BRANDEE YOUNGER

Brandee Younger: Channeling Harpism in the Key of Jazz

by Raul da Gama

Brandee Younger always dreamed of being a musician – not necessarily a harpist. At the time, she fell into her dream that every school-going musician dreams; she was a flutist who played – dabbled, really – in several other instruments. But that was until…

“One day, “ she says, “My parents and I were visiting a co-worker and friend of my father’s. I discovered that they had a harp sitting in the corner of the living room. So, after dinner I asked to try playing the instrument, plucked its strings, pedaled a bit… and… WOW…! I was hooked.”

Of course, she knew that this happy accident could turn south at any time. Getting her own instrument from her doting parents was never in any doubt, especially after Brandee announced that she had “fallen in love” with the sound of the instrument. Even extracting a promise to “work at it” didn’t take much. Besides, “dedicated practice” was not alien to the prodigiously gifted musician. “But what I hadn’t bargained for was lugging it up (and down) the basement staircase every time I had lessons,” Brandee confesses, “especially when the gigs became more frequent.”

ED CHERRY

MEZZROW / DECEMBER 2

Kaju Roberto of the Village View writes that guitarist Cherry is a master of “…combining syncopated rhythms, melodic skips, and fragmented chords… into a new jazz modernism while simultaneously honoring classic bebop traits of the 40s.” With Wes Montgomery and Grant Green as his main influences, Cherry established himself as a member of Dizzy Gillespie’s United Nation Big Band, from 1978 to 1992. He worked with organists Dr. Lonnie Smith and John Patton, and was also a member of trumpeter Roy Hargrove’s Latin jazz band, Crisol. Cherry fronts an intimate combo that includes Monte Croft on vibes and organist Kyle Koehler, and unveils the kind of engaging lyricism heard on his 2023 release, Are We There Yet?, which is perfect for a cozy venue like Mezzrow. EH

WADADA LEO SMITH & AMINA CLAUDINE MYERS

ROULETTE BROOKLYN / DECEMBER 4

Wadada Leo Smith's "Central Park’s Mosaics of Reservoir, Lake, Paths, and Gardens" captures the beauty of nature through music, reflecting his experiences in different areas of Central Park. This performance features Smith on trumpet and Amina Claudine Myers on piano, both legends from the Association for the Advancement of Creative Musicians (AACM). Smith, a pioneering figure in modern jazz, brings a unique voice shaped by diverse musical cultures. Myers, with her roots in gospel and blues, complements Smith’s vision with her soulful piano renditions. Together, they create a reflective and meditative sonic journey. The performance will be live-streamed for free at 8 PM and archived for future viewing. Join us to experience the rich musical tapestries of Central Park through the talents of these two extraordinary artists. CLR

DAVE PIETRO

SMALLS / DECEMBER 5

Dave Pietro is a veteran multi-instrumentalist, bandleader, and composer with an extensive discography. While known for his work with the Toshiko Akiyoshi-Lew Tabackin Big Band, Maria Schneider and others, Dave has released numerous critically acclaimed albums of his own. Dave’s compositions are known for their variety, featuring harmonically rich settings, while he also finds new perspectives in any music that he explores. At Smalls, Dave will play alto saxophone, and he is joined by two old friends, pianist Gary Versace and trumpeter Scott Wendholt, along with bassist Jay Anderson and drummer Adam Cruz. The quintet will be playing music Dave wrote for his 2024 SteepleChase record The Talisman, along with new music that he will be recording next February for his next SteepleChase album, to be issued in 2026.—KD

CALEB WHEELER CURTIS

BAR BAYEUX BROOKLYN / DECEMBER 6

Brooklyn-based saxophonist, multi-instrumentalist, and composer Caleb Wheeler Curtis (known for his work with Ember and Orrin Evans & The Captain Black Big Band) is celebrating the release of his ambitious new double album, The True Story of Bears and the Invention of the Battery at Bar Bayeux in Brooklyn. This double album showcases Curtis's versatility, featuring two distinct trios. The first album, Bears and the Invention of the Battery, highlights Curtis's dynamic trio with bassist Sean Conly and drummer Michael Sarin, presenting original compositions. The second album, Raise Four: Monk the Minimalist, explores the music of Thelonious Monk with the talents of bassist Eric Revis and drummer Justin Faulkner. Curtis will be joined by bassist Sean Conly and drummer Michael Sarin. This is certain to be a night of innovative jazz and instrumental mastery! CLR

TITO PUENTE JR.

