9 Questions with ‘The American Diva,’ Ann Hampton Callaway

The ‘American Diva’ speaks candidly about her many hats, The Great American Songbook and working with Robert de Niro.

Hypnotizing audiences with her rich vocal delivery of the classics, Anne Hampton Callaway is a Tony Award-winning Broadway star, pianist, producer and songwriter who has composed hundreds of songs for everyone from Barbara Streisand to the hit TV series “The Nanny.”

In the Vail area, Callaway most recently leaps to memory for her stage-rattling tribute to Ella Fitzgerald at the Vilar Performing Arts Center in winter 2012.

This Thursday she is back in town, performing The Great American Songbook from 6 to 8 p.m. for Jazz @ Vail Square. Earlier this week she sat down to answer some exclusive questions


1. You’d been described as, and are a self-proclaimed “American Diva.” How exactly do you define/live up to that? The word diva has always been funny to me. I use it very tongue in cheek. It allows me to have a larger than life persona so I have more possibilities of reaching my audiences and have fun with them and sort of be a character. Not just me, Anne Hampton Callaway. I’m an introspective person and in certain ways, quiet and shy. No one would ever guess that about me. Because I love The American Songbook and I feel being a musician is like being an ambassador, it gives me a certain twinkle-in-the-eye leadership position to have fun with people.

2. Of all the song-writing collaborations you’ve been a part of with such a huge variety of artists, which ones stand out the most and why? Certainly writing songs for the great Barbara Streisand has been an extraordinary experience. She has reached 11 million people with the first song I wrote her at the same time – “Higher Ground.” That was uplifting to me because I’m a peace activist and that anthem for world peace was something I wanted people to hear and be inspired by.

3. What specific personal associations/emotions do you have tied in to certain tunes from The Great American Songbook? I feel The Great American Songbook has provided me an incredible sort of soundtrack to my life. These songs came in a golden age of writers who were writing mostly for Broadway and film. So they were writing for real situations, songs that had to advance the plot of a character in a timely, important, universal situation. I feel like these songs become more beautiful with time. They’ve become to me the things that understand us better than each other sometimes. They give me great comfort and I’ve learned a lot about life through them.

4. How is it difficult to perform the Songbook in distinctive fashion, unlike anything audiences have heard before? In your own words, describe your approach. My musical approach begins with the story and the lyric and where I’m going to be singing it – with a symphony orchestra, in a jazz club, in a foreign country. That might affect my approach a little bit. But usually the feeling I get from a story, from the words dictate what I do with it. Since we’ve heard so many renditions of the songs by great artists, to me it’s important to help people not take the words for granted and not take the story for granted. When my sister and I were putting our show ‘Boom!’ together and these songs from the 60s and 70s, people were so used to singing along that they didn’t even think about them any more. We had fun finding ways to articulate the lyric in a way that people felt moved by it. That is the challenge to every singer today, especially doing this material.

5. What was the most memorable aspect of your last visit to the Vail Valley? I just love the people. I love how much they love this music. It’s a great community of people who have come to support jazz. The beauty of the mountains inspires my performance, even though it’s harder to sing because of the oxygen situation. I usually take a couple hits of oxygen before I go on stage. Performing the wonderful songs of Ella Fitzgerald was a highlight in itself last time.

6. What songs are on your personal playlist? I have a very eclectic record collection. I listen to jazz. I love Brazilian music. To me, Brazilian music is so relaxing and beautiful. It puts me in a very happy mood. I listen to a lot of instrumental music, singer/songwriters, some of the old songs I grew up with – Joni Mitchell, Carole King, James Taylor …. I’m broadening my list all the time. My iTunes get bigger and bigger.

7. How do you go about narrowing down selections from the Great American Songbook for a performance? When I perform, I want every song to be something I can’t wait to sing. If I’m going to sing a love song, I want it to be one of the most beautiful, powerful love songs anyone has ever heard. I want it to surprise people a little bit. I want people to feel brand new when they leave a night of music – refreshed and human all over again.

8. In wearing so many hats as singer, pianist, composer, actress … does one or the other strike you as more rewarding? What is uniquely fulfilling about each? I think my dad once told me that if you want to live a happy, fulfilling life the more you can combine all the things you’re good at, the happier you will be. I think that’s what’s been especially rewarding about my career. I’ve been able to interpret music, create music and my philosophical side as a person, my humorous, silly side, the side that wants to enter different personalities, all of these interests lend themselves to a career in music. Singing has been the most natural, but writing is how I think. Acting to me – I was an acting major – it’s been a great part of my foundation as a singer to step into a story of a song and make it come alive. All of these parts of me are important.

9. Was your feature film debut – The Good Shepherd – all you hoped it would be? How was the experience working alongside stars like Matt Damon and Angelina Jolie? First of all, I didn’t expect to be on the set, in the movie, I thought I was just going to be on the soundtrack. Working with Robert de Niro recording the song, he directed me in every take and I did a large amount of takes because he’s so meticulous. We had fun in the green room talking about The Great American Songbook. When I got the call the next day that he wanted me in the movie I was just beside myself. I loved working on the set with Matt Damon and Angelina Jolie. Robert de Niro insisted I call him ‘Bob.’ He took a special moment to introduce me to the stars.




When: 6 to 8 p.m. Thursday, July 18

Where: The all-weather jazz tent in Vail Square, Lionshead

Tickets: Tickets are $20 in advance or $25 day of show for preferred seating and general admission is FREE on a first-come basis. Vailjazz.org. 888-VAIL-JAM

Cuban sensation gets crowd dancing during return to Jazz @ Vail Square

Wil Campa Y Su Gran Union return to Jazz @ Vail Square in 2013.

Wil Campa measures a successful show by looking into the audience and seeing it pulsing with movement. And if there’s anything that makes a person move – or moved – it’s listening to energetic Cuban tunes and witnessing a 13-man orchestra dancing and spinning from side to side in unison, blowing into their horns and never losing the beat.

This is what comes with Wil Campa Y Su Gran Union – the award-winning 13-piece ensemble that returns to Vail Thursday, July 11 to perform for Jazz @ Vail Square as part of the 19th Annual Vail Jazz Festival.

“We would like to perform the music from the Caribbean, the music that surrounds us each day at home,” Campa says via a translator. “[We hope] that the music leaves the Vail audience feeling wonderful and that the audience participates and senses the great energy of the Wil Campa Orchestra.

