It’s been a wild year in the life of the planet and the nation, and we can anticipate that 2025 will not likely bring us more calm or cleaner air. I am ending 2024 with a very personal listing of my favorite gigs of the year and some great expectations for 2025. This “Epilogue/Prologue” will also be my final edition for Jazz Police. I am finding that a monthly column, especially one that allows little leeway for timing, does not fit my current haphazard schedule. I do plan to continue haphazard contributions—with a promo, review, photos when the spirit moves.
Looking Back at 2024—Memorable Performances
I certainly did not get to every Twin Cities venue or every jazz gig in the past year, and for one reason or another, I know I missed some truly great performances (e.g., Herbie Hancock). My original list was three times longer—but it was a good exercise in restraint and musical reflection to cut it down to a short list of the performances that will linger well into the next year.
First, jazz festivals. I used to go annually to Detroit and often to Healdsburg (CA), but pretty much limit myself to two gems of the Midwest: Late June always brings us the Twin Cities Jazz Festival, this year the first not led by founding Executive Director Steve Heckler. New Exec Dayna Martinez made the transition seamless and stunning in the array of musicians, the range of jazz, and the variety of venues, centered again at St Paul’s Mears Park but extending throughout the metro (June 21-22). What is becoming a traditional “preview night”, Thursday (June 20) featured a double-header in the Dunsmore Room at Crooners, with the Steve Kenny Quartet (Kenny on trumpet, Kavy Kaviraj on piano, Ted Olsen on bass, Abinnet Berhanu on drums), followed by a too-rare appearance of Adam Linz’ Le Percheron (Adam on bass, Levi Schwartzberg on vibes, Bryan Murray on sax, Cory Healey on drums). It was an exciting kickoff to Jazz Fest, which had many bright moments throughout, not the least of which was pianist/vocalist Kandace Springs and her trio (a late addition after violinist Regina Carter had to cancel). And Kandace recruited Apple Valley High School alum, now Juilliard student Sophia Kickhofel, to join the trio for a couple tunes on alto sax. It was a busy festival for Sophia, who led her own band during the weekend and joined Claudia Medina’s Women in Jazz Project ensemble. The other headliners at Mears Park—Stefon Harris with Blackout, Karrin Allyson, and Joe Lovano’s quartet with stellar pianist Kenny Werner and one-time Jazz Fest Artistic Director, fiery drummer Francisco Mela—more than met expectations. (And the weather cooperated as well!) And there was no shortage of brilliant performances from local talents across venues.
And as a native of the Hawkeye state, I can’t omit comments about the 2024 Iowa City Jazz Festival (July 5-6). It’s almost a Minnesota jazz event—just 4-5 hours south of the Twin Cities, it usually draws a strong contingent of Minnesota fans for two days of main stage headliners and side stage up-and-comers. Day One on the Main Stage featured guitar master Fareed Haque with his “Funk Brothers,”more of a hypnotic East Meets West with the addition of harmonium and a blending of American funk and classical Indian rhythms. The crown jewel of Friday night was the set from the Iowa Women’s Jazz Orchestra, led by guest trumpeter Ingrid Jensen—the IWJO is filled with outstanding unknowns, and Jensen of course is a force of her own. Day two had Minnesota connections: Veteran vibes man (and recently retired director of jazz at St Olaf) Dave Hagedorn joined the Blake Shaw Biggish Band, led by bassist/vocalist Shaw and featuring some of Iowa’s finest; the Emiliano Lasansky Quartet featured Twin Cities native (now LA-based) pianist Javier Santiago. Bassist Lasansky and Javi met at the Herbie Hancock Jazz Institute (formerly the Monk Institute) graduate program at UCLA. Drummer and often-comedian Matt Wilson brought his new “Good Trouble” ensemble with veterans pianist/vocalist Dawn Clement and tenor saxman Jeff Lederer, rising star bassist Mimi Jones, and young up-and-comer Anissa Rush on alto. Good Trouble is well named, as they are truly good, and Wilson is always “trouble” with such antics as blowing (or was it kissing) on the snare. Saturday night’s grand finale featured acclaimed alto saxophonist Lakecia Benjamin and her band, Phoenix, featuring the great EJ Strickland on drums. This is one of the most exciting ensembles I have seen/heard recently, and seeing the energy was as important as hearing it
Club and concert hall performances this year of particular note: The Tomeka Reid Stringtet appeared at the Walker (March 2) on the always-edgy Performance Series. Cellist/composer Reid assembled a 15-piece orchestra featuring only strings plus 2 percussionists, combining her New York and Chicago-based ensembles into one glorious, mostly free improvising band conducted by Taylor Ho Bynum. At Jazz Central, New York saxophonist JD Allen came to town to perform with a locally enhanced (March 8), a high energy outing with Jeff Bailey and Abinnet Berhanu in front of an overflowing crowd. The fare was standards turned inside-out, and Allen not only displayed energy to match his wide-reaching tenor but eagerly egged on his partners. Berhanu must have left scorch marks on his kit.