THE JAZZ FORUM / DECEMBER 6-7

Tito Puente Jr., son of Mambo King Tito Puente, has made his mark in Latin music as a percussionist, songwriter, and producer, continuing his father's legacy. He has introduced salsa and Latin jazz to new audiences, celebrating 20 years of honoring his Puerto Rican roots. This year, he received the Tlamatini Award from the Center for Hispanic Marketing Communication at Florida State University. Infusing electronic musical influences, Tito regularly performs at jazz festivals, concert halls, casinos, and symphony halls. His albums include The King and I (Doral Music, 2021), Got Mambo? (Salsalsa Records, 2010), and En Los Pasos De Mi Padre (Universal Music Group, 2004), which inspired a BET television special. Recently, Tito released a new version of his father's hit song Ran Kan on streaming platforms. Tito will energize audiences in Westchester with his Latin jazz ensemble from New York City. SBL

VALERY PONOMAREV

SMALLS / DECEMBER 6-7

It was the eloquently sculpted – yet vivid and bold – tones of the trumpet-playing of Valery Ponomarev that immediately caught the attention of the late, legendary Art Blakey. And it was not long before Valery was invited to join the Jazz Messengers. Easily slipping into the trumpet chair following such luminaries as Woody Shaw and Randy Brecker, Valery continued to uphold The Jazz Messengers’ tradition for hard, driving music. Thus, he kept the trumpet chair hot and steaming, ready for Wynton Marsalis and Terrance Blanchard who followed him. Now, he will set the cozy confines of Smalls alight with an illustrious quintet – featuring tenor saxophonist Don Braden, pianist Mamiko Watanabe, bassist Dimitri Kolesnik and drummer Victor Jones. Together, the quintet will rain musical thunder and lightning on Smalls. RDG

BRIA SKONBERG

KUPFERBERG CENTER FOR THE ARTS / DECEMBER 7

Award-winning Canadian Bria Skonberg, now based in New York City, is set to bring her smoky vocals and dynamic trumpet to her Jingle Bell Swing performance, featuring reimagined holiday favorites and jazz classics. Expect festive tunes like Let It Snow, All I Want for Christmas, Jingle Bells, Carol of the Bells, What Child Is This, and Duke Ellington’s Dance of the Sugar Rum Cherry. Bria has performed worldwide, gracing stages at the New Orleans Jazz & Heritage Festival, Montreal International Jazz Festival, Monterey Jazz Festival and Morristown Jazz & Blues Festival. A passionate advocate for classic American jazz, Bria mentors with Women in Jazz Organization and collaborates with the Louis Armstrong House Museum, Jazz House Kids, and Jazz at Lincoln Center. Bria will be joined by her quartet: Chris Pattishall (piano), Barry Stephenson (bass) and Darrian Douglas (drums). SBL

JANE MONHEIT

BIRDLAND / DECEMBER 10-14

One of the best-known voices in jazz, vocalist Jane Monheit returns to Birdland with holiday songs in a show entitled “The Merriest.” Best known for her interpretations of the Great American Songbook, Jane brings more than two decades of international touring to the best seasonal music in a very special way. She has worked with many jazz greats, including Tommy Flanagan, Ron Carter, Kenny Barron, John Pizzarelli, and Christian McBride and has played at nearly every iconic venue in the world, but Jane still makes her audience feel as though she is performing just for them. A Grammy-nominated, Billboard chart-topping singer, she has curated a show that will be an intimate celebration of the holidays. Appearing with Jane will be pianist Max Haymer, bassist Neal Miner, and drummer Rick Montalbano. DJS

