TYREEK MCDOLE

Tyreek McDole is a multi-award-winning Haitian-American vocalist from Central Florida whose soulful baritone and deeply reflective artistry are making waves across the New York and international music scenes. Rooted in the belief that music is one of the highest forms of communication, McDole approaches performance as a space for healing, reflection, and collective dreaming — treating each concert as both offering and ritual.

He first gained national recognition at the 2018 Essentially Ellington Competition at Jazz at Lincoln Center, where he received the Outstanding Vocalist Award presented by Wynton Marsalis. In 2023, he won first place at the prestigious Sarah Vaughan International Jazz Vocal Competition, becoming only the second male winner in the competition’s history and joining the ranks of standout vocalists such as Samara Joy.

Since then, McDole has shared the stage with Jeff Goldblum, Rodney Whitaker, Theo Croker, Maurice Brown, Joey Alexander, Terri Lyne Carrington, Nicholas Payton, and Nick Jonas, among many others, and has appeared at leading venues and festivals worldwide.

A graduate of the Oberlin Conservatory of Music, he developed his craft under the mentorship of master artists such as Gary Bartz, Sullivan Fortner and Weedie Braimah, grounding his sound in the lineage of Black American Music while pushing its language forward.

His critically acclaimed debut album, Open Up Your Senses, blends original compositions with freedom songs, spirituals, and works that speak to justice, unity, and ancestral memory. The record reached #1 on JazzWeek charts, earned four stars from DownBeat, and has been praised for its emotional depth and spiritual resonance.

With a voice steeped in warmth, gravity, and soul, McDole creates performances that are both intimate and expansive — honoring tradition while inviting listeners toward reflection, healing, and shared imagination.

Dinner & Show: $95.00
Cover Only: $50.00

More Posts: ,,,,,,,,,

AYA SEKINE TRIO

Japanese Jazz Pianist Aya Sekine, with over three decades of cross-continental experience, has solidified her position as one of Asia’s most illustrious Jazz figures. Recently, Sekine has relocated to Detroit, Michigan after being approved for an artist permanent residency (EB-1) in the United States based on her Extraordinary Ability.

From her classical piano roots to prestigious stages in New York City and beyond, Sekine’s journey is marked by a rich tapestry of experiences and seasoned expertise. Renowned for her unique style, often hailed as genre-bending, Sekine effortlessly weaves together traditional jazz and abstract expression, infusing her music with a playful charm and a touch of mischief.

Her performances capture audiences in with warmth and allure, while she swings hard, and adding her original color to the classics. Whether collaborating with diverse artists or leading her own band, Sekine’s magnetic stage presence and transcendent musical mixture continue to captivate audiences, cementing her status as an iconic figure in the global jazz community.

Cover: $25.00

Aya Sekine – Piano
Jaribu Shahid – Bass
Jonathan Barahal Taylor – Drums

More Posts: ,,,,,,,,

SUNNY WILKINSON

Sunny Wilkinson has taken her place in that elite group of jazz vocalists who have stretched the boundaries and found themselves “one of a kind.”

Sunny has sung with music icons such as The Count Basie Orchestra, Rob McConnell and the Boss Brass, Clark Terry, Mark Murphy, Milt Hinton, Curtis Fuller and many more.  She has recorded four CDs as leader and numerous guest appearances. “Into the Light,” her newest CD, is all about family—not just Wilkinson’s immediate family, but her extended musical family as well. Featuring her Michigan band, Ron Newman on piano, Ed Fedewa on Bass, and Larry Ochiltree on Drums, it comprises a stylistic mix of tunes that resonate with Wilkinson because of the stories they tell. The CD features her crystalline voice and impressive ability to convey the heart of a lyric with unadorned honesty.

Sunny has also made significant contributions in jazz education.  She was the head of the vocal jazz program at Michigan State University for eighteen years.  Presently she is adjunct faculty at Western Michigan University and an artist in residence at the University of Michigan. She developed a mentoring program for young women jazz musicians called “Sisters in Jazz” that was taken to an international level through IAJE.  Sunny is very proud of her former students, many of whom are now the heads of vocal jazz programs at universities around the country and have successful careers as jazz performers and recording artists.

Cover: $25.00

More Posts: ,,,,,,,,,

Requisites

Central Avenue Reunion ~ Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, Albert “Tootie” Heath | By Eddie Carter

It’s wonderful to be back with you all after some time away to recuperate from two surgeries earlier this month. This morning’s album from the library, Central Avenue Reunion (Contemporary Records C-14057) spotlights two of my favorite artists, Art Farmer and Frank Morgan. Recorded live in 1989 over two memorable nights at Kimball’s East, it reunites Art Farmer on both flugelhorn (tracks: A2, A3, A4, B1) and trumpet (A1, B3), and Frank Morgan on alto saxophone (A1, A2, A4, B1 to B3). An outstanding rhythm section joins them: Lou Levy on piano, Eric Von Essen on bass, and Albert “Tootie” Heath on drums. I own the 1990 U.S. stereo release.

The set opens with Star Eyes by Gene De Paul and Don Raye. Art sets the solos in motion on muted trumpet, leading the group through the relaxing melody. Frank takes flight first with a spirited solo that’s crisp and precise. Art takes the second statement with smooth efficiency. Lou takes a cheerfully appealing turn, and Eric follows with a short walk towards the restatement of the theme. Farmer’s Market by Art Farmer takes off at a fast gallop for the quintet’s opening ensemble. Frank gets right down to business first, then Art sustains the momentum with passionate fire next. Lou follows with a vigorous statement, then all the soloists share a brisk exchange before the closing ensemble comes to a dead stop.

