The 12th annual JazzFest White Plains was held from September 6 to 10, 2023, and over the last decade, it has become one of the most established jazz events in the New York tri-state area.
Wednesday, September 6
Helen Sung Presents PUSH
Aaron Paige, Artistic Director of JazzFest White Plains and Director of Folk Arts at ArtsWestchester, welcomed the crowd to the first event of the 2023 JazzFest White Plains. Paige spoke about the sponsors, and the upcoming events in the Fest. Then he brought out the star of the concert, after naming just some of her achievements. “It is a great honor to introduce Helen Sung. We have been working to get her here at JazzFest for a while.” Acclaimed jazz pianist/composer Helen Sung, whose album Quartet+ was included in DownBeat Magazine’s “Best of 2021 Albums,” and Sung was named a Guggenheim Fellow in 2021. Ms. Sung performed a solo piano program, PUSH, that celebrates the artistry of landmark women in jazz, as well as other iconic jazz figures.
Helen said, “Thank you so much to Aaron for that lovely introduction. Thank you for making the detour here from Grace Church. Unfortunately, we had a wounded piano there…I’d like to start with “Nice Work If You Can Get it” by the Gershwin Brothers.” Helen’s fingers flew over the piano keys, as she played with exuberance. The next song was a bluesy, emotive piece, a mash-up of Mary Lou Williams’ “What’s the Story, Morning Glory” and one of Dr. Billy Taylor’s compositions. From her facial expressions, Helen was really into it, making the audience feel every note, including an energetic boogie-woogie section. She praised Dr. Taylor’s staunch support of women musicians, and said she was lucky to have gotten to know him. Although Sung was alone, her musicianship is such that she held the crowd’s rapt attention throughout.
Helen spoke about how she once wanted to be a concert pianist until she had a jazz epiphany, but you can still hear her classical music background at times. The next song was by one of her favorite pianists, Chick Corea, who she said left us too soon. “Armando’s Rhumba” was played with such verve and passion, that heads were nodding all throughout ArtsWestchester. Sung’s original song, “Everybody’s Waltz,” was a beautifully contemplative piece and part of an album of duets she performed with Marquis Hill by the same name, released in 2021. It filled the venue with lovely sounds by this talented artist.
Helen described the late pianist Geri Allen as so inspirational, and she played Allen’s “Feed the Fire,” using one her own commissioned compositions, “Elegy for the City” as introduction to Allen’s song. It was a gorgeously poignant beginning that really tugged at the heart. Then the song changed tempo into a fiery piece with an explosive crescendo. Next came a warm, sentimental performance of “Willow Weep For Me” with a charming coda.
Helen said that she was terrified when she appeared on pianist Marian McPartland’s long-running radio show, Piano Jazz, but Marian was so kind and lovely to her that she relaxed. In tribute to Marian, Sung played McPartland’s pieces, “Melancholy Mood” and the Piano Jazz theme “Kaleidoscope.” The first song was quite introspective, and the familiar second piece was an up-tempo triumph that Helen interpreted with great style.
Sung thanked Aaron Paige, Wayne Bass, and all the volunteers and other people involved in ArtsWestchester who put JazzFest together. She also thanked Terry, the technician who tuned the piano. James P. Johnson’s “Carolina Shout” was her last song, and she said she is always afraid of performing this piece. However, she played the ragtime number so well, there was no need for fear. The sprightly performance was the perfect finish to this first-rate event.
Jazz Stroll White Plains Presented by The White Plains BID
Wayne Bass, Commissioner of White Plains Recreation and Parks (and one of the founders and main organizers of JazzFest) welcomed the audience to Red Horse Restaurant and introduced Mayor Tom Roach, who talked about the JazzFest events.
Mayor Roach said, “Let’s hear it for Wayne Bass…He’s really taken this Festival to a new level, and you can see the love he has for this event.” Then Bass took the microphone and acknowledged the City of White Plains, ArtsWestchester, and Jennifer Furioli from White Plains BID (Business Improvement District), who collaborated with him on JazzFest. Wayne introduced the first group on the Jazz Stroll, Doug Munro and La Pompe Attack.
Doug Munro and La Pompe Attack
Doug Munro and La Pompe Attack started with a swinging “Fly Me to the Moon” where guitarist/arranger Doug Munro played and sang winningly, professionally backed by guitarist Ben Wood, bassist Michael Goetz, and drummer Ian Carroll. “Duke and Dukie” by Django Reinhardt had that unmistakable Reinhardt sound, and the group performed it very well. They followed with “I’m Confessin’ (That I Love You)” where Doug’s charming vocals were once again front and center.