Certainly one of the hottest piano talents in town these days, Kavyesh Kaviraj paid homage to hero Ahmad Jamal at The Dakota (March 25). And as did Jamal, he assembled a sympathetic trio with Anthony Cox on bass and Kevin Washington on drums. The set included Jamal gems from his trio and final solo recordings, originals and arrangements, including Kavy and company on a stunning run through Bill Evans’ “Emily.” Back at The Dakota, Kavy made an even stronger impression a few months later (July 12) with the release of his debut album, Fables, an evening that would best be described as musical theater rather than a jazz gig. Kavy himself is more than a pianist, but a composer, a bandleader, a teacher, choreographer, and cultural ambassador, and all of his skills were on display this evening. Starting off with a ceremonial introduction that included his parents (visiting from India) and younger sister (now also based in the Twin Cities), Kavy took us on a journey from his early years living in Oman to his efforts to combine the study of music and engineering in India to his emigration to America that landed him first at McNally Smith in St Paul, then Berklee in Boston, and back to Minnesota. The spoken and visually illustrated commentary (plus some traditional Indian dance) introduced each of his “Fables”, adding even more dimension to his storytelling than the music alone—and the music alone is fabulous storytelling.
I have long enjoyed multi-lingual vocalst/songwriter Cyrille Aimee, particularly her light swinging style and engaging stage presence. However, her show at The Dakota (March 19) was not only the most enjoyable of any I’ve heard from her to date, it was one of the best vocal performances I’ve witnessed. Period. Cyrille doesn’t have a big voice but she fills the club space with a sincere high energy delivery. She excels as a storyteller both musically and in introducing her songs, particularly those she has written—and most of this show was original fare. Her three supporting musicians were perfect foils. Unlike many standing ovations in Minnesota, this one was simply the least we could do after such an exhilarating evening.
Early in 2024, Jazz Central Studios was blessed with the gift of a beautiful Steinway grand piano, and soon launched a monthly solo piano night to introduce the community to this marvelous instrument. I attended several of these nights, and my favorite was Patrick Adkins. One of the fast –rising young talents on the local jazz scene, Patrick is gaining cred as a composer and bandleader, but it was this solo performance (April 3) that I was still hearing in my head weeks later. He gave us twists and turns on works (or suggestions of works) from Monk, Shorter, Mary Lou Williams, an original, and a particularly engaging Stephen Paulus work based on traditional spirituals–cerebral without self indulgence, and with plenty of fire.
On April 4, when a lot of the area jazz audience headed to the Orpheum for Herbie Hancock, I heard the spectacular duo of renowned clarinetist Anat Cohen and Brazilian guitarist Marcello Goncalves at The Dakota, offering delightful give-and-take on a series of Brazilian works. We stayed seated and let the musicians dance through a glorious set.
The Icehouse (May 2-3) hosted drummer Dan Weiss’s Even Odds Trio, with sax star Miguel Zenon and inventive pianist Matt Mitchell. Playing all original compositions featured on the trio’s just-released album, the music ranged from wandering dreamscapes to full-throttle adventures. Zenon was far more untethered than I have heard in previous settings. More so than anyone I’ve heard lately, Mitchell reminds me of Craig Taborn in his quick shifts of mood and attack; and Weiss is a creative master of the drumset. (And both Mitchell and Weiss were back in town in the fall, supporting Jon Irabagon at The Berlin.) Ravi Coltrane returned to The Dakota (June 3) with a new quartet, this time with the trombone of Robin Eubanks replacing the bass, and adding young guns Gadi Lehavi on keys and Ele Howell on drums. Eubanks and Coltrane particularly soared with musical energy throughout the evening.
