CURTIS TAYLOR
Curtis Taylor is a dynamic jazz trumpeter, composer, and educator whose artistry bridges technical mastery and soulful expression. Raised in Bedford, Ohio he began playing trumpet at an early age and committed to a life in jazz after formative concert experiences in his youth. He honed his craft under the mentorship of leading artists while studying at Michigan State University and Rutgers University.
JAZZ at MOCA is South Florida’s longest-running free outdoor jazz concert series and one of the museum’s most beloved public programs for in-person open air musical entertainment.
Since 1999, Jazz at MOCA has been presented on the MOCA Plaza on the last Friday of the month. Attendees pay as you wish for admission to the museum from 7 to 10pm. Seating starts at 7pm, concert begins at 8pm.
TICKETS: FREE
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ETIENNE CHARLES
Etienne Charles is a performer, composer and storyteller, who is constantly searching for untold tales and sounds with which to tell them. His lush trumpet sound, varied compositional textures and pulsating percussive grooves enable him to invoke trance, soothing and exciting listeners. His concerts engage, enlighten, educate and enrich audiences with energized multidisciplinary performance utilizing original composition, thematic improvisation, dance, and spoken word to create a holistic experience. A firm believer in music and performance as a tool for provoking thought and dialogue, Etienne’s themes speak to the status quo while drawing parallels to history.
Born in Trinidad, his work is actively connecting the diaspora and drawing lines to the regions at the roots of migrations, evident in his latest release, Live in San Francisco Vol. 1. As a sideman, Etienne has performed with and/or arranged for Roberta Flack, Chucho Valdes, Marcus Roberts, Marcus Miller, Count Basie Orchestra, Monty Alexander, Gregory Porter, Terri Lyne Carrington, and many others. He has been commissioned as a composer and arranger by Lincoln Center for the New York Philharmonic, Savannah Music Festival and Chamber Music America. He currently serves as Associate Professor of Studio Music and Jazz at University of Miami Frost School of Music.
Tickets: $46.78 fees included
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For Basie ~ Paul Quinichette | By Eddie Carter
A few nights ago, with rain falling and a cold atmosphere outside, it felt like the ideal moment to listen to a favorite album by tenor saxophonist Paul Quinichette. For Basie (Prestige PRLP 7127), first released in 1958, is a great “blowing session” of the 1950s and a heartfelt homage to Count Basie, offering memorable tunes and lively arrangements by pianist Nat Pierce. The group features two alumni from Basie’s band, showing that these jam sessions were anything but rushed or lacking in artistic merit. Rounding out the sextet are Shad Collins on muted trumpet (tracks: A1, A2, B2) and trumpet (tracks: A3, B1, B2), Freddie Green on guitar, Walter Page on bass, and Jo Jones on drums. The copy I own is the 1963 remastered stereo reissue (Prestige Swingville SVST 2036).
Side One opens at a relaxing beat with Rock-a-Bye Basie by Count Basie, Shad Collins and Lester Young. Nat opens with a short introduction, segueing into Shad's leisurely-paced melody, with Paul playing behind him. Paul’s opening solo is cool and inviting, then Shad comes in on muted trumpet like a gentle breeze on a summer night. Nat sums it up with a friendly reading, returning to the theme’s restatement and a soft conclusion. Texas Shuffle by Herschel Evans and Edgar Battle turns up the heat significantly, beginning with Pierce and Jones’ quick introduction ahead of the ensemble’s speedy melody. Quinichette takes the lead first, then Collins, again using a mute, takes over for a quick run. Quinichette has a short conversation with Jones, and Pierce has the last word before the group ends softly.
Out The Window, by Count Basie and Eddie Durham, was first recorded by Basie’s band in 1937. The sextet pays homage, with the front line featuring Shad on the open horn, leading the mid-tempo melody. Shad struts boldly into the opening statement. Paul follows with a solo that soothes as it swings, then Nat strolls into the third reading with finesse, leading to a lengthy theme reprise with quick comments by Paul and Jo before the close. The group starts Side Two with Jive at Five by Count Basie and Harry Edison, which opens at an easygoing beat for Jones, Pierce, and Page’s introduction to the ensemble’s melody. Quinichette takes the lead here at an unhurried pace. Collins steps up next, still on the open horn with an easily flowing solo. Pierce continues moving along toward the sextet’s closing chorus.
Digging For Dex by Count Basie and Eddie Durham is their tribute to former “Down Beat” editor, Dave Dexter. Nat continues the easygoing pace, leading the rhythm section through the introduction, segueing to the sextet’s theme with Shad still on the open horn. Paul has the first say and makes the most of each note. Shad steps into the spotlight next for some muted work, then Nat takes over and cruises comfortably toward the ensemble’s laid-back climax. Bob
Weinstock supervised the session, and Rudy Van Gelder managed the recording console. I was pleasantly surprised by the reissue’s sound quality, especially for a remastered stereo album from the 50s. The soundstage is excellent, and brings the listener to the studio as the musicians perform.
