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Building Sustainable Careers in Jazz:
Income Opportunities and Support for Working Musicians
Vester Bonnén
Research project prepared for Jazz Generation, October 2026
1. Background
For aspiring young musicians, the artistic possibilities in jazz are easily visible, but it is much harder to discern how working musicians can balance earning a living, booking their next engagements and finding time to continue developing their craft. As a 17-year-old saxophonist, who is interested in both the performance and business side of jazz, I wanted to understand what kinds of earnings strategies were currently used by musicians and how they could build careers that are sustainable, not just from an economic, but also artistic perspective. I was also curious about how the wider music industry supports, or fails to support, jazz musicians’ careers.
This study was prepared for Jazz Generation, a charitable organization generating performance and educational opportunities for jazz musicians. I have personally benefited from one of Jazz Generation’s programs – the Jazz Standard Youth Orchestra – and I hope the findings of this study can be useful to other young musicians and to an organization working with the jazz community.
2. Research Question
The central question of this research project is: What helps musicians build sustainable careers in jazz, and what kinds of support might make those careers more achievable?
“Sustainable” is defined as: being able to meet living costs and continue working in music over time, with room for artistic development. Income size, income predictability, time usage, working conditions and costs, as well as artistic freedom, all influence the concept of sustainability.
3. Research Method
This was an exploratory qualitative study based on two parts:
1. Semi-structured interviews with 15 professional jazz musicians carried out in New York, Barcelona and Copenhagen during summer and fall of 2026.
2. A review of relevant published literature, studies and statistics
Interviews
Between July and October of 2026, I conducted thirteen interviews with fifteen professional jazz musicians in New York City, Barcelona and Copenhagen. The eleven individual interviews and two paired conversations include musicians at different career stages and with experience across American and European scenes. I recruited the musicians through professional contacts I made by participating in jazz education programs run by the Jazz Generation (NYC) and the Global Music Foundation (Barcelona), and the selection was not meant to be a balanced comparison of the two locations. The interviews were semi-structured i.e., conducted using and interview guide and open follow-up questions. Topics covered included: income, career development, geographic opportunities, and advice for someone starting out. Several respondents did not wish to disclose exact number or rank income sources or priorities. Hence, the responses were analyzed thematically: material was grouped around income, relationships and learning, geography, promotion (including social media), and support for paid work. I looked for recurring themes as well as difference and exceptions.
The analysis was based on transcripts of the interview recordings I made. Codes I1–I11 identify individual interviews and P1–P2 identify paired conversations. In the following report, accounts are paraphrased and names withhedl names to respect privacy assurances given to the study participants. My experience as a student musician helped me ask the interview questions, but it does not make me an expert on the profession. The musicians’ accounts are hence the main evidence in this report.
Published Literature Review
This short review of published literature and statistical reports was used to provide context for the interview question and to interpret interview findings. It draws on selected academic studies and a large musician survey, rather than attempting to be a comprehensive review. In her 2013 article, Thomson examines the multiple roles and income sources of working musicians (not only jazz musicians). Pinheiro and Dowd (2009) investigate the relationship between jazz musicians’ earnings, experience, versatility, and professional connections in three metropolitan areas. The 2008 study by Creech et al. examines the challenges and mitigating factors of transitioning from music education to professional work. The (somewhat outdated) article by Haynes and Marshall (2018) examines the advantages and disadvantages of social media in supporting the careers of independent musicians.
A large German jazz survey from 2022, the 2023 UK Musicians’ Census with close to 6,000 respondents, and reports on venues and arts support are used to add statistical and institutional context. It is important to note that older articles and studies do not necessarily match 2026 conditions. AI was used in identifying literature and statistical data.
3. Scope and Limitations
The interviews provide an account of independent musicians’ experiences, not statistically relevant data. Any financial information that was collected is incomplete and self-reported. Hence, I do not calculate average earnings nor make causal claims based on the data. Some of the interview guide questions suggested possible answers. Recruitment of respondents through personal contacts may favor more well-connected musicians. I did not include people who left professional music in my interviews. In the conclusions and recommendations section, I interpret the evidence rather than report tested or proven strategies. The project was prepared for Jazz Generation.
4. Findings
Few Musicians Can Make a Living from Jazz Performance Alone
My strongest conclusion from this research is that young jazz musicians should prepare for a career where performance is just one of several income sources. Based on my interviews, these additional sources include teaching (80% of interview respondents) alongside arranging, booking and organizational work. [I1–I3; I5; I10]
The published research I reviewed makes supports this finding and makes it broader than just the responses of a few individuals. (See Table 1) Germany’s Jazz Study 2022 found that 75% of full-time jazz respondents also taught. In its self-employed full-time group, concert fees supplied approximately half of income in the pre-pandemic year 2019. The rest came from teaching and other sources (Deutsche Jazzunion, 2022, pp. 57, 77). Other wider musician surveys have similar conclusions, although they cover other genres besides jazz.
Table 1. Selected evidence on income and work Source and Population Findings Implication US survey, 2011; 5,371 respondents across music genres (Thomson, 2013) 18% received all music income from one category. Only 6.3% received all music income from live performances. Income from only performance was uncommon. The figures did not show total income or whether the income reported covered living costs.
German Jazz Study
2022; around 1,000 respondents 75% of full-time respondents taught in addition to performing. Concert fees represented just under 50% of income for self-employed full-time musicians in 2019. Shows the importance of other work alongside performance. Is specific to jazz musicians.
UK Musicians’ Census 2023; nearly 6,000 respondents across music genres 43% earned under £14,000 a year from music; 53% used income or financial support from sources outside music. Music activities are not always enough to cover living costs. Outside support includes employment, family help, and benefits.
A Portfolio Career Is the Most Realistic Income Model for Sustaining a Career in Jazz
My interviews and the reviewed literature support a practical conclusion that a portfolio career is a more realistic starting model for young musicians than depending entirely on jazz performance alone. This doesn’t mean that performance isn’t important – on the contrary. My interviews document performance-centered careers: both I4 and I11 currently earn mainly through performance and touring and do not teach; I6 and I9 also describe performance as the main source of income. This shows that performance can remain central without establishing that all living costs are met from playing jazz alone. [I4; I6] Teaching and other work seem to be just part of the economic reality of a jazz career rather than evidence that a musician lacks artistic commitment.
This led me to ask the follow up question of: which combination of paid work allows a person to keep developing and performing over time? Here are the findings most relevant to this question:
• The largest income source is not always the most stable. For I3, teaching provides 30–40% of annual income and is a dependable source. Even though performance fees bring in the larger income share for I3, they vary considerably between busy and quiet months. This response illustrates why the share of annual income and the reliability of that income are both relevant levers to consider. In other words, a smaller, predictable income source can make it possible to cope with variations in a larger one. [I3]
• For I2, gigs and some private teaching form the largest source of income. I2 would like teaching to contribute more, in part because this would give him greater choice over which performance engagements to accept. The same musician expresses a worry that too much teaching could crowd out playing. This is an interesting finding: financial stability can offer artistic freedom, but the work that produces stability also takes up valuable time. [I2]
• I1 identifies teaching as the largest income source while they continue to perform. I5 describes teaching as the most reliable source and explains how this activity, which was initially taken on for financial reasons, ended up becoming meaningful. This produces another interesting conclusion: teaching can be a valuable for both artistic and educational reasons, as well as a source of income. [I1; I5]
• In P2, one of the respondents describes school teaching as less steady than expected and says they prefer private lessons due to the greater control they offer over scheduling and fees. I4 does not currently teach at all. These accounts challenge the more generalized advice I have encountered about teaching that treats every teaching role as secure or assumes that every good performer will want to teach. Those looking to teach should consider factors like student demand, working conditions, preparation time, and their own interest in the work, before committing to a teaching assignment. [P2; I4]
• A career can be more than just performing and teaching. I7 reports receiving income from organizational work, performance, teaching, and booking, and says that organizational work contributes the most. I7 also describes how previous work at a music venue created valuable lasting contacts with musicians. I5 describes project management as another source of income. These examples show that there are more choices available to young musicians interested in the music industry: a sustainable career can involve creating opportunities for other artists as well as performing yourself. [I7; I5]
• The balance of income can change over time. I1 performed before teaching became a major source of income for them. I7 gradually added activities and now aims to take fewer, better-paid performances. One income mix is therefore only a point in a career, not a life-long formula for a musician. [I1; I7; I10]
Taken together, these findings highlight how income portfolios should be evaluated not only based on the number of income sources but also how the different activities work together and support each other. For example, a regular teaching engagement may improve income stability but create conflicts with larger touring opportunities. Or numerous small gigs may cover essential living costs but not leave enough time and energy for musical development. In other words, simply adding more activities does not guarantee a sustainable career.
Being Best Is Not Good Enough – Relationships Turn Talent into Opportunities
The interview respondents seem to agree that musical ability is essential to a successful career, but they describe a profession where this is not enough. People need to know what a musician can do but also feel comfortable working with them. I1 links instrumental competence with punctuality, kindness, and relationships that have developed naturally through shared musical experiences. I7 explains that musicians may invite someone on the road after seeing how that person is behaving over time. These are accounts of trust built through repeated contact. [I1; I7]
It seems that learning and relationship-building often happen together. I2 values the community of peers and teachers built during their studies. I4 describes how playing with others can lead to further development of musical abilities as well as to projects and engagements. I6 emphasizes practical skills learned on the bandstand, such as introductions, endings, listening, and responding to other players. I5 highlights demanding musical encounters with experienced players as a lasting source of growth as an artist. [I2; I4–I6]
The published research I reviewed supports these findings. In the study by Pinheiro and Dowd (2009) stronger social connections and greater musical experience were associated with higher earnings among jazz musicians in three US metropolitan areas. The study of 27 musicians across four genres by Creech et al. (2008) identified mentoring, peer networks, and varied performance experience as useful support in the transition to professional life.
It is important to note that the interview respondents resist treating networking as a substitute for musicianship. I3 emphasizes playing well and developing an individual musical voice. For a young musician, the implication is to strive to become a player others have heard, learned with, and can rely on. [I3]
A Bigger Scene Is Not Always Better
Large urban jazz centers might offer more work opportunities for a musician, but the cost of living and working in these centers might reduce their attractiveness. I2 describes the work required to establish themselves in a large scene and recognizes the security of another musician’s teaching position elsewhere. I3 mentions higher competition in larger jazz cities. I7 emphasizes the relationship between modest gig fees and living costs. In conclusion, more venues in a city do not automatically mean enough accessible, adequately paid work for each musician. [I2; I3; I7]
Larger jazz centers can, however, offer substantial artistic benefits. I5 describes a major jazz center as transformative because of the musicians and musical standards they encountered there. I6 makes a very illustrative point: a large jazz scene might make it easier to play the music one wants, even if making a living is still difficult. [I5; I6]
6 Social Media Can Be an Important Career Tool for Emerging Talent in Particular
Social media can create visibility for a young musician’s work before that musician has an established reputation. The respondents’ clearest support for social media is with regards to musician discovery, promotion, and facilitation of professional contact. I6 believes that social media has made it easier for younger players to create visibility for themselves and obtain gigs. I4 describes a self-reinforcing cycle in which playing with others leads to gigs, gigs require promotion, promotion increases Instagram presence, the resulting wider recognition strengthens professional credibility and finally, in I4’s view, helps in getting fair payment. I7 also thinks online presence as helpful, but mentions the importance of face-to-face relationships and trust [I4; I6;I7]
One of the respondents in P2 places strong personal emphasis on building a social media presence and thinks it is underused by others. I5, who is an older respondent, also argues for adapting to current promotional tools and compares digital promotion with press packets and posters of the past. This shows that support for digital promotion (including social media) does not neatly split into younger proponents and older opponents. [P2; I5]
The interviews also captured criticism and skepticism of social media. I2 recognizes some of the professional importance of social media but does not recommend unrestricted use. I2 gives a personal account of how social medica can provide inspiration, but can also be misleading, drain energy, and increase anxiety. I1 mentions the growing pressure to demonstrate – to managers and promoters – an audience appeal through social media. Taken together, these accounts suggest that being visible on social media creates an additional demand on musicians’ limited time. This can be especially stressful if the time needed to create promotional content competes with time left over for practice. It can also be frustrating when a growing social media following becomes confused with musical or artistic growth. [I2; I1] Even though the study by Haynes and Marshall (2018) was made before today’s social media platforms and is not a study of young jazz musicians, it provides a relevant comparison to my research. The 43 independent musicians surveyed and interviewed by the authors placed value on online reach and professional connections, but they were less certain about financial returns and often found it difficult to build reach beyond existing audiences. The study findings support networking but warn that one should not assume online reach automatically produces a sustainable career. This aligns with the finding from my interviews, which also highlight the importance of distinguishing visibility, professional connections and earnings as separate potential outcomes of social media that aren’t necessarily clearly linked.
Structural Changes Are Needed to Maintain Jazz as an Art Form
The simple truth is that it doesn’t matter how good a musician you are, if there aren’t enough well-paid performance opportunities. I1 would like more regular small gigs and I3 describes a mismatch between the number of well-trained musicians and the available stages. In P1, the interviewees mention places to play together, steady work, and support for creative activity as important aspects of a sustainable career. [I1; I3; P1] The problem is not only limited to jazz musicians. Live music venues themselves also face a difficult business model. The Music Venue Trust’s Annual Report 2025 shows that 53.8% of UK grassroots music venues made no profit, while the sector’s average profit margin was 2.5% (Music Venue Trust, 2026, pp. 8–11). These figures cover multiple music genres and cannot hence be transferred directly to jazz clubs. However, they still show why increasing musicians’ earnings is not as simple as just asking already strained small venues to pay larger fees. Funding from public and private sources can help venues cover part of the performance fees and in this way support paid performances. For example, The Danish Arts Foundation directs grants to cover musicians’ fees at eligible venues and music associations, with municipal co-funding. Jazz Generation’s KEYED UP! supplements professional musicians’ performance payments and draws support from foundations, individual donors, and state agencies. These are concrete models for putting support into paid engagements. I4’s discussion of subsidized performance opportunities offers a more nuanced example of their value: support can give musicians room to make projects that would be difficult to finance from audience revenue alone. I4 also challenges the expectation that young players should accept to play for free just to get exposure. On of P2 respondents on the contrary emphasizes the
experience gained from playing gigs regardless of compensation. This disagreement raises an important accessibility issue: if early experience depends heavily on unpaid work, those who can afford it have an advantage. [I4; P2] Financial subsidies are not the only form of support needed to keep live jazz performances alive. Audience development is another important area. I1 mentions listeners who may not know what to expect from a jazz concert. I7 emphasizes connecting directly with audience members
and cultivating future demand. I6 also stresses the relationship between performance and listeners. These responses point to the importance of finding more structured ways to cultivate and educate a future generation of jazz audiences. [I1; I6; I7] Business education of jazz musicians is identified as another form of support. I7 wants more practical preparation for financial and administrative responsibilities. I6 describes students acquiring advanced musical skills without obtaining a clear picture of the work they intend to
pursue. Learning skills such as budgeting a project, communicating with a booker, understanding payment terms, and organizing a performance could help musicians make the most of their work opportunities. [I7; I6; I11]
5. Implications and Conclusions
For young musicians:
Develop a second paid skill. Try different paid jobs like teaching a few private students, arranging for an ensemble, organizing an event, or learn recording and production skills. Before expanding your work in a given area, evaluate your personal enjoyment and determine how much demand there will be for your services in the area. Actively seek opportunities to play with peers and mentors to build not only skill set but lasting relationships. Young musicians could form a rehearsal and performance group and invite more experienced musicians to come and play with them and give them feedback. (This is an approach that I am already currently testing with the current operating model of the Jazz Standard Youth Orchestra, which is one of Jazz Generation’s programs.). When choosing a school, don’t just look at teaching quality and cost, but also evaluate what opportunities the school offer for playing with peers and mentors, and what performance opportunities could arise from those.
