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 is still to come. That’s yet another reason to look into what Vail Jazz has cooking this winter. But here are the big 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 skills – 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 talents 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 and her voice has been enthusiastically described as everything from “saucy” to “sweet” by 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 bar of 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 and western 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 with a glass of wine and gourmet meal on the table and one of the planet’s most talented musicians provided 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.

 

Hot Sardines Heat Up the Holidays

The eight-piece throwback jazz band likely to get feet moving in special Ritz-Carlton performance

Why is the sound of old jazz making new waves? Elizabeth Bougerol of The Hot Sardines has a simple explanation.

“It’s a joyous, connective experience,” said the Sardines’ singer. “And these days people are starved for that sense of connection more than they know.”

Launched in 2007 when Bougerol and co-founder Evan Palazzo were drawn together over a mutual love for jazz icons such as Fats Waller, Billie Holiday, Ray Charles and Louis Armstrong, The Hot Sardines have established themselves as one of the hottest jazz ensembles in New York City.

Coming at the classic sound as a livewire of impeccably tight musicianship, The Hot Sardines dish out sizzling renditions of tunes like The Andrews Sister’s “Bei Mir Bist Du Schoen,” Rodgers & Hammerstein’s “People Will Say We’re In Love” and have even partnered with actor Alan Cumming, a devout Hot Sardines fan, for a sexy cabaret version of “When I Get Low, I Get High.”

A Sardines’ performance is both an auditory and visual feast of energy, all eight members of the band hitting individual bright notes that fit into the rich flow while the marionette moves of tap dancer AC Lincoln are so oddly cool and hypnotizing that one cannot help but become entranced, tapping one’s own toes if not leaping up and grabbing a dance partner.

Vail Jazz @ Vail Square: The Hot Sardines (photo: Steve Pope)

The Hot Sardines have performed all over the world, notching more than 100 gigs a year, gathering enthusiastic ballrooms full of new fans everywhere they go. Their 2014 self-titled album debuted in the top 10 on the Billboard Jazz Chart and remained there for more than a year and 2016’s French Fries and Champagne debuted at No. 5 on Billboard’s Jazz Traditional Chart, No. 6 on Jazz Current & Top 20 Heatseekers Chart and was No. 1 on both iTunes & Amazon jazz charts. Roll into one of their local NYC gigs and find an audience comprised mostly of millennials, passionate and committed to this energetic collective of swing revivalists, looking every bit like a jazz club might have in 1920. The crowds at their road performances comprise of every generation of jazz fan – from high schoolers to life-long connoisseurs who may have eye-witnessed a performance by Ray Charles or Ella Fitgerald in their younger years.

“Everyone has some working knowledge of this music,” Bougerol said. “They heard it in a commercial. Their grandmother played it. The stories in this music are so universal and timeless. When it’s live, there is something in it. To be in a room [or tent] with a three-piece brass section, there is something new every time.”

As a testament to this and also to The Hot Sardines’ unerring improvisation skills, during their Vail debut last summer, the electricity went out for several minutes, cutting the volume level into a whisper while the band did not miss a stride or a note. Palazzo, whose voice has unbelievable carrying capacity, seamlessly moved from piano to vocals, turning in his seat and projecting his voice out to the crowd as the horn section ramped up its blows. A pair of acoustic numbers took on fresh excitement until the power was restored and the band’s harmony and fiery movement locked smoothly back into full volume.

Not only did this make for truly impressive entertainment, but it also proves Bougerol’s point about the music’s potential for connecting people, which is certainly not a quality possessed by all artists, genres or even subsets of jazz.

“If you think of some of the more recent jazz, it can appeal to a more intellectual experience of music,” Bougerol said. “So it’s not about connecting everyone in the room necessarily. There’s something in this music. Every so often someone will pay us a compliment that reminds me of how special it is. One person came up after a gig and said, ‘while you were playing, I thought of every person I love.’ That was pretty cool.”

Vail Jazz Holiday Dance Party with The Hot Sardines – Dec. 27

The Hot Sardines return to the Vail Valley for the holiday event of the season – a live performance and dance party at The Ritz-Carton Bachelor Gulch on Dec. 27. Doors open at 7:30 p.m. and performance/dance begins at 8 p.m. Tickets are $90 and include two drinks each. For more information, visit the event page or call 970-479-6146.

