Vail Jazz to Launch Busy Summer for 25th

Ticketed performances are on sale now and free live music abounds all summer long

On a whim back in 1995, lifelong jazz fan and part-time Vail resident Howard Stone brought in a who’s who cast of the world’s greatest jazz artists for a long weekend live music extravaganza. Intended originally to be a one-off event, a mind-blown Stone walked away saying, “this is what I want to do for the rest of my life.”

Thus, the Vail Jazz Festival was born and has since blossomed into its current incarnation, a year-round exhibition of top musical talent from across the globe, hands on, in-depth educational programming and free performances.

In celebration of its 25th anniversary, Vail Jazz will launch into its biggest summer ever, with free and ticketed performances throughout the week from the end of June through Labor Day weekend. On Wednesday and Thursday evenings, respectively, the Vail Jazz Club and Vail Square series feature a lineup of the biggest names in jazz today. The Club Series emulates a true jazz club experience with intimate performances in the luxurious setting of Ludwig’s Terrace in the Vail Sonnenalp Hotel, while the Vail Square series allows artists to let loose on the big stage in the spacious, all-weather Jazz Tent in Lionshead. The grand finale of the festival is, of course, the original main event – the Vail Jazz Party over Labor Day weekend, bigger than it’s ever been for year 25.

“Over 25 years, Howard has curated a community of artists that span the globe. This summer, fan favorites return alongside the rising stars of tomorrow to present jazz in all its forms, from the American Songbook to Gypsy jazz, big band to blues, and salsa to straight ahead,” says Vail Jazz Executive Director James Kenly. “This lineup delivers the joy of jazz throughout the summer and across the valley.”

Tickets for all summer performances are on sale as of this week. Here’s the breakdown of what’s in store this summer, so be sure to mark your calendars.

Free events:

Vail Jazz @ The Market

Every Sunday from June 30 through Aug. 25 – Vail Jazz presents free live music from a rotating lineup of highly acclaimed regional musicians, 12-3 p.m. at The Jazz Tent at Solaris during the Vail Farmers Market & Art Show.

Vail Jazz @ The Remedy

Every Sunday night from July 7 through Aug. 25 at 8 p.m., a rotating cast of musical talent joins pianist Tony Gulizia and drummer Brian Loftus for free live music at The Remedy Bar in the Four Seasons Vail.

Jammin’ Jazz Kids

Every Sunday in July (July 7 through 28) from 11:00-11:45 a.m., the Jazz Tent at Solaris in Vail calls all kids from 4 to 12 years old. Vail Jazz’s Tony Gulizia and a team of musical educators lead a FREE hands-on workshop teaching the basics of rhythm and melody. Instruments provided.

Vail Jazz @ Riverwalk

Every Friday at 6 p.m. from July 5 – Aug. 23, Vail Jazz kicks off the weekend with a variety of acclaimed blues, funk, rock, bluegrass and jazz artists performing live at the outdoor amphitheater at The Riverwalk in Edwards. Bring a blanket, picnic and an urge to dance. Food and alcohol are available for purchase.

Veronica Swift and the Emmet Cohen Trio return to Vail Aug. 7 and 8.

Ticketed shows:

The Vail Jazz @ Vail Square fires up the all-weather Jazz Tent in Lionshead from 6 to 8 p.m. every Thursday from July 4 to Aug. 29. General admission seats are $25, preferred seats are $40 and premium seats are $50. Drinks are available for purchase. The Vail Jazz Club Series features the same artists who take the big stage at Vail Square, but performing two intimate dinner club sets at 5:30 and 8 p.m. every Wednesday from July 10 to Aug. 7 at Ludwig’s Terrace at The Vail Sonnenalp Hotel. Tickets are $40. Full dinner and drink service are available for purchase.

July 4 (Vail Square) Fiery pianist Marcia Ball returns to Vail to unleash upbeat musical storytelling

July 10 (Club) 11(VS) – Seven-string guitarist Yamanda Costa plays Brazilian samba, bossa nova

July 17 (Club) 18 (VS) – Iconic guitarist John Pizzarelli pays Tribute to Nat King Cole

July 24 (Club) 25 (VS) – Sultry vocalist Ann Hampton Callaway presents Jazz Goes to the Movies

July 31 (Club) Aug. 1 (VS) – Hailing from the Crescent City, keyboardist and soulful vocalist Jon Cleary pays Tribute to Henry Butler and the Great New Orleans Piano Tradition

Aug. 7 (Club) 8 (VS) – Hypnotic young vocalist Veronica Swift & The Emmet Cohen Trio return by popular demand

Aug. 15 (VS) – Acclaimed jazz and blues vocalist Catherine Russell makes Vail debut

Aug. 22 (VS) – Latin Jazz and salsa extraordinaire Pancho Sanchez ignites dance tunes

Go here for tickets and more information about the Vail Square series.

Go here for tickets and more information about the Club series.

Vail Jazz 25th Anniversary special anniversary gala celebration

July 8 – This one-of-a-kind event features internationally lauded trombonist Wycliffe Gordon displaying his funk stylings at Larkspur Restaurant. Expect a night of dancing, amazing food and an open bar. General admission tickets are $250, VIP Experience $300.

Get tickets here for the Wycliffe Gordon 25th Anniversary event.