MARY STALLINGS

DIZZY'S CLUB / DECEMBER 12-14

Aged 80-plus and counting, but still blooming as if watered by the fountain of youth in her regal demeanor and the nobility of her music, Mary Stallings is the very epitome of the exemplary artist who will rival the ethereal dignity of an opera star. Listening to the manner in which she sculpts the long, sustained inventions of the blues and seductively bends notes in her soulful renditions of standards and spirituals it will be clear that there’s not a single semiquaver in a song that hasn’t been fastidiously considered. At once chanteuse and storyteller of life’s experiences, Mary will also deliver her songs with powerful, gospel-soaked inflections, and in mellifluous timbres that will endlessly beguile and warm the hearts of the avid listener at Dizzy’s Club. RDG

RICO JONES

THE DJANGO / DECEMBER 14

Saxophonist Rico Jones, a Colorado native, emerged under the guidance of legends like Paul Romaine and Art Lande. He played Gospel music at Curé d’Ars Catholic Church before moving to New York City at 18. In 2015, KUVO Radio included him in their “30 under 30” jazz musicians to watch, and in 2016, he led the tenor section in the Jazz Band of America. Rico has performed with greats like Esperanza Spalding, Terrence Blanchard, and Joe Lovano. In 2022, he co-directed the first all-indigenous 16-piece big band in Washington and won six DownBeat Magazine awards. Currently, Rico is producing an album featuring Essiet Okon Essiet, Sylvia Cuenca, and Peter Horvath. His band includes Philip Harper (trumpet), Raphael Silverman (guitar), Maki Nientao (piano), Matt Penman (double bass), and Victor Jones (drums). SBL

SVETLANA (SVETLANA SHMULYIAN)

BLUE NOTE NYC / DECEMBER 14

Get ready to swing and be moved by Svetlana and The New York Collective this holiday season! Join the charming and sultry Svetlana for a special Christmas Day Brunch program celebrating the festive spirit in New York City. Known for her "sweet and naughty" holiday magic, Svetlana's show features beloved holiday classics, jazz arrangements of modern pop standards, and her own feel-good originals. With accolades from PopMatters, the Wall Street Journal, and TimeOut NY, Svetlana has made a name for herself with her exuberant, foot-stomping music. Her captivating performances have headlined sold-out shows at premier venues and festivals worldwide. Don't miss this opportunity to experience the joy and energy of Svetlana and The New York Collective live as they spread holiday cheer through their distinctive sound. CLR

KENNY BARRON

VILLAGE VANGUARD / DECEMBER 17-22 & DECEMBER 24-29

Pianist and NEA Jazz Master Kenny Barron, inducted into the American Jazz Hall of Fame in 2009, began his career in the ‘60s in his native Philadelphia before moving to New York City in 1961. There, Kenny freelanced with Roy Haynes, Lee Morgan, and James Moody until Dizzy Gillespie hired him in 1962. During his five years with Gillespie, Kenny developed a deep appreciation for Latin and Caribbean rhythms. Yusef Lateef, with whom he played in the early seventies, was a key influence on his improvisational skills. Kenny's first album, Sunset to Dawn (Muse, 1974), led to hundreds of recordings and 14 Grammy nominations. His newest recording, The Source (Artwork Records, 2023), is his second solo album. Kenny has taught at Rutgers University, the Juilliard School, and the Manhattan School of Music. His Beyond This Place Quintet features Steve Nelson, Immanuel Wilkins, Kiyoshi Kitagawa, and Johnathan Blake; later performances feature the Kenny Barron Trio. SBL