When the audience is moved by music, they dance and sing with me.” In Cuba, one can’t simply learn to sing or play an instrument and then set out to make a living performing music. “The Wil Campa Orchestra is a versatile show.

All the musicians dance and sing extremely well. It is part of the culture in Cuba – all the musicians have a degree in music, this is a mandatory requirement from the Instituto de La Musica and Minister of Culture to tour outside of Cuba,” Campa explains.

The talent was very much appreciated last year when Wil Campa Y Su Gran Union played their inaugural performance in Vail at Jazz @ Vail Square. The crowd was on its feet swaying as Campa simultaneously danced and sang and the band stepped into effortless rounds of choreography and synchronized drumming.

“The audience of Vail was wonderful – they love to dance, they also love to listen. They are very well versed in world music and appreciate talented musicians. From my experience the public has always been extremely impressed and moved by the Orchestra presentation,” Campa says. “Although I do not speak English the music always seems to translate well. The Vail audience has exceptional musical taste, knowledge and love of Latin music.”

In Cuba, Wil Campa Y Su Gran Union are widely recognized, considering their songs are played daily on the radio and at baseball games and they were recently nominated for a CUBASISCO – Cuba’s version of a Grammy.

Campa himself describes Su Gran Union as “A big band of young artists presenting music from the 50s, 60s and beyond from Cuba, with confidence and well-dressed.”When asked what separates Cuban jazz from other branches of the genre, he says, “Cuban Jazz has so much influence from America, with more percussion, African and Latin rhythms – a lot of deep rhythm. We have so many versions of Jazz in Cuba.” Campa’s version arguably conveys more good energy than just about any other. Rarely is he seen on stage without a smile.

Asked to name his No. 1 most memorable performance, he becomes sentimental. “The one concert that stands out [was] the very last performance of Ibrahim Ferrer [of Buena Vista Social Club) in the North of France’s Marciac Jazz Festival,” he says. “We performed together that evening and he departed for Cuba the same night and passed away at his home and [in his] country. He is a very important figure for Cuba and our music.”

Singling out the greatest concert, however, isn’t easy for Campa. “I love them all. My life is making people happy through music,” he says.

Catch Wil Campa Y Su Gran Union as they heat up the Jazz Tent in Lionshead on Thursday, July 11 at 6pm.

Philadelphia Orchestra members to jam with Cuban jazz artists on July 10!

Cuba’s Gran Union musicians to sit in on Philly Jam.

Philadelphia Orchestra stars meet Cuban jazz favorites on Jazz After stage The hypnotizing musical conversation between orchestra stars on a small stage continues this Wednesday, July 10 with Jazz After: The Philly Jam performance at Larkspur Restaurant.

Following the Bravo! Vail Philadelphia Orchestra concert, select musicians will head to the intimate setting of Larkspur Restaurant’s Great Room at 9:15 p.m. The dynamic will be augmented by the presence of players from Cuba’s Wil Campa Y Su Gran Union, who will join in on the spontaneous and highly unique jam. Jazz After is a joint production of the Vail Jazz Festival and Bravo! Vail, the Philly Jam is the second of the trio of exclusive Jazz After performances this summer.

The final Jazz After performance is set for Wednesday, July 24 and will feature members of the New York Philharmonic with special guest, Bramwell Tovey.

“The Jazz After concerts are pure, spontaneous masterpieces involving the talent of a few select individuals. They are as one-of-a-kind as it gets,” says Robin Litt, Director of the Vail Jazz Foundation. “Even if the exact same musicians were to come together on the same stage again, the set would never be the same. It’s not every day that you get to listen to artists of this caliber play this way. The setting at Larkspur feels just like a cozy jazz club.”

Tickets are limited and can be purchased at vailjazz.org for $20 in advance or $25 day of show. Larkspur will have a $20 food and beverage minimum per person. Complimentary valet parking is available.



What: Members of the Philadelphia Orchestra and Cuban jazz stars playing a uniquely spontaneous freestyle set in an intimate lounge setting.

Where: Larkspur Restaurant Great Room

When: Doors open at 7:30 p.m. Jam starts at 9:15 Wednesday, July 10

Tickets: $20 in advance or $25 day of show at www.vailjazz.org


About Vail, Colorado

Vail, Colo. is universally held as North America’s top year-round destination mountain resort and has become a cosmopolitan community with visitors from all over the world. Founded in December 1962, Vail marked its 50th anniversary this winter as the new home of the Burton US Open Snowboarding Championships. Also home to world Alpine ski racing champion Lindsey Vonn, the legendary Back Bowls of Vail Mountain, and in 2015 Vail will host its third World Alpine Ski Championships.

Matching the incredible winter mountain experience, Vail from May through October is characterized by a rich culinary scene, a world-class events schedule from adventure sports to classical and Jazz, family activities and everything in between.

Leading this lineup is the Vail Jazz Festival, Bravo! Vail Music Festival, the Vail International Dance Festival, America’s greatest bicycle race, the USA Pro Challenge, and the legendary Gourmet on Gore culinary festival and Vail Jazz Party capping off the summer season.

Vail also offers exceptional lodging from high-end luxury hotels to practical condominiums and vacation rentals. Getting to Vail is easy via Denver International Airport and close by Eagle Airport, America’s fourth busiest regional airport with non-stop service from nine major U.S. cities including the new Houston flight, and connections from around the globe.

Once here, Vail proudly offers the largest free public transportation system in North America. The Vail consumer website is www.vail.com, and the Town of Vail website is www.vailgov.com.


The 19th annual Vail Jazz Festival is produced by the Vail Jazz foundation and sponsored by Town of Vail, Alpine Bank, AT&T, CME, The Jazz Cruise, Vail Daily, William Hill Winery, New Amsterdam Vodka and Gin, KUVO and KVJZ, Alpine Aire, Alpine Party Rentals, The Arrabelle, Yamaha, KZYR, Mighty Fine Productions, Rocky Mountain Reprographics, Lionshead Summer, Hertz, Larkspur Restaurant, Vail Marriott Mountain Resort, Avalon Clothing and Kelly Liken.

Jazz @ Vail Square starts on July 4th with Curtis Stigers & SaRon Crenshaw

SaRon Crenshaw has never seen someone openly cry while listening to him play the guitar, but there have been times when, after a performance someone has approached him, hold his hand in gratitude and walk away, leaving him holding a $100 bill.

