ETIENNE CHARLES
San Juan Hill: A New York Story
Created by composer and trumpeter Etienne Charles, it is an immersive multimedia creation that celebrates a vital chapter of New York’s past. Through music, visuals, and first-person accounts, this powerful work shines a light on the historic communities of the area where Lincoln Center stands today. Blending diverse musical styles—including ragtime, jazz, stride piano, swing, blues, mambo, paseo, Antillean waltz, calypso, funk, disco, and Hip-Hop—with historical film and compelling narratives, the work showcases the myriad cultures that migrants brought to New York from the American South and the Caribbean.
He is joined by the University of Miami’s Frost Symphony Orchestra, where Charles teaches and serves as the Director of the Frost Studio Jazz Band, and special guests, this piece is a testament to the enduring spirit and forgotten stories of a community that helped shape the city’s cultural landscape.
The Program:
Lenape | Where Two or More are Gathered | Zora & Percy | Swing Culture | The Destroyer | Riot 1905 | Negro Enchantress — The Story of Hannah Elias | Charleston at the Jungles | Urban Removal — 1949–1959 | House Rent Party
Creole Soul:
Etienne Charles ~ Trumpet
Godwin Louis ~ Alto, Soprano Saxophones
Tori Trinity Flute
Christian Sands ~ Piano
Alex Wintz ~ Guitar
Lino Piquero Bueno ~ Bass
Brenten Handfield ~ Drums
Feature:
University of Miami Frost Symphony Orchestra
Maestro Gerard Schwarz ~ Director
Special Guests:
DJ Logic ~ Turntables
Eljon Wardally, Carl Hancock Rux ~ Spoken Word
Tickets: Currently No Availability
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SEAN JONES w/ FROST JAZZ ORCHESTRA & SEEK THE SOURCE
Singing and performing as a child with the church choir in his hometown of Warren, Ohio, Sean switched from the drums to the trumpet at the age of 10.
Sean is a musical chameleon and is comfortable in any musical setting no matter what the role or the genre. He is equally adept in being a member of an ensemble as he is at being a bandleader. Sean turned a 6-month stint with the Jazz at Lincoln Center Orchestra into an offer from Wynton Marsalis for a permanent position as lead trumpeter, a post he held from 2004 until 2010. In 2015 Jones was tapped to become a member of the SFJAZZ Collective. During this time, Sean has managed to keep a core group of talented musicians together under his leadership forming the foundation for his groups that have produced and released eight recordings on the Mack Avenue Records, the latest is his 2017 release Sean Jones: Live from the Jazz Bistro.
Sean has been prominently featured with a number of artists, recording and/or performing with many major figures in jazz, including Illinois Jacquet, Jimmy Heath, Frank Foster, Nancy Wilson, Dianne Reeves, Gerald Wilson and Marcus Miller. Sean was selected by Miller, Herbie Hancock and Wayne Shorter for their Tribute to Miles tour in 2011.
The Band:
John Daversa, director
Marcus Strickland, director
Sean Jones, trumpet
Ticket: $40.00 | $35.00 | $15.00
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Daily Dose Of Jazz…
Albert Killian was born in Birmingham, Alabama, on October 15, 1916 and got his start playing with Charlie Turner’s Arcadians in the mid-1930s. He went on to play with big bands led by Baron Lee, Teddy Hill, Don Redman, and Claude Hopkins. The early to mid-1940s saw him swapping between bands led by Count Basie and Charlie Barnet, as well as being with Lionel Hampton for a period in 1945.
He appeared on film several times, played with Norman Granz’s Jazz at the Philharmonic concert series, and his interest in bebop led to Albert forming his own band to play the new music in 1947, but this was short-lived. Following this he briefly toured with bands led by Earle Spencer and Boyd Raeburn, before landing a the year residency in Duke Ellington’s band.
Trumpeter and bandleader Al Killian who was prominent during the big band era, died, murdered in his home at the hands of a psychopathic landlord on September 5, 1950 in Los Angeles, California.
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Daily Dose Of Jazz…
Martin Jones was born in Hull, England on October 14, 1955. He gained his experience playing trumpet first in school bands, and then Hull school bands with many concerts with orchestra’s, concert bands and a jazz swing band.
Leaving those to form his own bands he started working with his own band commercially in the jazz field in the late Seventies. By 1982 Martin was working professionally on the club and theatre circuits in cabaret. He started a residency at two clubs in the Latin Quarter in Paris. Returning to the UK he was trumpeter, front-man and vocalist at the City of London Tavern. He worked between London and Paris over the next two years, eventually joining the international cabaret group, The English Eccentric Ragtime Four.