For all his recordings and renown as performer and mentor to many contemporary musicians, pianist Fred Hersch has too seldom traveled to the Twin Cities. His long-awaited solo night at The Dakota (June 9) will hopefully prompt interest in a return gig. Given the recent release of his solo album (Silent,Listening, ECM), I had expected more of Fred’s compositions—yet he gave us only one–this was not a promo tour! Instead we heard Gismonti, Golson, lesser-known Jobim tunes, Alec Wilder’s “Moon and Sand,” Joni Mitchell’s “Both Sides Now,” a Monk pairing of “Round Midnight” exploding into “I Mean You,” and an encore of Billy Joel’s “And So It Goes.” And so it went, most elegantly. (Personally I put Fred’s Silent, Listening tied with Craig Taborn’s Avenging Angel as my favorite solo piano albums.)
Joan Hutton and Sue Orfield celebrated the release of the second recording from their quintet Take That Back, featuring Ted Godbout, Kameron Markworth and Dave Schmalenberger. (You won’t want to take back the CD!) The CD Release in the Dunsmore Room (August 3) was a virtuosic showcase of their original tunes, along with a marvelous rendition of “Moon River” featuring the horns (Sue on tenor, Joan on bass clarinet) weaving around this never-gets-old melody. Get your copy of Splash!
On August 5, the power went out for much of the evening on Nicollet Mall, unplugging Victor Wooten and the Wooten Brothers barely 15 minutes into their first set at The Dakota. Maybe the band should rename itself Victor Wooten and the Power Outtage. In an amazing display of flexibility and the truest form of improvisation, Wooten barely skipped a beat, continuing his storytelling while his band gathered acoustic substitutes, and giving us another hour of stunning jazz, played on acoustic guitars, bass, piano, and drums (including a plastic makeshift conga emblazoned with the Ace Hardware logo). Only candles lit the tables along with one (battery powered?) spotlight. It was one of the most satisfying sets of acoustic jazz I’ve heard. (Apparently the second set went on in similar fashion, as the power was out well into the evening.)
One of the most remarkable and wide-ranging sets of music that I’ve enjoyed this year was presented at the Danish American Center (August 15) by young piano monster Will Kjeer , freshly graduated from his Master’s program at Juilliard and too briefly “home” before returning to his new home base in New York. I’ve always enjoyed Will’s piano and composition chops, but this night he played everything from stride to pop, sharing the stage with local legend guitarist Larry Long and sister/savvy vocalist Pixie Green, and presenting to the audience like a seasoned (and skilled) pro. This was Will unleashed –there’s no boundaries to his talents. He returned several times throughout the fall with gigs at The Berlin and Crooners. (Note the DAC holds concerts for members throughout the year, often opening tickets to the general public.)
Trombonist Dave Graf plays in every band, it seems, crossing genres, but seldom leading the way. At Crooners, music director Jennifer Grimm has created a series that brings the perpetual sidemen into the spotlight, leading their own ensembles and sharing bits and pieces of their careers. Graf was in the spotlight (September 15) with a stellar quintet featuring Doug Haining, Mary Louise Knutson, Matt Peterson and Phil Hey, along with Jennifer as emcee and guest vocalist. Dave has many stories to tell along with a vast play list.
At the 2023 Twin Cities Jazz Festival, we were treated to a main stage finale from living legend bassist Christian McBride and a new ensemble of youngish heavyweights. Now dubbed Ursa Major, the same band returned for two nights at The Dakota (October 12-13), if anything more inventive and cohesive than their festival set, and again featuring the talents of Nicole Glover on sax, Ely Perlman on guitar, Mike King on piano, and Savannah Harris on drums. I was doubly pleased to have two opportunities to hear Swedish vocalist Sinne Eeg, this visit with pianist Josh Nelson and local bass legend Billy Peterson, first at Crooners (October 17) and the again at the Danish American Center (October 20). Eeg has been to the Twin Cities a few times, and at each visit she seems to climb to higher level than before. Beyond her stellar voice, Eeg is an inventive singer with scatting chops to burn, and is also a talented songwriter. Well known in Europe, she will hopefully become as established here.