“They would tell me how I’ve touched them,” says the New York City-based blues guitarist, who will be playing the first set in Lionshead on Thursday, July 4 for the 19th annual Vail Jazz Festival’s first Jazz@ Vail Square performance of the season.

Touched as audiences may be, the heartfelt donations his fans have made aren’t that surprising if you consider that Crenshaw’s a guy who’s been caught wandering through the crowd in the middle of a song playing his guitar with his tongue.

And he’s only part of the show on July 4. Internationally touted vocalist and saxophonist Curtis Stigers will fill the other half of the two-hour performance and both artists will pay tribute to “The Red, White and The Blues.”

Needless, to say, the latter color represents Crenshaw’s specialty. When asked about details of what the audience should expect from his performance, he simply says, “something they’ve never seen or heard.”

As far as “jazz” goes, neither Crenshaw nor Stigers are traditional representatives of the genre. Stigers, who melted the vast audience at Ford Amphitheater last year with his epic performance, has made a name for himself as not only a jazz vocalist but also as a saxophonist, guitarist and songwriter. The eclectic gamut of big names with whom he’s performed and recorded also speaks to his versatility: Prince, Eric Clapton, The Allman Brothers, Bonnie Raitt and Rod Stewart to name just a few.

You also may recognize his music from the theme song and soundtrack of the hit TV series “Sons of Anarchy,” and also from his 10th studio album – “Let’s Go Out Tonight” featuring songs by Bob Dylan, Steve Earle, David Poe and Richard Thompson.

“I’ve keep poking my foot through the side of the box,” Stigers says of his genrestraddling talent.

For Crenshaw, whose career has just begun to blossom, the “blues” moniker has been the one he’s heard the most, and to prove it, his guitar is adorned with a signature from the king of blues himself … B.B. King, that is.

“It was in Lynchburg, Virginia at B.B.’s show,” Crenshaw recalls of procuring the signature. “Yes I was nervous and I wanted to play something for him.” Then, a couple of years ago, Crenshaw actually shared a stage with King, opening the show, but his idol has yet to personally hear Crenshaw play. “B.B. didn’t hear me because he was still on the bus,” Crenshaw says. “But his staff and Tony Mason loved it and wanted my info.”

With his soulful vocals and thumping command of every song paired with his fiery guitar, Crenshaw’s sound has been compared to the likes of King as well as Albert Collins and Buddy Guy. Known to meander from heartfelt blues into strains classified by some as “jazz,” Crenshaw discerns the two genres by pointing out that “with the Blues, you can be telling someone a life story and don’t know it.”

When it comes to writing his own songs, the process is more cathartic than it is calculated. “There have been times I just might feel a groove when I’m playing and make it up,” he says. “Other times it would be something I went through.”

Of all the large stages and jazz festivals Crenshaw has played in recent years, his most memorable shows to date are those played at one of his regular venues – Terra Blues in New York’s Greenwich Village. “When I stop or end the song, people went clapping, whistling so loud that my ears went ringing,” he says.

Stigers, who has performed in Vail several times over the last 20 years, is excited to return with his band, long-time collaborators, Matthew Fries (piano), Keith Hall (drums), Cliff Schmitt (bass), and John “Scrapper” Sneider (trumpet). For the Independence Day show, Stigers will focus on the influence Blues Music has had on his recordings and his sound. “I always look forward to returning to Vail to play music and to visit the many friends I’ve made here over the years,” Stigers says. “I love this town!” The Jazz Tent at Vail Square heats up at 6 p.m. with SaRon Crenshaw, followed by Curtis Stigers after the 6:45 intermission.

Jazz Tickets on Sale, line up for Jazz @ Vail Square announced

The 2013 Thursday night lineup brings stars from every corner of the jazz genre and beyond! The Vail Jazz Festival has planted itself firmly on the map for jazz connoisseurs all over the world, but in recent years with its mix of Cuban, Latin, rock, blues, swing and soul, it has seriously pushed the limits of the genre and has thus attracted a slew of enthusiastic new fans.

Celebrating its 19th year, this summer is sure to recruit a whole lot more. The Festival brings local jazz heroes to the Vail Farmers Market and Kelly Liken restaurant every weekend, it partners with Bravo! Vail for intimate, one-of-a-kind jam sessions with orchestra artists at Jazz After events and culminates in an extravaganza of A-list musicians from around the globe at the Labor Day Weekend Jazz party. But the festival stops in Lionshead from 6 to 8 p.m. every Thursday with Jazz @ Vail Square in an open-air tent.

July 4: Curtis Stigers and SaRon Crenshaw pay tribute to The Red, White & The Blues. Kicking off the summer’s star-studded lineup with a star-spangled onslaught of talent with renowned saxophonist/vocalist Curtis Stigers and New York-based guitarist SaRon Crenshaw paying tribute to all that’s red hot and bluesy. Have you heard the theme song to Sons of Anarchy? That’s Stigers. He headlines the Pops with Bravo! Vail last year with 3,000 people listening in rapt wonder.

July 11: Wil Campa y Su Gran Union. Get your dancing shoes on for a veritable circus of steel-drum infused energy. Great indeed, the Cuban ensemble is comprised of 12 musicians who typically break out in collaborative stepping and instrument swinging. Making their Vail debut last year, they are back by popular demand.

July 18: Ann Hampton Callaway. Having performed on Broadway, sung with Wynton Marsalis and the Boston Pops and wowed the valley with her passionate, spontaneous delivery last winter when she landed at the Vilar Center paying tribute to Ella Fitzgerald Callaway returns to highlight the nation’s most revered stage and screen classics in her Great American Songbook-focused performance.

July 25: Frank Vignola & Vinny Raniolo. Although Frank Vignola may be a jazz guitarist, he has been influenced by rock icons such as Eddie Van Halen and Frank Zappa, and has played sidekick to the likes of Madonna and Ringo Starr. Five years ago, he teamed up with fellow New York guitarist Vinny Raniolo and the duo make their strings smoke as they match melodies on stage.

Aug. 1: John Pizzarelli Quartet. You could say that John Pizzarelli comes from a musical family. His father Bucky performed for two presidents (Ronald Reagan and Bill Clinton) and was in the band for The Tonight Show Starring Johnny Carson. John has played guitar with James Taylor and Paul McCartney. Along with his brother Martin on stand-up bass, John will be joined by his wife, fellow guitarist Jessica Molaskey, with whom he has a radio show in New York City. Pianist Larry Fuller and drummer Tony Tedesco round out the ensemble. Expect surprising, unique twists on jazz classics.