He became a session trumpet player and vocalist in the London area. then spent some time working for New York Network Television while he was with this band. In 1987 Jones left the band to tour Europe, worked doing broadcasts on several TV shows and eventually left London and returned to his roots back in Hull.
He soon got work with a regional band called The Casablanca Boys, led six of his own bands and taught trumpet and vocal at The Keech School of Music. He developed a new Jazz Course at Access to Music in partnership with East Riding College as well as Jazz Summer Schools.
Trumpeter Martin Jones has currently published eleven books and continues performing, recording and teaching.
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Requisites
Blue Seven ~ Shirley Scott With Joe Newman and Oliver Nelson | By Eddie Carter
I was still in a jazz organ mindset after listening to Jimmy Smith when I decided to explore a lesser-known, underappreciated gem by Shirley Scott. Blue Seven (Prestige PR 7376/PRST 7376) was recorded in 1961, yet remained on the shelf until its 1965 release. For her fourteenth album, Shirley’s working with an outstanding ensemble: Joe Newman on trumpet, Oliver Nelson on tenor sax, George Tucker on bass, and Roy Brooks on drums. Together, they create a jazz session that’s laid-back and refined, filled with understated groove and energy. Unlike some organists who favor a bold, party-heavy approach, Shirley brings a softer, blues-influenced touch, letting her organ blend with the ensemble rather than dominating it. My copy of this album is the 1965 U.S. stereo release.
Side One opens with the title tune, Blue Seven by Sonny Rollins. George and Roy’s soulful, bluesy introduction eases into the quintet’s mellow theme. Joe opens gently and evolves into a warm, inviting interpretation. Oliver explores intriguing avenues in the following reading. Shirley showcases her expressive touch and impressive technique until the group returns for the finale. Don’t Worry ‘Bout It Baby, Here I Am by Shirley Scott starts on a bright note with the horns merging into the rhythm section’s cheerful melody. Scott opens the first solo with some good, honest soul. Nelson follows with a relaxing performance, then Newman delivers a soothing interpretation that gradually builds to a few final thoughts by Scott before the song ends.
Nancy (With The Laughing Face) by Phil Silvers and Jimmy Van Heusen gently shifts the album’s pace to a tender ballad. Shirley’s delicately gentle melody creates a soft, inviting backdrop for both horns. She then caresses each note of the song’s only solo with elegance and deep emotion, leading to the ensemble’s touching ending. Wagon Wheels by Billy Hill and Peter DeRose was the title tune of the 1934 Western film. Newman steps forward with his muted trumpet, guiding the ensemble through the easygoing melody. Nelson makes a brief, tasteful entrance before Newman continues the mellow mood. Nelson follows with smooth, unhurried lines, then Scott delivers a reading as comforting as a hearty, satisfying meal, before the quintet returns for the closing chorus and gentle fadeout.
The album closer is Give Me The Simple Life, by Rube Bloom and Harry Ruby, kicking off with the quintet’s bright, upbeat melody. Oliver steps forward first to deliver a spirited and swinging interpretation. Joe maintains the momentum in an energetic statement, and then Shirley’s robust performance leaves a lasting impression. All three soloists trade upbeat ideas, leading to the ensemble’s closing chorus. Esmond Edwards supervised the album, and Rudy Van Gelder was behind the dials. The album’s excellent sound quality transports the listener into the heart of the quintet’s lively interaction, with warm, crystal clear acoustics that create the sensation of a live performance happening right in your listening room.
If you love jazz groups that feature the Hammond organ up front and blend the lively drive of hard bop with the soulful rhythms of soul jazz, I offer for your consideration, Shirley Scott’s Blue Seven, the next time you’re out record shopping. This album is a delightful listen, filled with inventive solos and tight group interplay. You’ll experience everything from the upbeat energy of Don’t Worry ‘Bout It Baby, Here I Am and Give Me The Simple Life, to the relaxed swing of Blue Seven and Wagon Wheels, as well as the tender emotion of Nancy (With The Laughing Face). After you spin it on the turntable, it’s likely to earn a permanent spot among the favorites in your library, encouraging you to return to it again and again!
~ Give Me The Simple Life, Nancy (With The Laughing Face), Wagon Wheels – Source: Wikipedia.org
p>© 2025 by Edward Thomas Carter
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