I last saw Azerbaijan native pianist Amina Figarova and her sextet at The Dakota about 8-9 years ago and was intrigued by her current work with the Matsiko World Orphan Choir—an ensemble of “orphaned and at-risk” children from Liberia. Following their spring release, Suite for Africa, Figarova, husband/flautist Bart Platteau, and their touring band have been traveling across the U.S., arriving at The Dakota on November 12. The choir (about two dozen teens) sang (and danced) with such joy; the sextet provided a stellar instrumental tapestry; and 18-year-old trumpeter Skyler Tang nearly stole the show. It’s always an enjoyable evening when Emmet Cohen is on stage (The Dakota, November 15). In addition to his incredible piano chops, Emmet exudes so much joy interacting with the keys, his bandmates, and his audience. This night he brought two relatively new cohorts to the stage, and what talents—bassist Reuben Rogers and drummer Joe Farnsworth, each a treat to watch almost as much as to hear. Fortunately Emmet seems enamored with the Twin Cities and likely will return within the year.
Former Twin Citian Andrew Walesch moved from music director at Crooners to a similar position at the Musical Instruments Museum in Phoenix about two years ago, but continues to bring his vocal, piano and bandleading talents to our local stages. His Sinatra shows with his big band have been his bread-and-butter, but earlier this fall he launched his salute to Tony Bennett. I had to miss that show but fortunately he brought it back to The Dakota (November 27). With a 9-piece orchestra featuring the metro’s best, Andrew gave us a night of great songs, great energy, and great stories, particularly his own encounter with Bennett. I think Tony would approve!
Thanks to Jazz Central for offering so many of its performances via Live Stream. I caught two memorable gigs at the end of the year featuring hot young talents, Twin Cities natives who return for the holidays: Pianist Jordan Anderson, a protégé of the late Peter Schimke, is currently based in Detroit. His blazing December 27th set included an impromptu four-hander with another visiting rising star, Javi Santiago, and a guest turn from saxophonist Peter Goggin. The next night, tenor saxophonist Sarah Navratil teamed up with alto saxophonist Sophia Kickhofel (both home for the holidays from New York) for a stellar quintet set.
I could add more to the list—Vijay Iyer Trio, Cecile McLorin Salvant, Dave Holland Quintet, Benny Green Solo, Christian Sands, Brandee Younger, Samara Joy, Charles Lloyd, Stanley Clarke, Stanley Jordan (multiple times in 2024), Moore by Four, The Bad Plus….
Frequent High Flyers
Rather than single out one performance from some of our busiest musicians, I will note notable multiple gigs throughout the year: The unique duo of pianist Dan Cavanagh and vibraphonist Dave Hagedorn has been performing frequently in the Dunsmore Room over the past year since Dan moved from Texas to Madison. The combination of piano and vibraphone, without any other instruments, is quite engaging and seldom heard. Veteran trumpeter, composer, bandleader and impresario, Steve Kenny has been concentrating more on composing lately, introducing intriguing new music (“Blue Chunks”) with his quintet at Berlin (November 16), but also heading a few tributes to John Coltrane at Crooners and beyond in 2024, featuring Dave Brattain on saxophones.
Two ensembles of local veterans have appeared multiple times throughout the metro, offering new takes on old standards: Stablemates (Dale Alexander, Gary Raynor, Jay Epstein) and Blu Luna (Dean Magraw, Rick Carlson, Steve Pikal, and… again, Jay Epstein). I caught each band at least twice in 2024 in The Dunsmore Room, Stablemates supporting multi-talented vocalist Thomasina Petrus on one date.
A very different project, the Jazz Women All-Stars, founded and led by vocalist Patty Peterson, performs a few times each year with a revolving cast of vocalists, and some rotation on sax and drums. In late January at Crooners, they presented a fiery night of Brazilian music, featuring Lucia Newell with Patty on vocals, Clea Galhano on recorder, usual bassist/guitarist Joan Griffith on guitar and mandolin, Sophie Kaufman on bass, and Beth Verala on drums.