Aug. 8: Tommy Igoe Sextet. The spotlight turns onto the drum kit for this show, in which Tommy Igoe (son of legend Sonny Igoe) hammers out numbers that are guaranteed not to be your grandpa’s jazz. Having written the drumline for Broadway’s The Lion King, Igoe takes after everyone from his father to The Beatles. He started The Birdland Big Band, which is famous for regularly selling out Manhattan’s Birdland Jazz Club. He is joined by five more virtuoso musicians.

Aug. 15: Poncho Sanchez and his Latin Jazz Band. Also a percussionist, Poncho Sanchez specializes in the congo and can also belt out his fair share of salsa. He and his band have won Grammys for best Latin Jazz. Bringing an onslaught of horns, piano, percussion and a lot of Latin soul, Sanchez should ignite a dance party if not an actual flame or two.

Aug. 22 Lavay Smith and her Red Hot Skillet Lickers. Some people view jazz as a chilled out brand of music best suited for closed eye listening and calm finger snapping, but Lavay Smith takes that stereotype and launches it right out of its armchair. Oh, and did someone say dance party? With vocal stylings reminiscent of Billie Holiday and Bessie Smith, Lavay brings not just her Skillet Lickers to Vail but also some serious swing dancing.

Aug. 29: Clayton Brothers Sextet and The Vail Jazz All-Stars. Mainstays and resident heroes of the Vail Jazz Festival, saxophonist Jeff Clayton and bassist John Clayton compose the most dynamic delivery of original jazz this side of the Rocky Mountains with fellow famed jazz stars Terrell Stafford on trumpet, Bill Cunliffe on piano, Wycliffe Gordon on Trombone and Lewis Nash on drums. The energy leaps yet an extra octave with the Vail Jazz All Stars – a selection of the most talented young jazz musicians in North America whom the Sextet has mentored through the intensive Vail Jazz Workshop.

It all leads up to this, the climax. The Festival climax comes to a head Labor Day weekend with a whole separate line up of superstars at the Vail Jazz Party. For more information on the party, visit www.vailjazz.org.

Line up for 19th Annual Vail Jazz Festival Announced

March 20, 2013 – Vail, Colorado – The Vail Jazz Foundation announces the line-up of world class jazz performers for Thursday night Jazz @ Vail Square concert series and the Labor Day Weekend Jazz Party, both part of the 19th Annual Vail Jazz Festival.

“Last year’s line-up set the bar very high for Vail Jazz, but this summer’s schedule surpasses anything we have done in our 19 year history. While ‘Jazz’ is only a four letter word, it covers a lot of musical territory, including blues, Latin, swing, Brazilian, Gospel, straight ahead, bebop and beyond, and we will offer it all and much more over a spectacular 12 week summer Jazz Festival,” said Howard Stone, the chairman and artistic director of the Vail Jazz Foundation.



Vail Jazz will once again collaborate with Bravo! Vail by jointly presenting four performances, the first of which will be on June 28th at the Gerald R. Ford Amphitheater. “The Golden Age of Jazz” will be Bravo! Vail’s season opener and will feature jazz artists Byron Stripling, Jeff Clayton and Wycliffe Gordon along with the Dallas Symphony Orchestra conducted by Jeff Tyzik. In addition, Vail Jazz and Bravo! Vail will once again present the very popular “Jazz After” series of jam sessions on June 29, July 10 and July 24, with performances by members of the Dallas Symphony Orchestra, Philadelphia Orchestra and New York Philharmonic. Tickets for Jazz After will go on sale soon.



In addition, the very popular Jazz @ The Market returns to the Vail Farmers’ Market each Sunday, June 23- August 25th, with free shows in the jazz tent on the green at Solaris. For the first time Vail Jazz will introduce Jammin’ Jazz Kids, which includes elements of the popular Jazz Goes to School program as complimentary programming with the Jazz @ The Market series. On three Sundays, July 7, 28 and August 18, prior to the performance in the jazz tent, children ages 6 to 12 are invited to join jazz musicians for an interactive, educational jazz experience that allows each participant a hands-on opportunity to learn the fundamentals of jazz. Participating youth will play a variety of percussion instruments – maracas, bongos, congas, tambourines, xylophones and Orff instruments. In addition, they will listen to and join with jazz musicians in playing music and learning the art of improvisation.



The 9-show series of Jazz @ Vail Square returns beginning on July 4 th and running through August 29th . The series opens on July 4 th as Vail Jazz pays tribute to “The Red, White & The Blues” featuring a double billed line-up of Vail favorite Curtist Stigers and New York blues man, SaRon Crenshaw and continues with Cuban sensation Wil Campa y su Gran Union, jazz guitar duo Frank Vignola and Vinny Raniolo, John Pizzarelli Quartet, Tommy Igoe Sextet, Lavay Smith and her Red Hot Skillet Lickers and the Clayton Brothers Sextet and their students, the Vail Jazz All-Stars. The All-Stars, twelve of the best high school-aged jazz musicians, will have spent 10 days leading up to Labor Day Weekend under the tutelage of the Clayton Brothers Sextet. The Vail Jazz Workshop is widely known as the pre-eminent jazz education program in the country for young jazz musicians and serves as a launching pad for future jazz professionals.

Preferred seating will be available for $20 in advance; $25 day of show or for $99 for the nine-series Jazz Pass. “Preferred seating give guests the ability to get their choice of seats,” says Executive Director Robin Litt. “These tickets and the Jazz Pass allow you to arrive at your leisure and know that you will have a premium spot to enjoy the performance.” The remainder of the tent will remain free on a first-come, first-serve basis. Recommended donation of $5 is encouraged to support the 501(c)(3) Vail Jazz Foundation, which produces the Vail Jazz Festival and its unique educational programming that are at the core of its mission.



Labor Day Weekend marks the 19 th Annual Vail Jazz Party, a unique party format designed so every musician is featured every day of the holiday weekend, in many cases in a jam session format. Audience members have the opportunity to interact with performers in an intimate and special setting. This year’s Party features new and returning groups, accomplished soloists and a variety of special shows designed to both educate and entertain. 2013 will bring together a list of who’s who in jazz today. Favorites from 2012, Cyrille Aimée and Diego Figuerido, return after wowing Vail guests and residents in their debut appearance. Festival favorites, the Clayton Brothers Sextet (John Clayton, Jeff Clayton, Terell Stafford, Wycliffe Gordon, Lewis Nash and Bill Cunliffe) will perform throughout the weekend, together and in multiple configurations, serving as anchor and a major force at the Vail Jazz Party. Drummer Jeff Hamilton will be joined by his trio mates Tamir Hendelman on piano and Christoph Luty on bass. The Vail Jazz Alumni Quartet, all past members of the Vail Jazz Workshop and current touring musicians, will be composed of Sullivan Fortner, piano, David Wong, bass, Jimmy Macbride, drums and Tia Fuller, saxophone.