GET TICKETS HERE.

A tale of two geniosities

Joe McBride does not readily liken himself to Ray Charles. But the two vocalists/pianists do share a few similar qualities, not all of which are completely obvious. Charles, whose nicknames included “The Genius” and “the Father of Soul,” passed away in 2004 at the age of 74, leaving behind a legacy as one of the greatest musicians in history and a catalogue of hits spanning six decades, including “Hit the Road Jack,” “Georgia on My Mind” and “Unchain my Heart.”

While Charles grew up in Florida in the 1930s and McBride was born in 1963 and spent his childhood in Missouri, both artists took an early interest in music and both embraced numerous genres. 

“My first experience with a musical instrument was when I was 4 years old,” McBride says. “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. I cried for three, four days when we left. My parents broke down and bought me a keyboard.”

By the time he was 8, McBride’s church bought him his first piano and his love for music of all varieties continued to grow. As a teenager, McBride contracted a degenerative eye disease that would eventually take his eyesight. But that did not slow the pursuit of his musical dreams.

“There are always greater or lesser abilities. I don’t think because I was blind I concentrated more on music. It’s because I love it,” McBride says. “The skill has to do with who you are as a person. There are a lot of adversities that a lot of people have. It doesn’t have to be physical. It could be someone that grew up in hardship.”

Ray Charles, who, as a child watched his younger brother drown in a laundry tub and then lost his mother as a teenager, certainly faced his share of hardship. Charles took on an interest in the piano around the age of 4, but began losing his eyesight (most people believe from glaucoma) at about that age and was completely blind by the time he was 7. Shortly thereafter, Charles’ mother managed to enroll him into St. Augustine’s School for the Deaf and Blind and his piano skills flourished. He learned how to read and play braille music, performing classical compositions by Bach, Beethoven and Mozart. However, he was more interested in the songs he heard on the radio – jazz, blues and country.

Charles moved to Seattle at the age of 18 and formed his own band. A year later, he notched his first national hit, “Confession Blues” and began arranging tunes for the likes of Dizzy Gillespie and Cole Porter. He moved to Los Angeles and continued making hits and crossover success in numerous genres – gospel, jazz, soul, Latin, blues, country and western.

“Ray was probably the first crossover team,” McBride says. “He came on the scene back in the early 50s, when he pretty much just kept to gospel. He kept the style but changed the message. Then came the R & B and the big band stuff with Count Basie. He even did country with Willie Nelson and Merle Haggard. He did R & B, soul, rock … He influenced a lot of styles.”

Charles, was of course, a major inspiration for McBride as he pursued his own career as a young musician, realizing, like Charles, that he embraced and was influenced by a vast selection of styles.

“Ray was one of many inspirations,” 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 artists. I have so many different influences – from Ray Charles to Beethoven, Jimi Hendrix, Ella Fitzgerald, Green day, Elvis Costello … I just love music. I listen to something different every day. But if I were to call something my home, it’d be somewhere in the middle of jazz and soul.”

After studying at Webster University in St. Louis and then North Texas, McBride spent the next three decades creating and recording music and touring the world as a bandleader. He’s opened for the likes of Whitney Houston, The Yellowjackets and Larry Carlton. He’s recorded nine full-length albums featuring guest musicians such as Carlton, Grover Washington Jr., Dave Koz and Peter White, to name just a few. Like Charles, McBride has learned something from and his sound been shaped by every individual with whom he’s worked. Whether infusing a contemporary pop tune with his own jazz stylings or performing a Ray Charles classic with a smooth and distinctive flare that’s all his, McBride embraces every opportunity to grow.

“I’m more influenced by Ray as a style, the geniosity of being able to cross over and play with so many kinds of musicians,” McBride says. “For me, it’s more about the music … how he influenced everyone else.”

Tribute to Ray Charles featuring Joe McBride Trio

Joe Mcbride Trio – vocalist and pianist Joe McBride, drummer Jamil Byrom and bassist Jonathan Fisher – is joined by special guest Bob Rebholz on saxophone to pay tribute to Ray Charles in the grand finale of the 2018 Vail Jazz Winter Series. The tribute takes place at Ludwig’s Terrace in The Sonnenalp Vail on April 11 with an evening of classics crossing the lines of jazz, funk, R&B and soul. Doors open at 5:30. The first performance begins at 6 p.m. The second seating takes place at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $40. Seating is jazz club style around small tables. Dinner service featuring favorites from the Bully Ranch and a full bar will be available at both seatings. 

