CHRISTIAN MCBRIDE & URSA MAJOR

Eleven-time Grammy Award-winning bassist, composer, and bandleader Christian McBride will delight audiences with his unique musical style influenced by jazz, R&B, pop/rock, neo soul, and classical music.

Whether behind the bass or away from it, Christian McBride is always of the music. A luminary with one hand reaching for new heights and the other extended in fellowship, McBride invites audiences to join in his love of jazz, R&B, pop/rock, hip-hop, neo soul, and classical. An eleven-time Grammy Award-winning bassist, composer, and bandleader, McBride has served as Artistic Director of the historic Newport Jazz Festival, New Jersey Performing Arts center (NJPAC) and the TD James Moody Jazz Festival, as well as the National Jazz Museum in Harlem.

Cover: $30.00 ~ $60.00 | VIP ~ $80.00

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Requisites

Step Lightly ~ Blue Mitchell | By Eddie Carter

In this morning’s discussion, trumpeter Blue Mitchell takes center stage with an underrated, yet delightful album. Step Lightly (Blue Note Classic LT-1082) was his debut on Blue Note, but his ninth recording session as a bandleader. It was initially recorded in 1963. But the album remained unreleased in the United States until seventeen years later. I first heard him on “Blowin’ The Blues Away,” by Horace Silver, “Open House,” and “Plain Talk” by Jimmy Smith, and “Steppin’ Out,” by Harold Vick. For his first effort, Mitchell is joined by an all-star cast: Leo Wright on alto saxphone (tracks: A1 to A3, B1, B3), Joe Henderson on tenor sax (tracks: A1, A2, B1 to B3), Herbie Hancock on piano, Gene Taylor on bass, and Roy Brooks on drums. The copy I own is the 1980 U.S. stereo release. 

Side One gets underway with Mamacita by Joe Henderson, which first appeared on Kenny Dorham’s “Trompeta Toccata” in 1965. The sextet’s infectious bossa nova melody sets the tone for Blue to swing straight ahead in the lead solo. Leo follows with a sparkling statement, then Joe emerges to give a buoyant reading. Herbie steps up last for a short interpretation before the ensemble reconvenes for the closing chorus. Sweet and Lovely by Gus Arnheim, Jules Lemare and Harry Tobias slows the tempo down for the trio’s lovely introduction ahead of the group’s theme. Mitchell opens with a warm and sensitive statement. Wright compliments him gracefully next, and Henderson beautifully embraces the third reading. Hancock finishes with a delicately gentle interpretation preceding the group’s romantic reprise and ending.

Andrea, by Roger Boykin, closes out the first side with a catchy mid-tempo melody by the sextet. Blue is up first and leads the way with a charming interpretation. Leo takes over next with an attractive tone that’s very pleasing, then Herbie has a well-executed reading before the theme’s restatement and soft climax. Side Two kicks off with Joe Henderson’s Step Lightly which Blue would record again on 1965’s “The Thing To Do.” The group’s relaxed vibe on the theme sets things in motion for Mitchell’s breezy opening solo. Henderson follows with a soulful statement, and Wright is as smooth as silk in the third reading. Hancock wraps up everything with an easygoing interpretation leading to the ensemble’s closing theme and fade-out.

Cry Me a River by Arthur Hamilton comes to life with the ensemble’s poignantly sensitive theme. Blue starts the solos by pouring pure sincerity into every note from his trumpet. Joe comes in next and delivers an equally touching interpretation, then Herbie ends with a thoughtful statement before the group’s return to take the song out softly. The sextet ends the album on an upbeat note with a trip to Bluesville by Sonny Red Kyner. Mitchell lets his trumpet do the talking in the first of two infectious interpretations. Henderson comes right behind him and turns in one of his best solos on the album. Mitchell returns to ride the medium groove to a satisfying conclusion before the ensemble’s theme returns, and they take it out.

Alfred Lion produced the original recording session, and Rudy Van Gelder operated the recording console. Michael Cuscuna produced the album for release. The reissue’s sound quality is first-rate, bringing the musicians into your listening room to perform with stunning fidelity. Blue Mitchell recorded twenty-eight albums as a leader and contributed to an extensive discography as a sideman. He worked with Horace Silver from 1958 to 1964. After Silver disbanded the quintet, he formed a group featuring a few of the members. He also performed with John Mayall, Louie Bellson, Bill Holman, and Bill Berry, and eventually became the main soloist for Tony Bennett and Lena Horne. His last group was a quintet co-led with Harold Land until he passed away from cancer at age 49 on May 21, 1979.

If you’re a fan of jazz trumpet and in the mood for an excellent hard bop album, I offer for your consideration, Step Lightly by Blue Mitchell on your next record store visit. It’s a terrific release by a musician deserving of greater recognition, with tight musicianship and exceptional performances that are definitely worth exploring for a spot in your jazz library!