Munro’s great uncle was composer Harry Warren, and Warren’s “September in the Rain” came next, with each player contributing fine sections of their own. They collaborated in a relaxed fashion, yet with a lot of skill. As a teacher, Munro used to teach his students silly things, like ending songs with “Shave and a Haircut.” Another Harry Warren song, “Jeepers Creepers” was an up-tempo pleasure that included a nod to “The Surrey With the Fringe on Top.” Doug said that most older people recall the song from when it was popular and was an ode to a lover’s beautiful eyes, but younger folk mostly know it from the recent Jeepers Creepers horror films, which give the song a completely different meaning! “All of Me” was played in such an endearing manner, it really encircled the crowd in on the warm summer evening. Munro has a witty sense of humor, and he joked about the scores of lanternfly bugs that invaded the restaurant’s outdoor patio, adding, “They like my playing!” Django Reinhardt’s “Nuages” was a delicate, calming beauty. The final song, “Minor Swing,” was a whimsical, fun-filled romp, and a wonderful finish for the set.
Joe Boykin & Friends
The second stop on the Jazz Stroll was at the beautiful Shiraz Kitchen and Wine Bar, starring Joe Boykin & Friends. Vocalist Joe Boykin’s set included “Feel Like Making Love” that he sang in a deep, melodious, melting voice. The backing band included guitarist John Smith, and students from SUNY Purchase College, drummer Parker Reid, trumpeter Duke Jones, pianist Matthias Schmidt, and bassist Gabriel Armstrong. SUNY is really teaching these students well! A mournful “Rainy Night in Georgia” was filled with emotion, as performed by Joe and the band
“Joy and Pain” was a soulful, jazzy tune, and Boykin asked the audience to sing along. The crowd complied loudly and lustily, and a fun time was had by all! This set had blues, jazz, and R&B, including a smooth rendition of “Nature Boy,” and the songs were presented quite compellingly. Boykin’s voice really can sell a tune, and he has great stage presence. “Summertime” was sultry and mesmerizing, and it was a fine closing to a wonderfully eclectic concert.
L’Artiste Lynette Washington
The final stop on the Jazz Stroll was at the packed, atmospheric Colombia House Restaurant, featuring vocalist Lynette Washington. Lynette has had an extensive career that includes jazz, R&B, and gospel, and she is noted for her ability to sing in several languages, including Russian, Italian, Hebrew, Yiddish, French, and Portuguese. She started with a swinging “On the Street Where You Live,” wonderfully presented in her strong, smooth, powerful voice. Expertly backed by Amina Figarova on keyboard, Lynette continued with a swaying “What a Difference a Day Makes” and she really got to the audience on this one. Her show included Duke Ellington’s “I’ve Got it Bad, and That Ain’t Good” which she rendered in a very emotional way that had the crowd enthralled. On “The Boy From Ipanema,” Lynette captivated the audience with her insinuating vocals, and it included a fine keyboard solo by Amina.
Washington followed with a sensual performance of “Summertime” where she continued to beguile the crowd. “Miss Celie’s Blues” from The Color Purple extended the spell that Washington cast with her deliciously down-and-dirty rendition. Next came a superb performance of “A Day In the Life Of A Fool” where Lynette infused meaning into every word. Washington really put something down on the infectious “I Could Write a Book” with the crowd loving every note! Next came a beautifully danceable salsa, followed by a gorgeous, plaintive “Nature Boy” that moved from ballad to Latin-inflected loveliness. The last song was a powerful version of Nina Simone’s “Four Women” that Lynette sang with every fiber of her being! Washington encouraged the listeners to look her up on social media, and she is most definitely worth checking out and following. Wayne Bass thanked everyone for coming out, and he said that this was an historic day at JazzFest, since all the day’s events were filled to capacity!
Thursday, September 7
Louis Hayes Quartet
There was a beautiful outdoor dinner/concert featuring the Louis Hayes Quartet, with delicious food served by the refined Via Garibaldi Restaurant. The varied menu included Chicken Scarpariello, Pizza Margherita, and Pesto Crusted Sea Bass. New York was having a sweltering heat wave, but luckily, by the early evening when this event started, the temperature had cooled down to a balmy, comfortable atmosphere. Jennifer Furioli, Executive Director of White Plains BID, welcomed the audience, acknowledging the sponsors and partners, including presenting sponsor Montefiore Einstein, WBGO Radio, Downtown Music at Grace, Westchester Center for Jazz, and Apple Bank.