Compare longer-term work opportunities based on not just pay, but cost of working/living.
When evaluating moving to a new city, for example, don’t just look at paid performance opportunities, but also consider other factors like living costs, travel times, teaching opportunities, competition from other musicians vs. quality of potential collaborators, and size of available audiences.
Use social media purposefully. Match your content to your intended outcome. For example, a recording of a strong performance can help a bandleader or booker discover you, a reel breaking down well-known solo can create more engagement and bring new followers, a concert announcement can bring someone to your show, and a clear contact page can make a booking easier. Stick to a manageable yet consistent posting frequency.
For Jazz Generation:
The strength of Jazz Generation is their ability to connect artistic development with work that pays. KEYED UP! already creates more paid performance opportunities, while the Jazz Standard Youth Orchestra provides performance experience, artistic mentorship, and student leadership opportunities. I’d like to propose the following ideas to build further on Jazz Generation’s existing work:
Support career continuity as well as individual performances. Recurring engagements like residencies at selected venues could help musicians better plan their income, create an ensemble and bring audiences back. It would be important to specify in advance what the venue’s contribution is and how Jazz Generation’s subsidy can be used to increase the musicians pay rather than just replace money the venue would otherwise provide.
Create opportunities to link mentorship end education with paid opportunities and hands-on business learning. A youth ensemble could for example be asked to produce a public concert. Jazz Generation could invite a music industry professional to mentor the students and help them work through all the related project tasks including, how to choose a repertoire, run rehearsals, negotiate with a venue and agree on all contractual details, prepare a budget, an participate in promoting the concert.
In summary, my main conclusion for other young musicians is to design a realistic portfolio of work that allows you to make a living and supports artistic growth. For Jazz Generation, it is to help musicians make that portfolio less precarious through broader career learning, relationships, and adequately paid performance opportunities. I truly hope that jazz musicians can afford to keep playing. The future of jazz depends on it!
9 References
Creech, A., Papageorgi, I., Duffy, C., Morton, F., Haddon, E., Potter, J., ... Welch, G. (2008).
From music student to professional: the process of transition. British Journal of Music
Education, 25(3), 315–331. doi:10.1017/S0265051708008127 Danish Arts Foundation. (n.d.).
Honorarstøtte til rytmiske spillesteder [Performance-fee support for live music venues]. Source: https://www.kunst.dk/for-ansoegere/soeg-tilskud/honorarstoette-til-rytmiske-spillesteder
Deutsche Jazzunion. (2022). Jazz Study 2022: Living and working conditions of jazz musicians in Germany.
U. Johnen, J. Fraisse, S. Marquardt, & R. Nübling. English edition. Source: https://deutsche-jazzunion.de/wp-
content/uploads/2024/02/Deutsche_Jazzunion_Jazz_Study_2022.pdf
Haynes, J., & Marshall, L. (2018). Beats and tweets: Social media in the careers of independent
musicians. New Media & Society, 20(5), 1973–1993. doi: 10.1177/1461444817711404
Help Musicians & Musicians’ Union. (2023). Musicians’ Census 2023. Findings published by the
Musicians’ Union, September 11. Source: https://musiciansunion.org.uk/news/first-ever-uk-
musicians-census-provides-unparalleled-insight-into-the-careers-of-the-uk-s-musicians
Jazz Generation. (n.d.-a). KEYED UP! Source: https://jazzgeneration.org/keyed-up
Jazz Generation. (n.d.-b). Jazz Standard Youth Orchestra. Source: https://jazzgeneration.org/jazz-standard-youth-orchestra
Music Venue Trust. (2026). Annual Report 2025. Source: https://www.musicvenuetrust.com/wp-
content/uploads/2026/01/MVT_2025-Annual-Report_Digital-Spreads.pdf
Pinheiro, D. L., & Dowd, T. J. (2009). All that jazz: The success of jazz musicians in three metropolitan areas. Poetics, 37(5–6), 490–506. doi: 10.1016/j.poetic.2009.09.007
Thomson, K. (2013). Roles, revenue, and responsibilities: The changing nature of being a working musician. Work and Occupations, 40(4), 514–525. doi: 10.1177/0730888413504208
Online sources were consulted in October 2026.
Primary research
Thirteen interviews recorded by the author during July–September 2026, involving fifteen professional jazz musicians. I1–I11 identify individual interviews; P1–P2 identify paired conversations. The anonymized interview records are the sources for the bracketed citations in the text. Names and direct quotations are withheld in accordance with the assurances given to participants.
You have worked and recorded with so many amazing musicians, what have been some of your most notable moments in collaborations?
I was fortunate in 2023 to record an album with Bon Iver, who is one of my favorite artists. I tracked down his producer, Ryan Olsen, who lives in Minneapolis and I found out that he used to play upright bass so I was like “I gotta make a record with him.” I want to make music that people want to listen to but I want my instrument to be something that people want to listen to. I hear upright bass on Taylor Swift, I heard upright bass on Bon Iver’s music before I played with him, I hear upright bass basically on everything that I listen to but it’s an instrument that isn’t used very often. So I tracked down this dude, Ryan and I was like, “You got to get him on the record” and through a lot of negotiation I was able to make it happen and we did a song together on my record and then I contributed to his song, Everything is Peaceful Love which almost won the Grammy but it didn’t. It was a great experience and I’ll remember it for the rest of my life.
Check out some of Cole’s favorite collabs from over the years!
Miracle. (Cole Davis, Feat. Poliça)
Time and Time Again (Dua Saleh)
Everything is Peaceful Love (Bon Iver)
Have you always wanted to pursue a career in jazz? What were some influences in your early life that led you to be a career musician?
Both of my parents are musicians and they were really strict. I wasn't allowed to watch TV. I wasn't really allowed to do anything other than practice and write music. And it wasn't so much that I wanted to be a musician. It was more that they wanted me to be a musician. But then I was really fortunate to go to LaGuardia High School. And it was like, how could I not want to be a musician if I'm around this all the time, you know? So even though I was really serious about music, that's where I really fell in love with music. And from that point, I was like, yeah, I'm not doing anything else, you know? I didn't really go to my academic classes. I didn't really take anything seriously other than just practicing and figuring out what I wanted to say as a musician. And I'm still figuring it out.
Can you share a little about your early experiences with Jazz Generation in our youth programs and beyond? How has Jazz Generation impacted your career as a jazz musician in NYC?
I was in the Jazz Standard Youth Orchestra when I was like 14. And it was really cool because you got to play at the Jazz Standard. And for people who don't know what the Jazz Standard is, it closed during COVID. but it was one of the best clubs anywhere in the world. The great chef/restaurateur Danny Meyer was also involved and his chefs would cook for us. So it was crazy because you got to play at the Jazz Standard for an actual crowd and then eat this incredible food. And we were like 14, 15 years old. So the fact that a program like this existed was crazy. And that's how I got linked up with KEYED UP! and with Jazz Generation and with all the stuff that y'all are doing. And then just being in the scene, being around. I've played so many gigs that I find out later are a KEYED UP! gig. I played with Kaz George for a while. He was an amazing saxophonist and composer. I found out after doing the gig with him a few times, like, oh, this place is actually only made possible by you guys. So it's a special thing and I'm glad it exists.
Your recent album, 'Consider It!' has gotten some great buzz online. It features some amazing collaborations and a unique voice in jazz. What was your artistic inspiration for the album and have you been happy with the reception so far?
My artistic inspiration was to do something on my instrument that is relevant sonically and culturally and can reach an audience of people my own age. I've been pretty happy with the reception. It's not often that an upright bass player gets to be on New Music Friday or Spotify's Picks of the Month but I think, I just try to stay focused on the next set of goals rather than, you know, basking in ‘oh man, I did this cool thing.’ It feels like I released that record like three years ago, you know, even though it hasn't even been a year. It feels like that was way in the past.
What will be your next project?
I'm a big law of attraction person. Like if I talk about something, it'll happen. So I met with this label out in Los Angeles called R&R, and they have some huge artists. So I'm really hoping they sign my next record. If they're reading this, you know, I hope the offer still stands. But yeah, I just finished the seeds of what's going to be another record. And I did it with my friend Peter, who plays keyboards for Bon Iver. And it's a similar kind of sound. So I'm just hoping that we can get some traction with this one, and that we can just keep building and keep making it happen.
Why did you decide to stay in NYC for college and beyond? Are there any particular places in New York that inspire your sound?
I gotta be honest, I'm not in New York for the scene necessarily. I am a New Yorker. It's a part of who I am. It's really nice to be able to go hear some of the greatest music in the world or be able to study with people who have invented the way our instrument is being played. You get to experience these crazy things being in New York and you get to be around these unbelievable people and hear the best music. But, overall, if you got rid of the music scene in New York I actually think I would still be in New York. It's the energy of this place and the fact that everything is moving at a hundred miles an hour because my brain moves at a hundred miles an hour. I think being here is essential for me more so about the pace than the sound of a certain scene.
What do you think about the JG format of programs for youth feeding into programming for adults?
I think it's great. I mean, I'm an educator and I run a business called Better Bass Lessons. And in my business, we do a lot of workshops that mostly adults sign up for. I mean, it's open to anyone, but, you know, I think it's as valid for adults to learn music as children. In addition to offering me the important resource of regular performance as a young musician, KEYED UP also offered me an invaluable educational experience. No matter the gig or recording I find myself on, I can trace my ability to play in an ensemble all the way back to the lessons I learned as a young player in KEYED UP.
We see you've been very active in creating educational content? Do you think there are things missing in traditional 'jazz pedagogy'?
That's such a loaded question. I think the thing that's missing in traditional jazz pedagogy is the acceptance that jazz is music for musicians and that learning how to play jazz is about using jazz as a tool the same way you use growing up in the church as a tool or playing classical music as a tool. Jazz is a form of classical music and it should be approached that way where you are doing this because it is the foundation for all of Black American music. This is going to make you a stronger musician. When I was at juilliard the main thing that everyone wanted to do was be a 100% die-hard professional jazz musician that only makes a living playing jazz and recording jazz and teaching jazz and nothing else. I'm five years out of school now and I look at all I've done and most of it is not straight ahead jazz. Most of it is something else. Even in my educational work, most of it isn't jazz. I got to this point in my career because I studied jazz which made me a better musician and a better team player. But I think we kind of have to stop beating everyone over the head with recordings from the 30s and 40s and instead, like, eat your vegetables. You might not like this recording because it doesn't relate to you, because it is from 20 years before your parents were born. But if you do this, it will make you a stronger musician and it will free you up to be able to do a whole variety of musical things.
https://greenleafmusic.com/artists/kazemdegeorge/
(KU!) Tell us about yourself and what it was like growing up. Were you in a musical family? Access to instruments at home/school? etc.
My parents weren't pro musicians, but we had a musical household with great records playing all the time. My dad was an amateur drummer, and huge music nerd. He loved Jazz, Reggae, Funk, Fusion, Rock, Soul, etc. and had me on a steady listening diet of the good stuff from a young age.
(KU!) Who were some of your influences in the Bay Area? What were you listening to when you were younger?
One of my first concert experiences was Joshua Redman's Elastic Band with Sam Yahel and Brian Blade at Yoshi's in Oakland. I was obsessed with that band. It was also cool growing up around people like Dayna Stephens, Ambrose Akinmusire, Howard Wiley, Justin Brown, Josiah Woodson, etc. I really looked up to those guys, and I still do. I also had some great teachers and musical mentors growing up: Khalil Shaheed, Charles McNeal, Susan Muscarella, Richard Howell, Ian Willson and others. They were all instrumental in my development.
(KU!) Has your perspective about music changed over the years?
Yes! In many ways. I think my musical goals are much clearer than they used to be. I used to feel very overwhelmed by the vastness of this artform, and I still am, but now I think I know what I need to work on to move forward with the specific goals that I have set for myself. I know that those goals aren't the "end-all-be-all" of music, but they just might occupy me for the rest of my life, and that's good enough for me.
(KU!) What are some of your favorite places to play?
Over the years I have developed some great relationships with different clubs. As artists, we really need help in creating a space for the art, the venues are so important! I've played multiple times at these spots and I'm always grateful when they invite me back: The Jazz Gallery, Bar Bayeux, The Black Cat, Bar Lunático, Ornithology, Mr Tipples, CloseUp, Loove Labs.
(KU!) Do you have a top favorite concert/gig that you performed? If so, describe why it's your favorite
I recently played a sold-out show with my trio at the SFJAZZ Joe Henderson Lab in San Francisco. It was a really fun show playing with some great friends and musicians, and we got the opportunity to play for a lot of new sets of ears. As much work as it is to create the art itself, it's a whole 'nother job to get your music out to where it can be heard by the people who need it. When that happens I know I did something right.
(KU!) What projects are you working on now?
I continue to host the Monday Night jam sessions at Ruth. It's a weekly workshop for me, I get to play my tunes with the best rhythm sections, constantly developing my connection with the musicians, and the songs. It is a beautiful community to be a part of too. Come hang with us!
(KU!) Any specific goals you have for the near future?
I'm really looking forward to my next album release - a trio record with Tyrone Allen, and Kayvon Gordon, coming out on La Reserve Records, April 17th, 2026
(KU!) How did you hear about KEYED UP!? Can you say what KU! means to you as a musician in NYC!
Making ends meet as a working musician in the city is really tough, even if you're a great player who is willing to bust their behind to put things together. A lot of times, the money just still doesn't add up. KEYED UP steps in for me and so many of my peers to help ensure that we can get paid a living wage for our blood sweat and tears. And the whole community benefits! Thank you!
We are delighted to welcome drummer Wen-Ting Wu to Chat with the Cats.
What were your early experiences like in Taiwan? Do you come from a musical family?
