It is advisable to book any event listed here in advance when possible and check with the promoter/ organiser to ensure any performance is going ahead as planned before travelling.
Wednesday 7- Sunday 11 May
Essentially Ellington 2025
Details here.
The Juilliard Jazz Orchestra takes the stage at Dizzy’s Club, showcasing the extraordinary talent fostered at one of the world’s most prestigious music institutions. These rising stars, already making waves in the jazz scene, are mentored by some of today’s most respected musicians. Known for their sold-out performances at the club, they return with a dynamic tribute to Duke Ellington, focusing on the iconic Jimmy Blanton and Ben Webster era (1940-1942). Experience the energy, passion, and precision that define Juilliard’s legacy and the bright future of jazz.
PERFORMANCE LINEUP
JJO 6A (May 8 & 10)
Mejedi Owusu, lead trumpet
Jack Towse, trumpet
Nathaniel Williford, trumpet
Miles Keingstein, trumpet
Nick Mesler, lead trombone
Grace Rock, trombone
Luke Ramee, trombone
Adam Stein, lead alto saxophone
Kelvin Walters, alto saxophone
Aidan McKeon, lead tenor saxophone
Daniel Cohen, tenor saxophone
Nicklas Caldwell, baritone saxophone
Blake Slaughter, guitar
Brandon Goldberg, piano
Pedro Sequeira, vibraphone
Allison Lee, bass
Karl Seyer-Hansen, drums
Ava Preston, vocals
JJO 6B (May 9 & 11)
Miles Keingstein, lead trumpet
Mejedi Owusu, trumpet
Preston Rupert, trumpet
Ace Williams, trumpet
Luciano Soriano, lead trombone
Andre Perlman, trombone
Grace Rock, trombone
Sion Song, lead alto saxophone
Miriam Goroff-Behel, alto saxophone
Daniel Cohen, lead tenor saxophone
Gustavo Cruz, tenor saxophone
Veronica Leahy, baritone saxophone
Edwin Corne, guitar
José André Montaño, piano
Lazlo Torok, vibraphone
Logan Zaud, bass
Jesse Parker, drums
Kate Kortum, vocals
Details here.
Saturday, 17 May, 16:30 (EST)
Ellington Pianiste with Philippe Milanta
Salle Ferrier - Site Duranti du Conservatoire Charles Munch, 7 rue Duranti 75011
WORKSHOP organisé par la Maison du Duke et Leïla Olivesi avec les CMA 11 et CMA 20
"Ellington, pianiste" avec Philippe Milanta
Samedi 17 mai à 16h30 - Conservatoire Charles Munch CMA 11 - 7 rue Duranti - 75011 - Salle Ferrier
Philippe Milanta est un pianiste exceptionnel et protéiforme. Lauréat du prix Sidney Bechet et du Prix Jazz Classique de l'Académie du Jazz, il excelle aussi dans le domaine du jazz moderne comme en attestent ses deux derniers albums : WASH en solo et 1,2,3,4 en quartet. Il a collaboré avec des artistes variés tels que André Villéger, Claude Bolling, Glenn Ferris ou Stan Laferrière pour n'en citer que quelques uns. Pianiste du Duke Orchestra de Laurent Mignard, Philippe est maître dans l'art ellingtonien et il joue cette musique d'une façon moderne et créative.
Le workshop sur la musique d'Ellington donnera lieu à une masterclasse et un petit concert de restitution des élèves et de Philippe Milanta.
Sunday, 18 May 15:00 (EDT)
Ellington Effect Workshop #51: Sepia Panorama
Can't make the live call? Your ticket includes access to the video recording forever.
Each presentation will last around 2 hours, followed by a Q & A.
Joining any workshop also gets you access to the private Ellington Effect Facebook group, where lively discussions continue after the workshops finish.
About Sepia Panorama
This piece is one in a long line that mixes the blues form with other forms like Birmingham Breakdown, Black And Tan Fantasy, The Mooche, Merry Go-Round, Jack The Bear and many more to come, like The Blues from Black, Brown, And Beige, Happy Go-Lucky Local and, of course, Harlem.
Normally, Ellington gave Strayhorn credit for his compositions and arrangements, but as in the case here and numerous other pieces where Strayhorn only contributed a few bars or even as much as a chorus or two, Ellington receives full credit. This is an early example where Ellington lifted eight bars of ensemble from Strayhorn’s unrecorded arrangement of Tuxedo Junction. Ellington’s instructions to Tizol (the copyist) said, “To TJ”. This section occurs twice accompanying Carney’s solos. The rest of the piece is Ellington.
Part of Ellington’s genius is his ability to integrate other’s contributions into his concept. In this case, Strayhorn’s aggressive 8-bar phrase is the perfect foil to the relaxed, understanded surrounding sections. Its relationship to the opening and closing chorus forms a palindromic rondo—ABCDCBA, which in European Classical music is a common form but rare in jazz.
Also integrated are the personalities of the soloists (Blanton, Tizol, Williams, Carney, a duet between the piano player and Blanton, and Webster) into the ensemble writing. In live performance (such as the Fargo recording in November), the two interior solo blues chorus were each repeated. Both Ellington and Webster stayed close to their recorded solos for the first chorus. The time restraints of the 78-rpm phonograph record forced the soloist to be more succinct and pithier. As in the case of other Ellington and Basie condensed recorded versions, this sometimes made for more focused forms.
Sepia Panorama served as the band’s radio opening theme until the ASCAP/BMI war (Warm Valley was the closing radio theme). Ellington, being an ASCAP composer could not have his compositions played on the radio, which BMI controlled. The remedy was to use a piece composed by Billy Strayhorn to begin and end each radio broadcast. Take The 'A' Train took over in January 1941 and became the band’s theme for all performances henceforth, replacing Sepia Panorama on the radio, and the more evocative East St. Louis Toodle-oo on live performances.
Details here.
Sunday 18 May, 17:30 (PDT)
Francesco Crosara Ellington Tribute
Cellar Cat, 11253 NE State Hwy 104 Kingston, WA
Details here.
Thursday, 22 May, 2025, 19:00 (EDT)
National Jazz Museum in Harlem Celebrates Lawrence Brown
Nick Mesler and Quartet
Join trombonist, arranger, composer, and bandleader Nick Mesler for an evening celebrating the life and legacy of the great trombonist Lawrence Brown, whose trombone NJMH currently has on permanent display. Nick will perform this concert on Brown’s horn, a King Liberty 2B from 1950, and will be accompanied by a rhythm section (TBA) of other young lions steeped in the jazz idiom.
Musical selections will include compositions Brown wrote (or co-wrote with Duke Ellington and others), as well as premieres of rare original works; the evening will also include conversation and expert discussion of Brown’s life and legacy with NJMH Senior Scholar Loren Schoenberg. Enjoy hearing Nick’s signature, beautiful sound on Brown’s horn, which has been played very little since he passed. This will be a true night to remember!
Nick is currently earning both his Bachelor’ and Master’s degrees in jazz studies from the Juilliard School via their five-year program, and has performed at venues across the world. He has played/collaborated with many luminaries of the music, including the Jazz at Lincoln Center Orchestra, Wynton Marsalis, Rufus Reid, Melissa Aldana, Ingrid Jensen, Russell Malone, Warren Wolf, Elio Villafranca, Loren Schoenberg, and many others.
An accomplished composer and arranger, Nick leads his own big band, which recently premiered his first long-form suite, Alone in the Dark. Additionally, he has become a specialist on Duke Ellington, his legacy, and his band through both a musical and historical lens by transcribing many rare Duke Ellington/Billy Strayhorn works.
This event is FREE. RSVP here.
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