a few caught my ear: A striking version of John Coltrane’s “Moments Notice”, the Strayhorn classic “Take the A-Train”, and “Chant” which seems to be an original composition of Mr. Hill’s. He also included a favorite of mine from his record: “Jilly”, a sweet tune, one that captured the audience amidst its meditative waltz-i-ness.

Holiday tunes included: Duke Ellington’s “Sugar Rum Cherry” (a la Tchaicovsky’s Dance of the Sugar Plum Fairy); a jaunty and playful “Winter Wonderland”; and a burning “Sleigh Ride” accompanied by Detroit trumpeter Jauron Perry to complete the set.

I expect Will Hill III does well in Manhattan—he’s breaking out in the industry almost as fast as he can swing.

 

 

 

Images thanks @bluellamajazzclub Instagram.

REVIEW: Glenn Miller Orchestra

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October 6 | 7:00pm | The Michigan Theater

 

 

Who says swing music is a thing of the past? Certainly not the hundreds of fans inside the Michigan Theater last Sunday, awaiting the legendary Glenn Miller Orchestra (GMO).

If you think you’ve never heard of them—think again. Hits like “In The Mood”, “Moonlight Serenade,” and “Pennsylvania 6-5000” have woven their way into American culture, appearing in films, TV shows, school band concerts, weddings—you name it. Iowa-born Glenn Miller formed the band in 1938* and quickly gained popularity as a jazz and dance band throughout the Northeastern United States. After Miller’s mysterious disappearance in 1944, the band continued to perform under various bandleaders, including Buddy DeFranco, and later Ray McKinley. 85 years later, the Glenn Miller Orchestra is still touring the country, delivering its timeless, heartwarming sound.

The band made the final stop of their fall tour here at The Michigan Theater, with a packed house of varying ages. The show was 2 hours with a 20-minute intermission—nicely paced with intermittent dialouge from Music Director Erik Stabnau and their vocal quartet “The Moonlight Serenaders”.

Stabnau led a busy evening as the lead tenor saxophone player and emcee, also performing a few vocal tunes as well as leading the vocal quartet.

Jenny Swoish performing with “The Moonlight Serenaders”.

“Unfortunately, there are no original members performing tonight…”, Eric joked. While this is true, each player remained a stand-out musician, sensitive to stylistic differences of the swing-era sound.

Joining the GMO was vocalist Jenny Swoish, a jazz singer by the way of Nashville, Tennessee. She performed well-known vocal standards including “I’m Beginning to See the Light” and “These Foolish Things” as well as an original song from her debut album entitled “Never Gone”. A glamorous and energetic performance, Ms. Swoish maintains the delightful charm of jazz vocalists.

While the Michigan Theater is gorgeous and historic, it does not always produce the best sound for live music. A few soloists were lost from the mics, and besides wishing there was a bit more resonance from the hall—there is not much else you can ask for from an establishment that is almost a century old.

This band has its schtick down. Their performance was complete with hat choreography (as seen above) and cheerful demeanor by each member—gimmicks that are well-received by audiences. Their focus is clearly on maintaining tradition, a commitment that has kept them touring into the 21st century. They’ve found success in many American audiences but as the changing music industry shifts away from older jazz styles, who knows if the future will leave this beloved band behind?

I hope to see the Glenn Miller Orchestra make it another 85 years. They serve as a joyful reminder of Glenn Miller’s lasting contribution to the tradition of big band music.

 

 

 

Photos thanks to Jaron Jenkins.

*A more cohesive history of the band is found here.

REVIEW: The Houston Patton Quartet at the Blue Llama

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The Blue Llama is one of the most iconic jazz venues in Ann Arbor, bringing in top-tier performers from all around the world. Hosting the Friday late-night performance on March 29th was Detroit saxophonist Houston Patton and his Quartet.

Patton’s quartet features Detroit musicians Liam Charron (piano), Dylan Sherman (bass), and Stephen Oduro (drums), a powerhouse group led with sensitivity, joy and momentum.  This young quartet performs with a level of experience beyond their years, showcasing remarkable agility, technicality, and charisma. Their set featured the quartet members’ original music, with songs written by Patton and Charron.

I appreciate young musicians’ priority for creating and performing new music—especially their own. The jazz canon is filled with great Standards that are well to learn, but to create innovation and excitement lies within what’s new, and currently being created. Patton’s style emulates that of a modern musician with a deep understanding of the canon, and what to do to improve it.

Patton played a variety of his own tunes (as I am writing this the names are escaping me), which ignited an electric energy in the room. I adored each of the different tunes that were picked, each with fleshed-out and thoughtful contemporary musical ideas. The band was locked in and present with one another, playing with sensitivity to Patton’s choices and leadership.

Patton’s playing is close to that of a firecracker—colorful, unexpected, and wildly exciting. Patton’s beaming personality made for a strong bandleader and comfortable host. He has an ease with the audience, allowing joy to effortlessly resonate through the intimate Blue Llama lounge.