Then promoter Doug Panero introduced the band members, singing their praises. NEA Jazz Master, drummer Louis Hayes has worked with jazz luminaries McCoy Tyner, Horace Silver, Cannonball Adderley, Freddie Hubbard, Kenny Burrell, John Coltrane, Gary Bartz, Oscar Peterson, and many more.
Hayes was joined by saxophonist Abraham Burton, bassist Dezron Douglas, and pianist David Hazeltine. The group started with a very enjoyable, straight-ahead jazz number, “You’re My Everything” that had each player adding excellent phrases to the mix. They played with precision and grace, and the song had a lovely denouement. Their second number, “Without a Song,” was an up-tempo delight that had the crowd fully engaged and swaying to the rhythm. The song had an especially fine drum solo from Hayes and superb sax licks by Burton. There was very little talking during this set, but when the music is this good, it speaks for itself.
The next song was a gorgeous ballad, “I Thought About You,” and Abraham’s stellar sax notes were at the center, with great support from the rest of the band, especially an intricate, yet low-key piano solo by David Hazeltine. Cedar Walton’s “Bolivia,” was a lively, fast-paced piece that showed off all the musician’s skills with solos that knocked it out of the park.
After a break, Doug Panero thanked Wayne Bass and talked about the upcoming events at JazzFest. The Louis Hayes Quartet returned and jumped right into a lively bebop with a lot of blues influences, “Exactly Right,” and the band had quite a time! Then, they really broke loose on “Ugetsu,” a most improvisational tune. The group closed with Hayes’ song, “Lou’s Idea,” a minor-key, yet saucy tune that was played with a lot of verve, all the way to the last note. In a group led by an NEA Jazz Master, as you’d expect, there were smooth harmonies with very cogent phrasing. Their cohesiveness and tight musicality throughout the concert made for a great evening!
Friday, September 8
Edmar Castañeda
On Friday, the first show of the day featured Columbian-born virtuoso harpist Edmar Castañeda. Aaron Paige was host, and he thanked the White Plains Public Library for hosting this event. Paige also thanked all the sponsors of JazzFest and talked about upcoming concerts. Then he listed just some of the many accomplishments of the star of the show and said, “It’s an immense honor to present Edmar Castañeda.” Edmar started on his Llanera harp with “Cuarto de Colores” an ethereal beauty of a song that began with a dream-like section that changed into a percussive, rhythmic song, played with passion.
Edmar said, “Good morning. It’s too early to play for me.” It was already noon, but he was joking about how late musicians often perform. He said that he’s lived in New York for a while now, but this was his first time in White Plains, which he called a beautiful town. The next song, “Entre Cuerdas,” was a rapid-paced piece, and his musical technique was just astounding! Edmar recalled that he started playing harp at seven years old, and he came to Long Island in 1994. He had a short Q & A, and he answered a few questions about his harp playing and the instrument itself, before he returned to playing.
He wrote the next song just before the pandemic, “Acts,” and it was based on his faith in God. He says it helped him through the pandemic, and his belief helped him to encourage his wife and children that everything would be fine, despite how bad things were looking at the time. This song was a gorgeous, tranquil number that was a balm to the spirit. He said he would pray for the audience through his instrument.
When he was in high school, there were no classes in harp, so he studied the trumpet, and he said it was a beautiful experience that was a bridge back to the harp. Early on, he was inspired by people like Duke Ellington and Jaco Pastorius, and he listened to everything he could get his hands on. He was so impressed by Pastorius, that he wrote a song in tribute to him, “For Jaco.” This electrifying song had the crowd riveted, as Edmar managed to make his harp sound like other instruments. It’s really something to see what this man can accomplish on the harp. Next came a lovely, plaintive ballad, “Spanish Love Song” that evoked so many emotions.
Edmar had another Q & A, where he spoke about his process for composing and rehearsing. He recalled a young lady approaching him not too long ago and telling him that she had become a harpist because of him. She had heard him play at a restaurant, and he was so touched and flattered. Castaneda wrote the next song, “A la Paquito,” for an amazing friend and musician, Paquito D’Rivera, and he invited his son, Zamir, up to play the maracas with him. The song had a passionate flamenco spirit, and Zamir kept excellent time with his father. Music runs strong in this family, and indeed, Zamir is also taking after his father and playing trumpet. Edmar’s wife is a singer, and his daughter is also a musician. He said that he and his wife home school their children, and that they travel around the world making music together. He feels lucky to have such a family.