Go here for First Seating tickets.

Go here for Second Seating tickets. 

Dave Tull Refines his Fresh Jazz Formula

Dave Tull is a perfectionist. As evidence, consider the reason his recent album was nearly 10 years in the making.

He really wanted to get it right.

“It takes me forever to write something,” says the musician, who has been playing drums since he was 10 years old and added singing to his repertoire when he discovered that the coordination required of both was oddly seamless. “When I deal with other people’s writing, sometimes I wonder if they were thrown off course. I wonder if they took another half hour, if they could have come up with another, much better line. I don’t call something finished until the song is absolutely what it needs to be. When an idea or a chord progression comes to me, it’s very organic. But hopefully there is honesty there, legitimacy and a certain amount of quality. That’s why I take such a long time.”

There’s no question that each track on the recently released “Texting and Driving,” checks all the boxes on that list.

Growing up in Berkeley, Calif., Tull’s journey as a jazz musician began on a well-trodden path.

“I was lucky I was given a lot of great influences, not the least of which were in my household,” he says. “I was paired with great teachers and there were all the right influences along the way to keep me energized. The big band thing came naturally growing as a drummer. The Bay area was a great place to grow up for jazz. I kept taking that next step.”

Before and after his time training at California State Northridge, Tull clocked hours upon hours listening to standards and memorizing solos.

“I would listen to jazz records, sometimes a hundred times. If you have a favorite record, you start memorizing solos and lyrics. It was so natural to me to sing and make up my own solos. I found I was walking down the street and had chord changes in my head. I was making up choruses and melodies,” Tull says.

Still, the drummer was more focused on his chosen instrument and never intended to showcase any vocal talent to actual audiences.

“The singing kind of developed on its own, but never like I would do it in public. It was just an outlet for me playing a non-pitched instrument,” he says. “By the time I wanted to sing tunes in clubs, I was doing gigs. The foundations of drumming were so solidly in place, it wasn’t that hard to add singing on top of it.”

Although he has a stacked resume as a sideman, including contributions on numerous Michael Bublé albums and touring with Barbara Streisand, Tull discovered that he was a natural bandleader. In addition to his keen ear, sense of harmony and uncanny ability to keep beats while creating compositions, Tull realized he possessed a handful of additional traits not always prominent in traditionally trained jazz artists.

“I think there’s a lot more humor in jazz than people realize and I like to find it,” he says. “Sometimes we as jazz musicians take ourselves too seriously. I’ll write any song that occurs to me. It’s not necessarily funny. Sometimes it’s a story song. Sometimes it’s a sad song. I bring the people in with a range of emotion.”

Even traditionalists who have approached Tull’s originals as naysayers have soon been converted.

“I’m a crusader against that attitude we sometimes find in jazz audiences that they don’t want to hear anything new,” he says. “I try to write so they’ll be drawn into the story, or the humor in some cases. If it is well written, they’ll go, ‘I normally don’t like original tunes, but I like this one.’”

Also, let’s not forget that Tull loves the standards as much as the next guy.

“I’m with those people who say ‘they used to do it so good.’ But I don’t see how someone can’t write them how they used to, structure the melody so it builds to that stop with such power,” he says. “I believe the older school audience will embrace my songs as soon as they hear they’re good like the classics. When I perform for a younger audience used to simpler tunes who say, ‘I don’t like jazz, jazz is too much,’ I love winning them over, too.”

The 2018 Vail Jazz Winter Series returns to Ludwig’s Terrace in The Sonnenalp on March 14 with Dave Tull’s CD release party “Texting and Driving.” The evening features two 75-minute performances with Dave Tull, Jeff Jenkins and Ken Walker. Doors open at 5:30 and the first performance launches at 6 p.m. The second seating takes place at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $40. Seating is jazz club style around small tables. Dinner service featuring favorites from the Bully Ranch and a full bar will be available at both seatings.

Click here for tickets to the 6 p.m. seating.

Click here for tickets to the 8:30 p.m. seating.

Composing soundtracks for everyday moments

The every day experiences and encounters that might give the most thoughtful of people a few seconds of cerebral pause inspire Julien Labro to compose sophisticated melodies.