The 25th Annual Vail Jazz Party

From Aug. 29 to Sept. 2, more than 40 of the world’s most talented jazz artists (including the iconic Vail Jazz House Band) converge at the Vail Marriott and in Vail Square for a Labor Day weekend stacked with explosive indoor and outdoor performances. In the same format as that first fateful event 25 years ago, artists rotate from stage to stage, some in unlikely combinations that result in a flurry of unique and previously untapped talent and improvisational masterpieces. To witness these shows are truly once-in-a-lifetime opportunities. New this summer, Niki Haris’ Gospel Prayer Meetin’ – historically the Vail Jazz Party’s most popular performance and always the first to sell out – will take place at the Gerald Ford Amphitheatre on Sunday, Sept. 1.

Get tickets here for the 25th Annual Vail Jazz Party.

For more information about Vail Jazz, call 970-479-6146.

A Letter from our new Executive Director, James Kenly

Dear Friends of Vail Jazz,

It is with deep gratitude and excitement that I write this letter as the newly appointed Executive Director of the Vail Jazz Foundation. While the valley quiets down for the off-season, the Vail Jazz staff is gearing up for the biggest summer of music yet! Featuring artists from more than 10 countries and spanning the jazz world from swing to salsa and from the American Songbook to straight ahead, the Vail Jazz Festival comprises more than 80 performances from June 30 – September 2!

We are proud to announce that tickets for the 25th Annual Vail Jazz Festival are now on sale! This summer, we will celebrate Howard Stone’s legacy of entertainment and education with a unique lineup of world class performers that bridge the past and the future. We will pay tribute to Nat King Cole, reminisce to the soundtracks of films from The Jazz Singer to Casablanca, honor New Orleans pianist Henry Butler, explore the relationship between jazz and the civil rights movement, and remember the legendary Ray Brown.

This celebration will be one for the history books and we sincerely hope you’ll join the community from around the globe that support it through attendance, donations, and sponsorship. We are preparing for a remarkable summer in Vail and we can’t wait to share it with you.

Happy Spring,

 

 

 

 

James Kenly

John Chin’s (Downplayed) ‘State of Flow’

John Chin is a humble guy. Although he’s had a Grammy nomination and has been lauded for his musical talent since he was a young boy, he’ll tell you he was no child prodigy.

A Korean-American growing up in Los Angeles, Chin recalls his first encounter with a piano, but is sure to emphasize that he was not beckoned to it by any sort of guiding light.

“My parents always had a piano even though they didn’t play. They were classical music fans. They told me I gravitated to it, but it’s not uncommon if you have little ones in the house that they make their way to the piano,” he says.

Nonetheless, his parents nurtured his interest and set him up with a piano teacher by the age of 4 or 5. Chin’s first public performance was in kindergarten, but that, too, he is reluctant to regard as a milestone.

“It wasn’t a formal performance,” he says. “It was just me getting up there and playing. I just remember there was a piano in the classroom. I don’t remember what I played … ‘Mary Had a Little Lamb’? Maybe it was the one that comes after that. I think I could read music before I could read English.”

That last part tells you something. Also, the fact that the young pianist’s gift was recognized by California State University, where he was admitted at age 14 and graduated with a B.A. in music at age 19 before continuing on to a masters program at Rutgers University under the great pianist Kenny Barron and pursuing an Artist Diploma at Juilliard, eventually becoming a fixture in New York City’s jazz scene.

“My sequence of early music education was not typical for an American kid,” Chin says. “Classical music was a part of my childhood, but I wouldn’t consider myself to be any good at it. I think it was really the pursuit of playing by ear when I was 12 or 13 and getting better and better at it that motivated me. That’s how I discovered this jazz thing.”

Jazz was nonexistent in Chin’s childhood home, so he’d save money to go to the record store, choosing blindly depending on what album cover looked jazzy or which featured a picture of a pianist.

“Somehow down the line, I started learning how to play things by ear and off the radio – simple things. That’s when I made up my mind that jazz was the ultimate music for an ear player,” he says. “There was an inherent sophistication to the music. When I first tried, though, I couldn’t do it. It was too sophisticated.”

According to Chin, his early days attempting to play jazz were a struggle.

“I couldn’t hear the harmony. The lines were so fast and complex,” he says. “Listening to Charlie Parker or any of the great sax players, they’d put in so many notes and go so fast. In my mind I thought, it’s impossible they know what they’re doing. I’d get on the piano and move my fingers as fast as I could and it sounded terrible. It was then I realized they knew exactly what they were doing … every single note. It blew my mind. I found myself yearning to achieve this ultimate music. I yearned to have a grasp on it.”

By all counts, Chin has managed to find that grasp. He’s released four albums as a band leader and has recorded or shared the stage with artists such as Benny Golson, Ron Carter, John Ellis, Dayna Stephens and Mark Turner, to name just a few. He has toured extensively with Vail favorite Rene Marie and his piano work was nominated for a Grammy on Marie’s 2017 Sound of Red album. His versatility in moving between complex styles – not only those under the jazz umbrella such as bebop and swing, but also hints of classical and pop – have been revered by audiences and music critics across the globe.