Although he couldn’t afford a harp when he was young, he kept dreaming that one day he would have one. “Battle of Faith” was composed to encourage people to never give up dreaming. This song was an eclectic, energetic piece that Edmar put his whole body into, ending his excellent set on a very high note.
John Scofield and Joe Lovano
At the second of two packed shows at the ArtsWestchester space, JazzFest presented John Scofield and Joe Lovano. Aaron Paige introduced ArtsWestchester CEO Janet Langsam. She discussed the fact that the ArtsWestchester space used to be a bank, and she noted that it has become a landmark arts and culture space. Langsam encouraged people to become members, donors, or volunteers; she said any help is appreciated. Aaron Paige came to the mic and thanked presenting sponsor Montefiore Einstein Hospital. Then Aaron introduced iconic saxophonist Joe Lovano and renowned guitarist/composer John Scofield, who were joined by drummer Bill Stewart and bassist Ben Street. On a fine straight-ahead piece, “Joe’s Symbolism,” both Scofield and Lovano shone brightly on their respected instruments. These cats showed that they meant business, right from the start of the set!
The second piece was languid, yet notable, where the quartet melded together like they could read each other’s minds. John Scofield’s guitar riffs were powerful, and he was skillfully backed by the other members of the group. Joe Lovano chimed in with some mysterious and affecting sax notes that really had the audience engrossed. Ben Street’s bass interlude added another dimension to the song, and Bill Stewart’s drumming kept assured time throughout the piece.
They followed with Miles Davis’ explosive “Budo” and they were off to the races on this scintillating piece. You could just picture Miles Davis smiling in heaven, especially after the exciting crescendo. Although Scofield called this a reunion, he and Lovano have collaborated many times over three decades, and they sound like they’ve never been apart. Their years of experience showed in the best way, and these virtuosos gave a marvelous show. Scofield’s “Easy for You,” really slowed down the pace, starting with John’s impassioned guitar solo and Joe’s sax section that gave this ballad a gently appealing charm with a beautiful diminuendo.
They followed up with an avant garde tune, with everyone contributing stellar improvisations. “Theme for Ernie,” written in tribute to the late alto sax player, Ernie Henry, was another wonderful ballad with a soothing spirit. Next came a fine contemporary piece, that once again was chock full of glorious melodic interpretations by each member of the quartet.
It’s no wonder that the first show was sold out, and the second show was almost full, with this much talent and jazz history on display. There was a multitude of fabulous music at the 2023 JazzFest White Plains, and this was certainly one of the best concerts.
Saturday, September 9
The Music Conservatory of Westchester Jazz Faculty Ensemble: Tribute to Wayne Shorter
On Saturday afternoon, the Music Conservatory of Westchester Jazz Faculty Ensemble gave a concert in honor of jazz legend Wayne Shorter. Host Andy Katell, who is a board member at ArtsWestchester and on the planning committee of JazzFest White Plains, introduced the group, which was comprised of Hiroshi Yamazaki on piano, Mark Kraszewski on tenor sax, Vincent Cutro on trumpet, Jake Robinson on drums, and Miles Gilbert on bass. The set started with “Black Nile,” and continued with “This Is For Albert” and “Footprints.” “Virgo” was a sumptuous ballad with a stand-out trumpet solo by Vincent Cutro and excellent support by the rest of the group. On “Yes or No,” there was great interplay between all the musicians, especially saxophonist Kraskewski and trumpeter Cutro. The whole group was really swinging on this tune, with extra touches added by drummer Jake Robinson and pianist Hiroshi Yamazaki. Next came a tender song that Shorter wrote for his daughter, “Miyako.”
Between songs, Andy Katell gave some background anecdotes about what inspired Wayne Shorter to compose the songs the band played, and it was an informative part of the event. Trumpeter Vincent Cutro explained the different uses of the mouthpiece and the different types that are used on the trumpet.
On “The Chess Player,” tap dancer Irina Knust came out to punctuate the proceedings with her intricate footwork, and the band played expertly behind her. The ensemble covered almost every kind of jazz, including bebop and blues-infused pieces, and these instructors really displayed their talents! Their students are certainly in good hands with these fine musicians.