The Vail Jazz Party is known for its creative and entertaining educational programming through the presentation of muti-media presentations. Special shows in 2013 will include Shelly Berg’s MultiMedia History of Stride and Boogie Woogie Piano, Jeff Clayton’s Alto Show, Ken Peplowski & Diego Figueiredo’s Tribute to Charlie Byrd and the Bossa Nova Years, and Byron Stripling’s MultiMedia Salute to Miles Davis. The Vail Jazz All-Stars will also be featured in free performances on Saturday and Sunday afternoons.

The extremely popular Sunday morning Gospel show will once again be presented, but with some very special added features: joining Niki Haris’ Gospel Prayer Meetin’ will be the Mile Hi Gospel Ensemble; and the audience will be invited to sing along with Niki and the choir as songe lyrics will be provided to the audience.

Solosist include familiar faces to the Vail Jazz Party, including Ernie Adams ,drums, Karen Hammack, piano, Byron Stripling, trumpet and vocals. Newcomers to Vail will be Bruce Forman, guitar, Ken Peplowski, tenor sax, and Akiko Tsuruga, Hammond B-3 organ.

The Vail Jazz Party offers over 30 hours of jazz over a five day period, with jazz shows taking place at the Jazz Tent at Vail Square on Thursday night and during the days on Saturday, Sunday and Monday and at the event’s host hotel, the Vail Marriott Mountain Resort in the Ballroom on Friday, Saturday and Sunday nights. Late night sets that go into the early morning hours take place at “Wing’s Place” at the Marriott and create a real jam session atmosphere for artists to stretch out and have a “musical conversation” with their peers. Jazz music floods Vail with over eight separate shows featuring multiple sets in each show.

When Howard Stone was asked to explain why the Jazz Party is so special, the usually loquacious Stone said, “Unfortunately, words cannot adequately describe the magic that takes place over the Labor Day Weekend. Suffice it to say that when you get 30 of the best jazz musician together with a crowd of passionate jazz fans in a beautiful place like Vail, great jazz happens.”

The line-up of artists for Jazz @ The Market and the Sunday night series, Jazz @ Kelly Liken, will be announced in early May.



Patron Passes for the Vail Jazz Party are now on sale at www.vailjazz.org and by calling 888-VAIL JAM or 970-479-6146. The $385 Patron Pass includes priority access to all eight performances, exclusive opening night party on Thursday and dinner with the artists on Saturday. Gift certificates are also available. Tickets to Jazz @ Vail Square, Jazz After jazz jams and individual session tickets for Vail Jazz Party will go on sale soon. Lodging and travel discounts are provided to Jazz Party attendees. Information is available at www.vailjazz.org .

Vail Jazz Wraps up Most Successful Festival and Announces Grant from Colorado Creative Industries

October 22, 2012 – Vail, Colorado – The Vail Jazz Foundation recently wrapped up its most successful summer festival in its 18 year history. The Vail Jazz Festival, produced by the Vail Jazz Foundation, boasted record attendance and ticket sales at its 40 performances, contributing positively to Vail’s summer economy for a full 12 weeks of the summer. The 2012 season included 9 weekly free concerts at Vail Square, 10 free weekly concerts at the Vail Farmers’ Market, and 7 shows, including two free, as part of the Labor Day Weekend Jazz Party and a number of new performances. Debuting this year were Jazz @ Kelly Liken, featuring jazz each of 10 Sunday nights at Restaurant Kelly Liken, the three-part Jazz After series in conjunction with Bravo! and Larkspur Restaurant, and a joint performance at the Ford Amphitheater featuring Curtis Stigers and the Dallas Symphony Orchestra. The Vail Jazz Festival is now the longest summer festival in Vail – spanning from late June to early September. Attendance grew at all of the Vail Jazz Festival’s performances, with a 15% increase in year over year attendance at the Labor Day Weekend Jazz Party.

“This summer’s festival proved that the Vail Jazz Festival is gaining wide recognition not only in the community, but around the state and the country as the premier jazz festival in the mountains,” says Robin Litt, Executive Director. “We continue to innovate with the types of performances we present to attract a broader audience for jazz, working toward our mission to perpetuate jazz through live performances and education with special focus on young artists and young audiences.”

The Vail Jazz Festival included a variety of different styles of jazz in multiple, unique locations, all in an effort to widen the audience and appreciation for jazz. The outdoor free concerts every Sunday at the Vail Farmers’ Market featured regional and national acts performing in a tented venue at Solaris with 3 shows throughout the afternoon continued to be a popular gathering for visitors and locals alike, seating 75 in the tent and an equal number around the plaza area .-.. Jazz@ Vail Square, the weekly Thursday night concert series in Lionshead continued to grow in popularity this summer, hosting 350 under the tent as well as hundreds of guests who enjoyed the performances from surrounding restaurant patios and as they walked by. The inaugural season of Jazz @ Kelly Liken featured local jazz artist, Tony Gulizia with different guests each week. The combination of Kelly Liken’s Harvest Menu and the swinging sounds of jazz filled the restaurant each Sunday night. Larkspur and Bravo! partnered with the Vail Jazz Foundation to host the first year of Jazz After, a series that featured members of each of Bravo’s resident orchestras (Dallas Symphony Orchestra, Philadelphia Orchestra and New York Philharmonic) in a jam session style performance in the Great Room at Larkspur. These tremendously successful events experienced overflow crowds at each performance. Changes are in the works to further enhance the experience for Jazz After guests in 2013. The joint performance at the Ford Amphitheater with Bravo! presented Curtis Stigers and the Dallas Symphony proved to be an overwhelming success, while the two organizations are currently working on another joint performance for the 2013 season. And lastly, the five-day Labor Day Weekend Jazz Party, which presented today’s top jazz artists in an intimate and engaging series of round-the-clock performances at the Jazz Tent at Vail Square and the Marriott’s Grand Ballroom, boasted record attendance.