The French-born accordionist describes his song-writing inspiration as something that can happen “anywhere and everywhere.”

For example, I came up with one song while I was on the subway in New York City. I saw a little boy of about 1 or 2 sitting in his stroller. He looked so comfortable and chill. He was probably one of the coolest kids I’d ever seen. At that moment a tune came to me almost like a soundtrack for him,” Labro says, adding that he whistled the tune into his phone in order to record it once he got home.

“Another time, I was waiting on a visa to go on tour in India. I was leaving the next day, but still hadn’t gotten my passport back from the embassy. I got a tracking number for UPS and when I looked it up, the status said, ‘out for delivery.’ Of course, this was the status for hours. Finally, I couldn’t take it anymore and wrote a tune about the experience.”

This number, “Out for Delivery,” does indeed convey the emotion of the situation, the instrumental tune moving from relaxing, liquid refrains to frantic sweeps of high-speed inflection during which Labro lurches forward and backward with the effort of furious button-pushing. The number then glides into a hypnotizing rhythm punctuated by quick drum rolls and sporadic accordion solos. One can almost hear Labro’s inner dialogue moving from calming reassurances such as, “the package will turn up any minute” to the demanding frenzy of “where is it?”

“It’s more about capturing a feeling or a moment. I’m never sure when or what will evoke a feeling or create a memory that I want to capture and share,” Labro says.

The French musician initially met fellow New York City transplant Olli Soikkeli during a concert organized by Frank Vignola during which the Finnish guitarist performed as a guest.

“I was impressed by how well he could play and by how deep his voice is. I mean, have you heard him speak? All joking aside, he is a very talented guitarist,” Labro says.

Both musicians began playing their instruments as young boys, both inspired by the music of Django Reinhardt and The Hot Club of France before branching off into a vast array of genres and touring Europe and then the world with a variety of jazz greats. To name just a few, both have shared the stage with Bucky Pizzarelli and Tommy Emmanuel. Soikkeli has toured with Paulus Schäfer and Cyrille Aimee and Labro has collaborated with Grammy winners Jason Vieaux and Fernando Otero.

After the pair once again crossed tracks a couple of years ago at The Crested Butte Music Festival, they agreed to join forces and have since toured throughout the United States and Finland as well as recording the album Rise & Grind, comprised mostly of Labro originals as well a rendition of Reinhardt’s “Belleville,” Edvard Grieg’s “Danse Norvegienne” and even a steppy and intricate interpretation of Willie Nelson’s “On The Road Again.”

“Even though we met through the gypsy jazz scene, our music has evolved outside of the Django Reinhardt tradition,” Labro says. “Olli and I both also bring our own unique and eclectic backgrounds to the music, which includes classical, jazz, blues, world music, and even metal. As a result, while you may still be able to catch aspects of gypsy jazz, the music is actually deeply rooted in jazz, which provides us with more freedom to improvise and create.”

Don’t miss Julien Labro and Olli Soikkeli Quartet (featuring bassist Eduardo Belo and drummer Nick Anderson) at the 2018 Vail Jazz Winter Series at Ludwig’s Terrace in The Sonnenalp on Feb. 21. The evening features two 75-minute performances. Doors open at 5:30 and the first performance launches at 6 p.m. The second seating takes place at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $40. Seating is jazz club style around small tables. Dinner service featuring favorites from the Bully Ranch and a full bar will be available. For tickets or more information, call 970-479-6146.

 

Behind the outlaw blues

Phil Wiggins and George Kilby Jr. launch 2018 Vail Jazz Winter Series!

When Phil Wiggins and George Kilby Jr. first crossed paths, they did not initially strike up a kinship over music. They originally bonded over the post-apocalyptic novel “Riddley Walker.” After one of them tossed out an off-handed reference to the obscure piece of literature and the other recognized it, they realized they shared an uncanny connection. Later, when paired with their individual euphonious talents, the two quickly discovered that this particular connection would ignite a profound, contagious energy.

“Phil is a virtuoso instrumentalist and I am at best a damn good guitar player,” Kilby Jr. says. “His virtuoso playing is a very important factor to that thing we do. But I bring to the partnership a songwriting ability and a unique way of approaching acoustic blues.”

The “blues” moniker is usually one that both musicians often shy away from when describing their own music, though it is the umbrella under which their sound typically falls.