I started taking piano lessons when I was 5 years old growing up in Taiwan. I was also in the school bands throughout elementary and middle school, playing percussion and classical music. I started playing the drum set and formed my own band in high school. I didn’t come from a musical family, but I’ve loved music since I was little. Music has always been a part of my life, whether it was listening to the radio and records from my cousins and friends, or playing in school bands. I didn’t have that natural environment to immerse myself in music at home, but I always went out, trying to grow musically. I reached out to ask older, more experienced musicians or people around me to discover new music.
Was there a particular moment when you realized being a musician could be a full-time career?
For me, there wasn’t a particular moment. The decision to become a full-time musician didn’t come easily. I didn’t grow up in an environment that had a model of how to make a career in music, so I had a lot of doubts when I was still in school. I was even afraid to say out loud that this was what I wanted to do. But deep down, I knew that I really loved it, so I just kept doing it. I started teaching in music studios and performing with several jazz and indie bands during college, trying different things and figuring out what I liked and disliked. I had a bottom line for myself: I needed to be able to support myself after I graduated. Gradually, things and opportunities started to accumulate, and I was able to support myself by performing and teaching music before I graduated. So, my path to becoming a full-time musician formed like that.
Was there a particular moment when you realized being a musician could be a full-time career?
For me, there wasn’t a particular moment. The decision to become a full-time musician didn’t come easily. I didn’t grow up in an environment that had a model of how to make a career in music, so I had a lot of doubts when I was still in school. I was even afraid to say out loud that this was what I wanted to do. But deep down, I knew that I really loved it, so I just kept doing it. I started teaching in music studios and performing with several jazz and indie bands during college, trying different things and figuring out what I liked and disliked. I had a bottom line for myself: I needed to be able to support myself after I graduated. Gradually, things and opportunities started to accumulate, and I was able to support myself by performing and teaching music before I graduated. So, my path to becoming a full-time musician formed like that.
You moved to NY in 2016. What was that experience like for you? How did you find the Jazz Performance program at Queens College?
It was mind-blowing, and I was super excited when I first moved to New York in 2016. Seeing and hearing legendary musicians who had only existed on my laptop screen or iPod performing live was something really special. I got to meet many of them - I was lucky enough to ask questions and remain friends with some of them today. They were the reason I moved here from Taiwan by myself to pursue music. I was really inspired by the way they played and wanted to learn their ways of living and their approach to music. I felt so much spiritually and felt connected to it, listening to what they had created, even though I didn’t quite understand what that was at that time. It’s deep.
I knew about the jazz program at Queens College from the professors, Antonio Hart and Michael Mossman. I met them at the NTCH Summer Jazz Camp back in Taiwan, where they would fly every year to teach. I attended the camp for three years, and over time, they got to know me better and really looked out for me. They were kind enough to invite me to join the program after learning I wanted to further my studies in music in the States.
How would you describe the music scene in Taiwan compared to NYC? You also toured with the award-winning Taiwanese band Sunset Rollercoaster last year in Asia. Tell us about that experience.
I worked as a drummer in Taiwan for a couple of years before moving to New York. The scene in Taiwan is definitely smaller and less musically diverse. In New York, you can find musicians playing a variety of styles like free jazz, straight-ahead jazz, modern jazz, contemporary music, experimental music, and more in a lot of different venues where there are communities for each genre. In Taiwan, there aren’t as many musicians exploring so many different styles, and there are fewer opportunities to perform. In New York, you can find music happening in venues, bars, and restaurants easily everywhere. The smaller scene in Taiwan has its advantages, though. Musicians tend to know each other well and work together frequently, so it’s a pretty tight community. Besides playing jazz in different bands, I was also involved in the indie pop scene in Taiwan during my college and post-college years, working with award-winning bands like Chang Lee and Hello Nico before I moved to New York. Those days were fun, creating and performing original music around town. It helped me figure out what I wanted to do professionally as a drummer and also gave me an outlet to express myself musically in different ways.
Since moving to New York in 2016, I’ve mostly played jazz with different bandleaders and my own band, but I did a tour with the Taiwanese band Sunset Rollercoaster last year, a band I’ve known since college. Reconnecting with indie music and working with the Taiwanese team was a fun and interesting experience. It felt like being back in my college days, but this time, I was performing on much bigger stages, like music festivals with 20,000 people, and working with a professional team of 12 people. It was fun, but it also came with more responsibilities, and I learned a lot of new skills as a drummer from that tour. While jazz is what I love most of the time, I also enjoy playing different styles of music. It keeps my creative side more open and prevents me from falling into certain habits or approaches when it comes to expressing myself in musical situations.
Do you have any upcoming tours, album releases, or specific performances you’d like to promote?
I’ll be performing with Frank Lacy’s band at Smalls on December 3rd, and in January, I’ll be in Michigan with the Lisa Sung Quartet (1/9 at Blue Llama and 1/10 at The Block, presented by the West Michigan Symphony Orchestra). I also perform frequently around New York City.
You can follow me on Instagram @Wentingating for updates on dates and news!
What has been your experience working with KEYED UP! and the importance of keeping jazz alive?
KEYED UP! is awesome! They are incredibly important and supportive when it comes to keeping jazz alive. I used to go to the legendary 10-year-run jazz jam session at Turnmill, created by Rob Duguay and The Low Key Trio, frequently during my early years in New York. I’ve also subbed for the drummer, Nadav, in the house band multiple times. The session always had a great, welcoming vibe for musicians to play, grow, learn, and connect with each other. This is vital for jazz musicians to live, get work, and develop. I have grown so much and met so many people through that session, and I’m so grateful for the environment they created. All of this was made possible thanks to the funding from KEYED UP!
I also started a jam session in Crown Heights in 2022. Unfortunately, it didn’t last long because the ownership of the club changed, but during the time it was running, KEYED UP! and Rob were very willing to help. They helped in making sure the musicians were not underpaid, allowing the session to continue if the venue can’t afford the bands on its own. In this case, they also helped to attract more customers for local businesses by supporting music activities and creating an environment for people to enjoy and experience live jazz at the same time.
Photo credit Eric Fernandez
Where did you grow up? Did you come from a musical family? Who were your early influences?
I grew up in Zurich, Switzerland. There was a lot of vinyl playing, but nobody played any instruments seriously. I only picked up the drums after turning 18 years old. My biggest influences early on were Herbie Hancock and the Headhunters, the first Miles Davis quintet, Philly Joe, Max Roach, and Elvin Jones.
What were your experiences like at Berklee?
That was a fun if somewhat chaotic time. There was a lot of great music going on. I’d describe it as NYC in 3 buildings. I was fortunate to meet and play with many great musicians there.
When did you choose NYC? How would you describe the NY scene compared to other places?
After a year in Boston of OPT (optional practical training - a student visa extension allowing me to work), I felt it was time to move (I also followed my girlfriend at the time, who had moved a year earlier).
There’s no place like it. There’s an unsustainable amount of talent and bus loads more arriving daily. There are definitely perks - you can play sessions with incredible musicians all the time but equally, you have to feel lucky every time someone calls you for a gig.
Tell us about Sunday evenings at Bad Therapy, sponsored by KEYED UP! What can we expect? It seems like a beautiful space.
Up until recently I had been running a Wednesday night spot at 773 Lounge - It’s an old-school South Brooklyn sports/dive bar with all the neighborhood characters.
The vibe at Bad Therapy is kind of like a European café that serves beer, wine, and spirits with the focus and wine. It’s a tried and true jam session format. I play a set with a trio using a different bass player and guitar or keyboard player every week. The jam session follows. Stylistically anything goes within the jazz standard format. Also, I try to keep the volume as closely to an acoustic jazz level as possible.
I pride myself in hosting a friendly, no attitude, jam session, where everybody gets to play a couple of tunes in order of their appearance. I will only cut you, if you really don’t cut it and people are getting upset.
Any touring or album you would like to promote?
I have an album with the Michael Vitali Trio, featuring Justin Wert and Julian Smith in the works. It’s a trio record with Justin on guitar and Julian on bass. It’s a collaborative effort with mostly original music and a couple of standards and arrangements of pop songs. We recorded 10 tracks at Michael Brorby’s studio "Acoustic Recording" and it’s being mixed by Katsuhiko Naito.
I'll also be touring Europe in November. The tour will be 10/29-11/8 with performances in Switzerland, Germany, Belgium and Luxembourg. Aki Ishiguro will replace Justin on guitar.
What are your experiences of KEYED UP! and the importance of supporting live jazz in NYC?
It has become increasingly difficult to maintain steady gigs like the weekly spot at Bad Therapy while paying musicians the minimum of what they deserve. KEYED UP! has been instrumental in keeping live music alive and has made a huge difference in allowing us to keep music in smaller venues that may not have been able otherwise without sacrificing musician pay.
Where did you grow up? Did you come from a musical family? Who were your early influences?
I was born in Pelorus, New Zealand. We left when I was ten and - after traveling around the world with my family for several years - eventually settled in Washington State when I was 15.
My family is Polynesian, so singing together is a big part of our culture; any space in conversation means someone will probably break into song (during a birthday party or Christmas, a car ride, whenever we are doing the dishes together). The rest of the family will join in with harmonies.
One of the first bands I heard that made me fall in love with jazz was Brian Blade & The Fellowship Band. His music felt so honest and emotional.
What were your experiences like at Frost School of Music?
Frost was full of outstanding musicians. It gave me my first taste of being a very small fish in a much bigger pond. It was a good stepping stone towards living in a city like New York. Being at Frost encouraged me to start looking for and developing something unique about what I do.
When did you choose NYC? How would you describe the NY scene compared to other places that you have performed?
I moved to NYC in 2021 and chose Harlem because I had musician friends in the area. I love that you can book a gig, and even if your first, second and third calls are already booked, your fourth call is still going to sound just as good. Or maybe you call someone you've never met (who was recommended by your first call) and you find that they sound just as amazing. The NY scene is never short of incredible musicians on every instrument.
Tell us about Monday evenings at Dear Mama, sponsored by KEYED UP! What can we expect? It seems like a beautiful space.
Skyler Floe (trumpet) and I have been doing Mondays at Dear Mama - (now sponsored in part by KEYED UP!) for over a year now. We always have a great band. The second set opens up and we have horn players and rhythm section folks come through to play and hang. Dear Mama's food is great. The Coffee's wonderful. The Cocktails are fantastic. The space is bright and open, with big glass windows and it's just a really nice place to play.
Any touring/album/projects you would like to promote?
Nothing to announce just yet but I always have projects brewing. My main focus is Monday evenings at Dear Mama and we hope to see you there.
What are your experiences of KEYED UP! and the importance of supporting live jazz in NYC?
KEYED UP! has made music possible where music should exist but venues haven't been able to support it. I believe strongly in supporting live music in NYC - both financially and by showing up for it - and KEYED UP! makes that possible.
Where did you grow up? Did you come from a musical family? Who were your early influences?
I grew up in Queens, NY. We had a piano in our house, there was music in my elementary school, and all my siblings learned to play an instrument. Music Education was a natural part of our basic education programs. I sang in the school chorus and the church choir and had clarinet and piano lessons. Music, especially singing lyrics, allowed me to connect to and give voice to my emotions from a very early age and even through to today. I had a class in my elementary school sing “Blue Skies”, and I was hooked on the swing! My toe was tapping, my body swaying, head bobbing in my seat in that auditorium!
What were your experiences like DJing and being the voice of your college campus as Fisk?
In college, I experienced the magic of radio at Fisk University. That gave me the opportunity to dive deeply into jazz as I worked the midnight to three AM shift which was classic, straight ahead jazz. We got tickets to the Exit Inn as a station DJ. I interviewed Bobby Humphrey and John Blake, Jr. for the station when they were in town.
When did you choose NYC? How would you describe the NY scene compared to other places? Do you think it has changed at all from when you started? After graduation, I remained in Nashville for a year and ultimately chose to return to New York for the music scene. This was 1983. I even considered Broadway but found jazz a more self-expressive genre. Since I was from New York and my parents still lived there in Queens, I had a place to stay. Eventually, I moved into my own place. The expansion of college degrees in Jazz has flooded the New York music scene since the early 80’s with young musicians, vocal and instrumental. The jazz competitions, along with these formal educational settings, have created a motorized rise for some. Performing at Hamilton’s Bar & Kitchen, sponsored by KEYED UP!, brings jazz back and makes it more accessible to the community. The genre has become very mainstream with large concerts and festivals, but KEYED UP! allows for and supports the small, intimate, personal, affordable venues in the community. Sometimes even today I get to introduce new listeners to jazz. Sponsorship for small venues is as important now as ever so I appreciate all that KEYED UP! does for the community.
You have performed all over the city and beyond but have appeared a few times at Hamilton's Bar and Kitchen, sponsored by KEYED UP! - can you tell us about your experiences there?
At Hamilton’s I also get to work with Berta Alloway, who has for years enjoyed producing jazz in Harlem, bringing music to the community and spreading love and joy through music. You can hear live music at Hamilton's every Friday night with a rotating group of amazing musicians sponsored by KEYED UP!
Any touring/album/anything else you would like to promote?
I released my first CD Dream which is available on Spotify. My next release will include my original songs, original poems that introduce standards, and lyrics that update some of the standards we know so well, such as "Summertime” and “I Thought About You.” You can catch a preview wherever I’m performing or check https://karenmaynardjazzvocalist.com/
Where did you grow up? Did you come from a musical family? Who were your early influences?
I grew up in Thessaloniki, the co-capital of Greece. It is a city with a deep cultural history. My whole family moved there to continue my classical guitar studies with the well-known classical guitarist, Mr. Costas Cotsiolis. There, I received my BA and Masters in Classical Guitar Performance with A’ honors. My background was all about classical music, there was no jazz at all. My family is not musical but my great-grandpa from my father’s side was the soloist of the Greek Orthodox church in his hometown. My love for jazz started when a group of jazz musicians from New York performed in Thessaloniki. After watching their performance, I fell in love. After that concert, I started getting involved in the jazz scene and all that Thessaloniki had to offer.
When did you choose NYC? How would you describe the NY scene compared to other places? Do you think it has changed at all from when you started?
When I received my master’s in musicology, I started looking for places abroad to go and study jazz vocals more seriously. My first stop was Amsterdam to check the vibes and their scene. I stayed there for 10 days. It was cool but all the musicians in Amsterdam that I met, recommended me to move to New York. They said NYC is the place to be if you want to study the art of jazz. So, my second stop was New York! Every day was a new jazz experience for me! I started studying with vocalists from NYC. My teachers, who I love and highly respect, helped me so much to understand this beautiful form of art.
NYC is well deserving of the title "Mecca of Arts!" Even the swing feeling in NYC differs from anywhere else in the world. I'm not quite sure how to explain it. Of course, there are great musicians around the globe but NYC musicians swing really hard and the energy on stage is different! I do think the music scene has changed a lot since I moved in here, but there are still plenty of musicians that keep traditional jazz alive.
What can you tell us about your album "What I Was For You: re.think"? Was it a different experience showcasing your guitar skills rather than your vocals?