JAY HOGGARD

ALVIN & FRIENDS / DECEMBER 19-21

Ever since he burst on the scene in 1979 with his debut album, Days Like These, vibraphonist, marimbist, composer and educator Jay Hoggard has extended the melodic, rhythmic and harmonic qualities of those instruments throughout the infinite musical varieties of the African Diaspora. The Mount Vernon native and Wesleyan graduate has recorded nearly 25 albums, including his 2023 recording, Retro Focus on his own JHVM label. Jay, an amalgam of his vibraphone predecessors Lionel Hampton, Milt Jackson, and Bobby Hutcherson – with a touch of pianist McCoy Tyner – plays with a style that is simultaneously local and global. Jay performs at the Roscoe Room at Alvin & Friends restaurant in New Rochelle, with pianist James Weidman, bassist Belden Bullock, and drummer Jocelyn Pleasant. Good vibes and good food for all. EH

KEN PEPLOWSKI

MEZZROW / DECEMBER 20-21

A prominent member of the Neo-Swing movement that burgeoned in the 1980s, Ken Peplowski, because he was a clarinetist, could often be found in traditional jazz bands as well as the ghost Swing Era big bands of that era. Ken cannot be pigeonholed in those styles, as he also plays tenor sax, and studied that instrument with bebop master Sonny Stitt. On ballads, his tenor exudes the breathy vibrato associated with Swing Era giants such as Ben Webster and Chu Berry. Ken’s appearances as a sideman are as eclectic as his multi-style embrace, including accompanying singers as diverse as Mel Tormé and Marianne Faithful. And he also has a fondness for Thelonious Monk tunes, which often appear on his albums. Case in point: Live at Mezzrow (Cellar/Smalls Live Music), his latest album, wherein Ken plays Monk’s “Bright Mississippi” convincingly on clarinet. For this return to Mezzrow, Ken will be leading a trio instead of the quartet on that album. GK

EMILIE-CLAIRE BARLOW

BIRDLAND THEATRE / DECEMBER 20-22

Emilie-Claire Barlow is made completely of music. Not only were her parents, Brian Barlow and Judy Tate, celebrated musicians, but there were also practicing musicians in her going back a few generations. However, there is more. A prodigiously gifted musician whose propensity for perfect pitch was discovered when Emilie-Claire was but a child, she also developed virtuoso skills playing the violin, cello, piano, clarinet and with her voice. Fortunately for the world of music, she chose the latter instrument and has since regaled audiences all over the world with her luminous soprano with which she propels lyrics with seemingly impossibly soaring vocalastics. Listeners be warned and breathe deep before you attend her Birdland performances, and get ready to have Emilie-Claire and her band take your collective breath away. RDG

CARLOS HENRIQUEZ NONET

JAZZ AT THE LINCOLN CENTER / DECEMBER 26-30

The Bronx-born, Puerto Rican Lincoln Center Jazz Orchestra bassist Carlos Henriquez, an alumnus of the famed LaGuardia High School of Music and Art, who studied at the Julliard School’s Music Advancement Program, has played with everyone from Chucho Valdes, Tito Puente and Celia Cruz, to Stevie Wonder, Bob Dylan and of course, Wynton Marsalis. Carlos’ recordings include The Bronx Pyramid (Blue Engine, 2016), Dizzy Con Clave: Live from Dizzy’s Coca Cola (Rodbros, 2018), and A Nuyorican Tale (2023). On this date, Carlos leads an intriguing nonet featuring Chilean tenor saxophonist Melissa Aldana, trumpeter Terrell Stafford and drummer Obed Calviere. In this sonic setting, which combines the intimacy of small combo with the grandeur of big band, Carlos’ in-the-pocket basslines will anchor the Afro-Latin rhythms and genres that this grand group will make you move and groove to. EH

DUANE EUBANKS QUARTET

MAUREEN'S JAZZ CELLAR / DECEMBER 27

Philadelphia trumpeter Duane Eubanks was born to play jazz. His mother gave piano lessons to a young Kenny Barron. His uncle is the legendary pianist Ray Bryant, his brothers are trombonist Robin Eubanks and guitarist Kevin Eubanks, and his mentors were the Philly trumpeter Johnny Coles and pianist/educator Dr. Billy Taylor. Duane’s trumpet sound derives from Lee Morgan and Clifford Brown, but not at the expense of sounding like a museum piece, as evidenced by Duane’s recordings, including the release with the group Spontaneous Creativity entitled 2020: The Black Chamber, Part 1, with keyboardist James Hurt. Duane comes to Maureen’s Jazz Cellar in Nyack, leading a swinging quartet with bassist Santi Debriano, pianist Tyler Bullock and drummer Chris Beck, performing Philly jazz to the max. EH