The Vail Jazz Festival fueled the Vail economy and made an especially large impact at times when business is slower. The Thursday night Jazz @ Vail Square series attracted locals, down valley residents as well as part time homeowners and visitors, many of whom dined and shopped in Vail before and after the performances. The Vail Jazz Party over Labor Day Weekend brought hundreds of destination guests to Vail. There was not only record attendance this year but attendees extended the length of their visits considerably, many coming a day before and/or staying a day after the Jazz Party thereby substantially benefiting the local economy. “In addition to the large number of destination guests who attend, we see more and more part time residents extending their summer stay in Vail through Labor Day so they can attend the Jazz Festival,” noted Litt.

On the heels of the tremendously successful summer Jazz Festival, the Vail Jazz Foundation will once again present its annual Winter Jazz Series and the exciting line-up will be announced in November.

The Vail Jazz Foundation is particularly pleased to announce that it was recently awarded a grant from Colorado Creative Industries, a division of the Office for Economic Development. The grant is made possible through an annual appropriation from the State of Colorado and a federal grant from the National Endowment for the Arts. “We are pleased to make this investment in creative organizations and activities that drive economic growth, support jobs, and improve quality of life throughout Colorado,” said Elaine Mariner, Director of Colorado Creative Industries. The Vail Jazz Foundation is one of just three Eagle County organizations to receive funding for 2013.

The festival is truly a collaboration between the Vail Jazz Foundation and its sponsors, including the Town of Vail, Alpine Bank, Alpine Party Rentals, The Arrabelle, Colorado Creative Industries, Colorado Mountain Express, Ella Fitzgerald Charitable Foundation, Hertz, The Jazz Cruise, Lionshead Summer, National Endowment for the Arts, New Amsterdam Vodka, Ravenscroft Pianos, United Way Eagle River Valley, Vail Daily, Vail Resorts Echo, William Hill Estate Winery, Woods and Son Piano Company, Yamaha as well as Alpin Aire, FlyVail, Rocky Mountain Reprographics, KZYR The Zephyr, Jazz 89 KUVO, Vail Mountain Marriott Resort & Spa, Mighty Fine Productions, The Luxury Shops and Kelly Liken

Vail Jazz Party Review, Jazz History Online

They call it “mud season”: the annual period at a ski resort when the snow has melted, tourism is down, and the gondolas are used only for scenic trips to the top of the mountain. While some of the shops close until the next snowfall, many resort towns try to attract visitors through their marketplaces, community activities and cool temperatures. Back in 1995, Howard and Cathy Stonehosted their first jazz party in Vail, Colorado. The party has become a Labor Day weekend tradition, and in recent years, it has blossomed into a summer-long jazz festival, with 40 concerts presented this year. The jazz party remains the primary event of the summer, and this year’s edition was one of the finest. With the support of the Arrabelle Hotel and the local merchants, the daytime performances were held in an open tent in the Lionshead town square, where shoppers and passers-by could enjoy the music (The patrons and musicians were under the cover of the tent, which was a blessing in light of Vail’s frequent and sudden thunderstorms). In the evenings, the party moved to the spacious ballroom of the Marriott Hotel.

For the party, the Stones bring in about two dozen jazz musicians from all over the world. Most of the players are accessible mainstream musicians, but the Stones typically include a few progressive musicians to the mix. The audiences for Vail tend to be older, but they are very open-minded, and they cheer on the adventurous musicians as enthusiastically as the traditionalists. There are a few working groups and several soloists, but all of the musicians are hired for their flexibility, as they are scheduled to play in jam sessions and in ad-hoc ensembles (most organized by Howard Stone). This year’s soloists included vocalists Cyrille Aimée and Niki Haris, guitarists Diego Figueiredo and Graham Dechter, saxophonists James Carter and Houston Person, organist Bobby Floyd, trumpeter Byron Stripling, pianist Benny Green, vibraphonist Warren Wolf and drummer Ernie Adams.

Both of the working groups have long-standing ties with the Vail party. The Jeff Hamilton Trio, with Tamir Hendelman on piano and Christoph Luty on bass, returned after a year’s absence.  Their sets included several tightly arranged pieces from their recent album “Red Sparkle”, including the delightful “Hat’s Dance” which includes a break of indeterminate length, which Hendelman stretched almost to the breaking point. Luty’s rich bass sound was featured on his arrangement of “A Sleepin’ Bee” and Hamilton brilliantly maneuvered through the tricky chart on “Too Marvelous for Words”. Their final set included a tribute to the classic Ahmad Jamal Trio with a beautifully modulated rendition of “Poinciana”. The Clayton Brothers have been part of the jazz party since its first year, and this year, bassist John and saxophonist Jeff expanded their quintet to include another jazz party favorite, trombonist Wycliffe Gordon. The Clayton sextet also included trumpeter Terell Stafford, pianist Bill Cunliffe and drummer Lewis Nash. WhileCunliffe and Nash are not regular members of the Clayton Brothers group, they have been part of the Vail version of the band for many years and they fit into the band’s groove with little effort. The sextet played a burning set to close the Sunday night festivities, featuring selections from their upcoming album “The Gathering”. Jeff Clayton played a beautiful alto solo on Benny Carter’s “Souvenir” and John Clayton filled the ballroom with his glorious arco bass on “Round Midnight”.

The Clayton Brothers Sextet is also the faculty for the Vail Jazz Workshop, an intensive 10-day training program for high-school aged musicians. Twelve finalists are chosen from recorded auditions (a pair each of trumpeters, trombonists, saxophonists, pianists, bassists and drummers) and while at the workshop, they play as a large ensemble and in two smaller groups. All of the music is learned by ear, and the students are encouraged to compose pieces for the group. At the end of the workshop, they play three concerts at the jazz party. Dubbed the Vail Jazz All-Stars, this year’s group included trumpeters Aidan Lombard and Nathan Sparks, trombonists Coleman Hughes and Cameron Kerl, alto saxophonist David Milazzo, tenor saxophonist Daniel Berkey, pianists Jeremy Corren and James Francies, bassists Maximilian Gerl and Andrew Sommer, and drummers Cameron Macintosh and Zachary McKinney. Most of the music they played was from the 1960s repertoire of Art Blakey’s Jazz Messengers and other Blue Note ensembles. These young musicians are still finding their own solo voices, but they have a great enthusiasm for the music and their talents are closer to college upperclassmen than high school students.