"What I was for you: re.think" is a celebration of women! It’s me finding my voice as an artist. Every woman goes through phases in her life, and these different stages in my personal life inspired me to compose these tunes. The songs traverse a woman who is in love, a heartbroken woman, a homesick woman, and a woman who will be an aunt. A big part of my inspiration is my niece Ariadne, by whom I was inspired and composed a special lullaby.
This record showcases my background. I studied the art of classical guitar for years and during my time here, especially when playing Brazilian classical guitar tunes, cats would often compliment me on my guitar skills. I knew I had to find a way to do it. I started writing music for classical guitar adding some jazz flavor. I’m honored to have these mighty musicians playing on my solo guitar record that I self-produced. “Nereids” was co-composed with Richie Goods with collaboration from JD Allen and Devo D.
It is a different experience because vocals and guitar are two entirely different instruments - I can’t really compare. They both need daily practice to be on top of your game. To deliver these hard tunes of the great classical guitar repertoire, such as La Cathedral, Fuoco and El ultimo Canto - I practiced technique, scales, arpeggios, tremolo, articulation, etc every day for roughly four hours to gain the strength and ability to go to the studio and record them. Vocals demand lots of practice and dedication! When I was doing my first record with such giants of the jazz scene including Orrin Evans, Dwayne Burno, Rudy Royston, JD Allen, Miles Griffith, Daniel Sadownick, and Richie Goods, I recall finding myself often falling asleep on my piano practicing my voice!
You have performed all over the city and beyond but have appeared a few times at Neir's Tavern, sponsored by KEYED UP! - can you tell us about your experiences there? What can we expect from a Satuday afternoon show at Neir’s?
I love the vibes and the history of Neir’s Tavern. It’s been a month doing the gig there. The people are very nice - both staff and regular customers, the food is delicious, and an audience comes on Saturdays specifically to listen to live jazz! What else can you ask for? It’s a blessing! All of this is happening because of KEYED UP! which I’m so thankful for! My thanks also to Kim and Loy at Neir's who help run everything smoothly. You can expect me and my bandmates singing jazz standards and playing a few of my original tunes with my guitar on many Saturdays over the next few months.
Any touring/album/anything else you would like to promote?
During this time of the year, I’m more relaxed from my teaching job but still focused on continuing to write more music to hopefully go back into the studio and make a full album with only originals. I recently started a project with my own music. I also thoroughly enjoyed working in two shows with two incredible trumpet players, Antoine Drye and Duane Eubanks. I love the sound of a nylon string guitar combined with a trumpet. It’s unique and rare and I’m looking forward to exploring it more.
What are your experiences of KEYED UP! and the importance of supporting jazz in NYC?
It’s my first time working with KEYED UP! I would like to thank you so much for everything that you are doing to keep jazz alive! I know without you I wouldn’t be able to have this gig. I‘m so grateful to be working with such nice and generous people. Thank you!
Where did you grow up? Did you grow up around music/jazz? Do you have any familial experiences with music?
"I grew up in Hartford, Connecticut. There was a strong music scene and I took to music at a very young age. I was raised in a musical household. My mother is a classical singer. My father, while not a musician, always played various music and was interested in jazz. I started playing gigs in high school. I played many music styles in various venues: barn shows, basement shows, dive bars, restaurants, cafes, etc. It was more of a blend of rock, funk, and jazz - because my jazz playing didn't really come together until after I left town. Hartford has always been home to many great musicians and many different programs for students to get involved in. There is also a strong sense of mentorship and older musicians looking out for younger ones. I had several mentors, specifically Paul Brown and Dezron Douglas who took me under their wings. "
Did you ever have a particular light bulb moment when you realized you would be a full-time musician?
“For me, there was never really a plan B besides music. I wasn't a standout student or athlete. I spent most of my free time in the band room, playing music with friends or practicing at home. It became clear in high school that this was what I would do as a career. There were a few gigs I played in high school where I started to experience joy or had some transcending experience where I realized playing music gave me something that I couldn't find elsewhere."
You moved to NYC in 2010 - what was the motivation? You have also played extensively throughout Europe and America - How would you compare the NYC jazz scene to other places you have played?
“I made the move to NYC in 2010. I felt like I had 'done' the Boston thing. I had played at Wally's numerous times as well as a bunch of other great venues there with a lot of great Boston cats. I was ready for something new and to be pushed into a bigger market. Around that time there was a mass migration of jazz musicians from Boston to Brooklyn. So I knew of many people who had made the move. I wanted to find 'my' people to a larger extent and just play. It was definitely 'butt-kicking' for the first few years. In some ways I feel like I'm just settling into the scene here, in other ways, I'm starting to feel more like a veteran.
Playing throughout Europe and the US has led to the realization that there are serious musicians everywhere, however; NOTHING compares to NYC. The swing feel here has its own energy- it's more driving, has more edge, and more bite. That transcends into other aspects of the music. Cats are doing a lot of really creative and great things elsewhere in the world, pushing the music forward in their own ways. But NYC has a specific vibe and for me and many like-minded musicians, that vibe is addictive.”
Your album, 'Visions of Phaedrus' was released in 2022. How did you find putting together your debut album? Do you have any other recordings on the horizon?
“Releasing my first album, 'Visions of Phaedrus' was long overdue. Before the pandemic, I was too caught up in being a sideman to really find the wherewithal to be a leader. Then, with the arrival of lots of free time, I was able to put together the project. I had some great cats in my neighborhood who I workshoped the tunes with during weekly sessions. Also, because of the general lack of work, I was able to put together a cast of A-list musicians for the recording. I will be recording my second album in January of 2025. I feel like I have a collection of compositions that have evolved out of VOP and are ready to be showcased. I'm also working with some amazing people and musicians so this next one will be very special.”
You have been a KEYED UP! regular at Diwine Bar on Thursday nights for a while now. How did that gig come about and what can we expect on Thursdays?
“I started playing at Diwine about six years ago. The gig was led by a great saxophonist and close friend of mine, Chris Beaudry. Diwine is a great wine bar with excellent food and good people - both staff and regulars. When the pandemic happened, the music stopped, Chris moved out of town and I happened to move very close to Diwine. We met with the owner and talked about handing the reins over to me, keeping the music going, getting KEYED UP! involved, etc. It's been an immense blessing, pleasure, and learning experience to present music there weekly. I've been able to develop musical relationships with a lot of tremendous musicians. What I've found is that typically - the better the musician, the more they appreciate the gig. It's very laid back and the folks that come and listen really appreciate live music. My sidemen and I have been able to find these really special places while playing standards where we're able to stretch and explore. Finding new textures and spaces and pushing the music forward, meanwhile, people are on blind dates and digging the music, etc. I've been very fortunate to have world-class musicians join me at Diwine weekly. So you can expect more of that. Troy Roberts, Bill Mchenry plays the gig when he's in town, Jerome Sabbagh is a regular. Alex Goodman, Joel Mateo, Eric Zolan, Leandro Pellegrino, Vinicius Gomes, Nathan Bellott, Vitor Goncalves, Mike Camacho, Rogerio Bocatto, Mariane Solivan, Aaron Seeber, Saul Rubin, Greg Glassman are all in circulation. Plus many many more.”
Anything else you want to promote?
I'd first like to promote Diwine! It's a gem of a place and a great hang. The wine is second to none and the food is amazing. The music programming reflects the sound of NYC jazz at the highest level.
I have a few fun gigs this summer - I played at the Newtown Spring Jazz Fest in Brooklyn in May and July 26th I'm leading a band at Smalls. The group features Seth Trachy, Willerm Delisfort and Jochen Rueckert. We’re playing some of my original material.
Thoughts about KEYED UP! and the promotion of jazz in general?
KEYED UP! is doing important, life-giving, amazing work. I'm grateful to be working with such kind, generous people. Through KEYED UP!, I have been able to give a good gig to dozens and dozens of musicians. This has had an enormously positive impact on the scene. Furthermore, I am but one of many gigs KEYED UP! is involved in - so the vast network of musicians who have benefited from KEYED UP! is immeasurable!
I teach a course at Syracuse University on jazz history so I have very specific thoughts on jazz, in general. This art form is a measure of the good and brilliant natures of our civilization. It is both the embodiment of how far the human mind can go and a form of expression in a pure state while being deeply intellectual in origin. It is stories of the Black experience in America while also being a social music. I'm honored that I get to play this music for my living.
The third annual AAPI (Asian American Pacific Islander) Jazz Fest is taking place this Saturday, May 18th running from 12-10 pm.
We spoke with the founder of Yardbird Productions, Peter Lin, about how this wonderful festival came to be and what we can expect to see on the day.
Peter has been a professional trombonist for over 14 years. He received his undergrad from William Patterson and attended Rutgers New Brunswick (Mason Gross School of Music), for jazz performance. Though born in Louisiana Baton Rouge, Peter grew up in Whippany, New Jersey before moving to Bloomfield. In 2019, he set up Yardbird Productions.
"I am the founder of Yardbird, formerly Entertainment, now Productions. We do audio-video live-stream productions throughout the area, especially for jazz organizations. We have been heavily involved with production at Clement's Place, the jazz club associated with the Rutgers Newark campus, and also the Rutgers Institute of Jazz Studies."
"A pianist named Victor Lin approached me initially about the idea of creating a space for other AAPI jazz musicians. I thought to myself, "Why don’t we have some kind of festival for AAPI?". I found the opportunity when I was talking with Wayne Winborne, director of the Institute of Jazz Studies - I was already working closely with him and brought up the idea of a kind of festival for AAPI artists. He thought it was a great idea and Wayne was also involved with other Asian activities and organizations in the past, making it an easy decision for him. There is also a student presence from the musicians at Rutgers themselves so it gives them a great experience.
To be honest, the idea of an AAPI festival has been in the works on the West Coast but also Chicago has had similar festivals of varying degrees and success. However, up til now, there has been nothing on the East Coast for something like this, making it extra special."
So what has been the biggest change from when you started?
"The biggest change from 3 years to now? Well, after the first year, which was tough, I didn’t know a lot of people who worked in these spaces nor did I have experience producing a festival outside of my own experiences. It has become much as time has gone on, but also meeting people over the years who have been interested in trying to help put it together has been incredibly beneficial. I didn’t know how many Asian artists there were in the area until they started showing up, they started to talk to me about being interested in performing. The numbers just kept growing and now my roster of musicians is 6 times as large as when it started. There are just so many musicians with great talent in the area. A lot have similar situations or even look like me, so to see them performing at such a high level has been amazing - representation matters."
What can people expect on Saturday?
"I would say be prepared to hear music that they are often familiar with. These musicians are performing at a very high level in classic jazz but there is also a wide variety of music from the 1920s to modern day, trade jazz to experimental synth - we have the whole gambit and wide variety. So definitely come with an open mind to experience great music but also the cultural background of each artist. There is one stage with 6 artists throughout the day but anyone from the community can join at the end of the day for the jam session. These musicians are people I have seen and who have been involved with the festival. I also have recommendations for various musicians that come in. This year is a combo of musicians and also featured Red Pavilion band act. The Red Pavilion is a key component of promoting jazz throughout the year so I wanted to feature that as well."
"I would also like to say that amid all the planning, promotions, and preparation - KEYED UP! and Jazz Generation are always a big supporter without fail so we are extremely happy about that and are very appreciative. I hope to see you this Saturday!"
Time: 12-10 pm
Address: Express Newark (Hahne & Co. Building) 54 Halsey St, Newark NJ 07192
Schedule:
12pm - 12:50pm
Akiko Tsuruga Quartet feat. Jerry Weldon
1:30pm - 2:20pm
Red Pavilion Jazz Band
3pm - 3:50pm
Kengchakaj – Yon Yæng
4:30pm - 5:20pm
JK Kim and Friends
6pm - 6:50pm
Linda May Han Oh feat. Fabian Almazan
7:30pm - 8:20pm
Catbus Collective
8:30pm - 9:30pm
Jam Session
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We are excited to announce our next Chat with the Cats guest, saxophonist Jon Boutellier.
Where did you grow up? Did you grow up around music/jazz? Do you have any familial experiences with music?
"I grew up in Vienne, a city close to Lyon in France. My father started the jazz festival there, so I grew up exposed to the music.
I had the opportunity to see everybody at a very young age: Sonny Rollins, McCoy Tyner, Illinois Jacquet, Joe Henderson, Michael Brecker, Hank Jones but also Earth Wind and Fire, Manu DiBango, Maceo Parker... everybody. The 90's were a golden age for jazz!"
When (if ever) did you have a lightbulb moment that this could be a career rather than a hobby?
"I remember one time I had a business law exam at College, and I could only - and hardly - write my name on the sheet. That day I realized I would give up my law studies and concentrate on music! I then went to study with great alto player George Robert in Switzerland, and then at the Paris Conservatory."
When did you choose NYC? when did you move here? How would you compare the NYC jazz scene to other places you have played?
"I came here in late 2019. Before that, I was playing a lot in Paris, with American musicians and would come to visit every year. It gave me the urge to really live, and not be a musical tourist. I also had a personal opportunity to come live here.
I think nothing compares to NYC, at least from Europe. There’s an amount of excellence, of diversity, in the scene that is completely unparalleled. Jazz is the local music here, the music is the language spoken here."
The main big difference that I have encountered, is that while everybody is amazing on their horns and knows every tune, what sets people apart are those that have found their own sound. It's essential.”
Your album, "On Both sides of the Atlantic" was released in 2020. Was this the combination of your French and American experiences?
“In Paris, I was the host for the Saturdays Duc des Lombards after hours for years. It was truly a great learning experience, I had the opportunity to share the bandstand with countless amazing musicians who were passing by. I can say some nights were really swinging! And this is still one of the best sessions there.
I think this is what I had in mind when I made this album in which I had the chance to invite my idol, Kirk Lightsey. “
Tell us about "Friends and Lovers" in Brooklyn and how the weekly set came to be - how would you describe Wednesday nights?
“This a very nice place, everyone is hip. We start at 8 and usually do an hour and a half first set and welcome the cats on the second. We play trio, with bass or B3. We play swinging music, and as the hours pass and more people come in, we play more groove things, some Eddie Harris songs for example.
I usually do it with an amazing and very young drummer called Willie Bowman jr, he’s definitely worth checking out!
A lot of musicians live in this neighborhood so it’s cool to have a session there. I’m trying to set up the band in the back room so more people can come.”
Anything you want to promote - album, tour?
“I have an upcoming album with Michael Valeanu on guitar and Clovis Nicolas on bass. We’re all French but living here, and share similar experiences I guess... I’m really proud of the album, I think it captures the essence of where we are now as musicians.
I love playing trio. I write a lot of big band arrangements and trio is, oddly for me, close to writing a big band chart. You’re only three, so you have to think orchestrally.
I’m also writing a lot of Gershwin arrangements right now for a big band album in Paris.”
Thoughts on KU! and promotion of NYC jazz in general?