SAM DILLON & ANDREW GOULD QUINTET

THE DJANGO / DECEMBER 28

Native New Yorkers and saxophonists Sam Dillon and Andrew Gould have nurtured their friendship since high school, now advancing it professionally. The award-winning duo elevated their dynamism with the swing album It Takes One To Know One (Cellar Live, 2022). Sam, featured on over 40 studio recordings, recently recorded with Mark Sherman and Chris Hajian. He has toured with big bands like Mingus Big Band, Slide Hampton Octet, and The Birdland Big Band. Andrew has worked with artists such as Ron Carter, Wallace Roney, and the Vanguard Jazz Orchestra, releasing his third album, Pull Up a Chair (Pinch Records, 2023). The rising stars will be joined by pianist Adam Birnbaum, bassist Luques Curtis, and drummer Otis Brown III, playing music from It Takes One To Know One, plus new music set for a 2025 release. SBL

JAZZMEIA HORN

SMOKE JAZZ CLUB / DECEMBER 31

Singer/songwriter Jazzmeia Horn, only in her early thirties, has already solidified her position as an assured vocalist. The winner of both the Thelonious Monk and Sarah Vaughan awards, Jazzmeia is, in the words of the New York Times, “among the most exciting young vocalists in jazz.” Nominated for multiple Grammy awards, she has been compared to Betty Carter, Sarah Vaughan, and Nancy Wilson, but really has her own style. Jazzmeia’s latest recording, Messages (Empress Legacy), contains eight originals and has been praised by critics, with the Dallas Morning News calling it “a creative step forward.” Jazzmeia will appear at Smoke Jazz Club, 2751 Broadway, on New Year’s Eve with the Countdown All-Stars, which includes saxophonist Vincent Herring, pianist Cyrus Chestnut, bassist Yasushi Nakamura, and drummer Johnathan Blake. DJS

CHRIS POTTER QUARTET

VILLAGE VANGUARD / DECEMBER 31 - JANUARY 5

The Grammy-nominated Chris Potter has been the man on tenor sax, flute, and bass clarinet since 1989. Possessing a sterling sax sound that amalgamates John Coltrane, Joe Henderson, and Sonny Rollins, Chris has worked as a sideman with 100 artists, including trumpeter Rod Rodney, Herbie Hancock, the Mingus Big Band, and Steely Dan. Chris also recorded over 15 albums as a leader, which includes Follow the Red Line: Live at the Village Vanguard (Sunnyside, 2007), Ultrahang (ArtistShare, 2009), and his latest, Eagle’s Point (Edition, 2024). Potter returns to the Vanguard to ring in the new year, with his cooking quartet featuring his long-time collaborator, pianist Craig Taborn, bassist Scott Colley and drummer Marcus Gilmore, the grandson of the late Roy Haynes. You’ll never hear “Auld Lang Syne” the same way again. EH

VERONICA SWIFT

Veronica Swift… as a Lark Ascending
by Raul da Gama

The metaphor, a lark ascending, is not as far from the truth about the prodigiously gifted vocalist Veronica Swift. After all, young as she may be, she has already ascended to the rarefied realm of artists blessed with artistic abilities of the first order. In fact, in the words of Horace, the Latin lyric poet and one of the most quoted authors of antiquity, she belongs to the rarest of rare artistic tribes, as she fits his prescient description of Veronica, the artist. "Poeta nascitur non fit" (A poet is born not made), says Horace. Of course, in classical thinking, the lyricism or creativity of a “poet” or a brilliant writer, musician or dramatist, was also a qualifying synonym for a highly creative alchemist or a mathematician.