The one tune that was not that of Patton’s was the great Detroit saxophonist, Kenny Garrett’s “Wooden Steps”. It’s evident of Patton’s deep appreciation and emulation of Kenny Garrett in his playing. The percussive quality Garrett brings to the saxophone, coupled with his bright tone are traits that Patton has incorporated into many facets of his performance. “Wooden Steps” was performed with incredible spunk and vivacity, making it one of my favorite tunes from the set.

Patton’s Quartet ignites a beacon of inspiration for young players and illuminates limitless possibilities for the next generation of jazz.

 

 

March 30th, 11pm. Photo thanks to The Blue Llama.

REVIEW: Samara Joy at Hill Auditorium

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With a nearly sold-out Hill Auditorium last Wednesday, March 27th, it’s needless to say that Samara Joy was long-awaited in the Ann Arbor community.

Samara Joy is a Grammy-Award-winning jazz singer who is touring the US and the EU on a nearly sold-out international tour. At just 24 years old, she is a trailblazing force in jazz for Gen Z. She sheds new light on jazz classics alongside her deep understanding of the canon and the singers before her. Joy has thoroughly charmed her Gen Z equivalents and beyond.

Joy was joined by her 7-piece band: Connor Rohrer (piano), Pail Sikivie (bass), Evan Sherman (drums), David Mason (A. Sax), Kendrick McCallister (T. Sax), Jason Charos (Trumpet), and Donovan Austin (Trombone). Most (if not all) of the arrangements they played came from her band, each one unique with a new character. No two tunes were alike, Joy’s set was diverse and exciting, featuring her vocal virtuosity at all times.

This was undoubtedly one of my favorite jazz performances of all time. Joy has a powerful and genuine presence, along with a naturally stunning voice. She mentioned influence from the great Betty Carter, which is apparent in her vocalism, but she brings a style to jazz vocals that is uniquely hers. She fearlessly floats through her top register, taking many phrases up the octave, yet doesn’t neglect her sultry lower notes and striking belt. She uses her voice as an instrument—just as the others in her band.

Joy’s setlist was nuanced and well-paced—a sensitive collection of jazz standards, instrumental tunes she wrote lyrics for, and original music trombonist Donovan Austin. One of my favorite moments in the show was Joy’s Grammy Winning tune, “Tight” written by the great Betty Carter. She has totally made this song her own—with her vocal playfulness and rich belts amid the crisp arrangement.

She played tunes I have seldom heard vocalists sing, such as Sun Ra’s “Dreams Come True”, Rob Obrite’s “Sweet Pumpkin” and Barry Harris’ “Now and Then”. I loved her arrangments of these—I can’t think of them without her voice now!

She often ends with the Grand/Boyd tune from her album Linger Awhile entitled “Guess Who I Saw Today”, and it was expectedly, the encore of the evening. A standing ovation sent the great Samara Joy off, leaving the room buzzing with our own Joy.

 

 

 

March 27th, 7:30pm. Photo thanks to Downbeat.

REVIEW: Gershwin Centennial Celebration

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The University of Michigan’s School of Music is the world’s leading institution for the study of the work of the Gershwin brothers. SMTD partnered with the Gershwin family in 2013, and since then the team behind the Initiative has continued to educate and deliver George and Ira Gershwin’s iconic music to Ann Arbor community and beyond. Gershwin’s most beloved piece, Rhapsody in Blue, is enjoying it’s centennial this year, and the Initiative hosted a concert at the iconic Michigan Theater last Sunday to honor it’s legacy.

The concert featured SMTD’s Contemporary Directions Ensemble (dir. Jayce Ogren), along with a quartet of singers and pianist Kevin Cole, a member of the Initiative and a Gershwin brothers superfan. There were several speakers interjecting throughout the performance with information on The Gershwins including Editor-in-Cheif Mark Clauge, PHD stuent AJ Banta, Dean of SMTD David Gier and other presenters who work with the Initiative.

Four singers from the SMTD Musical Theater program performed songs from musicals the Gershwin’s wrote: Aquila Sol (BFA 25′), Keyon Pickett (BFA 25′), Alex Humphreys (BFA 24′), and Sam O’Neill (BFA 25′). The four were outstanding individual singers who nailed the pieces stylistically and dramatically while ensembling beautifully during their group numbers. Many of the musicals they were singing were not from the mainstream, including Of Thee I Sing, Sweet Little Devil, George White’s Scandals of 1924, and Lady Be Good. 

The concert closed with the iconic 1924 Rhapsody in Blue, a classic piano and jazz band piece that is always a hit with audiences. Kevin Cole was a fabulous soloist with the Contemporary Directions Ensemble and played with humble virtuosity and conviction. It was a thrill to see the piece performed in person. The concert was a hit, deeply appreciated by the Ann Arbor community.

 

More about the Gershwin Initiative here.