“I think it’s essential that KEYED UP! helps musicians, venues and jazz initiatives in general. For example, I’ve seen so many great concerts at Bar Bayeux!
From a promoter’s perception, I guess it always comes from a small insight. For example, my father started to promote jazz in the '60s only because he was bored not to be able to see his idols perform in his hometown. He started small, and ended up creating the biggest jazz festival in France. KEYED UP! helps us in creating those small opportunities to grow.”
You can find Jon every Wednesday night at Friends and Lovers in Brooklyn (641 Classon Ave) from 8pm
We are delighted to announce vocalist, Tyreek McDole as the next artist to Chat with the Cats.
Where did you grow up? Did you grow up around music/jazz? Do you have any familial experiences with music?
"I grew up in St. Cloud, Florida. Growing up, there was music in the house, mainly the radio that my parents played so I gained my musical upbringing from their listening interests. Jazz, Haitian music, reggaeton. My dad is American and my mother is Haitian-Dominican. I have two older sisters and one younger brother, but none of them are musical. My younger brother is interested in music but more so in music interviews and photography. I had been a fan of music since a young age, my aunt had a piano in the house so that got me curious initially. It was something I always intended to do and I couldn’t see myself doing anything else.
I went to Osceola County School for the Arts. I started in the band class in sixth grade after watching The Princess and the Frog which got me onto the trumpet. Following this, I moved to classical percussion and then started singing during my senior year of high school. I knew that I had the ability to sing but I didn’t take it seriously or know the impact of my voice until I was playing percussion in a pit orchestra for a production of Into The Woods. During that time, one of the actors had gotten sick and there was a void in their absence. I suggested singing the parts to cover that rehearsal. Once I started singing I noticed heads turning. The jazz director was in the back listening and asked me to join the band for the Ellington competition."
Jazz at Lincoln Center's 2018 Essentially Ellington National Competition
"I went in 2017 as a vibraphonist but came back the next year as a vocalist. It was my first year singing and for that to be punctuated with a win at the competition, I was honored. It gave me a lot of hope and aspiration to continue to work.
I have to credit my mentors Rodney Whittaker and Rockelle Whittaker - they worked with Kenny Garret and Roy Hargrove and Wynton Marsalis amongst others. I previously met them at a summer camp that Rodney ran called the Dr Phillips Jazz Boot Camp in 2017."
Studying at Oberlin
"It's in a small town in Ohio, so smaller even than where I had grown up. It's a college town for sure so it's quite insular. It wasn’t a move that I necessarily wanted at the time but it was a great experience. I studied with geniuses and professors like Gary Bartz and Gerald Cannon.
My opinion definitely changed and I grew to appreciate the different styles of music from all over America. NYC is a melting point for sure but the best artists aren’t necessarily from here.
I moved to NYC the day after graduation. I luckily landed on my feet - I'm rooming with two great musicians, one a trumpeter also from my hometown named Anthony Hervey and the other Philip Norris who is a bass player.
I think for the most part I have been in a blessed situation. I found a great community that supports what I do and my work is being recognized. Plenty of folks are eager supporters of my career and I am very grateful for their precedence and guidance."
Sarah Vaughan International Jazz Competition '23
"I have known about this competition for years and first applied in '21. This was my third attempt at applying and my first time placing (winning). At the competition I performed three selections of my choice; the first was September in the Rain, the second was Lush Life, and the third was Every Day I Have the Blues. These have been staples of my repertoire since I started singing. I wanted items I had a strong connection with and they each honor a different inspiration of mine. Joe Williams with Every Day I Have the Blues, Johnny Hartman in Lush Life, and Sarah Vaughan for September in the Rain.
Walking off the stage, I felt proud that I had put my best foot forward and gave it my all. I really felt a great connection with the audience and viewed it as an opportunity to showcase my talents and it being my own show rather than a competition. Between pieces, I took the time to reflect on being a part of such a great legacy of wonderful music and artistry and wanted to continue to pay respect to those who had gone before me.
I was pleasantly surprised at winning - I reflected on how long I have been singing, 5 years, and how lucky I am to be a part of the history of the competition. I was so happy to be there at all but to be awarded the win for my first international vocal competition was incredible." (Tyreek is the 2nd male to ever win in the competition's 12-year history.)
Tell us about Penny Jo’s and how the weekly set came to be - how would you describe Tuesday nights?
"I was called to play a gig there by a great tenor sax player named Boyce Griffith, I liked the energy of the room and liked how the booker and curator Mr.Seth was very welcoming and appreciative. I leaned on the folks that I knew who supported the mission and the music. We are extremely grateful to KEYEDUP! for sponsoring our performances.
Now we do a four-piece. It varies from week to week, sometimes it's thematic, featuring a certain artist but we do a lot of my original music also. I have premiered a lot of my original music there. After the first set, we open it up to anyone. I'm hosting the whole time and I'll call people up as long as they are friendly and courteous and we can all create some great art."
Anything you want to promote - album, tour?
"I’ll be flying out to California for a residency at the SF Black Cat."
Thoughts on KEYED UP! and promotion in general of jazz in NYC and beyond?
"I really love and appreciate the mission of KEYED UP!. They understand that art is valuable. It takes a lot of time and decision to schlep your items across town and sing and perform at a high level. To invest back in the art and the artistic community is so important. Also, to allow young up-and-coming artists to create spaces and music that can flourish is vital. KEYED UP! has allowed me to create my own community and contribute back to NYC as NYC has helped me in my career."
Photo credit: EBAR
Where did you grow up? Did you grow up around music/jazz? Do you have any familial experiences with music?
I was born in Buenos Aires, Argentina. My family immigrated to Los Angeles, when I was three months old. My father was a very good classical pianist and my step-mom was a working freelance pianist/keyboardist in the L.A. area during the mid-seventies. Our garage had been converted into a rehearsal space and many bands, often made up of really good working musicians, rehearsed there regularly.
When (if ever) did you have a lightbulb moment that this could be a career rather than a hobby?
I had a natural aptitude for the drums. My close grade school friend had a drum set and we used to play along to rock and soul records. By the time I was in high school, my family had moved to Phoenix, Arizona. I had a few friends who were musicians, but by that time it had been three years since I last played the drums.
At one point, a couple of friends had lamented that they needed a drummer to form a band. I told them I could play, but they didn’t believe me.
They took me over to a mutual friend's house which had a garage full of instruments. We started playing a ZZ Top song. They were shocked and wondered why I hadn’t mentioned that I played drums sooner. It was at that exact moment that I knew I would be a professional musician. I was fifteen years old.
It would be a few more years before I heard Freddie Hubbard's album Backlash. That inspired me to learn about jazz. And to this day it’s an ongoing process.
Tell us a little about your interest in swimming
I’m a rabid, I mean avid :) open water swimmer. As of this writing, I have open water swam for 1170 straight days. I have even managed to coordinate swims when I’ve been on the road. This will be my fourth winter, and I swim without a wetsuit. There is a sizable group of swimmers that do this year-round. We gather at Brighton Beach every morning. I started during covid and I highly recommend open water swimming for many reasons, especially in the winter. It has changed my life in a very profound and meaningful way.
You moved here in '99 - What have been the major changes to the city and scene in the last 24 years? How would you compare the NYC jazz scene to other places you have played?
Wow, so much has changed. I wouldn’t know where to begin. The cost of living would be one major area. The other might be what I would describe as the over-corporatization of many aspects of our lives in the city. It’s almost inescapable. To me, jazz and music in general in NYC is like no other place I’ve lived or worked. There is a certain degree of community and openness that in my opinion, is unique to NYC. The determination and resolve of musicians, and dedicated artists in general is amazing. No matter what obstacles we’re faced with, we all seem to find a way to persevere and do what we love. Always moving forward!
Tell us about Bar Bayeux and how the weekly set came to be - how would you describe Tuesday nights?
Jeremy, Harriett, and the entire extended family at Bar Bayeux are incredible. A welcoming environment with a focus on jazz and inclusivity makes it a very special place.I had been running a session at another venue in Brooklyn. When that came to an end I approached Jeremy with the idea of starting a session at Bayeux on Tuesday nights. It’s now been close to four years, and it has become a very popular destination for musicians and civilians alike. I also prepare a large pot of complimentary rice and beans, as well as brownies each week. People seem to really love that, too. We’re communicating through music, food, and the spirit of positivity. Something that is much needed in today's world.
Anything you want to promote - album, tour?
Nothing else really to promote. Just come visit and help support Bar Bayeux! In turn that not only helps support the performing musicians, but also those in attendance who get to hear and interact with world-class musicians.
Thoughts on KEYED UP! and promotion in general of jazz in NYC and beyond?
On the subject of KEYED UP!, I can’t really say enough. Without the generous and continuing support of all the benefactors and staff, places like Bar Bayeux would not be able to present the quality and level of music they do. It’s absolutely invaluable in every sense. I also would love to give a special shout-out to my badass bass-playing brother, Rob Duguay! Without his tireless efforts, none of this would exist.
(Photo credit Kyra Kverno)
Where did you grow up? Did you grow up around music/jazz? Do you have any familial experiences with music?
"My father was in the Marines so I don’t really have a home. New York is the closest thing to a home as I’ve lived here longer than anywhere. I was born on a Marine Corps base in North Carolina, moved to southern California, then back. From childhood growing up, northern Delaware and Philadelphia would speak to me as far as roots. This is where I discovered that I wanted to be a musician - the particular way that jazz is played in the Philly area made me the person I am and pushed me to this trajectory. I've been in New York since 2001. Growing up as a Marine Corps brat, I never lived in most places longer than 4 or 5 years at a time. In December I will be 23 years here.
I have always been a sax player. My parents are from a humble midwestern background. It never occurred to them to get me into music lessons even though they definitely noticed I had an aptitude for music. My mother can carry a tune really well and has a nice voice and I think my father might have played the trumpet in high school. The radio was always on and my parents, for being blue-collar people without a higher education, were pretty imaginative. I remember my father pointing out the music in the movies on TV when I was very young and it changed my focus to listening to the score rather than the movie itself. I remember watching The Muppet Show as a kid, a little blue muppet called Zoot who played the sax. My mom said I always liked when he came on the screen when I was probably around 3 years old. I remember that by the time I got into middle school, the choice was "art or band" - most of the cute girls picked band so I figured I'd follow and play the coolest instrument which I thought was the sax.
In the beginning, the music I was playing was through school and that was important for me. I was a terrible student and hated school. I was bad at most things except for music. I had a middle school band director who promoted me to playing the baritone saxophone, probably just to keep me busy as I was always misbehaving among the other alto sax players, sometimes making fun of the kids who didn’t practice, and I was sometimes the disruptive kid in class. She would be the one to plant the seed later when she told me that she thought I would be interested in playing jazz one day. So I have to credit her for initially pointing me in that direction. That definitely helped me move towards this path at 12/13 years old. Music, band class, and a teacher who believed in me basically turned me from a C and D student to an A and B student. Music is such an important part of the US education system when it is done right and definitely pulled me up."
When (if ever) did you have a lightbulb moment?
"This came after I moved to northern Delaware at 14. The greater Philly area was much more metropolitan, and thus jazz was much more common to hear than in the rural and southern parts of the US. I was far more exposed to it there and I joined a band in the high school with a band director that had more jazz focus. I was promoted to the first chair alto there and I always thought I wanted to do something in music but wasn’t sure. I thought I would be a Marine for most of my life. I think I was in my junior year of high school and the Count Basie Band was traveling through and did a concert at my school. The lead alto player was running late and I was playing with my band director's local community adult jazz band and we opened up for them. So Frank Foster, who was the band leader for the Basie band at the time, comes up to me - and probably did it to be cheeky - and says "Our alto player is late. Why don’t you sit in for the first couple of tunes?" That was kinda stupid! I was a high school junior, and barely hanging on by the skin of my teeth but it was incredible to do that at the time. I knew then and there how incredible it was to look at this legendary book and to try to play with these guys, feeling that energy. It definitely secured the idea in my head. I had a framed picture of that day but a few years later when I was moving from one apartment to another in Philadelphia, I had a bunch of stuff in a car, including that picture, and that car got stolen off of the street with all of that stuff in it. So that picture is gone, and I’ve forgotten who it was that took the picture. This was pre-social media and broadband internet, so that pic probably only existed as a hard copy or on film. Side note, later the stolen car apparently happened to be used as getaway car in an armed bank robbery (But that story is for another time)”
How would you compare the NYC jazz scene to other places you have played?
"I was in my early 20s moving to New York City. I think I always wanted to move here even though I had never been here before. Pop culture shows us that that’s where the art scene is. In any movie about jazz, New York was always the focus. I wanted to be on the East Coast, it wasn’t necessarily NYC. I felt that there was a ceiling in Philly in terms of how much I could learn and be exposed to. This was pre-internet and social media so I felt I needed to be immersed in NYC. At the time I thought it would be temporary. A lot of the musicians that I moved here with around the same time, a lot turned around and left, either back to Philly or some place easier to live. It's hard here. In Philly, it's easier to get gigs as it's a smaller scene with a better venue to musician ratio and the pay can be better. But you accept that the standard is higher in NYC. You get your butt kicked but you put up with it because the competitive nature of the NYC scene and the high level of the players can make you better. I was relatively close to ground zero on 9/11 and in the months that followed, since I had a job as a waiter at a restaurant that was a short block from the World Trade Center, and I definitely came away with some PTSD that I haven’t had officially diagnosed, but I know that it messed me up quite a bit and I still deal with it today. It changed me from thinking that NYC was just a temporary place for me to live, to then being a place where I had to be because I needed to be with others who had also been through this tragic event. I had to stay - I would never want to equate myself to a soldier, especially growing up in a military household - but I empathized with those who feel they need to re-enlist after coming back from war. I felt something similar to that whenever I’d leave New York to visit friends and family in other parts of the country, even just a couple hours away in Philadelphia and Delaware. I’d get antsy and feel like I was in a bubble and just needed to get back home to NYC. I have a healthy unhealthy relationship with this city but that definitely solidified me staying here, hopefully for the rest of my life.”
Tell us about Bā'sik and Marian’s
"Bā'sik was just a bar in the neighborhood that I was living in, East Williamsburg, that just had a great feel. I stumbled in there one night looking for a bar just to hang out that I could go to regularly. it opened shortly after I moved there. I instantly befriended the bartenders and owners to the point where I was in there 5 nights a week, after gigs or teaching. Over the course of the next several months, one of the bartenders asked me "We have live music here every so often, how come you’ve never asked to play here?" I didn’t want to take advantage of them - I couldn’t guarantee there was always going to be a crowd. I recognize I'm a good musician but not a star so if I didn’t have a good turn out that would be depressing and embarrassing since the owners and the bartenders were now my friends. I told him I would much rather prefer to just drink here and not mix business with pleasure. But they pushed back a little bit so then I told them that I could make the gig a regular jazz jam session and then at least we’d probably get a decent turnout semi-regularly and we could grow organically over time. In a nutshell that’s how it grew. The owners, Jay and Derrek, were really willing to work with me and open to all suggestions. They looked at it like they weren’t hiring me to always have a huge turnout of people to pack the bar and hear music, but rather they thought of me as a way to advertise the bar and since we set up in the window, to show the street that there’s things happening inside, even on slower nights. They were willing to see it through for the longest time until it eventually became one of the best nights of the week there. It was part of the agreement that when I started, I told them to give me the worst night of the week and maybe we could turn that around. It has definitely paid out in the long term. The owners didn’t approach me from a place of desperation like I’ve seen a lot of little restaurants and bars do a lot of my other colleagues when they want to book music, as if that is the thing that is going to turn their business around. The owners and management at Bā’sik just really wanted to collaborate to create something, and that has shown through with the popularity that The Bā’sik Jazz Jam Session has achieved on Sunday nights, now going on 12 years!
