Celebrating its 10th anniversary, the Monty Alexander Jazz Festival returns to Easton this Labor Day weekend bigger and better than ever!

The energetic, ever-swingin’ festival features an exciting lineup, boasting some—if not the—best jazz musicians in the country, including guitarist/vocalist Allan Harris, pianist Matthew Whitaker, pianist Cyrus Chestnut, and the ever-phenomenal headliner, Monty Alexander.

The festival runs Friday, August 30th through Sunday, September 1st, with concerts at the Avalon Theatre in Easton, plus a Sunday morning brunch at Hunter’s Tavern, located at the Tidewater Inn.

Vocalist, guitarist, bandleader, and composer, Allan Harris kicks things off Friday at 8 p.m. with Nat King Cole at 100—a fitting tribute considering the Miami Herald referred to Harris as an artist blessed with “the warmth of Tony Bennett, the bite and rhythms sense of Sinatra, and the sly elegance of Nat ‘King’ Cole.”

“Jazz is a great expression of what we are,” Harris says, adding that he’s also a fan of the freedom within the genre. “Every night when we do a song, we do it differently. We keep the template of what it is, but try to stretch it a little bit.”

Saturday’s program begins with a free community concert, starring jazz guitarists Randy Napoleon and Dan Wilson.

Rooted in jazz tradition, Napoleon is widely-known as a forward-thinking musician and one of the most sought-after guitarists in New York. In addition to leading his own trios and other small combos, Napoleon tours with legendary singer/pianist Freddy Cole. Guitarist George Benson calls him “sensational.”

From a young age, Wilson knew he wanted to pursue a career in music. Though his style is jazz-focused, it certainly draws influence from a wide variety of genres. He’s been touring nationally and internationally with three-time Grammy nominated jazz organ legend, Joey DeFrancesco. He describes the human connection between the performer and audience that’s created during a live show as “second to none.”

The duo’s performance, titled Guitars, Without Compromise, begins at 11 a.m.

Matthew Whitaker, who made his debut on the Festival stage last year at the Young Artist Showcase, returns—this time around in the Saturday matinee spot!

Blind since birth, Whitaker began performing at the age of three, when his grandfather gave him a small Yamaha keyboard.

By 15, he was named a Yamaha Artist, becoming the youngest musician to join this group of notable musicians. Hastily making a name for himself in the jazz world, the now 18-year-old was recently named one of seven rising stars for 2018 by USA Today network’s 201 Magazine.

Catch Whitaker in An Exciting Debut, An Eagerly Awaited Return at 2 p.m.

The Festival’s eponymous headliner takes the Avalon stage at 8 p.m. for what will undoubtedly be a lively celebration of his 10 years at the helm of the Monty Alexander Jazz Festival.

Considered one of the top five jazz pianists ever, Alexander’s musical expression combines elements of the blues, gospel, calypso, and reggae. He’s renowned for his vibrant personality, magnetic charisma, and breathtaking talent.

Tickets for Monty Alexander Celebrates the 10th Anniversary will sell out—and fast!

Unlike previous Festivals, this year’s Jazz Brunch will be held on a Sunday, which is great news for jazz enthusiasts as that means they won’t have to wait as long between Saturday’s showstopper and Sunday’s matinee for live music.

From 10 a.m. to noon, attendees can indulge in impeccably crafted brunch dishes while listening to the musical offerings of Wilson and Napoleon—the jazz guitarists featured at Saturday’s free community concert. Reservations via Hunter’s Tavern are required.

Closing out the weekend is pianist Cyrus Chestnut, performing Where Gospel Meets Jazz at 2 p.m. on Sunday, September 1st.

Born in Baltimore—his father the organist at his local church—the composer and producer says he’s always believed in the deep connection between jazz and God. His works unabashedly demonstrate this concept, seamlessly blending facets of jazz with elements of gospel, R&B, and classical genres.

Weekend passes for the Monty Alexander Jazz Festival, along with individual show tickets, are on sale now.

Over the last decade, the Festival has grown from a modest venture—comprising two performances by saxophonist Grace Kelly on its opening night and Alexander the following evening—to a three-day jazz extravaganza, featuring outstanding, first-class talent from across the nation.

“The response has been exceedingly enthusiastic,” says Festival Producer, Al Sikes.

Not only has the amount of shows presented increased, but the audience continues to expand rapidly, too. An unwavering optimist, Sikes admits with a hearty laugh, that he imagined bringing great jazz to the area would excite the community. Still, he’s been pleasantly surprised with the Festival’s ever-growing success.

“I’m just delighted at where we are,” he adds.

The Monty Alexander Jazz Festival is partially underwritten by the Maryland State Arts Council and the Talbot County Arts Council. Jazz on the Chesapeake is a program of Chesapeake Music. For more information or to purchase tickets, visit Jazzonthechesapeake.com or call 410-819-0380.