Art and the trio pay homage to George and Ira Gershwin with Embraceable You, opening with a gorgeous melody. Art begins with the first of two exceptionally gentle interpretations, showing off his sentimental side. Lou follows with a short solo filled with warmth and sensitivity. Art returns with a thoughtfully graceful reading, leading back to the soothing theme. Blue Minor by Sonny Clark brings the ensemble back for a medium-tempo melody. Frank sets the pace with a wailing opening statement. Art takes the wheel next and continues with a jubilant reading. Lou has the last word and neatly wraps up the solos before the theme returns.

I Remember You by Victor Schertzinger and Johnny Mercer begins with Lou’s lovely introduction, which segues into the quintet’s lively melody. Art is in top form first, with a good-hearted swing. Frank works out a few intriguing ideas next, then Lou’s piano flows like cool water in a relaxing river stream. Art and Frank share a brief conversation into the closing chorus. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a beautiful ballad from the thirties that begins elegantly, with Frank and the rhythm section’s melody moving like a couple’s Sunday evening stroll. He continues approaching the song’s only solo from the heart, anchored by the trio’s subtle support, into a gorgeous reprise and ending.

Sonny Clark’s Cool Struttin’ brings the set to a close with the ensemble’s collective midtempo theme, setting a good tone. Lou comes in first and skillfully navigates the rhythm section. Art takes the next spot on muted trumpet with carefree enthusiasm. Frank sparkles next with steady sureness, and Eric delivers a delightful finale before the group’s theme restatement earns the audience’s approval. Helen Keane produced Central Avenue Reunion. Danny Kopelson managed the recording console, and George Horn mastered the album. The sound quality is exceptional, placing the listener in the audience as the musicians perform.

If you’re searching for an exhilarating hard-bop live session to listen to after a long day, evening, or week, I invite you to join Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, and Albert “Tootie” Heath for a Central Avenue Reunion the next time you’re out record shopping. It’s a lively, spirited performance of standards and originals, with thoughtful arrangements and inspired solos that offers many hours of listening enjoyment and shouldn't be missed for a spot in your library!

~Donna Lee, Don’t Blame Me, Embraceable You, I Remember You, Star Eyes – Source: JazzStandards.com © 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

More Posts: ,,,,,,,,,,,,,

Requisites

Another Monday Night at Birdland ~ Hank Mobley, Billy Root, Curtis Fuller, Lee Morgan | By Eddie Carter

This morning’s choice from the library brings us back to The Jazz Corner of The World for another live set by Lee Morgan on trumpet, Curtis Fuller (tracks: A2, B1, B2) on trombone, Hank Mobley, Billy Root on tenor sax. Another Monday Night at Birdland (Roulette R 52022/SR 52022) is the companion album to Monday Night at Birdland. Rounding out the septet is Ray Bryant on piano, Tommy Bryant on bass, and “Specs” Wright on drums. “Symphony Syd” Torin is the Master of Ceremonies, and my copy used in this report is the 1988 Spanish Mono reissue (Fresh Sound Records FSR-632).

Side One starts with an exhilarating rendition of It’s You Or No One, written in 1948 by Jule Styne and Sammy Cahn.  Lee leads the ensemble on the melody before Hank opens the solos energetically.  Lee lays down some spirited energy on the second statement, then Billy states his case with a vigorous finale leading to the climax and Syd’s introduction of the next tune. Jamph was written by Curtis Fuller, and I first heard it on the album, Big Six (1958). The septet begins the theme at mid~tempo collectively, then Mobley soars into the lead solo with some energetic blowing. Fuller greets the next statement enthusiastically, followed by Morgan who wails mightily on a vigorous reading. Root keeps the beat on the fourth interpretation with a scene-stealing performance. Bryant takes care of business on the closer with an aggressive solo into the out chorus.

Side Two starts with Syd’s announcement of the next tune, Nutville by Lee Morgan with inspired playing by the septet on the infectious melody. Hank launches into a swinging improvisation that’s a delight. Lee exhibits his skills on a joyful excursion next. Billy comes after him with a stellar statement that made me sit up and take notice. Curtis wraps up the solos with a delightful interpretation that brings so much pleasure ahead of the ensemble’s exit and group introductions. Wee by Denzil Best is an uptempo cooker that flies out of the gate with a high-voltage melody in unison. Mobley steps into the spotlight first with a heated solo. Morgan uses a mute for the second statement and attacks with the speed of a whirlwind. Root displays some lightning-fast chops on the third presentation, and Bryant covers plenty of ground motoring in rapid-fire fashion on the next reading. Wright gets a concise comment during the theme’s reprise into the septet’s lively finale.

Another Monday Night at Birdland was produced by Rudy Taylor and like the first album, the soundstage is excellent for a live recording. This is a four-star blowing session that I’m sure any fan of Hank Mobley, Billy Root, Lee Morgan, and Curtis Fuller would dig. If you’re a fan of Hard-Bop, this album is a terrific addition to any jazz library and one of the best in the Birdland Series!

~ Big Six (Riverside Records RLP12-273), Monday Night at Birdland (Roulette R-52015/SR-52015) – Source: Discogs.com © 2021 by Edward Thomas Carter

More Posts: ,,,,,,,,,

« Older Posts       Newer Posts »
© Notorious Jazz 2026