Cécile McLorin Salvant & Sullivan Fortner
Vocalist Cécile McLorin Salvant has a passion for storytelling, and she regularly seeks out the connections between jazz, vaudeville, blues, folk, theater, and baroque, often bringing little-known or mostly forgotten songs to a wider audience. The winner of the Thelonious Monk International Jazz Competition, the recipient of a Grammy Award, and recently, the winner of a McArthur Genius Grant in 2020, Salvant is one of the brightest young lights on the jazz scene. Pianist/composer and Grammy winner Sullivan Fortner has collaborated with Wynton Marsalis, Paul Simon, Dianne Reeves, Dee Dee Bridgewater, Fred Hersch, Jazzmeia Horn, Roy Hargrove, and many more, such is the demand for his skills.
Kathleen Reckling, Chief Operating Officer at ArtsWestchester, greeted the crowd and acknowledged that the space was full of jazz fans. She noted that people didn’t have to sit in nosebleed seats, since ArtsWestchter is an intimate space, with no bad spots. Kathleen brought Aaron Paige to the microphone, and he introduced the gifted duo with a recitation of just some of their many accomplishments.
Cécile and Sullivan began the second of two sold-out sets with a sprightly “Devil May Care” where Salvant’s voice jumped octaves with ease, and Fortner’s nimble fingers seemed to use every key on the piano. Cécile said, “Let’s do a Cole Porter song,” and jumped right into a whimsical rendition of “Anything Goes” with the cutest finish! Stephen Sondheim’s “Being Alive” from the musical Company was touching and emotional, and Salvant truly sold every word to the crowd in her clear-as-a-bell vocals. She talked about her upcoming gig at the Village Vanguard, and she said she is determined to learn the tongue-twisting, super-fast “I’m Not Getting Married” (also from Company) before that show. With her level of talent, there’s no doubt that she will master this extremely difficult song and do a fabulous job!
“The Best Thing For You” was an enchanting duet where the two musicians played off one another brilliantly. Big Bill Broonzy’s “Black, Brown and White,” was an early protest song, that is eerily relevant today. Salvant mentioned that she and Fortner had played at the U.S. Open earlier that day. She joked that Coco Gauff won because they had performed, and the crowd got a big laugh from that.
Cécile considered Ethel Waters to be one of the first real jazz singers, and Waters had a lot of unacknowledged influence on those who came after her, so Salvant gave her some praise and sang an ingenious interpretation of the bluesy Hoagy Carmichael piece, “Bread and Gravy.” Next came a really winning performance of “Don’t Rain on My Parade” from Funny Girl, where Cécile’s voice practically floated from note to note, and the bridge was especially powerful. The next tune was Salvant’s original composition, ‘Dou Dou,” which she sang in French. Even those who didn’t understand the words could not help being swept up in the feeling the up-tempo piece evoked, and at the end, Cécile got very close to the piano and sang directly to Sullivan. She followed with an exquisite ballad, “Dreaming of You” that was so emotional, surely there was not a heart unmoved among the listeners. “Everything I’ve Got” was a seemingly fanciful piece with a deceptively lighthearted melody that belied the darkness of the lyrics. The irony of this tune was strong, and Sullivan Fortner’s performance was splendid.
Cécile sang an a cappella song of a Langston Hughes poem that she set to music, and the result was spine-tingling! Billie Holiday’s “Fine and Mellow” was the lament of a woman who is mistreated by the man she loves, yet she can’t give him up. Once more, Salvant’s storytelling skills were stellar. Richard Rogers’ “The Gentleman is a Dope” told the story of a woman’s inexplicable attraction to a man who is not the sharpest tool in the shed, and she just cannot understand the whole thing. For the much-desired encore, both musicians seemed to think very fast on their feet, and when someone requested something from Gypsy, they came up with “Together Wherever We Go,” on the fly, and Fortner surprised everyone by singing along in a wonderful, lyrical voice. This show was utterly appealing, and the crowd could not have asked for more!
Sunday, September 10
Although the weather was quite rainy early, the music prevailed under a large tent in downtown White Plains. Vocalist Joe Boykin was the M.C. of the last day of JazzFest.