Returning to Vail on March 26 for his debut performance as a bandleader (he performed as sideman with Rene Marie on two previous visits), Chin and his trio highlight the music of Duke Ellington and Billy Strayhorn, who he refers to as “timeless” and whose numbers have found their way into his performance for decades. When it comes down to describing the style of his own compositions or the flourish he adds to the classics of icons such as Strayhorn and Ellington, Chin is once again self-effacing.

“The jazz musicians that have come before me, that have carried on this music, a lot of my playing comes from that tradition, but with the idea of pushing the envelope at the same time,” he says. “I believe that a part of the tradition is to push the line and have a progression. I’m constantly a student but also an artist creating something new. Also, I’m always reaching for being in the moment as much as possible, being in a state of flow. When you kiss somebody for the first time, it’s like that. That moment is so real and you can’t think of anything but that moment. I want to be aware of the exact moment I’m in, to reach the state of flow. That leads to consciousness and freedom and living.”

March 26 – The John Chin Trio plays Ellington and Strayhorn

John Chin is joined by Sean Conly on bass and Darrell Green on drums to perform two riveting sets featuring the music of Duke Ellington and Billy Strayhorn. Performances take place at The Vail Sonnenalp Hotel. Seating is jazz club style in Ludwig’s Terrace with full dinner and bar service available (a $30 food and beverage minimum applies). Doors open at 5 p.m. for the 5:30 p.m. performance and at 7:30 p.m. for the 8 p.m. set. Tickets to each performance are $40. For more information, call 970-479-6146.

Get tickets here to the 5:30 p.m. performance.

Get tickets here to the 8 p.m. performance.

Emmet Cohen’s Formula for Greatness

The young musician highlights what it takes to deliver amazing music

Emmet Cohen’s recipe for a winning performance involves four simple ingredients: connection, consistency, concentration and love.

Playing the piano since age 3, 29-year-old Cohen’s career is still in its early stages, but he’s already made some big waves.

A three-time finalist for the prestigious American Pianists’ Cole Porter Fellowship, Cohen is in the running for the 2019 award this spring. Growing up in New Jersey and Miami, where he studied under the great Shelly Berg, the young composer now resides in New York City, where he is the Hammond B-3 organist-in-residence at the SMOKE jazz club and has performed at major jazz festivals all over the world, including New Orleans, Monterey, Newport, Jerusalem and Bern. He even performed at the 2014 Winter Olympics in Sochi and, after becoming a finalist in the famed Thelonious Monk International Piano Competition, was escorted by jazz greats Herbie Hancock, Jimmy Heath and Wayne Shorter to the White House to meet President Obama.

He’s released six albums, including a Masters Legacy Series featuring (so far) drummer Jimmy Cobb and bassist Ron Carter. His versatile range has been likened to that of Chick Corea, his one-handed solo playing to Red Garland, his surprising variations to Martial Solal. He’s been praised for his fluidity, charisma and unique ability to connect with a vast gamut of fellow musicians and audiences.

The key word here …

Connection

“Music is the ultimate expression of freedom, of people working together and showing that together, we are greater than any one,” Cohen says. “Whatever it is you choose to do in life, more can be achieved when you work together in a certain way. That’s really what jazz teaches. When people see a great jazz ensemble, it’s an example of human beings working together at their highest level. It’s one of the greatest gifts of human capability.”

Of course, the world has its fair share of hot and cold talent. Some days, an individual’s skills could be smoking while other days they’re frozen. As Cohen sees it, this doesn’t fly for great jazz.

Consistency

“The greatest people at any job where you have to execute – it could be sports, music, even being a scientist – the biggest thing involved is consistency. I try to be as consistent as possible. Whether I’ve gotten 10 hours of sleep or zero, whether I’ve traveled all day or not,” he says.

Consistency cannot be confused with flexibility, for which Cohen and his trio are famous. In order to jump from one eclectic number to the next, channeling the mystique of a certain musical era and stamping it with a fresh twist, a deep level of focus comes into play.

Concentration

“Playing in a trio setting, it allows for a lot of flexibility and repertoire,” Cohen says. “In my band, we have hundreds of options to play, things we’ve worked on extensively. We try to keep everything in the book. You’re live DJing … that’s part of the exploration. We don’t follow a set list, we follow the energy of the room. That’s part of the magic of our presentation. We play in the style of all of our favorite bands, spanning a hundred years of jazz, from Jelly Roll, Fats Waller, Duke Ellington, to beboppers and some of our favorite modern composers. We’ve taken a lot from the history of jazz and our own take on the way music can be presented. The further back you go in history, the more you study, the further you’re able to push it.”

Love

Though not taste-specific, love is the first flavor any audience member immediately picks up in Cohen’s formula. It’s probably safe to say that it’s the key ingredient.

“You have to bring a feeling of love to the music,” he says. “Love is an esoteric word. It means so many things. It means I’m humble and grateful for the opportunity to play music each and every day. It also means I understand all the sacrifices my musical ancestors made for me to be able to play. It describes my overall feelings about the piano and music in general, how it relates to whoever is listening and their understanding of how much it means to me.”

And if there were a sprinkle of something extra Cohen brings to his dish, it’s hope.

“We’re artists on a mission to try to improve people’s lives, to help them forget about pain they’ve been experiencing,” he says. “One of the main messages of jazz is that of hope. You can hear the sound of hope in all of the jazz masters. I try to play with musicians who want to leave other musicians and the audience with that feeling of hope.”

