JOHN YARLING

John Yarling studied classical percussion at Florida State University and jazz performance at the University of Miami. He has taught music and percussion at North Broward Preparatory Schools and founded the percussion program at the Florida Youth Conservatory.

A versatile and sought-after drummer, John has performed with top South Florida acts including Ira Sullivan, the Inter-Outer Continental Quintet, South Florida Jazz Orchestra, Brian Murphy Trio, Nicole Yarling 4-Tet, and more. Comfortable in jazz, blues, funk, and rock, his past collaborations include legends such as Mose Allison, Sonny Stitt, Nat Adderley, Mike Stern, Larry Coryell, and Mick Taylor. His recording credits feature artists like Ira Sullivan, Curtis Fuller, Joe Williams, and Pink.

Cover: Member ~ $33.85 | General Admission ~ $44.52

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KENNY BANKS JR.

Pianist Kenny Banks Jr., a resident of Atlanta, GA has earned a reputation as one of the most dynamic jazz artists in the Southeast. Kenny was a finalist in the 2019 American Pianists Awards jazz competition and performed to great acclaim in solo and trio formats.

He has traveled abroad performing and recording around the world with a wide variety of artists in the jazz, gospel, Afro-Cuban and hip-hop scenes. These artists include Kurt Elling, Keyon Harrold, Jazzmeia Horn, Theo Croker, Jeff Tain Watts, Stefan Harris, Russell Malone, Gerald Albright, Charlie Hunter, Jennifer Holliday, David Sanchez, Kim Burrell, Dottie Peoples, Phiife from “A Tribe Called Quest”, Eight Ball & MJG and Queen Latifah.

Banks is noted for his blended technique in mixing jazz and gospel styles. Downbeat Magazine describes his playing as “gospel and blues-infused” and calls his arrangements “thrilling, modern and surprising.” Jazziz Magazine notes his “deeply embodied gospel and soul roots” with “supple phrasing and effortless command of late 20th century harmony.”

Kenny Banks Jr expresses himself compositionally from a broad range of music. KJO’s Live at Lucille’s states, “His music is at once sophisticated, spirited, spontaneous and brilliantly executed.” “Embrace the sound” says Kenny. “This way of thinking aids me in my approach, helping me to view situations from a state of optimism, on and off the bandstand.”

Cover: $32.26

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CYRUS CHESTNUT

Chestnut’s playing, deeply rooted in gospel and blues, infuses each performance with profound emotional depth. As The New York Times notes, his “crisp articulation and blues-inflected harmony evoke another era… multifaceted and dynamic,” seamlessly blending tradition with fresh innovation to captivate audiences. Chestnut’s artistry has earned him widespread acclaim as one of the most distinctive and compelling jazz pianists of his generation. As The New York Daily News aptly describes him, he is “the rightful heir to Bud Powell, Art Tatum, and Erroll Garner.”

At age nine Chestnut was enrolled in the prep program at the Peabody Institute in Baltimore. He later headed to Berklee College of Music in Boston, where he received the Eubie Blake fellowship, the Oscar Peterson scholarship, and the Quincy Jones scholarship.

After graduating from Berklee in 1985, Chestnut went on to work with vocalist Jon Hendricks and trumpeter Terrence Blanchard before joining jazz legend Wynton Marsalis. He toured for two years as the pianist for the Betty Carter Trio and has often said that playing with Carter was a form of graduate school.

By 1994, Chestnut had graduated from being an accompanist and band member by forming and leading his own trio, then releasing his major label debut album Revelations. The album, voted Best Jazz Album by the Village Voice, soared on the charts.

Chestnut has worked with such leading artists as saxophonists Donald Harrison and Joe Lovano; trumpeters Roy Hargrove and Freddie Hubbard; pianist Chick Corea, the Chicago Symphony Orchestra, the Boston Pops, and opera singer Kathleen Battle, as well as vocalists Vanessa Williams, Anita Baker, Bette Midler and Isaac Hayes.

Today he tours continually, playing at jazz festivals, clubs and concert halls around the world. He is a first call for the piano chair in such groups as the Lincoln Center Jazz Orchestra and the Dizzy Gillespie All-Star Big Band. The NY Daily News has hailed Cyrus Chestnut as the rightful heir to Bud Powell, Art Tatum and Erroll Garner.

Cover: $35.00 ~ $50.00 +$7.00 fee | $15 food/beverage minimum per person not included in ticket price

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TIFFANY GRIDIRON TRIO

Tiffany Gridiron is a gifted jazz vocalist and songwriter whose sultry vocals and playful approach have excited audiences around the world. She began singing as a child in her family church, but was particularly inspired by singer Jill Scott before being introduced to the poetry and improvisation of jazz through vocalist and educator Sunny Wilkinson.