Both places ended up being places that I liked to go out and hang out in, initially. Marians was originally called The Wilky - my friend Kelly Green and her trio used to play there a few nights a week and I really love that trio. I was pretty much just there to see them for free, whereas you’d usually have to pay to see them at Mezzrow or Birdland. It was a jazz jam session after the first set and I would sit in. I eventually became friends with the owner there, Dennis, and his son Iain. Kelly went on tour and her gig ended at The Wilky. After that they tried a bunch of people to host the jam session and nothing was working out. The owners came through Bā'sik, saw what I was doing there, and asked me to do the same in their place. I really liked the owners and the bar and said I would try and take it on similar to Bā'sik. That lasted for maybe three months (2020 - then COVID hit) and went really well before being shut down. Through COVID it was closed for long periods, but we played out on the sidewalk when things started to open up in August of 2020 through to the beginning of November. It was Dennis’s idea to bring the music on the sidewalk and get musicians back to playing again and it gave a lot of musicians an opportunity to play out again with other people for the first time in months. It was really special. You could feel that from the community that came out to hang out and listen. Another traumatic event that everyone went through together, but at least we could hang out, listen, and create music together. The following summer, they renamed the bar Marian's (named after the owner's mother). Then in June of '21, we were back on the sidewalk but by July, we moved it all inside to the space at the back with a baby grand piano, house bass, bass amp, drums, guitar amp and PA. Initially, it was just a little upright piano in the corner of the front space which was great but kinda DIY - it is now much more of a performance venue."
Anything you want to promote - album, tour?
"I've been writing stuff for my next record but my daughter has just turned three - most of my time for the last three years has been spent being a full-time dad during the day and being a musician at night. But now she’s in school, NYC’s free 3K program, and I now have all these free hours I didn’t have before so I am trying to put some of my energies back into the record. So, ask me in few months how it’s coming along. Especially after the pandemic though, my main focus has been getting these gigs off of the ground. When things opened up I went full steam promoting these gigs to try to make them self-sufficient. I'm trying to make them as good as the legendary stuff in Manhattan."
Thoughts on KEYED UP! and promotion in general of jazz in NYC and beyond?
"It has elevated things in a major way, even being associated with KEYED UP!, the publicity has brought everything up a notch: the audiences and the musicians in the city see our spots as legit spots to travel to and It allows me to very confidently call musicians to play the gigs because there’s a better monetary guarantee because of KEYED UP!. I never got real hard pushback from hiring musicians before that, but there was notably a modicum of mild reluctance. I could feel it sometimes before, but now everybody wants to play, not just because of the extra bread, but because Keyed Up offers more legitimacy on the NYC scene. For what these gigs are as great social events, in really great bars and venues, the money we get in help from you guys has elevated everything.
From where we’ve come with the Bā'sik jazz jam session, it's all about community, so increasing the scope of the people we reach with you guys is fantastic. The Bā'sik jam can probably rival most other jams in the city because of the people I’ve brought in as regular house band members and our philosophy is all about community. And a lot of credit goes to my partner at Bā’sik, pianist Julia Chen. I can also say this about the house band members at Marian’s as well, and my partner there, drummer Ben Freidkin as well as guitarist Akira Ishiguro who has made invaluable contributions to that gig. And our philosophy there is the same - I’m not here to just showcase my abilities but to showcase other vibrant musicians throughout the city and give them a place to play and be a part of something greater. I feel that we share that with KEYED UP! and Jazz Generation and that’s why this partnership works."
KEYED UP! and Bar Bayeux:
A catch-up with Jeremy Stratton and Jerome Sabbagh
Interview with Jeremy Stratton, owner at Bar Bayeux
Background
2019 was our first year but we opened for New Year's Eve 2018. I built the bar with my father and brother. The address is 1066 Nostrand and my father, the history buff, recognized the date as the year of the battle of Hastings, which is depicted in the Bayeux tapestry, so basically we were named after a piece of art. We also liked the sound of the Bayeux as a New Orleans kind of vibe.
I grew up in the bar business, my father was a bar owner and I always had one foot in the business, the other as a jazz musician: I’m a bass player. Unfortunately, the old bar had to close after it was sold and the rent was skyrocketing. Grassroots Tavern was a dive bar from 1974, a bar since the 40s. (Editors note: he's speaking of St. Mark's Place in East Village) It's one of the oldest buildings in the neighborhood. I grew up there as a kid.
Finding a space
So we went looking for a place closer to home - we are all from Brooklyn - and we found this empty spot. My brother is a carpenter so we did all the wiring, then brought in a plumber and built it ourselves.
When we were moving to our new space, we were looking for something not too big or small but workable and I wanted to correct all the problems from the old place. What we have here is a cleaner, more sophisticated version. So it was nice that we could have that in mind when building the place. That being said, we weren’t expecting to become a venue per se but only planning on having music once or twice a week. I wouldn’t have known how to do it. That’s where KEYED UP! came in and really helped us become what we are now.
Sponsorship
When we started with KEYED UP! before the pandemic, we were hosting music only one night a week and honestly we were struggling as a new bar but our Wednesday night that was sponsored by KEYED UP! became our best night. We slowly became a jazz bar as musicians who would play found us or heard about us through other musicians or KEYED UP! social media. The jazz community finds itself very quickly.
We had just brought Diego Voglino’s jam session to Tuesdays because Wednesdays were doing so well but then the pandemic hit. KEYED UP! kept our doors open even when we were shut. We started a live stream (which was a big learning curve!) set up by Jerome Sabbagh and friends Peter Watrous and Adam Kolker. We worked together as a team and eventually figured out how to do the live stream with good sound quality. We did a Facebook event once a week with live donations which meant we were able to pay the musicians which was great and it helped us pay the rent. KEYED UP! was existential for us. When we reopened we were only able to do so much with social distancing, smaller numbers, etc but we graduated to having music every night. Luckily we have a great back patio with chairs which meant we had more options.
Jerome Sabbagh came to me, he had contacted KEYED UP! and we built it back up to where we were before. I think what people have really gravitated toward is the vibe at Bar Bayeux. Patrons are more than happy to show their gratitude when the tip jar gets passed around and because we can match what KEYED UP! puts forward, it is a group effort. I think this is generally why musicians enjoy playing here - it’s the type of place you wish you could play. I always wanted it to have a welcoming atmosphere and I think we are succeeding there.
Moving forward
As it is, it's been fantastic, it's all moving along naturally so I don't want to do anything that will upset that. Noah Garabedian and Caleb Wheeler Curtis have been booking the weekends. We’re trying to maintain that balance between bringing new people in and also keeping performances from great established artists. Once artists play here, they express how much they enjoyed it and want to play again. Adam Kolker and I do a special guest series on Thursday with new people - it can be a lot of work! I must say though, it is incredible that jazz lovers come out and throw money in that tip jar. I see KEYED UP! as the backbone of it; they put in some bread, the bar puts in some bread and then patrons add some bread too. Everyone being involved has made this place what it is.
Interview with Jerome Sabbagh, music curator at Bar Bayeux
Background
I met Jeremy through mutual friends, I think we played a session. We ended up playing every Sunday at Grassroots Tavern for about 15 years. When he opened Bar Bayeux, he actually asked me to help him with the wine list as I would often bring a bottle to Grassroots. The music came after that!
I knew Rob Duguay from having played with him over the years and also from the Jazz Standard. When I got involved with Bar Bayeux and booking musicians on Wednesdays I got in touch with him but hadn’t been involved with KEYED UP! to that point.
Streaming
Jeremy had mentioned it but in the beginning, I didn’t want to do it as the streaming I had seen up to that point, in the early days of the pandemic, wasn’t very inspiring to listen to or look at. I didn’t know much about it and didn’t know the first thing about live-streaming performances. What changed my mind was when the Vanguard started their streaming series. It was Billy Hart's quartet and it looked and sounded really good. With it being the Vanguard, it was always going to be good but it showed me that it could be done. It took us at least two or three months after the Vanguard stream to get it together.
What makes Bar Bayeux so special?
It's a good-sized space, it feels like an inviting bar, and also has a back patio. It sounds good and also feels good. When we were streaming we put some effort into bringing curtains and carpets which improved not only the sound but also the visual aesthetic. It’s always been a fine line between having a bar atmosphere but also a listening venue which is what I am aiming for on Wednesdays. I make an announcement, go around the room with a tip jar and make sure to give information about the band and KEYED UP! which helps the atmosphere. It’s important that it’s a place where people want to come and hang; a venue with great music but no bar doesn’t work, and vice versa. The credit goes to Jeremy’s vision for having a place where people want to come and listen but also play at.
Booking the music and striking a balance
It's challenging, I only book on Wednesdays so it's limited openings. Finding a balance is always important. We are lucky that we have had Billy Hart, Al Foster, Victor Lewis, and many others. It's inspiring to see these guys up close and it's important that we have a place where people can do their thing, trying new combinations or arrangements. I try my best to make it special every Wednesday and whether that’s new musicians or established legends, I try to make it something that people will really care about. I leave my tastes out of it so we get a broad range of people, styles, generations, and instrumentation - it doesn't matter as long as it's good! It works well on Wednesdays. We couldn’t do what we’ve been doing without KEYED UP!
You come from a self-prescribed family of the arts, what was that like growing up in a musical/artistic household? Why do you think you gravitated towards music rather than other arts?
"My mom is a dancer and a choreographer, my dad a poet and my grandmother is a painter and book illustrator. Almost everybody in the family plays music as a hobby. So yes, art of different disciplines was all around me, but music had a special place in the house.
I grew up dancing with my mom, playing piano and writing poems with my dad, and painting with my grandma. It was not only personal expression and fun but they were all pretty strict and taught me the meaning of professionalism from a young age. I took dance lessons for a long time and even participated in the Nutcracker production of the Israeli Ballet when I was nine. The production toured all around the country for several months, and this was a great experience.
When I was about twelve, I told my mom that as much as I enjoy being on stage, I don't enjoy ballet class and the physical work in the studio. She replied that, in this case, dance is not for me because when you really like something you should also enjoy the hard work of practicing and not only the performances. (She was right on point and the moment I started singing I realized how much I enjoyed the practice. )
I went to an Art high school, at first to the department of fine arts but soon afterward changed to a pianist in the classical music department and from there to Jazz. That was when I started singing.
Jazz may have been a bit rebellious in a family that cherished classical music but everyone supported my choice. My mom had a vast music library for me to explore that included lots of Jazz records, including Billie Holiday, Sarah Vaughan, Mingus, and Art Blakey.
On one of my birthdays, my grandpa (from my mother's side who is originally from Holland) who was a holocaust survivor, got me the full discography of Django Reinhart and told me a shivering story. He was 14 when the war started in Holland and spent the first months hiding in a basement. At this hiding place, there was a Django Reinhart record that kept him company and helped his sanity during this hard time. Later he was on the run for several years and the first thing he did when the war was over was to get a new violin because his old one was lost.
Music had a big place in the heart of everyone in my family, so much so that it helped me understand that being a musician means being a messenger of emotions and that the weight of life can be balanced with a song."
Photo credit Eftycha Vlachou
You grew up in Tel Aviv; what were your early musical experiences like there? Do you have any musical inspirations from Israel that you can share with us as we celebrate international jazz month?
"Tel Aviv is a beautiful colorful city full of culture. From childhood, I went to many concerts, theater, and dance shows and also listened to a lot of Israeli music at home.
There was a kid TV show that hosted many musicians, I heard some singers there and got really excited so my mom took me to the record store and I bought my first record of NOA (Achinoam) Nini. Years later, I found out that Pat Metheny produced her first international album.
I also enjoyed vocalist Chava Alberstein - I recently got to record one of her songs on a Roni Ben Hur Record "Stories" (Dot Times 2020) featuring Victor Lewis, George Cables, and Harvie S.
I like the work of pianist and composer Yoni Rechter a lot, who uses Jazz harmony with very Israeli-sounding melodies.
It is very common in older Israeli songs to have lyrics by poets, and texts with depth and complexity.
Besides the harmony and melodies of songs I grew up on, this concept also influenced me a lot."
Do you remember a moment in your life when you realized being a professional musician was your goal?
"I knew from about 14 years old that I would be doing music in my life but only later, after I graduated from my studies in the Netherlands, (Royal Conservatory of Den Haag) I set the goal of making my income from music.
I supported myself financially from eighteen years of age and paid for my studies and lessons by working as a waitress, bartender, model for painters, babysitter, and many other side jobs. But at some point, I just had to quit all that and take the risk of making a living just from music.
Growing up in a family of artists I was also aware of the financial hardship that might come with that choice. I set a goal for myself to reach the highest, most professional level, to be focused and hassle when I needed to. I love my choice of being a musician and am grateful for every day that I can make a living from my art.
Photo credit George Nazos
When did you move to NYC? What sets it apart from other cities and their jazz scenes?
"I moved here in March 2015. The jazz scene of the city is one of very high level and is multi-international. The scene has a lot of variety of the subgenres of jazz, from traditional scenes, to bebop, modern, and free jazz, so you can choose the right musicians to work with to get the sound you are going for.
It is inspiring that there is so much talent. It gives you a lot of artistic freedom and keeps you practicing and perfecting your craft.
There are many wonderful musicians from all around the world who, just like me, came here following their passion for jazz. It is a competitive yet welcoming scene and has a place for artistic growth. I also got the chance to meet and play with some legendary players. There is so much to learn from the older generation."
Last month we celebrated women in jazz - what does that mean to you?
"It means a lot. Growing awareness of the presence of the many wonderful women in jazz is so important. There is a change that needs to happen and we are slowly moving towards it in the way that the industry and the musicians treat women as well as in how women treat each other.
Lately, I've been involved in building a mentorship program for Israeli women in jazz. Israel has a very male dominant scene and many talented women often don't enjoy the same opportunities. Together with my partner vocalist and composer Tammy Scheffer, we are enabling young female musicians to meet and learn from the experience of professional jazz artists in Israel and abroad. Our goal is to build not only an educational program, but also a community of women that support each other.