The Emmet Cohen Trio returns to Vail March 12

The Emmet Cohen Trio, featuring Russell Hall on bass and Kyle Poole on drums, ignites The Sonnenalp Hotel with love, hope and mind-blowing instrumental talent in back-to-back performances at Ludwig’s Terrace. Seating is jazz club style with full dinner and bar service available (a $30 food and beverage minimum applies). Doors open at 5 p.m. for the 5:30 p.m. performance and at 7:30 p.m. for the 8 p.m. show. Tickets to each performance are $40. For more information, call 970-479-6146.

Get tickets here to the 5:30 p.m. show.

Get tickets here to the 8 p.m. show.

 

Aimée Hones Her Gypsy Sensibilities

The French-born artist returns on the heels of her 10th album release

Cyrille Aimée has long-since gone the way of the gypsy. The 34-year-old grew up in the small town of Samois-sur-Seine in northern France and was constantly intrigued by the caravans of musicians and gypsies that would plant themselves in her neighborhood every summer for the annual Django Reinhardt festival.

“The Django festival was part of my life even before I wanted to be a musician. I’d go run around in the street for the festival. It was free for kids … all the other kids were running around. Little by little, I started to be interested in the music part of it,” she says.

Stemming from a spontaneous, circus-like episode in which Aimée found herself pedaling her bike down the street with three gypsy girls piled onto it, it wasn’t long before she became an honorary member of the visiting clan.

“A couple of gypsies came over and said I had a nice bike. Three of them hopped on the bike with me, riding down a hill – one on the handlebars, one on the seat, one on the back. They became my friends. I started going into the campsite. The guys were always there playing the guitar. My friend’s brother would teach me how to play and I would teach him how to read.”

Aimée started sneaking out of the house late at night to join the gypsies around their musical campfire and developed a love for singing. By the time she was 18, she was invited to perform on Star Academy, the French equivalent of American Idol. At that point, however, she had already decided to head to New York to study jazz at Purchase College. She did not, however, grow out of her affinity for the gypsy lifestyle. Between semesters, she would bring Jazz Studies friends back to Europe and they traveled from city to city, performing on street corners for cash.

“We did a tour through Europe, slept on benches for a whole summer,” she says. “We really didn’t have anything. We’d have to play so we could buy food. We had two guitars. My sister was playing the shakers. There was a sax player playing duets with me.”

In Italy, the crew performed at a club during a jam session. The manager was impressed.

“The guy from the club said, ‘If you play for the lunchtime crowd, we’ll feed you. Play for dinner and we’ll feed you.’”

As her friends waited in Italy, Aimée ventured to Montreux, Switzerland on her own to try her vocal chords in a singing competition at the Montreuz Jazz Festival. She won.

After this adventurous summer, Aimée and her friends returned to Purchase, where she graduated and relocated to Brooklyn, from whence she continues to travel the world performing with orchestras, ensembles, quartets and duets.

Aimée’s 10th album, Move On, A Sondheim Adventure, was released this February, featuring an eclectic selection from composer Stephen Sondheim’s vast songbook. Aimée appeared in Sondheim and Wynton Marsalis’s 2013 production, A Bed and a Chair: A New York Love Story, alongside Broadway greats such as Jeremy Jordan and Bernadette Peters, and her performance was heralded by numerous critics as a major highlight.

Cyrille Aimée returns to Vail March 5

A Vail Jazz favorite, the French singer, accompanied by Eric Gunnison on piano, brings her sultry and theatrical stage presence to Ludwig’s Terrace at The Sonnenalp Hotel for back-to-back performances on March 5. Seating is jazz club style with full dinner and bar service available (a $30 food and beverage minimum applies). Doors opening at 5 p.m. for the 5:30 p.m. performance and at 7:30 p.m. for the 8 p.m. show. Tickets to each performance are $40.

GO HERE FOR TICKETS TO THE 5:30 P.M. PERFORMANCE.

GO HERE FOR TICKETS TO THE 8 P.M. PERFORMANCE.

For more information, call 970-479-6146.

Joe McBride brings ‘timeless’ R&B back to Vail

Soulful singer/pianist returns for two intimate performances at The Sonnenalp

 

From the first time Joe McBride touched a keyboard at age 4, he was hooked … as in, he could not let it go.

“I had gone to a Christmas party at my cousin’s house. I found my cousin’s keyboard and started playing it. I didn’t want to leave,” said the Fulton, Missouri native. “I cried for three, four days when we left. My parents broke down and bought me a keyboard.”

Four years later, the gift was a piano, purchased for an 8-year-old McBride by his church.

“From the beginning, I knew I loved it,” he says. “I always knew I loved music. I had a radio next to my ear, a transistor radio next to my ear in bed every night.”

As a teenager, McBride contracted a degenerative eye disease that would eventually take his eyesight. But that did nothing to slow musical pursuits.

“There are always those with greater than or lesser than,” he says. “I don’t think because I was blind I concentrated more on music. It’s because I love it. There’s plenty of blind people, a lot of adversities that a lot of people have, it doesn’t have to be physical. Your passions have to do with who you are as a person.”

After studying at Webster University in St. Louis and then in North Texas, McBride spent the next three decades creating and recording music and touring the world as a bandleader.

“As I grew older, I’d fall into my own groups, getting out in St. Louis and meeting other musicians. The more I got to interact with people, the more I realized how many different kinds of music I love.”