The Vail Jazz Workshop has turned out many distinguished alumni, including saxophonistsGrace Kelly and Tia Fuller, and pianists Gerald Clayton and Robert Glasper. This year, the Stones brought back three other Workshop alumni, Justin Kauflin (piano), Joe Sanders (bass) and Corey Fonville (drums), to work together as a trio for Houston Person, and to play in several of the ad hoc ensembles. Although they did not work together as Workshop students, each has worked with the others on professional gigs in New York. Kauflin, who has been blind since age 11, displays a brilliant, flexible technique that fit into a wide variety of musical situations, and he quickly responded to spontaneous changes during the performances. Sanders and Fonville were a great rhythm team, locking into several enticing grooves over the weekend.

This year’s jazz party showed an increased dedication to jazz history, with multi-media tributes to jazz legends Dave Brubeck, Ray Brown and Dizzy Gillespie. These tributes included classic film clips along with live music and a biography of the featured musicians. Each of the presenting musicians offered their own unique spin on the established format. On the Brubeck tribute, Bill Cunliffe’s quartet (with the Claytons and Lewis Nash) played Brubeck’s compositions, but let the film clips offer the story and sound of the classic Brubeck Quartet with Paul Desmond. Byron Stripling’s presentation on Gillespie was much more studious in its narration, but the filmed performances by Gillespie’s various groups and the live music by Stripling’s bebop quintet (with Jeff Clayton, Cunliffe, Sanders and Nash) made the hour-long set go by quickly. For his RayBrown tribute, John Clayton brought in Benny Green and Jeff Hamilton, both of whom played in Brown’s trio. Clayton studied with Brown for many years, and now owns and plays Brown’s bass. All three musicians shared warm and funny anecdotes about Brown, and the videos showed Brown with Gillespie’s big band, the Oscar Peterson trio, and Duke Ellington. Unfortunately, the talk and the videos ate into the time for the live music. The three pieces the trio played were magnificent, including a delicate version of “Li’l Darlin’” with light articulations by Green, a brilliant performance of Brown’s original, “Buhania” with a dazzling hi-hat work by Hamilton, and a grooving arrangement of “Summer Wind” anchored by Clayton’s sturdy bass. Clearly, the audience wanted to hear more of this marvelous group. A Ray Brown tribute CD could be a great addition to the discography of these great musicians. Howard Stone and the musicians need to make it happen—and soon!

Bobby Floyd’s presentation on the Hammond B3 organ was exceptionally well-researched and it used the large video screen to show close ups of Floyd’s hands and feet as he manipulated the instrument. Floyd’s lecture-demonstration was scheduled to start on Saturday night at the ridiculously late hour of 10:55 PM, but despite Howard Stone’s efforts to keep the party running on schedule, Floyd didn’t start until nearly 11:30. By that time, many of the audience members decided to turn in, and they missed one of the most informative sets of the weekend. Wycliffe Gordon’s Sunday afternoon set on the history of jazz trombone was better attended, but not nearly as comprehensive. Gordon’s performances typically encapsulate many jazz styles, from tailgate to multiphonics, but his presentation was not in historical order and didn’t adequately explain the highlights of each style. However, it was easy to hear elements of Tommy Dorsey in “I’m Getting Sentimental over You”, Jack Teagarden in “Basin Street Blues” and Tricky Sam Nanton in “Talking Trombone Blues”. The program was very entertaining, especially in the closing tribute to Fred Wesley, “Pass the Peas”, but it might have been more focused with a few video clips and tighter narration.

Floyd, Gordon, Stripling and Jeff Clayton joined Niki Haris for the Sunday morning Gospel Prayer Meeting. This has been a highlight of the party for many years, and Haris (daughter of pianistGene Harris) is the perfect leader for this segment. Her soulful readings of classic sacred hymns like “It Is Well in My Soul” and “How I Got Over” uplifted the large congregation, and she shared vocal duties with Gordon on the Leonard Cohen anthem, “Hallelujah”. Gordon provided rousing trombone throughout and Clayton provided an intense prayer midway through the service. The rhythm section of Karen Hammack (piano), Graham Dechter (guitar), Joe Sanders (bass) and Ernie Adams (drums) offered tremendous support and authentic gospel feeling. Haris also performed two straight-ahead sets over the weekend, amply displaying her R&B inspired vocals on songs like “Let The Good Times Roll”, but also featuring beautifully sung ballads like “Where Is Love” (dedicated to her father on his birthday) and “Dream” (sung with the rarely-heard verse).

Cyrille Aimée and Diego Figueiredo played two delightful duo sets during the party. She sang in three different languages and showedformidable prowess in scat singing. Her quick, straight-ahead performance of “Yardbird Suite” (with Charlie Parker’s original lyrics) won over the audience completely, and her loop pedal performances of “Fortunate Son” and “Nuit Blanche” were stunning both in their arrangements and realizations. Figueiredo was superb in both Brazilian and jazz settings, getting a multitude of sounds from his acoustic guitar. He was also fun to watch as he swayed back and forth to the impulses of his music. There was great chemistry between the two musicians and their intimate performances brought freshness to classic Jobim pieces like “Chega de Saudade” and “Agua de Beber”.

Houston Person was part of a B3 organ set with James Carter, Bobby Floyd, Graham Dechter and Corey Fonville. Both Carter and Person have recorded with organ trios, and the juxtaposition of Person’s classic soul tenor with Carter’s outrageous progressivism was mind-boggling. Person also led two afternoon sets on his own, featuring Terell Stafford on Sunday and Byron Stripling on Monday. Stafford is best-known as a fiery trumpeter in the Freddie Hubbard tradition, but I love to hear him play ballads, and on his set with Person, he was featured on warm renditions of “You Don’t Know What Love Is” and “I Remember Clifford”. The set with Stripling was a relaxed affair dedicated to what Person called “music for Saturday night—after midnight”. Stripling sang a spirited version of “Back O’Town Blues” and his bright trumpeting provided a great contrast to Person’s mellow tenor on a 12/8 version of “Since I Fell For You”. On “Back O’Town”, Stripling told the audience that “showers of bacon grease would drip from Houston’s horn”. It was true then, but it actually seemed to happen every time Person played a solo.