Versatility and depth of songbooks describe our top vocalists, and these traits were on full display when Maud Hixson got the last-minute call to sub for Judi Vinar at Crooners (October 2) for a show dedicated to Judi’s favorite jazz singers. Maud’s repertoire runs equally deep and she gave us an evening that was anything but a substitute. We most often hear Maud in a duo setting with just piano, thus a rare treat to hear her with a larger ensemble (Rick Carlson, Dave Graf, Steve Pikal, Dave Schmalenberger). And throughout the year, Maud and Rick present their decade-based Songbook Series as well as tributes to favorite songwriters, holidays… whatever collection of great songs Maud dreams up.
Another versatile and busy vocalist, I always enjoy Connie Evingson, be it solo or in the fine company of Moore by Four. Whatever the repertoire of the evening, I know I will learn something about the composer, lyricist or circumstance. For the past few years, she has helped usher in the New Year at the “Dunsmore Lodge” at Crooners. Not only does Connie put together an interesting set of mostly “seasonal” music, but she also honors the great musicians we lost in the past year—this year including Benny Golson, Russell Malone, and Quincy Jones.
Big bands have been experiencing a revival in the Twin Cities, many devoted to new arrangements and new compositions. In the past year I enjoyed the Adi Yeshaya Orchestra, with vocalist Jennifer Grimm, on stages at The Dakota and Crooners, warming up for their Birdland debut in September. Adi gathers the best of area musicians, provides great charts as well as piano, and adds the engaging versatile voice of Jennifer Grimm. It’s a super jazz sundae with a cherry on top, Another veteran musician, drummer Joe Pulice, has put together a similarly talented big band, performing two gigs at Crooners in 2024 with the promise of more to come. The Twin Cities are really blessed with modern big bands, and I was able to catch gigs by the JazzMN Orchestra at The Dakota and the long-running Acme Jazz Company (often with veteran vocalist Arne Fogel) at Crooners.
And I want to add the music programming at Crooners to my “high flyers” list. There’s music I don’t usually attend simply because a) there’s only so much time and I usually spend it on jazz and contemporary music, and b) I appreciate the skills of any musician but not a big fan of most rock, country, and the rest of the radio dial. Crooners covers it all—it’s not a jazz venue, it is a music venue. Whatever you like, Crooners offers it at the highest level, most often from local artists but frequently bringing in the best from everywhere. In that past year, Music Director Jennifer Grimm has upped the ante with an expansive variety of programming , including intriguing series of music –classical chamber concerts in coordination with Maria Jettte and Schubert Club, Patty Peterson’s Dunsmore Room radio-show style presentations of music and interviews with pianists who might not be as well known as popular headliners (The Living Room Sessions–“In the Moment”), shows highlighting musicians who typically are the “sidemen” (e.g. Dave Graf leading a quintet), and a notable triple header this fall featuring young and student musicians from three genres (classical, jazz and pop). It’s a great way to introduce Crooners to a wider music audience, and to introduce “veteran” listeners to music and performers not typically on our radar. Personally, I would rather listen to classical chamber music in a venue like Crooners than Orchestra Hall. There’s so much more to watch, without binox. (The Icehouse has offered similar intimate classical presentations over the years with Schubert Club’s Accordo.)
Looking Ahead
It’s too early in the new year to know what lies ahead, but I am looking forward to a few shows (or lamenting I will miss): Adi Yeshaya Jazz Orchestra with Jennifer Grimm at Crooners (January 17); Cyrille Aimee at the Parkway Theater (February 14); Cecile McLorin Salvant at The Dakota (February 19); Take That Back at Jazz Central (February 21); Bill Charlap at The Dakota (March 22); Bela Fleck Trio with Emar Castenada and Antonio Sanchez at The Dakota (March 24-25); Joe Lovano’s Paramount Quartet at The Dakota (April 1-2); Tyshawn Sorey Trio at The Walker (April 26); Branford Marsalis Quartet at The Dakota (April 29-30)… and of course The Twin Cities and Iowa City Jazz Festivals (headliners to be announced soon). And a lot of club calendars are not set far ahead! Watch venue and musician websites!
2025 is hard to predict. But I do know there will be great jazz in the Twin Cities.