“That word – blues – is sometimes good and sometimes not so good,” Kilby Jr. says. “Sometimes people have preconceived notion of what that is. Our thing is about writing great music and performing it.”

A native of Washington D.C., Wiggins took up the harmonica as a young boy. By the time he was a teenager, his fiery playing capabilities had gained him such notoriety that he was sitting in with the likes of blues icons Johnny Shines, Sunnyland Slim, Sam Chatmon, Robert Belfour and Howard Armstrong. He also caught the attention and admiration of infamous guitarist John Cephas, who invited the harmonica prodigy to form a duo. Throughout the ensuing three decades, the two performed on every continent other than Antarctica and in historic venues such as The White House, New York’s Carnegie Hall, London’s Royal Prince Albert Hall and the Sydney Opera House. They recorded more than a dozen albums and gleaned numerous blues awards. Since Cephas’ death in 2009, Wiggins has shared the stage with a gamut of other famed musicians, from guitarist Rev. John Wilkins to vocalist Eleanor Ellis. He’s appeared in films and has imparted his skills to countless young harmonica players.

Also, just last year, Wiggins joined the ranks of Cephas, B.B. King, Pops Staples, Mavis Staples and John Lee Hooker in receiving the National Heritage Fellowship by the National Endowment of the Arts. Wiggins is only one of three harmonica players to earn this honor in the Fellowship’s 35-year appropriation. Pinetop Perkins is another standout recipient of the Fellowship and it was aside the famed pianist that Kilby Jr. shared the stage and collaborated on a number of recordings over the years.

Born in Alabama, Kilby Jr. was drawn to the guitar and to “rough-cut American roots music” at a young age. It has since been his aim to produce his own brand of it, all while turning colorful life chapters studying at Princeton University, busking in Paris and recording or performing with an impressive variety of big name artists, including The Beach Boys, Henry Butler and Railroad Earth.

After fusing their talents many times on stage over the last seven years, Kilby Jr. and Wiggins joined forces to create and produce their first full-length album, which is set to be released on March 15.

Kilby Jr. describes the recording as “not what most blues fans would come to expect” – a collection of songs that evoke deep emotions as well as an intense brand of social consciousness.

When asked to name a highlight so far of his partnership with Wiggins, Kilby Jr. recounts a recent performance for an auditorium of young students in Loveland, where the duo are slated to return for a festival honoring Martin Luther King Jr. before their Vail Jazz performance.

“We were doing a program on racism and the blues and were playing our song, “Black Man on the Corner.” It refers to Eric Garner, who was on the corner selling cigarettes when he was killed,” Kilby Jr. says. “We did the concert with the kids … I’m getting choked up thinking about it. We asked them to sing along. These kids were in 8th grade, probably most of them didn’t know who Eric was. Then we heard them. They were all singing. It was incredible. ”

Don’t miss Phil Wiggins + George Kilby Jr. at the 2018 Vail Jazz Winter Series at Ludwig’s Terrace in The Sonnenalp on Jan. 17. The evening features two 75-minute performances. The first seating takes place at 6 p.m. (doors at 5:30 p.m.) and the second seating at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $40 in advance. Seating is jazz club style around small tables. Dinner service featuring favorites from the Bully Ranch and a full bar will be available.

For tickets or more information, click here.

Celebrate jazz this Colorado Gives Day

On Tuesday, December 5th, Vail Jazz will join together with more than 40 nonprofits in the Vail Valley in a celebration of philanthropy called Colorado Gives Day. 

This day marks a 24-hour period in which supporters, beneficiaries, fans and followers of Colorado nonprofits give back to the organizations that they love most by making a tax-deductible donation. Plus, your gift will be amplified by a $1 million Incentive Fund, making your gift go even further.

Through educational programs that inspire more than 1,400 children to deepen their understanding of jazz, and 75+ performances that showcase the world’s most virtuosic jazz musicians, Vail Jazz passionately shares the rich history and exciting of future of jazz on an international scale.

This Colorado Gives Day, consider making a year-end contribution to Vail Jazz in support of the artistic impact that Vail Jazz makes on the cultural landscape of the Vail community, and the future of the genre.

Take a moment to hear Founder and Artistic Director Howard Stone speak about the importance of jazz in our community.
 
