MONTY ALEXANDER

Nearly sixty years after he moved to the United States from Kingston, Jamaica, his hometown, GRAMMY® nominated pianist Monty Alexander is an American classic, touring the world relentlessly with various projects, delighting a global audience drawn to his vibrant personality and soulful message. A perennial favorite at Jazz festivals and venues worldwide and at the Montreux Jazz Festival where he has appeared 23 times since 1976, his spirited conception is one informed by the timeless verities: endless melody-making, effervescent grooves, sophisticated voicings, a romantic spirit, and a consistent predisposition.

In the course of any given performance, Alexander applies those aesthetics to a repertoire spanning a broad range of jazz and Jamaican musical expressions—the American songbook and the blues, gospel and bebop, calypso and reggae. Documented on more than 75 recordings and cited as the fifth greatest jazz pianist ever in The Fifty Greatest Jazz Piano Players of All Time (Hal Leonard Publishing), the Jamaican government designated Alexander Commander in the Order of Distinction in 2000 and conferred on him the national honor of the Order of Jamaica in 2022 for “Sterling Contributions to the Promotions of Jamaican Music and the Jazz Genre Interpretations Globally”.

The Trio:
Monty Alexander, piano
Lorin Cohen, bass
Jason Brown, drums

Cover: $45.00 ~ $55.00 +fees | Streaming: $15.00 +fee

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Requisites

Something in Common ~ Houston Person and Ron Carter | By Eddie Carter

After a challenging day and an exhausting week, I was looking for something gentle to help me unwind and restore my energy. This morning’s discussion, submitted for your approval, came after I listened to a few duet releases in my library and features two of my favorite musicians, Houston Person and Ron Carter. Something in Common (Muse Records MR 5376) is a digital recording pairing the tenor saxophonist and bassist in a thoroughly enjoyable program of cool jazz, one of my go-to albums for soothing my senses. The copy I own is the 1990 U.S. stereo release.

The opener, Blue Seven by Sonny Rollins, gets things off to a good start with Houston’s big-toned, warm, relaxed melody and Ron walking beside him with a perfect bass rhythm. Houston catches sunlight in the opening solo, using a subtle tone that builds into a textbook performance. Ron walks comfortably at an easy pace into the theme’s reprise and climax. I Thought About You by Jimmy Van Heusen and Johnny Mercer begins with the duo handling the melody as if sharing a personal secret with the listener. Ron is the featured soloist here, expressing his feelings with tenderness and sentimentality through the duo’s restatement of the theme and compassionate finale.

Mack The Knife by Kurt Weill, Marc Blitzstein, and Bertolt Brecht is a jazz classic from the twenties, and the duo puts a lively, fresh take on the opening chorus. Houston captures the spirit of this timeless tune with a wonderfully inventive first performance. Ron thoughtfully makes every note shine in a charming solo, leading smoothly into Houston’s beautifully crafted postscript that guides us into the closing chorus. Clifford Brown’s Joy Spring begins with the duo’s relaxed, easygoing theme, inviting Ron to stroll confidently through the opening statement. Houston responds with a warm, laid-back interpretation before the melody makes its lovely return.

Good Morning Heartache by Ervin Drake, Dan Fisher, and Irene Higginbotham is one of the album’s definitive highlights. Houston treats the melancholy theme as a story, shaping each verse of the song’s only solo, with Ron supporting him effortlessly until the tender reprise and ending. The beat moves upward for Anthropology by Charlie Parker, and the melody unfolds with relaxed assurance from two masters with nothing left to prove. Houston’s opening solo flows seamlessly through every phrase. Ron puts an indelible stamp on the closing statement, and the theme’s restatement concludes perfectly.

Once In A While by Michael Edwards and Bud Green closes the album on a warm, gentle note, opening with Houston and Ron’s beautiful, dreamy melody. Ron takes a walk through the song’s only interpretation as it builds toward the duo’s tender reprise and climax. Houston Person and Ron Carter produced Something in Common with Rudy Van Gelder handling the recording console. The album has a beautiful soundstage and is a joy to listen to from start to finish. If you’re in the mood for a terrific album that’s especially enjoyable any time of day or night, I invite you to check out Something in Common by Houston Person and Ron Carter on your next record-shopping trip. It’s a terrific album by two jazz masters, and a title I’m sure you won’t be able to listen to just once!

~ I Thought About You, Mack The Knife, Once In a While – Source: JazzStandards.com
~ Anthropology, Good Morning Heartache, Joy Spring – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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VANESSA RUBIN & HER TRIO

Revered as both a torchbearer and a storyteller, jazz vocalist Vanessa Rubin possesses a voice hailed for crystalline clarity, hearth-like warmth and playful lioness sass. The Cleveland native brings a wealth of diverse influences to her vocal performance from both the Trinidadian/Caribbean roots of her mother and traditional jazz by way of her Louisiana-born father. Additional homespun influences include the melodic bell tone clarity of a young Capital Records recording artist, Nancy Wilson, the fire of Lambert, Hendricks & Ross, the sweet sounds of trumpeter Blue Mitchell as well as her love of the Motown Sound…especially girl groups like the Supremes.