McBride made his way to San Diego and Dallas, quickly establishing himself as a respected and sought after singer/pianist in each city’s jazz scene. From 1992 to 1998, he recorded four albums – Grace, A Gift for Tomorrow, Keys to Your Heart and Double Take, featuring contributions from greats such as Larry Carlton, Dave Koz, Rick Braun, Peter White and Grover Washington, Jr., to name a few.

He’s opened for stars such as Whitney Houston and The Yellowjackets and recorded a total of nine full-length albums, including 2009’s Lookin’ for a Change, a testament to his musical versatility, as he infuses a broad gamut of popular tunes from numerous genres (Coldplay, John Mayer, Gnarls Barkley) with his own vocal and harmonic style. Whether personally revamping a contemporary pop tune or performing a Ray Charles classic with a smooth and distinctive flare that’s all his, McBride embraces every opportunity to grow.

“I have so many different influences – Ray Charles, definitely – but also Beethoven, Bach, Jimmy Hendrix, Ella Fitzgerald and even Green Day,” McBride says. “As a kid I was exposed mostly to rock n roll. At my grandmother’s, she’d always have Ray Charles in the background. In college, it would be part of my assignment to learn about different artist. I’m old now … but I’m timeless, baby.”

McBride is often compared to Ray Charles, though anyone who’s heard and witnessed his performance – including last summer’s Vail debut, a charismatic tribute to Brother Ray – knows that McBride takes the stage with his own distinctive energy and presence.

“I’m not acting to perform as Ray would. People can get caught up in the stereotype … yes, I’m a black, blind person who sings and plays the piano,” McBride says. “I’m more influenced by Ray as a style, being able to cross over and play with so many kinds of musicians. He came on the scene back in the early 50s, when he pretty much just kept to gospel. Then came the R & B and the big band stuff with Count Basie. He even did country with Willie Nelson and Merle Haggard. He influenced a lot of styles. I probably have a hundred influences. All of them are with me, but my show is always my own.”

Feb. 26 Joe McBride at The Vail Sonnenalp

Joe McBride returns to Vail for back-to-back performances at The Sonnenalp Hotel on Feb. 26, highlighting classics by the likes of Ray Charles and Stevie Wonder as well as McBride originals. Seating is jazz club style at Ludwig’s Terrace, with doors opening at 5 p.m. for the 5:30 p.m. performance and at 7:30 p.m. for the 8 p.m. show. Full dinner and bar service will be available (a $30 food and beverage minimum applies). Tickets to each performance are $40. For more information, call 970-479-6146.

BUY TICKETS HERE FOR 5:30 P.M. SHOW.

BUY TICKETS HERE FOR 8 P.M SHOW.

 

 

The Faces of Vail Jazz: Tony G

The valley’s piano man has made a musical impact on multiple generations

When Tony Gulizia shops for groceries, it’s rare that he’s not recognized by someone who remembers taking his class at Vail Jazz Goes to School. Sometimes he’s accosted by an 11-year-old who he taught earlier that week; sometimes it’s a parent who took his class two decades ago, sometimes it’s a college student from one decade back. At this point, Gulizia’s impact bridges generations.

For the last 21 years, the Nebraska native has imparted musical education to more than 15,000 local students.

“The whole philosophy of the program is to get kids to appreciate jazz music,” says Gulizia, who moved to the Vail Valley from Omaha, Neb. 26 years ago and has become an integral part of the area’s cultural tapestry. “Of course, over the years, you get some students who take that appreciation over the edge. My gosh, that’s been one of the highlights of my career, seeing students who started in the program and are now pursuing studies or their own careers in jazz.”

Gulizia has given many children their first glimpse of music, not to mention their first glimmer of passion toward pursuing it. Some of his students have gone on to study jazz in college, land scholarships at schools such as Juilliard and have followed his early lead into careers as professional musicians.

Tony Gulizia passes on the rhthm at a Jammin’ Jazz Kids session.

Vail Jazz founder Howard Stone hired Gulizia more than two decades ago to head up Vail Jazz Goes to School, a four-part program offered free to every fourth and fifth-grader in Eagle County. The sessions begin with the basics of jazz, including history and the influence of African rhythms. Students are then introduced to the families of jazz instruments – strings, woodwinds and percussion and learn about syncopation, improvisation and the 12-bar blues. The program culminates with a concert at the Vilar Performing Arts Center in which Gulizia and fellow mentors perform original songs composed by the students.

All classes are hands on and highly engaging, hence the clear memories that students carry years later when they run into Gulizia at City Market.

“We try to make the classes really educational, but also entertaining and enjoyable,” Gulizia says. “It’s amazing to be in Eagle County, a place you wouldn’t immediately think would be such a strong place for jazz education compared to big cities. But to see a class of 80 students at Edwards Elementary, kids who are leaving the classroom and saying, ‘thank you for what you did, I’m going to go home and listen to more jazz’… it’s really rewarding.”

In addition to Gulizia, the Vail Jazz Goes to School education team is comprised of drummer Joey Gulizia, a starring member of Mannheim Steamroller, Andy Hall on bass, Mike Gurciullo on trumpet and Michael Pujado on drums/percussion. After nearly two decades of dedicated instruction, beloved Vail Jazz educator and woodwinds specialist Roger Neumann passed away last November.