We are proud to share a few highlights of our work with you, accomplished over the past 365 days:
» Howard Stone and Vail Jazz educational programs were honored by DownBeat Magazine as the recipient of the 2017 Jazz Education Achievement Award, one of the industry’s most prestigious accolades.
» Vail Jazz presented 46 free performances, welcoming nearly 9,000 community members and visitors, and sold out 23 of 37 ticketed performances.
» Performances featured internationally celebrated jazz artists from 21 states and 12 countries, with over 40 Grammy nominations and 5 awards.
» Vail Jazz Goes to School celebrates its 20th Anniversary! Tony Gulizia and his sextet of master educators and instrumentalists have enriched the lives of more than 20,000 children since the program began in 1998.
» Alumni of the Vail Jazz Workshop released nearly 20 jazz albums in 2017, and appeared as band members, guest artists and soloists on countless other.
Make your gift to Vail Jazz today, which directly supports jazz education, world-class performing arts, and America’s quintessential art form. We are deeply appreciative of your contribution.
If you need assistance making your donation or have questions, please call Vail Jazz at 970.479.6146 and ask to speak with Owen Hutchinson.

Piano talent, unbridled

Continuing a vibrant Cuban dynasty, Chuchito Valdés closes the 2017 Vail Jazz Winter Series

If any artist were to enter the world with music already in their blood, it would be Chuchito Valdés. Born and raised in Havana, Cuba, Chuchito, like his father, the great Chucho Valdés and grandfather, Bebo Valdés, possessed an uncanny knack for playing the piano. Nearly 50 years later, he remains inseparable from the instrument. When not touring or performing, not a day goes by in which Chuchito isn’t thirsty for some time on the keys.

Bebo Valdés was one of the most prominent musicians in Cuba during the 1940s and ‘50s before relocating (for political reasons) to Sweden in the 1960s and teaching his son, Chucho Valdés, a few secrets on the piano from the age of 3 onward. Chucho, who is about to celebrate his 75 th birthday, is considered one of the most influential figures in Afro-Cuban jazz and has won six Grammy awards and three Latin Grammies.

After early coaching from his father, Chuchito’s foray into the profession began after attending the musical school of Cuban legend Ignacio Cervantes, whom Chuchito names along with his father and grandfather as an inspiration. He began performing at age 16 with Cuban vocalists Pello el Afrokan, Anibel Lopez and Jamaican-born trumpeter/vocalist Bobby Carcasses. After his father left Irakere, the iconic Cuban jazz ensemble he’d founded, Chuchito replaced him as leader and arranger.

Eventually, Chuchito launched his own band, composing spicy Afro-Cuban jazz numbers and earning one Latin Grammy nomination after another, beginning in 2002. He continues touring the world, performing fast-paced, feel-good numbers, most recently from his 2015 release, Horizontes.

Freshly landed in the U.S. for a round of gigs across the Midwest, Chuchito’s first comment during a phone interview is a warning that his English is not so good. But his passion is crystal clear.

“My inspiration is the music,” he says. “For me, the music is everything.”

Chuchito’s style is distinctly Afro-Cuban in nature, capturing the spirits of several unique genres cultivated throughout the history of his native country, including Son, Cuban Timba, Danzon and Guaguanco. His sizzling harmonies also take on flavors of Caribbean, bebop and cha-cha- cha. The foundation of his musical artillery, however, is classical.

“My teacher, he told me I need play first classical music and later jazz,” Chuchito says. “For the jazz, the piano is muy importante to everything.”

What’s it like to witness Chuchito Valdés on stage? Picture this: He’s so enraptured in the sound emanating from the keys he’s furiously slapping that his hands become a blur. Without a microphone, he’ll call out and sing throughout his set. His fingers not skipping a beat, he’ll sporadically launch onto his feet and sit back down as if his own rhythms have him attached to marionette strings. His head bobs and rolls with every note. If anything is obvious – besides the ecstatic nature of his performance – it’s that Chuchito takes his role in the Valdés musical dynasty seriously.

“My grandfather prepared the future for my father and my father for me. The sound is different but it’s still the style, the Cuban music,” he says. “The future because of me is one direction on the piano – different sounds but with my [father and grandfather’s] education.”

When he’s not touring the world, Chuchito resides in Cancún, Mexico, with his family. There is no such thing as a day off for him when it comes to the piano, because that would be like a day without food. He says that playing to him is like breathing.