Here you can check more about it: https://www.instagram.com/jazzistiyot "
Photo credit Joe Carcamo
You have a Sunday night spot at Bronx Burger House - can you tell us a little about your set there, the musicians, and the general vibe?
"Together with my guitarist and partner in life and music George Nazos, we built this concert series at the Bronx Burger House. We were saddened by the lack of Jazz music in the Bronx, especially since after the pandemic and we knew something had to be done. We have a show with different guest musicians every Sunday 6-7 pm. We play a set of original music by Giorgos, the guests, and myself, then from 7-9 pm, we host a jam session. There are many amazing musicians up here in the Bronx and almost no place for jazz shows so we have great players showing up for the jam. Not only from the neighborhood but also from Washington Heights, Inwood, and Westchester. The first night we played, Jan 29th, there was a great festive atmosphere. Musicians and neighbors were all so thankful and happy to have live music in the neighborhood. It's very exciting and fun. We have about 20 musicians coming to jam weekly and so far, we were able to give work to 16 musicians."
Do you have anything you would like to promote? Album/tour/gig
"I just finished recording and mixing a new album of original compositions. It is a concept album with myself on piano and voice, George Nazos on Guitar, Trifon Dimitrov on bass, and Joe Abba on drums. I will present it at THE JAZZ FORUM on May 14th at 4pm and 6pm and at Maureen's Jazz Cellar, on June 3rd at 8pm."
Who have you been listening to this month?
"I've been listening to a lot of drummers lately as I've started practicing drums during the pandemic. It's a very exciting thing for me to get to experience music from a different perspective than I usually would. One of the albums I especially enjoy lately is 'Michel Petrucciani, Steve Gadd, Anthony Jackson - Trio in Tokyo'.
I also listen to a lot of Leonard Cohen, I love his songwriting and poems, especially his latest albums."
And finally, what are your experiences of KEYED UP! in the city and its importance?
"I got the chance to work with KEYED UP! already from 2015 when I moved to NYC, now as I write, I'm realizing how many shows I've done with you and thinking of how much work you give to musicians all around the city. It's incredible and so important!
The contribution of KEYED UP! is not only to us, the musicians, but also to the cultural texture of the city and everyone who lives in it benefits from your work."
KEYED UP! and Cafe Bohemia: Bohemia After Dark
History of Bohemia
Café Bohemia was initially opened in 1955 by Jimmy Garofolo. He had owned and operated it as a restaurant, bar, and stage since 1949. In 1955, saxophonist Charlie Parker offered to play in the club to pay his bar tab, which unofficially began the room’s short life as a jazz club. Jazz greats including the Miles Davis Quintet, Art Blakey's original Jazz Messengers, and Kenny Dorham's Jazz Prophets have all played here.
Interview with Ken Fowser, Music Curator at Cafe bohemia
Background
“Bohemia reopened in 2019. I got involved at the end of 2022. Christine Santelli was running it before, pre-pandemic. They opened for 6 months and got a write up in the New York Times but then the pandemic hit. We reopened mid October 2022.
It’s been really great here on Wednesdays but it's particularly musicians in attendance. The word of mouth in the community has built a great reputation. Getting regular non-musical patrons is tricky.
We have invited guests that come and play in the later sets but I don’t like to refer to it as an open jam. We have labelled Wednesdays as “Bohemia After Dark” - if you are a musician it speaks to the lineage. The famous song by Oscar Pettiford of the same name implies a certain standard to the musical setting. In the nicest way possible, I don’t want just anybody to be able to come up and play - keeping up the level and standard is important.
We started with Wed-Sat but now open 7 nights a week. We just started Sundays and have Dana Stephens doing a Sunday residency. Emmanuel Michael is a great guitarist who is part of Dana’s band but also leads his own set. Last week was particularly incredible with the very sad passing of Wayne Shorter - we had musicians celebrating his life and his music. Trumpeter Andrew Wagner and Saxophonist Alex DeLazzari, both of whom went to William Patterson with me, are becoming a very strong duo and really kicking butt on the scene. They recently played in a sextet at Dizzy’s with bassist Jason Clotter for the late night set and are really tight with great arrangements. Jason is coming in and leading the same sextet here at Bohemia in May.
We have a lot of focus on younger up-and-coming musicians. That being said, we recently had Jeff ‘Tain’ Watts come in to host a workshop on a Tuesday last month. It’s really cool when he plays in the workshop you can actually see him trying out new music, with different bands, debuting stuff - almost seeing how he would rehearse. There is a greater explanation of concepts and playing around with different ideas. It’s been amazing to gain such an insight into a master musician.”
Saxophonist Ken Fowser, Music Curator at Cafe Bohemia
So what has drawn people to Bohemia?
"The history is a big part, it's smaller than Smalls as we seat about 40-45 people. It’s extremely intimate, it’s more of a listening room. It’s a similar model to early Smalls. Smalls was a club that I came up in when I moved to town. Smalls is a musicians club, run by musicians for musicians which caught on to a lot of jazz fans and the general public. So we are in that stage where musicians know about us but it’s time for the word to spread to everyone else. The location is also fantastic as we are near to so many other great clubs. We have guys coming over from Smalls on a Wednesday night which has contributed to Wednesdays being popular.”
Hank Allen-Barfield is the resident on Wednesday nights at the moment and he has enjoyed having different combinations of musicians play with him week to week.
“I have had nothing but positive experiences at Cafe Bohemia, it has quickly become one of my favorite clubs in the city to play and hangout at. It is such an important place for the community here, not only because of its special history, but also because it serves as another meeting place for people to get together and be involved in the scene. The work that KEYED UP! has been doing to keep the club moving lately is beautiful and much needed for all. And of course a big shoutout to Ken Fowser who makes all of it happen!” - Hank Allen-Barfield
Bringing recordings back to Bohemia
Though a long way off, Ken would love to bring recordings back to Bohemia.
"The historical recordings 'Live at Cafe Bohemia' are well known and some of the biggest names in jazz have recorded here: Mingus, Art Blakey among others. I would love (pending funding or investment) to rekindle that and start a “Live at Bohemia” record label but keeping focus on young emerging talent on the scene today that I don’t think is as documented as much as it should be. There are a slew of young musicians in their twenties and early thirties that are unbelievable and it’s pretty cool that this club is somewhere where they can be featured.
I got really into vinyl during the pandemic so I think it would be good to do something where we would stream it digitally but sell vinyl at the club. Even those without a record player could have a special piece of Bohemia.
The acoustics are great also. In this space, you can hear everything. Nothing needs to be mixed or turned up. We kinda got lucky with the natural acoustic and some curtains.
The room sounds so good, too, that it wouldn’t require a detailed mic situation. Minimal miking would still give us a great sound.
The other thing that’s unique is that we don’t have an acoustic piano, we use a Fender Rhodes. We have an A100 organ that we recently added. So it’s pretty much the only downtown listening room with an actual Hammond organ in it. The reason we don’t have an acoustic piano is due to how the stage is set up. For now it won’t work but maybe in the future. With The ’55 bar closing, that club only had a Rhodes. There is so much history of acoustic music at Bohemia but now there is more of an electric sound. There is also more of an open sound as some bands won’t have a chordal instrument at all. Last night we had a band called Continuum with an up-and-coming tenor sax player named Kendrick McAllister. They played with no chords - throwing back to the music of Max Roach in the fifties - a three horn front line with bass and drums. Having that unique sound here on show was amazing.”
Sponsorship
"As far as payment and sponsorship, it’s vitally important. We want to respect the musicians that play here but it is an extremely small space. My whole idea is keeping the quality high, pay these great musicians what they deserve or at least try to pay them in such a way. I wish we could pay them more but KEYED UP! helps immensely. We wouldn’t be able to have the band that we have without the support. That kind of branches out to the jazz community as a whole - it’s an unadvertised jam session. So musicians come along and hear great music, see personnel changes week to week and know they can be a part of something special. They want to sit in and be a part of it. It raises the level of the community as a whole to have a night like Wednesdays.”
Drummer John Iannuzzi - album out called “All In”
"The first thing is the rich history. Being jazz musicians we are very into the history of the music, particularly in New York - there were so many great clubs over the years and all the guys that inspired us made records here. The fact that Cafe Bohemia is open again now is a beautiful thing. The quality of the music here is great, we just need to shine a light on it and make sure we maintain that quality.”
Simon Moullier CWTC
What are your experiences of Jazz in NYC rather than elsewhere?
I have a deep love for the explosion of cultures and of motivation that each musician has here. It runs really deep and most that stick around do so because they really love being here and really want it. I love that about the city and it is such a beautiful place to grow within a community. I get inspired everyday whether it's an art gallery, movies, museums, shows, concerts, classical music - there is so much available all the time and it’s so exciting to be here at a time like this.
What were your earliest experiences of music growing up in France?
My earliest experiences were listening to music at home. My mom was listening to a lot of classical, jazz, blues and R&B. I was listening to that everyday and that is definitely my earliest introduction to music.
I started at the conservatory pretty early so heard a lot of classical music - jazz wasn’t really around that much. It was but not as much as one would expect. I played drums early on and that is when I started listening to more jazz.
When I was in middle school I applied for a music program meaning I was at the conservatory more than at school. At fourteen or fifteen I really started focusing on music. I wasn’t any good at anything else in school, I wasn’t the greatest student. Music was a lot of fun for me.
You recently finished a month-long residency at Cafe Bohemia, what were your experiences there?
I had a great time at Cafe Bohemia over the last month. It was a great experience for us to build consistency with a band and to be able to play some original music. It helped that I recorded every show so then I was able to listen back on what needed to be changed and what needed to be worked on. The writing and composing practice I received there is invaluable and to build a sound with musicians you get along with is rare.
What’s coming up? Album? Touring?
I am very excited to be releasing a new album “Isla” on February 17th. I can’t wait for it to be done but it is really exciting for me. Afterwards we have a second trio album coming out in October. It’s already recorded but in the box and I’m equally excited about that.
I’ll be touring in April in London, Paris and Germany.
What are you listening to this month?
To be honest sometimes I don’t listen to anything as I fall a little behind on that, but this month I am listening to a lot of classical orchestral music: Claus Ogerman, he’s a German arranger. Maurice Ravel too. Sonny Stitt and of course Coltrane. Oh and also a Brazilian singer named Djavan.
What are your experiences with Keyed Up! And how did you first hear about it?
KEYED UP! is a really key organization to the city at the moment and especially post pandemic. As artists we are incredibly grateful for what it has been doing for us, giving us opportunities to perform but also financial assistance. It has definitely given us a lot of hope. I started hearing about it during the pandemic and had played at Bar Bayeux. It is integral to the city and I am thankful for the help with Cafe Bohemia.
We are delighted to announce Grant Stewart as our next featured artist for the Chats With The Cats series.
Growing up in Toronto, what were some of your early experiences?
There are so many great players there, probably more than anywhere else (not including New York City): Don Thompson, Ed Bickert, Pat Barbara, Sam Noto, Phil Dwyer, Gerry Fuller, Norman Villeneuve - too many to recall. Norman Villeneuve is a great Canadian drummer from Montreal, he actually played a few concerts with Ellington and was offered the drum chair but couldn’t get his work papers, unfortunately. I was in his band for years in my late teens, it was billed as “The Canadian Jazz Messengers.” We had Curtis Fuller come up and play a week with us at The Bermuda Onion which was an amazing experience for me.
Who were some of your mentors, including people who helped you develop as a musician?
The great alto saxophonist Bob Mover moved to Toronto when I was 16 or 17 and he became a big influence and mentor to me. He would always have me sit in and was very generous with his time. There were also a lot of clubs when I was a kid that had local players but there were several that would bring legendary players like George Coleman, Joe Henderson, Clifford Jordan, Dick Hymen, etc. My father would take me to see whoever came to town. I was very lucky in that my father was a great guitarist and piano player and really loved jazz and the American songbook - I grew up with it in the house and had an unlimited source of knowledge in him, right up until a couple of years ago when he passed. I would call him for correct changes and tune ideas. He was an amazing person and a library of musical knowledge.
Can you remember a point in your life when you realized that you could make a career in music?
When I was 14, I did my first paying gig. It was New Year's Eve with my teacher Pete Schofield’s big band. I made $150 ($400 in 2022), so then I realized that I would soon be a very wealthy jazz musician with many houses and probably a private jet!
What inspired you to pursue a career here in New York rather than elsewhere?
I knew it was where everyone that really wanted it went, and I still feel that way. I still love living here, it's a great city and the energy generated by the top players coming here from all over the world is really something very special. It is the main reason I still live here.
Can you tell us how you started at long-time KEYED UP! staple, 11th Street Bar?
I started doing the 11th Street Bar when trumpeter Dwayne Clements moved to Sweden. At that point, the gig had already been going for two years. It was me and the legendary Charles Davis for a couple of years and then unfortunately Charles passed. Next, Joe Magnarelli started doing it. It’s the longest steady gig I’ve done (been 8 years for me) and KU! has been with us for probably 6 years or so.
What are your memories of the late Murray Wall?
Murray was a great guy and the gentlest man you’d ever meet but if you were talking during his solo he would let you have it!! We really miss him, he was one of a kind.
What have you been listening to this month?
Stravinsky’s Threni is what’s been playing a lot.
What are you looking forward to next?
I'm currently on tour in Denmark with the great singer Lucy Yeghiazaryan but the big project I’m working on is the opening of a new jazz school I designed called the Tribeca Jazz Institute. I had the idea about a year ago and teamed up with my friends at the Church Street School of Music and Art to create a program that would be an alternative for advanced players. This takes place in a short-term, intense, dynamic, and streamlined setting - letting players focus on playing, shedding, and lessons. I also wanted to make a program that won’t leave young players saddled with debt as they start their careers which is something that’s always bothered me. The ensemble and private lesson instructors are out of this world. I wish this school existed when I got to NYC and actually it’s the school that most players and students have told me over the years they wished existed and so I decided to make it myself. The full artist diploma program is two 12-week semesters. If you'd like to learn more check out the website.
Very exciting times indeed!
Finally, what are your experiences with KEYED UP!?
I first heard of KU! from Founder, James Polsky. KU! is a great organization that really makes a difference to a lot of musicians in the city. With rents skyrocketing and the cost of living rising faster than ever, it really helps take the edge off for a lot of players.
Our next featured artist is trumpeter Wayne Tucker.
What was it like starting out as a teenager in Syracuse?
"My main influences as a kid were my Father, brother, and Aunt Brenda. As I became a part of the scene in high school, my main influences were my trumpet teachers George Coble and Elliot Topalian, and my peers - people like Greg Evans (drums), Andrew Carroll (Piano), Nick Frenay (Trumpet), and Spencer Murphy (Bass) - as well as our jazz teachers Joe Carello, Joe Colombo, and Howard Potter.”
From the age of 14, Wayne started playing in bands and playing publicly. In his freshman year of high school, he played a lot of gigs and started to see a career path in music. Wayne went to college at SUNY Purchase, just outside of New York. Pursuing his career there “was a natural way to move forward.”