In my opinion, For Basie captures the essence of Count Basie’s music, allowing each musician in the ensemble to shine. With Quinichette leading the sextet and his subtle homage to Lester Young in his playing, hence his nickname, The Vice Pres pays a respectful tribute to Basie’s legacy, blending nostalgia with innovative interpretations. The seamless chemistry between Collins, Pierce, Green, Page, and Jones elevates each tune into a stellar example of jazz artistry. If you enjoy swing, big band jazz, or have a soft spot for the tenor sax as I do, I invite you to check out Paul Quinichette’s For Basie on your next record-shopping trip. It’s a delightful album that’s perfect for listening to at any time of day or night, a real joy for jazz fans, and a title well worth adding to your library!
© 2026 by Edward Thomas Carter
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TAL COHEN QUARTET
Australian-born jazz pianist Tal Cohen leads a dynamic ensemble performance on the lawn as part of the Ocean Drive Promenade Music Series.
Cohen is an internationally touring pianist known for blending modern jazz with Middle Eastern melodic influences and intricate rhythmic phrasing. A winner of the Detroit Jazz Festival’s Barry Harris National Piano Competition, he has performed with acclaimed artists including Terence Blanchard, Joe Lovano, Greg Osby and Ignacio Berroa, while leading his own ensembles at festivals and venues around the world. His album Gentle Giants received international acclaim and a four-star review from DownBeat magazine.
In case of rain, the performance will move indoors to The Betsy Hotel.
Tickets: Free
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After The Morning ~ John Hicks | By Eddie Carter
Feeling exhausted after a long week, I sought an album that offered a gentle, soothing escape. I went to the turntable, and put on After The Morning (West 54 WLW 8004) by John Hicks, and playing it was like a thoughtful act of self-kindness, gently easing my tension. Hicks’ piano work is both delicate and confident, creating a sense of tranquility reminiscent of a fresh morning. This album marks his third session as a band leader, but it was his first release. Joining him are Walter Booker, Jr. on bass (tracks: A1, A3, B1, B3), and Clifford Barbaro on drums (track: B1). The copy I own is the 1979 U.S. stereo release.
Side One opens with the title tune, After The Morning, by John Hicks. John is merry and playful as the melody is skillfully presented, and he continues swinging softly through the song’s only solo. Walter provides excellent support throughout, leaving the listener spellbound as the duo’s theme reprise gently closes. Serenata by Leroy Anderson and Avery Parrish provides Hicks with an unrestricted canvas in which to work in a solo performance. The song opens with a tranquil introduction and theme, then transitions into a breezy solo that captivates the listener, culminating in an exquisite ending.
Dierdre de Samba by Clifford Barbaro is a beautiful ballad that begins with a short introduction from the duo and unfolds into a lush, rich melody. John shines again as the song’s only soloist, playing with elegance and sensitivity ahead of a gorgeous reprise and a peaceful climax. Some Other Spring by Arthur Herzog, Jr. and Irene Kitchings is Hicks’ second solo performance, and a song he associated with the early morning of the day. Here, he delivers a delicately passionate and tender performance, and every note and phrase weaves a haunting spell ahead of the pianist’s return to take the song out softly.
The Duke by Dave Brubeck is a tribute to Duke Ellington, and John’s final solo performance of the first side. His introduction and melody feel like the calm of a new morning, showcasing his virtuosity in one of the album’s most beautiful moments. Impact by Charles Tolliver is the trio’s only appearance together and is the most adventurous song on the album. The cascading introduction rolls in like a severe, sudden thunderstorm, before Hicks takes charge of the theme ahead of a sizzling interpretation propelled by Booker’s bass and Barbaro’s brushwork, preceding a quick return to end on a sudden stop.
Until The Morning by John Hicks opens with a very pretty introduction that blossoms into a beautifully flowing theme of refined elegance. As the song’s only soloist, he offers an interpretation that’s both carefully crafted and deeply expressive, culminating in a touchingly delicate finale. Night Journey by Andrew “Tex” Allen wraps up the album with a delightful introduction by John and Walter into a vivacious theme. As the song’s only soloist, his tone is as airy as ever, and he explores several points of interest as the interpretation unfolds before the duo reprises the theme and brings the song to a graceful conclusion.
Roger Pola produced After The Morning, and Bob Cubbage was the recording engineer behind the dials. The album’s sound quality is excellent, with an outstanding soundstage. Your sweet spot will feel like you’re in the studio with the musicians as they’re recording. John Hicks recorded over 30 albums as a leader and contributed as a sideman to more than 300 releases. If you’re a fan of jazz piano and looking for something soothing, I offer After The Morning by John Hicks for your consideration on your next record-shopping trip. It’s a perfect album to begin your journey into his music, and after a tough day or week, a terrific companion to help you unwind and catch your breath!
© 2026 by Edward Thomas Carter
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