“Every day, every day, I play every day,” he says. “If I no play … I no happy.”

Catch Cuban pianist Chuchito Valdes in the final performance of the 2017 Vail Jazz Winter Series at Ludwig’s Terrace in The Sonnenalp on April 13. The evening features two 60-minute performances; the first seating takes place at 6 p.m. (doors at 5:15 p.m.) and the second seating at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $35 in advance. Seating is jazz club style around small tables. Dinner service and a full bar will be available at an additional cost. For tickets or more information, click here or call 888-VAIL- JAM.

A cool combo of bass and vocals

Award-winning Australian artist pays tribute to Peggy Lee at Vail Jazz Winter Series

Nicki Parrott probably never would have discovered her vocal talent if not for the late, great Les Paul. Parrott had been a Monday night mainstay with Paul at New York City’s Club Iridium when one evening he stopped her suddenly in the middle of a set and suggested she start singing.

“He stopped me in the middle of a bass solo on stage and said, ‘is that all you’re going to do is play the bass?’ I had never sung in public,” Parrott says. “But Les was like that. He liked to put people on the spot and make them think on their feet. He liked having a female vocalist on stage.”

Parrott launched into Ella Fitzgerald’s “Deed I do” that night and her vocal career was born.

“He pressured me to do it, but then I fell in love with it,” Parrott says. “He seemed to have a lot of faith. You never knew what to expect with Les. He was always in the moment. He thought it was funny to catch me in the middle of a bass solo. He loved to be funny. He was all about the show.”

From composing, recording and collaborating on nearly 30 albums to performing in jazz festivals across the world, playing Broadway ensembles to winning numerous awards and sharing the stage with Clark Terry, Patti Labelle, Bucky Pizzarelli and countless other greats, Parrott knows a thing or two about “the show.”

Hailing from New South Wales, Australia, Parrott grew up constantly listening to classical music and started playing piano before she was 5 years old. She added the flute to her repertoire a few years later, “got serious and had some lessons,” then joined concert bands at school. Her older sister started bringing home Louis Armstrong and Charlie Parker records when she was a teenager and both girls began cultivating a love for jazz. Playing clarinet and saxophone, her older sister started a band and asked Parrott if she’d be interested in playing bass.

“I wanted to be part of everything, so I got a bass from school. It had only three strings on it, but I didn’t think that as a problem at the time,” Parrott recalls. “I could read music and transcribe. I did fall in love with jazz and the bass pretty quickly.”

By the time she was 16, Parrott had moved to Sydney to study jazz and began touring Australia. One of the compositions for her debut album with her sister landed her first place in Jazz Action Society’s Annual Song Competition. Then The Arts Council of Australia sent her to New York to study with famed bassist Rufus Reid in 1994 when she was 18. By 2000, she had caught Les Paul’s eye and ear and joined the Les Paul Trio.

Of her many career achievements to date, it’s her role in the guitarist’s legacy that she names first as a standout highlight.

“We played the 90th birthday of Carnegie Hall – to be part of that was a real honor. But every Monday night with Les Paul was a new show. It was a very, very interesting gig. Any chance you get to work with jazz legends like Clark Terry and Skitch Henderson, all of these wonderful musicians. Now they’re not here, but that I got some time talking with them was really special.”

As far as honoring legendary artists, Parrott loves putting her personal stamp on Peggy Lee tunes. Lee’s “Fever” has been a bastion of her set list for years, dating back to her first gigs after Paul summoned her vocal talent.

“She was one of the first voices that really struck home for me,” Parrott says. “I started to try to find new ways to do some of her classics. What I found interesting about her is how much of a musician she was. She was a composer – she composed a lot of songs – not many singers compose their own songs. She was a great performer with a very unique, sassy style. I always loved her voice. She had a wonderful delivery, with this cool, understated way of singing.”

As far as what to expect for her upcoming Tribute to Peggy Lee on March 2, Parrott says the classics aren’t the only tunes in the lineup.

“I like to have a varied repertoire. The audience is going to know some songs, but they won’t know every song. I want to enlighten them about facts and songs they might not have heard. Above all, I want people to enjoy themselves.”