Infectious melodies, understated rhythms, and harmoniously rich tunes—the Monty Alexander Jazz Festival is adding a little samba to its Saturday lineup.

The matinee show, on September 1st, will highlight an extraordinary range of American and Brazilian musicians, featuring tenor/alto saxophonist Harry Allen.

For those unfamiliar with bossa nova jazz, think of the 1965 Grammy Award-winning Record of the Year “The Girl from Ipanema”. The worldwide hit by American saxophonist Stan Getz and Brazilian guitarist João Gilberto perfectly encapsulates the fusion of American jazz and Brazilian samba, which it inevitably popularized across the globe after its release.

“[Getz] was one of the greatest jazz saxophonists ever and probably the greatest technical saxophonist ever,” says tenor/alto saxophonist Harry Allen. “He had an incredible sound and melodicism and that’s why he was chosen to record with some of the best Brazilian artists at the time.”

Allen refers to Getz as one of his heroes, so it’s only fitting that his performance at the Avalon be a tribute to this pioneer of modern jazz. He’ll be joined on stage by vocalist Maucha Adnet, drummer Duduka da Fonseca, and vibraphonist Chuck Redd. More specially, their “Salute to Stan Getz” will be an homage to the Getz/Gilberto collaboration of which “The Girl from Ipanema” was the first track on the 1964 album.

With more than thirty recordings to his name, Allen has been called the “Frank Sinatra of the tenor Saxophone,” renowned for his inventive, lyrical tone that’s rooted in tradition.

“From the 1930s through the 1950s, saxophonists strived to get a beautiful mellow sound,” he says. “And so, in a way, I’m a throwback because there aren’t many saxophone players today who prefer that older approach to sound.”

Allen’s admiration of jazz’ early sound even extends into the instruments he uses—a saxophone and mouthpiece that were made in the 1930s. According to Allen, his goal isn’t to recreate the sound of that era, but rather incorporate that subtle, more melodic approach in his own playing.

Similarly, vocalist Adnet, drummer da Fonseca, and vibraphonist Redd are deeply familiar with the origins of bossa nova jazz, each having a strong connection to the origins of this music. Both Adnet and da Fonseca worked with iconic composer, Antônio Carlos Jobim, who played piano on the Getz/Gilberto album. And Redd played drums for Charlie Byrd, who was one of the key jazz musicians, along with Stan Getz, to bring Brazilian music to the United States in ‘60s.

A native of Brazil, Adnet spent spent 10 years performing and recording with Jobim before he passed away in 1994. While touring with him, she visited America for the first time, eventually moving to New York City in 1987.

With her plush, soulful tone, it’s unsurprising that Adnet has performed with a plethora of prominent figures in both worlds of jazz and Brazilian music, including Claudio Roditi, Herbie Mann, the late Oscar Castro Neves, and the Carnegie Hall Jazz Band. Critics continually praise the alto for her ability to sing with seemingly effortless intensity.

“A Salute to Getz” is sure to provide the ideal showcase for Allen’s trademark tone and Adnet’s rich and sultry voice. Add to that da Fonseca and Redd, and you’ve got a delightfully rhythmic, sweetly swingin’ treat.

For more information or to purchase tickets, visit Jazzonthechesapeake.com or call 410-819-0380. The Monty Alexander Jazz Festival is partially underwritten by the Maryland State Arts Council and the Talbot County Arts Council. Jazz on the Chesapeake is a program of Chesapeake Music.

 

At just 23 years old, Bebop darling Veronica Swift is rapidly gaining recognition as one of today’s best young jazz singers.

And she’s got the accolades (and awards!) to prove it, including a second-place win at the prestigious 2015 Thelonious Monk Jazz Competition and stage credits, like a solo performance at NYC’s Tribeca Performing Arts Center in 2016, followed by a headlining spot at the Telluride Jazz Festival.

“She’s really taken off,” says Al Sikes, Chesapeake Music’s Jazz Committee Chairman (and producer of the Monty Alexander Jazz Festival).

From swingin’ to soulful, Swift’s flawless vocals naturally demonstrate her passion for, and innate understanding of, jazz standards—a talent that translates into mesmerizing performances.

Catch Swift on her rise to the top, when she shares the stage with renowned jazz vibraphonist Chuck Redd on Saturday, May 12th. The show, Jazz Impressions of Wonderful Melodies, takes place at 8 p.m. at the Academy Art Museum in Easton.

The performance promises to be one of Jazz on the Chesapeake’s most interesting and lively shows yet. In addition to Swift’s guest appearance, Jazz Impressions will feature some of New York’s best talent—aptly dubbed for this performance the “New York All-Stars”—pianist Larry Fuller, saxophonist Will Anderson, and bassist David Wong.

A familiar face to fans of the annual Monty Alexander Jazz Festival, Redd is a seasoned performer on the vibraphone and drums. In addition to his musical finesse, Redd is the mastermind behind many of the makeshift ensembles that grace Easton’s jazz scene, often at the behest of Sikes.