When he’s not wearing his instructor hat, Tony Gulizia can be found playing piano at various restaurants and bars throughout the valley nearly every day of the week. He performs Tuesdays at The Remedy in the Four Seasons Vail (where he is also a summertime Vail Jazz fixture along with drummer Brian Loftus – BLT – every Sunday evening), plus several days at The Westin Hotel in Avon and is in the midst of his 26th year at Grouse Mountain Grill.

“I definitely have a lot of love for what I do,” Gulizia says. “I love working with people. Music is something very special in anyone’s life, whether you’re an avid or an occasional listener. It literally soothes the soul. It was 26 years ago that I moved here with my wife and kids. Before you knew it, word got around that there’s a new crazy piano guy around. I feel very fortunate that I’ve had such a great run.”

 

10 Reasons to Catch the 2019 Vail Jazz Winter Series

It can be argued that live jazz is best enjoyed in a warm, classy lounge with snow falling outside. This is just one of many reasons to secure your spot at the 2019 Vail Jazz Winter Series.

It is widely known that jazz became popular in the 1930s, but its hey day in Vail has gone on for 25 years … with the best still to come. That’s yet another reason to look into what Vail Jazz has cooking this winter. But here are the key 10:

It’s Vail Jazz’s silver anniversary, so the Series is going big. Following the holiday kickoff extravaganza – a swing dance party at The Ritz-Carlton Bachelor Gulch with New York City’s sizzling eight-piece The Hot Sardines, the 2019 Winter Series is delivering more than ever before – seven evenings of live music throughout the winter. Five of these sparkling nights take place in the swanky lounge setting of Ludwig’s Terrace at Vail’s Sonnenalp Hotel.

Entertainment for both the après crowd and the late-nighters. World-class artists light up The Sonnenalp Hotel on Feb. 26, March 5, March 12, March 19 and March 26 in a true jazz club format of back-to-back performances. The first seating appeals to the après ski crowd at 5:30 p.m. and the second targets late-night live music seekers at 8 p.m. Full dinner and bar service are available at each seating.

When we say the 2019 lineup is “world-class,” we mean it. The Winter Series lineup is comprised of the most talented artists in today’s jazz world … lauded not only in the U.S., but across the globe. After his sold-out Vail debut last summer, American blues pianist and vocalist Joe McBride returns on Feb. 26, followed by French-born songstress Cyrille Aimée on March 5, the charismatic Emmet Cohen Trio on March 12, soulful gospel favorite Niki Haris on March 19 and finally Grammy-nominated pianist John Chin on March 26. That’s not to mention the savvy on intimate display at private residences for the Series’ invite-only gigs. Former Stevie Wonder band member and vocalist Robert Johnson performs with The Mark Diamond Trio on March 2 and Australian multi-instrumentalist Adrian Cunningham on March 30.

Jazz has many musical wings and R&B is one of them. Joe McBride has oft been compared to Ray Charles. While the two share many characteristics – losing their eyesight at a young age followed by rapid development of tremendous vocal and piano talent – McBride has a sound all his own, even when he’s rolling through America’s favorite blues tunes. The Missouri native has recorded and/or shared the stage with everyone from Whitney Houston to Larry Carlton. He channels the spirits of Ray Charles, Stevie Wonder and other R&B Songbook masters with his own smokin’ energy and style on Feb. 26.

A voice that will hypnotize. Anyone who has trouble believing that vocal cords are a serious instrument has never heard or witnessed the enchantment of Cyrille Aimée. The young singer’s versatile vocal skills have been noted worldwide, from her native France, where she won the prestigious Montreux Jazz Festival Competition, to New York City, where she’s won the Sarah Vaughan International Jazz Vocal Competition. Her voice has been enthusiastically described as everything from “saucy” to “sweet” by the New York Times.

Lose yourself in musical passion. The power of The Emmet Cohen Trio is all-encompassing, like walking into a tunnel of sound where every one of your senses is simultaneously enlivened, yet relaxed. A musical prodigy from the age of 3, Emmet Cohen’s piano compositions and delivery run the gamut from fluid to explosive. The Trio hits every tone and color on the jazz palette on March 12.

The rare treat of experiencing Niki Haris on a small stage. Every year at the end-of-summer climax event, the Vail Jazz Party, the first tickets to sell out are for Niki Haris’ Gospel Prayer Meetin.’ The incredible soul singer who spent years touring with Madonna might be making a rarefied appearance on a smaller, indoor stage, but you can rest assured that her output will be as large and in-charge as ever. She gambols through a potent gamut of romping numbers while saluting her fellow sisters of soul on March 19.

The opportunity to witness John Chin before he’s swept up in big-time stardom. Born in South Korea and raised in California before moving to New York City and becoming a fixture of the Big Apple’s deep talent pool, John Chin draws inspiration not only from traditional jazz, but from pop, western and classical genres in his unique compositions. He’s released four albums as a bandleader and was nominated for a Grammy for his work on René Marie’s 2017 “Sound of Red” release. If you caught him performing with Marie in her Vail debut a couple of summers ago, you know he’s on a skyward trajectory. Don’t miss him at The Sonnenalp on March 26.