Rubin takes the stage of the Jellife Theatre for a Benefit Concert with  proceeds from the evening will support Karamu’s artistic productions, arts education programs, workforce development initiatives, community engagement efforts, and the preservation of Black theatre and storytelling. Opening reception begins at 5:30pm, concert @ 7:00pm.

The Band:
Vanessa Rubin ~ Vocal
Brandon McCune ~ Piano
Kenny Davis ~ Bass
Jerome Jennings ~ Drums

Cover: $125.00 |  Ticket Includes:
~ Admission to the Vanessa Rubin Benefit Concert
~ Pre-concert reception
~ Complimentary drink tickets
~ Post-concert dessert reception

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Requisites

Cornbread ~ Lee Morgan | By Eddie Carter

A few nights ago, I was thinking about my mom and one of her favorite Sunday dinner meals for my sister and me growing up. It consisted of chicken wings, collard greens, macaroni and cheese, black-eyed peas and cornbread. This morning’s album from the library is Cornbread (Blue Note BLP 4222/BST 84222) by Lee Morgan. It was recorded in 1965 but not released until 1967, and is one of the best albums in the trumpeter’s catalog. He’s joined by a superb ensemble: Jackie McLean on alto saxophone; Hank Mobley on tenor saxophone; Herbie Hancock on piano; Larry Ridley on bass; and Billy Higgins on drums. The copy I own is the 1991 Toshiba-EMI Japanese Stereo reissue from Blue Note’s The 4000 Series Collection, sharing the original catalog number.

Side One opens with the title track, Cornbread by Lee Morgan. The rhythm section offers a soulful introduction, leading into the ensemble’s melody. Lee sets the table with a spirited main course, then Hank serves a succulent blues dish. Jackie brings the next plate of savory notes, followed by Herbie’s delicious dessert, completing the meal before the theme’s reprise and the trio’s tasty fadeout. Our Man Higgins, Lee’s tribute to Billy Higgins, showcases the lively interaction between the front line and the drummer during the theme. Jackie gets things started with a spirited interpretation, then Lee responds with a lively statement. Hank steps in next, paying dividends with an invigorating solo. Herbie follows with a captivating presentation, and Billy delivers the goods in a short workout before the sextet returns to take it out.

The second side opener shows that Lee Morgan could compose beautiful ballads, as in his Ceora. Herbie’s gentle, gracious introduction segues into the ensemble’s delicately polite melody. Lee brings soothing lyricism and warm affection to the lead solo. Hank then shares his heartfelt feelings with sincerity and sentimentality next. Herbie adds a romantic touch to the closing solo, leading to the group’s touching, emotional climax. Ill Wind by Harold Arlen and Ted Koehler is a song from the thirties that begins with the trio’s introduction to the ensemble’s melody, with Lee on the mute throughout. Morgan then elegantly welcomes the lead solo like an old friend. Herbie breathes warmth into the second statement, then Lee and Hank give two concise comments preceding the closing chorus and soft finale.

Lee Morgan’s Most Like Lee wraps up the album with an energetic vibe, letting the group dive right into the melody. Hank starts things off with a vibrant, joyful solo, followed by Lee, who keeps the audience engaged with his captivating performance. Jackie glides smoothly into the third solo with his signature swing. Herbie follows with a very relaxing reading. Larry gets the last word and takes a short walk toward the theme’s reprise and climax. Alfred Lion produced the session, and Rudy Van Gelder managed the recording console. The album’s sound quality offers a sit-down listening experience, with a wide soundstage across the treble, midrange and bass that transports the musicians to your listening room with stunning fidelity.

If you’re a seasoned Lee Morgan fan or a new listener that’s looking for an album that can brighten any moment of the day or evening, or can be enjoyed whether you’re in a relaxed or serious mood, I happily recommend and invite you to pick up Cornbread the next time you’re at the record store. It’s a tasty, soulful, and nourishing slice of hard bop and post-bop music that’s not only a wonderful addition to your library but also perfect for spinning on your turntable!

~ Ill Wind – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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WYNTON MARSALIS

Trumpeter, composer, and 2011 NEA Jazz Master Wynton Marsalis brings the most recent iteration of his iconic Septet to the Miner stage for four performances over two days.

The most famous jazz musician alive, Marsalis is a towering figure in the evolution of the art form. From his New Orleans beginnings and fiery debut with legendary drummer Art Blakey’s Jazz Messengers to his string of acclaimed albums and role as Artistic Director of Jazz at Lincoln Center, Marsalis has amassed a staggering list of accomplishments including nine GRAMMYs and the Pulitzer Prize for Music for his long-form work Blood on the Fields — the first ever awarded to a jazz artist. He received the SFJAZZ Lifetime Achievement Award at SFJAZZ Gala 2022 and made news in 2026 by announcing his departure from his leadership position at Lincoln Center after nearly 40 years.

Marsalis returns following his sublime performance of his score accompanying a screening of the 2010 silent Louis Armstrong biopic Louis during the 2025-26 Season with his vaunted Septet — a format that has remained his most enduring creative outlet and yielded a procession of masterful albums including 1992’s Blue Interlude, 1993’s Citi Movement, 1999’s Mr. Jelly Lord, and 2007’s Here…Now, among others.

Cover: $60.00 ~ $210.00

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