There’s a lot of camaraderie between the musicians at Vail, and before Benny Green took the stage for his Saturday afternoon performance, his fellow pianist Tamir Hendelman told him to “have a joyful set”. The music that followed was one of the highlights of the entire weekend. On the opening “I’ve Never Been in Love Before”, Ernie Adams set up a tight groove with Joe Saunders, and Green leaned into the piano to lock in the rhythm. By the second tune, a speedy “It’s You Or No One”,  the groove was so well established that Green could play flurries of notes against the rhythm without losing the basic pulse. Stafford was in prime form with dynamic solos on “Doxy” and “Byrdlike”. On “I’m Beginning to See the Light” (with surprise guest vocalist Cyrille Aimée), Stafford even evoked the sound of Louis Armstrong!

Stafford, Gordon and Carter were all spark plugs for the party, guaranteed to enliven any performance, even if they only appeared for one number. Warren Wolf’s Saturday afternoon set started out rather blandly, but when Gordon came out for a plunger-muted version of“Body and Soul”, the energy level went up across the stage, and stayed that way through Gordon’s Armstrong-inspired vocal during “On the Sunny Side of the Street” and for his rare progressive playing on “A Shade of Jade”. Gordon showed his tender side in an understated trio performance of “Autumn Leaves” with Cyrille Aimée and Diego Figueiredo. A set with Carter, Wolf, Green, Christoph Luty and Lewis Nash provided an avalanche of notes with exuberant performances of “Confirmation”, “Rapid Shave” and “Don’s Idea”. And at one of the after-hours jam sessions, Stafford and Carter nearly blew the roof off the hotel on a grooving version of “Straight No Chaser”.

With major jazz festivals occurring in Chicago and Detroit over the Labor Day weekend, one might think that Howard and Cathy Stone might have difficulty attracting musicians for the Vail Jazz Party. Actually, it’s quite the opposite. The musicians are so dedicated to the vibe and atmosphere at Vail that they ask to come back year after year. The audiences clearly love these musicians, and it’s not unusual for individual solos to receive standing ovations. The Vail Jazz Party is thriving, with greater attendance than ever before and a solid reputation for musical excellence. It’s a great way to spend your Labor Day weekend.

Photographs by Drew Winners for the Vail Jazz Festival. DWinnersPhotography@gmail.com

Vail Jazz Festival’s Jazz @ Vail Square Performances Begin this Thursday With The Brubeck Brothers Quartet

Vail, CO – The Vail Jazz Festival presents the first installment in a series of nine Jazz @ Vail Square performances on Thursday, July 5 with the Brubeck Brothers Quartet. The concert begins at 6 p.m. and will be held under the Jazz Tent at The Arrabelle in Vail Square in Lionshead. Preferred seating at the front of the tent is $20 and guarantees a spot whenever you arrive with free general admission seating at the back of tent available on a first-come, first-served basis. A $99 Jazz Pass is offered with preferred seating for all nine performances.

“2012 is the first year we’re offering reserved seating in the Jazz Tent for the Thursday night performances due to the tremendous growth of our audience,” says Festival Artistic Director Howard Stone. “With our new ticketing policy, we are able to assure our dedicated jazz fans the opportunity to experience the music up close to the band without the need to get to the venue an hour before the show.”

The Brubeck Brothers Quartet kicks off the series with their joyful and expressive straight-ahead jazz. While their sound is anchored in the be-bop style, it is seasoned with unconventional time signatures. The Brubeck Brothers Quartet was chosen to usher in the New Year on National Public Radio’s “Toast of the Nation” performance.



About the Vail Jazz Festival:

With 40 performances from June 24 through September 3, the 18th annual Vail Jazz Festival presents headliners such as Marcia Ball, Byron Stripling, the Jeff Hamilton Trio and the Brubeck Brothers Quartet in a variety of ticketed and free events in intimate indoor and unique outdoor venues throughout Vail. Featuring diverse jazz genres from straight-ahead,, to Latin, swing and the Great American Songbook, the Festival culminates with the Labor Day Vail Jazz Party featuring more than 30 hours of music in a five-day celebration of jazz.


Jazz @ Vail Square Lineup 2012:

7/5: Brubeck Brothers Quartet , Straight Ahead and Right Down the Middle

7/12: Wil Campa Y Su Gran Union, Tower of Power meets Afro Cuban Rhythms

7/19: Marcia Ball, Down Home Blues with a Cajun Flavor

7/26: The Falconaires with Special Guest Al Hood, Big Band American Classics

8/2: Hot Tomatoes Swing Band and Dance, Swinging Big Band Hits from the Past

8/9: Tommy Igoe Sextet, Burning Jazz with Contemporary Twist

8/16: Miche Braden & The Kenny Walker Quartet, Blues and Soul like never before

8/23: Junior Mance Trio, Legendary Jazz Pianist

8/30: Clayton Brothers Sextet & Vail Jazz All-Stars – Jazz Masters and the Next Generation

Jazz Festival Presents Free Jazz After Jam Sessions in Collaboration with Bravo! Music Festival at Larkspur Restaurant in Vail

Vail, CO – The Vail Jazz Festival, now in its 18th season has teamed up with the Bravo! Vail Valley Music Festival to present three jam sessions immediately following orchestral performances by the Dallas Symphony Orchestra, the Philadelphia Symphony Orchestra and the New York Philharmonic. The series is titled Jazz After and will showcase select members of each orchestra in a casual, jazz-club setting. The first session, Jazz After: The Dallas Jam will be held on Saturday, June 30 at 9pm. All Jazz After performances take place in Larkspur’s Great Room in Golden Peak and are free and open to the public. Food and drink will be available, provided by Larkspur Restaurant. Additional Jazz After performances are The Philly Jam on Wednesday, July 11 and The New York Jam on Wednesday, July 25.

“Whether you are a hardcore jazz fan or a novice, a jam session is the quintessential way to experience jazz. The music is spontaneously improvised as the players engage in a musical conversation that the audience gets to overhear. Joining with Bravo to present the Jazz After jam sessions and featuring the musicians of Bravo’s resident orchestras, allows us to highlight those artists who have mastered both worlds of classical and jazz music. As a lifelong music lover, this is a dream come true.” –Jazz Festival Artistic Director Howard Stone


About the Vail Jazz Festival:

With 40 performances from June 24 through September 3, the 18th annual Vail Jazz Festival presents headliners such as Marcia Ball, Byron Stripling, the Jeff Hamilton Trio and the Brubeck Brothers Quartet in a variety of ticketed and free events in intimate indoor and unique outdoor venues throughout Vail. Featuring diverse jazz genres from straight-ahead and new-bop, to Latin, swing and the Great American Songbook, the Festival culminates with the Labor Day Vail Jazz Party featuring more than 30 hours of music in a five-day celebration of jazz.