Don’t miss Nicki Parrott’s Tribute to Peggy Lee for the 2017 Vail Jazz Winter Series at Ludwig’s Terrace in The Sonnenalp on March 2. The evening features two 60-minute performances; the first seating takes place at 6 p.m. (doors at 5:30 p.m.) and the second seating at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $35 in advance. Seating is jazz club style around small tables. Dinner service and a full bar will be available. For tickets or more information, visit vailjazz.org or call 888-VAIL-JAM.

 

Brazilian guitarist specializes in ‘putting music into your heart’

Diego Figueiredo teams up with Chiara Izzi for Vail Jazz performance

Even before he starts strumming the guitar, a warm and inviting vibe emanates from Diego Figueiredo. Maybe it’s his large, disheveled hairdo of tight curls or his genuine and nearly constant ear-to-ear smile. Maybe it’s the prominent fingernails on his right hand that serve as natural guitar picks and immediately identify him as someone who not only plays music, but embodies it.

Once the Brazilian strikes his first note – slowly and thoughtfully passing each finger over its targeted string – his allure takes on a level of near-hypnosis.

Add the enchanting voice of Italian singer Chiara Izzi to the mix and the swoon is complete.

Introduced to the guitar and to Brazilian samba music at a very young age, Figueiredo has fused the traditional sounds of his mother country with his own infectious style. He has produced 23 albums and performed on major stages throughout the world, including the Montreux Jazz Festival, the Hong Kong Jazz Festival, the Copenhagen Jazz Festival, and of course, the Vail Jazz Festival.

Although he’s on the road most of the year, back home in Brazil, where he’s considered one of the greatest guitarists ever born, Figueiredo is always freshly inspired for new arrangements.

“I feel when I’m at home, I’m completely relaxed. I get the old vinyls that my father gave me when I was nine or 10 years old and listen to the traditional Brazilian samba. It is the base of my heart and my style. I can get more ideas for this and when I’m traveling, I discover things that I add to it,” he says.

Of his many performances in Vail over the years, the 36-year-old once performed with award-winning French vocalist Cyrille Aimée, to whom he likens Izzi’s tone and style. A Montreux Jazz Festival Vocalist winner (2011), Izzi’s vocal approach blends jazz, pop and world music.

“Two years ago I met her in New York,” Figueiredo says of Izzi. “She has a very nice accent in jazz for Latin music and can sing in English, Italian, Spanish and Portuguese. I love when she sings in Spanish, because she has the balera, the strong Latin accent. I grew up with my mom and grandmother who loved the balera and I have a lot of reference to this style. She sings hundreds of traditional Brazilian songs, the old ones. She can sing anything. We have played many concerts together and are preparing a special repertoire for Vail.”

In addition to their very unique take on jazz standards, Figueiredo and Izzi will perform some original Brazilian Samba tunes as well as Bossa nova and a few other rare treats at their Feb. 2 performance in Vail.

Although Figueiredo has performed and recorded with musical icons throughout the world – including Al Di Meola, John Scofield , Yellowjackets, Hermeto Paschoal and Geraldo Azevedo to name a few – and played for massive audiences, it’s the intimate shows that he appreciates the most.

“I am more comfortable in small venues,” he says. “Sometimes I play New York for people who really know and really understand jazz, sometimes in places [where] there are all kinds of people – people with families and dogs, people who like country and rock and come for fun, not for the music. But everywhere, when people stop to listen, their reaction is the same.”

Among the most memorable reactions Figueiredo has elicited from a crowd was at a performance in the small town of Rexburg, Idaho a few years back.

“I played for 800 people in a nice theater and after there was a standing ovation for 10 minutes,” he recalls. “Signing the CDs, there was a huge line of 200 people. Moments like that make me more strong. Even at small concerts for 50 people, the reaction is so nice and so close. I’m very happy when I can see how I put my music in their hearts.”

Brazilian guitarist Diego Figueiredo and Italian vocalist Chiara Izzi perform at the 2017 Vail Jazz Winter Series at Ludwig’s Terrace in The Sonnenalp on Feb. 2. The evening features two 60-minute performances, the first seating takes place at 6 p.m. (doors at 5:30 p.m.) and the second seating at 8:30 p.m. (doors at 8 p.m.) Tickets to each performance are $35 in advance. Seating is jazz club style around small tables. Dinner service and a full bar will be available.

 

For tickets or more information, click here or call 888-VAIL-JAM.