~ Blowin’ The Blues Away (Blue Note BLP 4017/BST 84017), Open House (Blue Note BLP 4269/BST 84269), Plain ~ Talk (Blue Note BST 84296), Steppin’ Out (Blue Note BLP 4138/BST 84138), The Thing To Do (Blue Note BLP4178/BST 84178), Trompeta Toccata (Blue Note BLP 4181/BST 84181) – Source: Discogs.com ~ Sweet and Lovely – Source: JazzStandards.com ~ Cry Me a River – Wikipedia.org © 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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NICOLE HENRY, SENEGAL APOSTOLO & JOHN MARQUIS

Esther Mae Armbrister Park welcomes the Nicole Henry Quintet, the Senegal Apostolo Trio and the John Marquis Trio for an evening of jazz celebrating Jazzin’ The Grove Spring Swing! The event is ree and open to the public. Bring your chairs, blankets and coolers for a fantastic evening of live jazz.

World class vocalist Nicole Henry’s versatile and emotionally driven performances have captivated audiences in twenty countries.  She has ensconced herself in the jazz ranks of acclaimed interpreters as she tours with her quartet or performing with orchestras and big bands. Her repertoire comes from the American Songbook, classic and contemporary jazz, popular standards, blues, and originals. Her numerous accolades include Traditional Jazz Performance, Best New Jazz Artist, and Best Solo Musician from Soul Train, HMV Japan Awards and Miami New Times, respectively. She was hailed as One of Eight Black Artists Making Waves in 2024 by Symphonic Distribution and BroadwayWorld Miami named her Vocalist of the Decade. 

Double bassist Senegal Apostolo is a Miami-based professional musician, bassist, and educator, known for his work with JazzSLAM, and has been featured in performances with the FIU Music Hour. A graduate of the FIU School of Music, he performs in jazz ensembles and provides music programming for children. He co-founded Miami-based music academy, Sol Music Studios, and conducts interactive musical programs for young children. His discography can be found on SoundCloud, Boomplay and Instagram.

Pianist John Marquis began playing at an early age and has been playing through his high school matriculation. Along with his bandmates, bassist Gavin Jules and drummer Dwayne James, they are soon to be graduating seniors from the renowned performing and visual arts Dillard Center for the Arts located within Dillard 6-12 Magnet School, located in Fort Lauderdale. To be accepted into the program each student had to audition and undergo a rigorous years of training that has prepared them for a career in the arts.

Cover: FREE

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VANESSA RUBIN

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. Rubin’s passion for rich musical stories are evidenced throughout her eight albums thus far plus numerous guest appearances.

Highlight s ongs include the evocative “Voyager II” from the pen of Teri Thornton, “Inside a Silent Tear” written by Blossom Dearie, a refashioned waltz version of John Coltrane’s “Giant Steps” lyricized by New York Voices and an arrangement of “Superwoman” by Stevie Wonder insipired by the Ahmad Jamal recording of “Poinciana”. So while she has one foot planted in tradition – sticking close to timeless melodies and exquisite vocal forms – Rubin waxes adventurous, embracing stories lesser told while employing lessons of acclaimed storytellers in song such as Carmen McRae, Shirley Horn, and Freddy Cole.

Bandmates:
Allyn Johnson ~ Piano
Kenny Davis ~ Bass
Alvester Garnet ~ Drums

Cover: $35.46 ~ $45.76

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Daily Dose Of Jazz…

Nick Moran was born on April 14, 1963 in New York City and began playing trumpet at age ten, switching over to the guitar at thirteen. His early musical influences were the British rock guitarists Jeff Beck, Jimmy Page and Peter Frampton. He played in several rock groups throughout high school and college while studying classical guitar. He first discovered the music of George Benson at age fifteen along with Jim Hall, Wes Montgomery, Miles Davis, Dexter Gordon and Art Blakey’s Jazz Messengers.

Nick’s study of jazz began informally in 1991 with arranging and ear training classes at the Fachbereich Musik in Mainz, Germany, where he also played guitar and trumpet in the university big band. He returned to New York in 1998 and began formal jazz studies and graduated from City College of New York in 2001. He did rhythm section studies for two years with bassist Ron Carter and studied composition with pianist/arranger Mike Holober.

He has been a member of the Ray Santos Orchestra, Akiko Tsuruga, Shunzo Ohno, Tom Hubbard, Marco Panascia, Adam Rafferty, Rick Stone, Nick Russo and Russ Spiegel, Cliff Korman and Burt Eckoff. Nick Moran currently leads two bands, is an active solo performer, plays a seven-string guitar, performs throughout New York City and is a producer and recording engineer.

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