Westchester Center for Jazz & Contemporary Music
This group included professors and students from the Westchester Center for Jazz & Contemporary Music – tenor saxophonists Joey Berkley and Theo Kornblum, trumpeter Brian Pareschi, bassist Josh Sherwood, guitarist Al Orlo, keyboardist Adam Pascual, and drummer Justin Zambarano. The group began the festivities with a jaunty swinging number, “Amanda,” that featured fine solos from all the players. Despite the dreary weather, the music was sparkling and energizing. “Killer Joe” started with some lush sax notes by Joey Berkley, with Theo Kornblum chiming in with some hot riffs. Freddie Hubbard’s song, “The Core,” dazzled with a driving beat, and the group dynamics worked well throughout each improvisation. They followed with a meditative “Nature Boy” that had Berkley’s sterling sax leading the way on this jazz classic. The last song of the set was an original piece by Joey Berkley, “It’s Time For Some Changes.” It had both jazz and funk influences, and the band performed with great interplay, getting the day off to a wonderful start.
Richie Goods & Chien Chien Lu
Bassist Richie Goods, who studied with Ron Carter and Ray Brown, and toured with Mulgrew Miller, was joined by vibraphonist Chien Chien Lu, who has collaborated with Jeremy Pelt. The duo was accompanied by keyboardist Miki Hayama, guitarist Russell Gelman-Sheehan, and drummer Jerome Jennings. Richie Goods’ bass was prominent at the beginning of the first song, with the other band members distinctive contributions to the surreal and entrancing piece, especially Chien Chien Lu’s engaging vibe solo. Richie altered his electric bass in a way that somehow expanded the sound, making it sound almost like a completely different instrument.
Goods said, “How’s everybody doing?” and Chien Chien introduced the band, saying it was a pleasure playing with them. The set included “Special Things,” “Treasure Mountain,” and “Water.” Richie talked about his and Chien Chien’s respective backgrounds in classical music, and his roots in the church, being immersed in gospel music. From Lu’s debut album The Path, they played “We Live in Brooklyn, Baby,” a high-octane funk/rock/jazz tune that was a tour de force! Richie’s original piece, “Aquarius,” began with Goods’ rhythmic solo on upright bass followed by an intense, percussive minor-key performance of this song, and the musicians beautifully played off each other’s conversation in a first-rate fashion.
They formed this band during the pandemic. While Richie and Chien Chien were rehearsing together, they recognized that “Under the sun, we are all one family,” and that’s why they called their CD Connected. They had seen so much anti-Asian and anti-black violence, and they were quite affected by it. Marcus Miller’s song “Goree” was about “The Door of No Return” in Senegal, which was the last place captured slaves saw of their homeland, a song that Miller wrote as a tribute to triumph over adversity. Using this gorgeous, contemplative piece to close their set highlighted the skills of all the musicians, particularly Chien Chien’s vibraphone chops. The band truly extended themselves on every note, making the finale a real blast!
Mike Freeman ZonaVibe
Joe Boykin introduced vibraphonist Mike Freeman, noting that they’ve known each other for a long time. Freeman was supported by Roberto Quintero on congas, Moroquito Avila on bongos, drummer Diego Lopez, saxophonist Ivan Renta, and bassist John Benitez. Luckily, by the time of this set, the rain had subsided, and the group ZonaVibe got down to business on a danceable, fiery Latin tune. They continued with songs from Freeman’s CD Circles in a Yellow Room, including the darkly sensuous “El Cuarto Amarillo,” “Circles,” “Back Slap,” and “Valentine.”
This whole set was filled with a heady mix of great Latin jazz and funk that proved to be irresistible to the crowd, with all the players offering their best. When the sun came out, after a soggy day, the day turned into perfect late-summer weather, and people got up to dance to the delicious sounds, unable to resist the siren call of these musicians.
This alluring concert continued with “Making Conversation” and “Night Crawlers,” then concluded with “Marble Race Rematch.” This was one more jewel in the crown of the JazzFest White Plains.
Endea Owens & The Cookout
Bassist Endea Owens has been on a tear, really making a name for herself and lighting up stages all over! She was clad in an ombre dress, with a striking statement necklace, and some eye-catching earrings. Endea shared the stage with keyboardist Miki Hamaya, saxophonist Louis Fouché, drummer Jerome Jennings, trumpeter Giveton Gelin, and vocalists Shenel Johns and J. Hoard. The group had a couple of technical issues during their sound check, but even the snippets of songs were so good, the crowd bust into spontaneous applause. Joe Boykin told the story of when Endea gave a cookout to feed the homeless, and when they ran out of food, she gave them money out of her own pocket. “That’s the kind of heart she has,” Boykin added.