According to Sikes, Redd’s ability to seamlessly integrate musicians, who sometimes have little experience playing together, is impressive.

“I tell him I’ve got an open date, we’ll discuss themes, and he’ll pull it together,” he says. “Chuck’s never failed.”

Yet, how do a handful of musicians who’ve barely met produce such a wonderful and seemingly well-rehearsed performance?

“They have a language they share that transcends the technical explanation,” says Sikes, adding that familiarity with the Great American Songbook is key.

Along with jazz fundamentals, another essential element that provides these musicians the ability to perform together with little practice time is jazz’ improvisational nature, explains Sikes.

Still, it remains a marvel to witness on any occasion.

Unlike other Jazz on the Chesapeake concerts, Sikes approached Redd with the suggestion of adding Swift to his “All-Star” lineup.

Sikes first saw Swift perform more than a decade ago, when the then 10-year-old joined her parents—her father, the late bebop pianist Hod O’Brien, and mother, vocalist Stephanie Nakasian—on stage in Western Maryland.

Last summer, he caught a performance of hers in New York, which demonstrated Swift’s mastery of traditional swing and left Sikes determined to bring her to Easton.

And while Redd and Swift have yet to share the stage, Sikes isn’t nervous. If anything, he knows it’ll give to a more exciting, fiery performance.

“The band will swing and the vocalist will soar,” he says. “What a wonderful combination.”

Presented by Jazz on the Chesapeake, a program of Chesapeake Music, Jazz Impressions of Wonderful Melodies will begin at 8 p.m. Saturday, May 12th, at the Academy Arts Museum in Easton. General admission tickets are $40. To purchase, call 410-819-0380 or visit Jazzonthechesapeake.com.

At just 23 years old, Bebop darling Veronica Swift is rapidly gaining recognition as one of today’s best young jazz singers.

And she’s got the accolades (and awards!) to prove it, including a second-place win at the prestigious 2015 Thelonious Monk Jazz Competition and stage credits, like a solo performance at NYC’s Tribeca Performing Arts Center in 2016, followed by a headlining spot at the Telluride Jazz Festival.

“She’s really taken off,” says Al Sikes, Chesapeake Music’s Jazz Committee Chairman (and producer of the Monty Alexander Jazz Festival).

From swingin’ to soulful, Swift’s flawless vocals naturally demonstrate her passion for, and innate understanding of, jazz standards—a talent that translates into mesmerizing performances.

Catch Swift on her rise to the top, when she shares the stage with renowned jazz vibraphonist Chuck Redd on Saturday, May 12th. The show, Jazz Impressions of Wonderful Melodies, takes place at 8 p.m. at the Academy Art Museum in Easton.

The performance promises to be one of Jazz on the Chesapeake’s most interesting and lively shows yet. In addition to Swift’s guest appearance, Jazz Impressions will feature some of New York’s best talent—aptly dubbed for this performance the “New York All-Stars”—pianist Larry Fuller, saxophonist Will Anderson, and bassist David Wong.

A familiar face to fans of the annual Monty Alexander Jazz Festival, Redd is a seasoned performer on the vibraphone and drums. In addition to his musical finesse, Redd is the mastermind behind many of the makeshift ensembles that grace Easton’s jazz scene, often at the behest of Sikes.

According to Sikes, Redd’s ability to seamlessly integrate musicians, who sometimes have little experience playing together, is impressive.

“I tell him I’ve got an open date, we’ll discuss themes, and he’ll pull it together,” he says. “Chuck’s never failed.”

Yet, how do a handful of musicians who’ve barely met produce such a wonderful and seemingly well-rehearsed performance?

“They have a language they share that transcends the technical explanation,” says Sikes, adding that familiarity with the Great American Songbook is key.

Along with jazz fundamentals, another essential element that provides these musicians the ability to perform together with little practice time is jazz’ improvisational nature, explains Sikes.

Still, it remains a marvel to witness on any occasion.

Unlike other Jazz on the Chesapeake concerts, Sikes approached Redd with the suggestion of adding Swift to his “All-Star” lineup.

Sikes first saw Swift perform more than a decade ago, when the then 10-year-old joined her parents—her father, the late bebop pianist Hod O’Brien, and mother, vocalist Stephanie Nakasian—on stage in Western Maryland.

Last summer, he caught a performance of hers in New York, which demonstrated Swift’s mastery of traditional swing and left Sikes determined to bring her to Easton.

And while Redd and Swift have yet to share the stage, Sikes isn’t nervous. If anything, he knows it’ll give to a more exciting, fiery performance.

“The band will swing and the vocalist will soar,” he says. “What a wonderful combination.”

Presented by Jazz on the Chesapeake, a program of Chesapeake Music, Jazz Impressions of Wonderful Melodies will begin at 8 p.m. Saturday, May 12th, at the Academy Arts Museum in Easton. General admission tickets are $40. To purchase, call 410-819-0380 or visit Jazzonthechesapeake.com.