GREGORY PORTER

The Adrienne Arsht Center is celebrating its 20th Anniversary Gala Concert with jazz vocalist Gregory Porter.

With a voice that has been described as “liquid gold”,  Porter has captivated audiences around the world with his soulful baritone and deeply emotional performances. His blend of jazz, soul and gospel has earned him critical acclaim and global success.

Tickets: $23.40 – $140.40 incluing all fees.

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JACQUES SCHWARZ-BART & CARL-HENRI MORISSET

The first form of jazz was called Creole music. It was not only popular in New Orleans but also in Haiti, Guadeloupe, Martinique, and Trinidad. When New Orleans became American, the connection between musicians from the French post-plantation society began to erode.

However, the connection between the French Antilles and Haiti never withered. In that tradition, Guadeloupean jazz musician Jacques Schwarz-Bart has long called upon his Haitian counterparts, including his musical collaboration with pianist Carl-Henri Morisset.

Morriset is one of Europe’s premier pianists, and Schwarz-Bart was voted the best saxophone player in France for 2025. Recently featured together in the group Black Lives, an all-star group of Black musicians from around the world, Schwarz-Bart said, “I released a sax/piano duet album lately, and I am excited to present this collaboration between Carl-Henri Morisset and myself, as the symbol of two Caribbean people with one Creole soul.”

Jacques Schwarz-Bart ~ saxophone
Carl-Henri Morisset ~ piano

This is a free but ticketed event. To guarantee your seat, please pick up your tickets at least 15 minutes prior to the show, at which point your unclaimed tickets may be used to seat patrons waiting on standby. Tickets will be available for pick-up at the Ticket Office beginning one hour prior to the performance.

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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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Requisites

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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