When the set actually began, the group performed an energetic “Feel Good,” the first song Owens wrote, and it had some stand-out solos. “The Creator Has a Master Plan” spotlighted some exceptional vocals by Shenel Johns, with J. Hoard joining in with his own moving notes, and Louis Fouché giving his all on the saxophone. The song ended with the insistent chant, “The power of love.” Next came a stirring interpretation of Nina Simone’s “Four Women,” with Shenel’s passionate vocals and Endea’s ardent bass section, followed by an elegant trumpet bit from Giveton.
Noted saxophonist Lakecia Benjamin was in the audience, enjoying the show, and demonstrating how often jazz musicians are close-knit and supportive of one another, and Owens gratefully acknowledged Ms. Benjamin’s presence. The next song, some lively bop, put drummer Jerome Jennings’ talents on display, with strong input from the ensemble.
Endea said that her favorite composer gives her a lot of inspiration, and it is her! She told the audience that they must believe in themselves, and performed her song, “Where the Nubians Grow,” a masterful tune that allowed each band member to bring their best efforts to the stage. “For the People” was for “everyone who lifts us up.” It was a mix of jazz and throw-back soul that included an inspiring interlude from “Lift Every Voice and Sing.”
To finish this marvelous set, Endea encouraged the audience to get up and do the Electric Slide to an incendiary “Before I Let You Go.” Even New York State Senator Andrea Stewart-Cousins got up and danced her heart out, not missing a step. Owens exhorted the crowd to chant, “Give the drummer some!” It was like a real cookout party, with the best live music.
Wayne Bass thanked the crowd for coming out despite the early rain. Then he introduced White Plains Mayor Tom Roach, who praised Bass and the JazzFest. Then Roach brought NY State Senator Andrea Stewart-Cousins to the mic, and she also had nothing but praise for the JazzFest. Janet Langsham, CEO of ArtsWestchester added, “Music brings us all together.” Jennifer Furioli of White Plains BID thanked the sponsors of the Festival. Wayne Bass returned and said of Aaron Paige, “Aaron and I work all year,” and saluted his colleague for all his efforts.
Mike Phillips
The last set of the 2023 JazzFest White Plains starred a man who hails from Mount Vernon, NY. Electrifying alto saxophonist Mike Phillips said he is the result of music being taught in the schools. Phillips has recorded and toured with Prince, Michael Jackson, and Stevie Wonder. His fellow musicians at JazzFest were tenor saxophonist Steven Salcedo, trumpeter Lee Hogans, drummer Leroy “Lefty” Thompson, keyboardist David Joubert, guitarist John Smith, and bassist LeShawn Thomas.
Phillips said he had an interesting day, as he had played the national anthem at a ball game in Washington, D.C. Then his flight to New York was cancelled. So, he had to take a car to New York that cost $1,000, but he said it was worth it to him to get to this gig in Westchester County, because of all that the area had done for him in his formative years. Mike brought his high school teacher, Scott Castle, on stage, lauded him for everything he taught him, and gave a shout-out to all the teachers.
The group started with ‘When the Saints Go Marching In,” and Phillips did a free-flowing rap that showed some skills, calling rap and jazz, “first cousins.” “City Lights” was a vibrant song with great contributions from all the players, with a snippet of Michael Jackson’s “Pretty Young Thing” inserted. He sang with the “talking box” technique for an unusual effect, and he extolled the virtues of old-school music.
His last song was a time-traveling medley tribute to Stevie Wonder, Prince, and Michael Jackson that included “I Feel For You” (written by Prince) and “Lady in My Life.” Then Phillips came out into the audience to the exuberant cheering of the crowd. He did some extraordinary circular breathing and held one note for an unbelievable amount of time. This remarkable show brought the 2023 JazzFest White Plains to a climactic finish!
The 2024 JazzFest White Plains
The 2024 JazzFest White Plains will take place from September 11 to 15. The line-up includes John Patitucci and Ada Rogers; Jazmyn; Selwyn Birchwood; The Nicole Zuraitis Quartet; The Vijay Iyer Trio featuring Tyshawn Sorey and Linda May Han Oh; The Anaïs Reno Quartet; Julius Rodriguez; and Ekep Nkwelle. For more information, go to: https://artswestchester.org/programs/jazz-fest.