Supporting the future of musical talent, locally and globally. In addition to bringing in some of the world’s finest artists for the Winter Series and the pageant of free and ticketed summer performances, Vail Jazz also does its part in fostering generations of musicians to come through unique educational programs. These include the year-round Vail Jazz Goes to School program as well as the free summertime Jammin’ Jazz Kids sessions and the Vail Jazz Workshop, which selects and finances 12 of America’s top teenage musical prodigies in an intensive, week-long study group that culminates with live performances at the Vail Jazz Labor Day Weekend Party. Every ticket purchased for a Vail Jazz performance or a donation made directly supports the nonprofit’s educational initiatives which, in turn, secures amazing talent for our children and their children to enjoy.

Classy date night. It’s a beautiful, cold, wintery night and there you are, cozied up with your loved one in the elegant Ludwig’s Terrace, a glass of wine and gourmet meal on the table and one of the planet’s most talented musicians providing a scintillating live soundtrack a few feet away. A night out in Vail doesn’t really get more romantic.

Learn more about Vail Jazz’s 25th Anniversary Winter Series.

 

Magic on tap for 2018 Vail Jazz Party

In its 24th year, the summer grand finale over Labor Day weekend has become famous for its rare fusion of talent.

When you see an artist perform live you’re naturally moved by their talent – by the way they’re able to mix up their regular numbers, extend solos, improvise. How about if you rotated 35 of the world’s most talented musicians on and off of stages with one another for four days and nights of live performance? There would be some unforgettable sparks.

Such is the format of the Vail Jazz Party over Labor Day weekend. In its 24th year, the multi-day live music experience was originally cast on the extravagant, one-off whim of Vail Jazz founder Howard Stone.

“It all started with too much wine in 1995,” Stone recalls. “We had some of the greatest musicians on the planet there. It was pure … spontaneous.”

The original lineup of Grammy Award winners and internationally acclaimed jazz stars included John Clayton and his brother Jeff Clayton, Phil Woods, Tommy Flanagan, Jack McDuff, Slide Hampton, Bobby Hutcherson, James Moody, Joe Wilder and Jeff Hamilton.

Niki Harris belts it out during the 2017 Gospel Prayer Meetin’. Photo by Jack Affleck

At the end of the weekend, a happy hangover of inspiration and euphoria prevailed. John Clayton asked Stone if he would ever do it again. Before the idea had even solidified in his own head, Stone answered, “this is what I’m going to do for the rest of my life.”

Now, 24 years later, the Vail Jazz Party has established itself as one of the world’s premier jazz gatherings, still replete with star-studded lineup (more than 35 headlining artists) and a contagious aura of exaltation that participating musicians swear taps into some sort of higher power.

“At the party last year from beginning to end I felt like somebody gave me magic,” says Japanese organ virtuoso Akiko Tsuruga, who recently closed out the 2018 Vail Jazz @ Vail Square series. “I felt very strong energy from so many musicians. I was always crying … it was a very, very great vibe. I’ve never had that experience before. That four days in Vail was the best I’ve ever played; the best experience of my life.”

Highlights of the 2018 Vail Jazz Party:

Bill Cunliffe’s tribute to Leonard Bernstein – Friday

As the creator of the score to West Side Story and musical director of the New York Philharmonic, Leonard Bernstein stands as one of America’s most revered conductors and composers. His legacy has been honored by numerous fellow musical greats. One of these is Vail Jazz Party House Band pianist Bill Cunliffe, who won a Grammy Award for his arrangement of Oscar Peterson’s “West Side Story Medley.” Cunliffe will be joined by fellow House Band members John Clayton and Lewis Nash as well as guitarist Peter Bernstein (no relation to Leonard) for what is sure to be a lively, one-of-a-kind exploration of the Leonard Bernstein songbook.

Tony Monaco’s Tribute to Jimmy Smith – Saturday

Master of groove, Jimmy Smith single-handedly rendered the B-3 organ a cool instrument, especially in the world of jazz and blues. Viewed by many as the world’s organ king, he mentored contemporary keys king Tony Monaco, who has gone on to become recognized as one of the top five international jazz organists himself. Don’t miss the soaring and swelling melodies on tap for this heart-felt tribute.

Wycliffe Gordon’s Nu Funk Machine Dance Party – Sunday

Did someone say dance party? What better way to spend Sunday afternoon on Labor Day Weekend … Nu Funk is a movement that originated in Brooklyn in the 1980s, blending hip hop and deep funk with danceable riffs and climatic breaks. Internationally lauded (not to mention Vail favorite) trombonist pegs Nu Funk to hits from James Brown, Stevie Wonder and Marvin Gaye. It’s bound to be a party.

The Sessions – Friday through Monday

The morning, afternoon and late-night sessions throughout the Vail Jazz Party feature unlikely fusions of artists who have often never met, much less performed on stage together. This is when the real magic happens.

“It’s an opportunity for each player to express themselves in a way that leads to something else, that leaves room for self-expression from every player,” explains Stone, whose musical matchmaking skills have become legendary at this point. “It’s a breakthrough moment in a jam session when someone is musically communicating and the other person says, ‘wow, I never thought of that.’ It takes someone – everyone – to places they’ve never gone before.”