Indeed, even before Veronica recorded a single song, she came with preeminent dynastic qualifications. She is – to those who are unaware of the fact – the daughter of one of the legendary jazz pianists, Hod O’Brien, who ran the St. James Infirmary jazz club in New York City in 1974-75. Hod, who once distinguished himself filling Randy Weston’s piano chair, also played in groups led by Oscar Pettiford and Elvin Jones before playing in the St James Infirmary house band with drummer Beaver Harris and bassist Cameron Brown, and later with Roswell Rudd, Sheila Jordan and Charlie Rouse.

OSCAR HERNANDEZ

Oscar Hernández - Flag-Bearer of Salsa Dura
Raul da Gama

Over the years, Oscar Hernández has been the flag bearer, not simply of the music of the Spanish Harlem Orchestra (SHO), but of the very sound of El Barrio. And yet again, not simply the sound of El Barrio, but being in the vanguard of bringing back the uplifting passion and excitement of Salsa Dura. We are talking about a musical collision of Afro-Cuban musical elements with jazz. “This is music,” Oscar says, “with the elegant, vivid rumble that originated in New York City in the 1960s and 1970s, characterized by its energetic rhythms, complex arrangements, and emphasis on brass instruments and other instruments over the lead vocals. For those who don’t know, salsa dura means ‘hard salsa’.”

Oscar has been a musical evangelist, spreading the good news, great vibes, and the sprightly elegance of his brand of compelling music in a unique manner. Oscar’s leaping, rhythmical pianism has always been characterized not only by lyrical melodies, formed by a jigsaw of themes and harmonies, but by music propelled into parabolic curves and towering arcs. The elaborate geometry of Oscar’s music is also full of zesty and often impetuous rhythms that seem to capture night skies reflecting evenings redolent of glittering marquees of shimmering lights. What serves him best of all is his full-bodied tone which, together with a delicate pianism, locks in the music’s poignancy.

BILL CHARLAP

Bill Charlap: Intuitive Improviser

by Ken Dryden

Bill Charlap has built a thriving career as a pianist, bandleader, and jazz educator as Director of Jazz Studies at William Paterson University. The son of Broadway composer Moose Charlap and vocalist Sandy Stewart, Bill was immersed in music early, so much so that he can’t remember a time when he didn’t play piano. By the age of three, he would climb the piano to imitate what his father played and the records he listened to, jazz, classical, and Broadway tunes, all by ear. “I could already play at a high level by the time I started studying formally at the LaGuardia High School of Music & Art and Performing Arts,” he says. Fellow students included his friends, alto saxophonist Jon Gordon and bassist Sean Smith. Bill studied classical piano with jazz/classical pianist/composer Jack Reilly and Eleanor Hancock, a concert pianist.

Dick Hyman was his distant cousin on his father’s side, and Bill got to know him early on as his interest in jazz grew, when his mother sent him to meet Dick. Bill explains, “I can't say enough about Dick Hyman. He's the dean of jazz pianists. He’s the only pianist that I know of who Art Tatum singled out as somebody to keep an eye on when Dick was a young guy. There's nobody who was more generous with me. In terms of the quality and quantity of influence, nobody in my life was more influential on my relationship to the piano.” Bill also credits pianist Bill Mays as an important mentor.

IQUA COLSON

REVIEW: CREATIVITY OF IQUA COLSON

By Ronald E. Scott

It was a pleasure to see vocalist, lyricist, and composer Iqua Colson gracing the stage of the storied music venue Symphony Space located on Manhattan's Upper West Side.

It seems jazz musicians of the avant-garde usually perform on the Lower East Side but ironically, this was a special occasion -- the 59th anniversary of the Association for the Advancement of Creative Musicians (AACM).

The three-day celebration featured some of the genre's outstanding artists, including Iqua Colson—String Musings. The all-star ensemble featured the inventive pianist, composer Adegoke Steve Colson, violinist Marlene Rice (soul, jazz improvisation with Aretha Franklin, Joe, Beyoncé, Greg Osby, and Steven Coleman), guitarist Brandon Ross (Henry Threadgill, Wadada Leo Smith, Cassandra Wilson), and NEAJazz Master bassist Reggie Workman with all music compositions by Iqua Colson.