Tiffany has recorded five CDs of jazz standards, released by Sony Records Japan, that feature such musical greats as Hank Jones, Tadataka Unno, Omar Hakim, and many others. In September of 2023, Tiffany released on all digital platforms, her most personal album to date with friend, producer, trumpeter and arranger Kris Johnson. Five of the album’s eight songs feature lyrics penned by Gridiron and co-composed by Johnson, with Brendon Davis (piano), Jonathan Muir-Cotton (bass), Nate Winn (drums), and Vivienne Smith (background vocals) also adding their beautiful artistry to this material.

The Performers:
Tiffany Gridiron: Vocals | Aya Sekine: Piano | Sam Corey: Bass

Cover: $75 w/$55 dinner credit | $40 w/$20 credit | 18% gratuity + fees

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Requisites

Images ~ Ralph Moore | By Eddie Carter

Ralph Moore enters this morning’s spotlight with Images (Landmark Records LLP-1520). He was born in Brixton in South London, England, and took up the trumpet and various instruments at the age of fourteen before deciding on the tenor saxophone. In the early 1970s, he relocated to Santa Maria, California, and later to Boston, Massachusetts, where he began performing locally while studying at Berklee College of Music. Unfortunately, his studies were interrupted by a home invasion that left him seriously injured and unable to complete his degree. Joining him on this date are Terence Blanchard on trumpet (tracks: A1, A3, B1, B3), Benny Green on piano, Peter Washington on bass, Kenny Washington on drums, and Victor See-Yuen on congas (A3). My copy of the album is the 1988 U.S. stereo release.

Side One commences with an energetic trip on the Freeway by Ralph Moore. From the rhythm section’s introduction, the quintet swings with an invigorating theme. Ralph has the first solo spot and swiftly navigates the trio’s interplay to a satisfying conclusion. Terence follows with an energetic interpretation, then Benny dives into a jubilant performance, culminating in the exuberant closing chorus and climax. The mood shifts to a slower tempo for a beautiful quartet rendition of Enigma by J.J. Johnson. Moore exudes grace and politeness in the opening melody, then proceeds with a richly detailed and tender presentation. Green’s short solo is filled with melodious sweetness, like the taste of a well-aged vintage wine before the close.

The trio’s infectious Latin-influenced introduction begins with Episode From a Village Dance by Donald Brown. The quintet’s danceable theme gets things off to a good start. Ralph leads the way with a happy groove. Terence steps up to give a jaunty reading, then Benny adds to the festive mood in the closing interpretation, ahead of the ensemble’s theme reprise and climax. The quintet takes the beat upward to begin the second side with This I Dig of You by Hank Mobley. The rhythm section’s introduction sets up the ensemble’s rhythmic attack in the melody. Blanchard opens the door with a spirited solo, then Moore brings the heat in the second reading. Green soars ahead next, and the front line mixes it up with Washington preceding the quintet’s closing chorus and exit.

Ralph Moore’s Blues For John is his upbeat tribute to John Coltrane. A spirited two-instrument dialogue between Moore and Washington segues into the quartet’s brisk melody. Benny rolls out the opening statement effortlessly, then the leader soars through the following interpretation with terrific momentum. Peter takes his first solo of the date and delivers an inspired reading, leading to a short theme restatement and abrupt stop. The quintet returns to begin Punjab by Joe Henderson with a bluesy introduction and melody. Peter goes for a leisurely stroll in the opening statement. Ralph follows with a delightful interpretation, then Terence steps for a well-crafted solo that’s marvelously executed. Benny has the last word, then hands it over to the ensemble, who close the song as they began.

Elmo Hope’s One Second, Please, raises the intensity one final time for the trio’s introduction, leading to the quartet’s rapid melody. Ralph launches into the opening statement with electrifying energy. Benny succeeds him with a series of exhilarating ideas that flow seamlessly. Ralph and Kenny add a vigorous footnote before the ensemble wraps up the song. Orrin Keepnews produced Images, with Rudy Van Gelder as the recording engineer. George Horn mastered this release, utilizing a Mitsubishi X-80 digital tape recorder, which enabled direct recording and mastering from two-track digital tape. The album’s sound quality is splendid, with a crystal-clear soundstage that not only allows each instrument to shine but also makes it feel as though the musicians are playing right in front of you.

Ralph Moore is a tenor saxophonist whose music, deeply influenced by John Coltrane, is both personal and easily recognizable. His professional journey began with a 1979 tour of Scandinavia. After moving to New York City a year later, he collaborated with numerous musicians, including as a member of Kevin Eubanks’ band on “The Tonight Show.” “Images” is Moore’s fourth album as a leader, and despite his relatively small discography as both a leader and sideman, each album reveals his energetic and vibrant style. For fans of the tenor saxophone, I invite you to consider “Images” by Ralph Moore for a spot in your library on your next record hunt. It’s a terrific album that showcases Moore’s growing mastery and passion for hard bop, and it should not be missed!

© 2025 by Edward Thomas Carter

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