The 24th Annual Vail Jazz Party

From Aug. 31 to Sept. 3, the Vail Jazz Party features more than 70 musicians delivering special performances, tributes and jam sessions. Tickets to individual sessions start at $55 and weekend passes are available. Performances take place at the Vail Marriott and in the all-weather Jazz Tent in Lionshead’s Vail Square.

Get tickets to all sessions here.

Inside the Vail Jazz Festival: Organ Donors

Hammond, Leslie, Cobbs & Smith … do the names sound like a law firm? Actually, the first two men were inventors, the third was a man of the cloth and the fourth was a musician. Collectively, their respective contributions to organ music shaped the future of the sounds of Gospel, jazz and much more. So who were these organ donors? Let’s start with the inventors. Laurens Hammond invented the Hammond electric organ revolutionizing the world of organ music. Prior to Hammond’s invention, if you wanted an organ your only option was to purchase a very large and very expensive mechanical pipe organ and therefore they were generally only found in cathedrals and concert halls. However, when Hammond’s Model A made its debut in 1935, it transformed the world of organ music because for the first time, relatively inexpensive and small instruments could be purchased for home use and by small churches. The availability of the Model A (and subsequent models) greatly increased the number of people playing the organ and in the decades that followed its introduction, Hammond organs could be found in the living rooms of homes across the U.S. and in many churches.

Howard Stone

While the Model A sounded good in a large venue, to Donald Leslie, another inventor, it sounded “dull, shrill and still” in a confined space, so Leslie set out to improve the sonic qualities of the Hammond organ. In 1937, Leslie approached Hammond with his new invention, the Leslie, special speakers and amplifier housed in a separate cabinet that was to be connected to, and placed next to, the organ. The Leslie gave the Model A a distinctive whirling/swirling sound, known as the Doppler effect – the sound you hear as the source of a sound moves towards you and then past you.

To Leslie’s ears, his invention was what the Hammond organ needed to sound like a symphony in a box. Leslie suggested to Hammond that they join forces, but Hammond was indignant that Leslie was critical of the Model A’s sound, so Leslie decided to manufacture and sell his invention himself. Hammond was extremely hostile to the idea and redesigned subsequent models of his organ so that they couldn’t be easily connected to a Leslie. Ultimately, consumers decide which products succeed and which fail. Notwithstanding Hammond’s aggressive posture with Leslie, the organ buying public made it clear that the combination of the two was what they wanted and Hammond organ buyers bought Leslies and connected them to their instruments.

Two years later in 1939, the African-American founder of the First Church of Deliverance in Chicago, the charismatic and dynamic Rev. Clarence H. Cobbs, decided to purchase a Hammond organ and Leslie for his church. Cobbs was one of the first preachers to broadcast his services on the radio; he had a large congregation and a gift for promoting his ministry. It is speculated that the purchase of the Hammond organ and Leslie was a shrewd marketing move by Cobbs, but whatever the motivation, congregants flocked to his church after hearing them played on the radio and many black churches, particularly in the South, began to emulate the new Gospel music that was being beamed from the First Church of Deliverance. The Hammond organ and Leslie had forever changed Black Gospel music and it would never be the same. The passion, joy and earthy expressiveness of Black Gospel music were now joined with a rollicking exuberant sound of the Hammond organ and Leslie, and the result was a seismic shift in the music. Eighty years later, it is still going strong.

Now to the musician: James Oscar Smith. Growing up in Philadelphia in the 1930s, Jimmy played piano as a young boy, winning a radio talent contest when he was 9. In 1947 after service in the Navy, Jimmy studied music for two years with the assistance of the G.I. bill. By the early 1950s, he was playing piano in an R&B band, but on a fateful night in Philly, he met Wild Bill Davis, a jazz organist, and decided he wanted to become an organ player. Playing piano at night and practicing the organ during the day, Jimmy, totally self-taught, explored the myriad possibilities of the newest Hammond organ, the Model B-3 (and of course Leslie). He developed a technical command of the instrument and a musical approach that allowed him to combine Gospel, blues and bebop. Singlehandedly (actually he used both hands and feet), he created a jazz genre that inspired generations of musicians that followed, whether they played jazz, blues, R&B, pop, acid jazz and many others.

Miles Davis called Jimmy “the eighth wonder of the world.” Some called his music “soul jazz” and others called it “grits and gravy,” but it didn’t matter what it was called, it had an unmistakable groove and for the next five decades Jimmy was a major force in jazz influencing generations of organ players. A true innovator, Jimmy received the NEA Jazz Master Award, the highest honor that an American jazz musician can be bestowed. He was a prolific performer, who played with most of the jazz greats of the last half of the 20th century and when he died in 2005, he left behind an extensive catalog of recordings that are musical treasures. It is now generally agreed when reviewing the history of jazz organ playing, there was the period prior to 1955, the pre-Jimmy Smith era, and for the five decades following 1955, the Jimmy Smith era.

Vail Jazz will present the great Hammond B-3 wizard, Tony Monaco, a disciple of Jimmy’s, in a multi-media tribute concert to Jimmy at 8:55 p.m. Saturday in the Grand Ballroom of the Marriott Hotel in Lionshead. Come hear why Jimmy Smith was the master of the B-3!

Get tickets here.

Howard Stone is the founder and artistic director of the Vail Jazz Foundation, which produces the annual Vail Jazz Festival. Celebrating its 24th year, the Vail Jazz Festival is a summer-long celebration of jazz.