Iqua was an intriguing light of insightful swing. She is a vocal warrior, a singer whose lyrics engulfed the audience with tunes reflecting the intense uncertainty of this American society. As one of her song’s lyrics noted, “thoughts and prayers don’t change the game.”

Iqua is a storyteller, sharing the discourse of American happenings, politics, and inequality. She uses her musical platform as a means to explore truth with creative accompanists.

After the bridge, Iqua took a seat from singing allowing her band creative improv time. Adegoke, the pianist, led the charge, with a swinging tempo from hard bop to outright revolutionary improvisation, you know, music that ignites but leaves the audience wondering whether to jump up or just acknowledge the truth that was the musical power of Iqua and her musings.

The band was an intuitive locomotive in the moment of now, enthralling like a roller coaster with Reggie’s melodic lyricism weaving through Iqua’s vocals and guitar measures.

ANDRE 3000

André 3000 Explores New Frontiers with Flute-Led Meditations in Red Hot's TRAИƧA Project

by Laila Simone Gardner

André 3000’s “Something Is Happening And I May Not Fully Understand But I’m Happy To Stand For The Understanding” is as bold and sprawling as its title suggests. Trading rap verses for otherworldly flute-led soundscapes, André continues his journey as a boundary-pushing artist uninterested in convention. The result: a track that feels more like a meditative experience than a song, inviting listeners to immerse themselves in its abstract beauty.

The composition lulls you into a deep introspective state through its ambient synths, laying the backdrop for André’s free-flowing flute melodies. Reminiscent of Yusef Lateef and Rahsaan Roland Kirk – two jazz greats who pioneered pushing the flute outside its traditional boundaries – the composition’s improvisational qualities embody the very spirit of jazz and create a sound landscape that refuses to adhere to predictable patterns. Through the flute, André invites us to witness his stream of consciousness in musical form, each note a spontaneous thought or emotion.

André’s recent releases make this flute-centric track unsurprising, but what’s most notable is his new presence as a vocalist. Known for his sharp lyricism, André’s voice emerges in a divergent form: an ethereal, gibberish-like language that blurs the lines between human and extraterrestrial. The vocals present themselves as a fitting reflection of the song’s title – “I May Not Fully Understand” – and asks the listener to find meaning not in clarity, but in emotion and tone.

KAISA MÄENSIVU

Kaisa Mäensivu: Mixing Nordic Melancholy with New York Spirit

by Matty Bannond

There’s nowhere like New York City — but Hämeenlinna is perhaps less like the Big Apple than any other place on the planet. Its town center, where squat buildings crouch against a leafy landscape, was once referred to as “Finland’s largest lit cemetery”. Somehow, double bassist Kaisa Mäensivu’s compositions mix together inspiration from her funereal Nordic birthplace and her frenetic adopted home in the U.S. “Living in New York has brought an upbeat, high-energy part to my music,” she says. “But there’s also a more melancholic part that’s darker and edgier. That’s the Nordic thing.”

Kaisa’s first contact with jazz came from her mother, who played piano at home and owned a selection of the music’s eminent recordings. At first, Kaisa learned classical piano. She switched to double bass as a teenager and wanted to focus on jazz — but the local school didn’t offer lessons outside the classical tradition. So when time for college arrived, Kaisa relocated to Helsinki to expand her melodic, harmonic and rhythmic vocabulary. And she had her heart set on a stint in New York, too.

“It’s the capital city for jazz internationally,” she says. “I don’t know how I knew that then, but somehow it was pulling me to go there. Then I got the chance to do an exchange program in Manhattan that was supposed to be just one year. I started to play gigs and my network was growing, so I felt like I needed to stay and see where it could go.”

In 2016, Kaisa decided to move to NYC and pursue an M.A. at the Manhattan School of Music. Alongside her studies, she took regular tuition from iconic bassist Ron Carter. She was also leading her ensemble, Kaisa’s Machine. it features a fluctuating cast of contributors who perform the bassist’s compositions.