Tell me about your latest residency at Wild Birds Brooklyn.
“We first started playing at Wild Birds because the owner Julian Klepson saw me playing with a great Ethiopian Funk band at Barbes. He asked me to bring my band just as we were starting to gel because of daily performances at Grand Army Plaza. I feel like the residency at Wild Birds has become something more than just a weekly gig for me and my band. It has become a musical communion that we shared with everyone in the community. I’m so grateful to KEYEDUP! for their support.”
You talk about some of your best playing experiences, how do those shows stand out for you?
“Being connected is integral to live music. I would say my fondest memories over my career are the shows where everyone in the room feels connected. I vividly remember that feeling from a couple of shows in Sofia, Bulgaria, as well as some amazing shows in Paris.”
Any big news to share?
Jazz Gallery awarded a performance commission to Wayne in March followed by a five-week European tour with “Brass Against” supporting “Tool.”
Who’s on your latest playlist?
In his downtime he still enjoys listening to his heroes. “I just re-listened to and copied a lot musically from Miles Davis' ‘Kind of Blue’ and from there I ventured to lots of Cannonball Adderly. Some of the current artists that I've been digging lately are Snoh Alegra and Ibrahim Maalouf.”
Where can we catch you playing in New York?
Wayne and the Bad Mothas will be at Wild Birds on Wednesday nights (or you’ll find his brother Miles Tucker and the Many Blessings) from 9pm
Born and raised in Japan, Miki lived in Kyoto until the age of 10, moving to Kobe for the next eight years. There is where Miki found her interest in jazz.
"I joined a brass band in school that plays jazz big band sometimes. I went to college in a little rural city called Okayama and I started playing locally there. There were hardly any professional musicians but my major was science. My parents don't play any instruments, so I would say I am a late starter.”
Miki decided to apply for college in the United States.
"I graduated from Queens College with a Master’s in Jazz Performance. I didn’t think I could make a living as a musician until I graduated. I am in awe that I still live here, doing what I love the most."
"I didn't move to Tokyo (which most Japanese musicians would do to make a career) because I just never liked the city. I had a chance to visit New York in 2011 alone during my summer break while I was in graduate school (in science) in Okayama. I picked New York because I had heard that it is the place to hear jazz. I didn't know much about it then honestly (laughing).”
“I haven't played too much abroad, but I have done a leader tour in Japan and that was so much fun. I only played with local amateur musicians growing up, so going back to Japan as a professional pianist with my trio was special. I hope to get to travel to play more in the future."
Like many musicians, the pandemic caused many problems for live music. Miki decided to start her own "Live from our Dining room series/Miki's Mood"
"The series started with the name ‘Live From Our Dining Room’ first in February 2021. We were streaming with just two iPhones, just to play music and share the moment with the audience. I also decided to pick a different guest musician and composer every week so I have gotten to play with many different musicians and to learn many songs. It used to be with just a bass player to play in a trio (my husband Jimmy Macbride @jimmy.macbride plays drums) to minimize the risk of getting Covid, but I have had many horn players and singers as well.”
“Something that I want to mention is that I have decided to compensate the guest musician (and the videographer later on) no matter how much of a donation I get. I respect their time, and as a professional musician myself, I couldn't ask my peers to work for me for free. I have lost some money in the beginning, but I am truly thankful that KEYED UP! started helping us out."
"I haven't missed a week since I started, and this allowed me to reconnect with the musicians I admire. I am grateful to have continued the series, which now is called "Miki's Mood." Things are getting canceled again lately but I have no plans on stopping the series."
"People got tired of screens since we had to do everything with live streaming and Zoom, but I am still glad that I started my streaming series, which allowed me to reach more audiences than before. I also learned a lot about recording, taking a video, streaming and social media. I had never thought of doing all by myself. This pandemic forced us to be more creative. There has been a lot of learning, but we are still here, making music. Unfortunately, I don't see the pandemic being over so soon. We can keep being more creative, trying to play music for people as much as possible in a safe way. Hopefully we will get the life of traveling back eventually, but until then, and even then on, I will keep reaching more people with streaming, recording at home, as I learned during this pandemic"
Who is Miki listening to?
"I have been checking out Stanley Cowell, Andrew Hill and Chick Corea"
What are Miki's thoughts on KEYED UP!
"I've had gigs that KEYED UP! supported before. I knew they support the New York based musicians, and I truly admire their enormous help for us.”
Musicians create their own gigs, KEYED UP! pushes us to bring more music to the people. It is so beautiful! KEYED UP!’s support allowed me to pay the cats and not break my bank, and I can keep playing music with them. I cannot thank you all enough for your support. Arts always need support more than anything - I appreciate all the help for us to be able to keep doing what we love to do!"
You can hear Miki's Mood every Wednesday at 5pm
Check out Miki's instagram page @mikimikiyummy for weekly yt/fb links
Photo credit - Rudy Royston
Our next featured artist is multi-instrumentalist Dennis Lichtman.
Growing up in Newport, Dennis recounts how lucky he was to grow up in Boston where he had a great foundation of musical education.
"I don’t come from a jazz family, but we are music lovers. My grandfather introduced me to Django Reinhardt & Stephane Grappelli’s music and my mother always had classical records playing in the house (she had played clarinet and piano when she was younger). She went out of her way to take me to concerts - Don Byron, chamber music, the Del McCoury Band, Klezmer Conservatory Band, blues festivals, etc. — anything she read a preview for in the newspaper that sounded particularly interesting.
For such a small city, Boston has a huge arts scene. I never experienced it as a working musician (I moved away for college when I was just shy of 18) but as a listener, I remember a constant onslaught of opportunities to hear world-class music.
There was and still is strong support for the arts in public schools. I started violin in 1st grade and clarinet in the 4th due to twice weekly music classes. My main teachers were classical players, but they were open-minded and encouraged me to pursue other styles that interested me."
Dennis wasn't always sure he'd make a career in music, the 30 year journey of exploration and discovery has been hard fought. His ideology of what it meant to be a professional musician crystalized as a conservatory student at Hartt School of Music CT.
"I thought it was either playing in an orchestra full-time, having a world-famous band, or teaching full-time. My clarinet teacher there, Charles Russo, had been a NYC working musician for 60 years. He had played the most prestigious chamber festivals around the world and recorded with classical legends, but had also played in seedy strip clubs, done thousands of studio jingle sessions and pick-up gigs, and had incredible stories about all of it. I didn’t know how I was going to make it happen, but that sounded so much more appealing to me (and attainable) than pursuing an orchestral career."
After graduation in 2001, Dennis was a part of a band which toured but didn't last, and was working in an office near Boston.
"In 2002, a friend offered me a low-paid apprenticeship at his booking agency in NYC, and with no other options, I jumped on it. I hated the job and only lasted a few months, but it was immediately clear to me that the music scene here was immensely deep and infinitely inspiring.
I did catering jobs part-time until I had enough music gigs (it took a couple of years). I literally took every gig that came my way, no matter how unqualified I may have been or how little it paid or how long of a subway ride. Sink or swim, fake it til you make it. As I got busier, I was able to take more control of my career, choosing the gigs I wanted to do, and eventually creating my own projects and opportunities."
"Mona's" is an east village staple and one of the best places to hear live jazz on a Tuesday night.
"Over the years, we’ve seen waves of new players come and go at the Mona’s session. Young players come through for the first time, sounding rough around the edges, and we see them improve each week. They come back often for a while, then get busier with their own careers and move on. When we started, I was one of the young guys! As I move towards being an “elder statesman,” it’s a joy to see people who now have thriving careers, when I remember their wide-eyed, sometimes terrified faces sitting in with my band for the first time.
In the beginning, we didn’t play very well but we had heart, and there was the excitement of this new, underground scene of youngsters. The crowds were thin. Now, we have an international reputation and the crowds come from all over — not just East Village locals stumbling in for a pint.
The things that haven’t changed are the musical integrity and the openness. It’s never been a cutting session, and it’s always been community-minded first and foremost. And now, just as then, we don’t know who will show up. We get jazz legends and we get inexperienced newer players, and everything in between — and we find common ground and make good music together.
In 2006-2007, a monumental shift took place as dozens of young musicians in NYC who were interested in pre-bebop jazz all found each other at the same time. There was an explosion of new bands, and gigs started to pop up all over. (A similar movement happened in bluegrass/string music at the time, and there was a lot of crossover between our scenes.) I loved the music, but had found very few people my age to play it with, and all of a sudden they were everywhere. My guitarist friend Izzy Zaidman, who I knew from local bluegrass gigs, suggested we start a weekly jam session so we could get to know more players and tunes.
Mona’s is a cozy East Village dive bar that had hosted a high-level Monday night traditional Irish music session for decades. As a string music enthusiast, I had spent some time hanging out there. One night, the Irish session ended early, so I started playing tunes with a few of my jazz bandmates who were there. The bartender, Aidan Grant, invited us to start a session the following Tuesday. Aidan is still my partner in the venture, and we’ve done every Tuesday since June 2007 (with a pandemic break, of course)."
Dennis has travelled extensively and performed on a multitude of stages. He recounts a few of his favorite stories.
"The best moments are the ones when we feel like fish out of water, but the music connects with the audience in a way that breaks down all barriers.
On a tour of China with banjoist Cynthia Sayer, we did several performances at special boarding schools for children of migrant workers. The whole town came out - they had never seen foreigners or heard jazz. But their sheer delight and joy absolutely melted my heart.
On my first European tour ever, with the Cangelosi Cards in 2008 or 2009, we played at an arts festival in Sweden that was like a miniature Burning Man. Most of the other music was electronic or rock — it was more like a rave — and while we were setting up the crowd stared at us like we were aliens. But from the very first note, they danced like nothing I’d ever seen. They flowed on ballads and went wild on uptempo tunes and cheered in the middle of hot solos. If we brought the dynamics way down, they would crouch down. If the trombone player played a loud note, they would jump up and shout back at him. I’ve never felt more of a direct connection with an audience — they didn’t know what to expect from us, we didn’t know what to expect from them, but we gave each other the benefit of the doubt and built a little community together for a couple of hours."
So what is Dennis listening to this month and what does he have on the horizon?
"Béla Fleck’s new bluegrass album, Ellington’s Queen’s Suite, James Booker. I’ve had my head in the sand about new music coming out recently - I need to get back on top of that!"
"I’m playing 7 shows overseas as a duo with the incredible Jerron “Blind Boy” Paxton in November. He’s known internationally as a solo blues performer, but beyond that he is a deep encyclopedia of folkloric American music from ragtime to early country to minstrel music to Tin Pan Alley and more. We just recorded an album that will only be available at shows.
I’m working on a secret composition project under a grant I received — tentatively titled “SECRET WORKSHOP” — but I can’t yet provide details beyond that. It’s extending me creatively beyond my usual comfort zone, and I’m thrilled with what I have so far. Look out for that in late 2022.
And I’m beyond excited to get back to playing festivals and concerts with The Lovestruck Balladeers in early 2022. The band is a personal “supergroup” of longtime collaborators. We’ve been quiet during the pandemic because we’re spread out across North America, but we’ll be coming back strong soon!"
And finally, Dennis speaks about the importance of KU! to the city
"I love everything about KU! An old college friend recently told me about it and connected us. KU! has enabled me to expand the Mona’s house band from a quartet to a quintet, which widens the pool of musicians I can include each week — with an eye on diversity in all ways.
I love that they are enabling weekly performances to happen in places that might not be able to sustain it without a bit of support. The larger, established venues like Jazz at Lincoln Center, the Vanguard, and the Blue Note are great, but the smaller local venues are the true pulse of the city. That’s where young players cut their teeth, new sounds are explored, musical relationships are forged, and newcomers to the music become lifelong fans."
Growing up in northwest Connecticut, Noah was equidistant from NYC and Boston and enjoyed the best of both worlds.
"I went to grade school in Canton which was a bit of a podunk town, and I didn’t have many friends there. This gave me ample time to practice all day long, and listen to my parents’ diverse music collection. I owe everything to my parents for offering me incredible opportunities while growing up, such as private lessons (locally, as well as driving me down to NYC), purchasing me the instruments I still play on today, and even moving to a nearby town, West Hartford, so I could be a part of their prestigious public high school’s jazz band and get a better education. My Mom plays a little piano and my Dad doesn’t play at all, but they both are hip to what’s going on and know who’s who on the scene, often suggesting records to check out and even players I’d never heard of before."
Noah's singular focus in pursuing music was evident from early on in his grade school years.
"When I was about 11 or 12 years old, I had a conversation with my parents where I told them this is what I was going to exclusively focus on. At that point I gave up most of my other extra-curricular activities and buckled down, practicing 6-8 hours a day. I developed the method of finger practicing, which has proven helpful as I got older; this allows me to practice in my head all day long, without needing the physical instrument."
Feeling apprehensive about the bright lights of NYC, Noah chose to first attend the New England Conservatory of Music.
"It could be the part of me that’s introverted, but I didn’t want to get lost in the sea of people, buildings, streets, venues, gossip, etc. It was just too much, even though I had previously spent lots of time there seeing music and visiting family."
"I moved to NYC the day after I graduated college. While in college, I’d made my first recording with a bucket list group ["Dry Bridge Road" which included guitarist Ben Monder, pianist Frank Kimbrough, trumpeter Russ Johnson, bassist John Hébert, and drummer Ted Poor] and I just wanted to play with more people that inspired me like that. Most of all, I just wanted to be a band leader which required finding players that felt similarly about music as I did. No better place in the world than NYC for that!"
Taking these bold risks has become integral to Noah, both in day to day life and how it's reflected in his musical style.
"I’ve found it necessary to get that dose of adrenaline on a regular basis and fortunately I’ve been able to find it in different ways. When I moved to NYC I wanted to quit smoking, so I took up boxing. My grandfather nicknamed me Rocky as a kid and I loved the idea of fighting as a sport, so I trained and sparred for the next 7 years. Over the years I’ve ridden motorcycles, gone skydiving and challenged myself with risky adventures which I believe comes out in my musical attitude and voice. This is my path and I hope the listener can hear how it’s different than others."
During the pandemic, Keyed Up! and Jazz Generation have partnered with Noah and virtuosity music to facilitate a weekly live stream.
"I’ve been able to co-lead a live-streaming gig in Boston with drummer Tyson Jackson at a beautiful store called Virtuosity Music (Virtuosity is across the street from Symphony Hall and directly between NEC and Berklee). It’s definitely given me the needed fix to play with other people during the pandemic and I’m very grateful to my friend, Rob Duguay, and the rest of the Keyed Up!/Jazz Generation team for getting players in Boston working."
"I have a new record coming out in early 2021 that's a duo with bassist Kim Cass. We’ve been recording it remotely for months and I’m really excited and proud of the project. I had a trio record planned with guitarist Ben Monder and drummer Dan Weiss, but it’s postponed until we can record safely together."
In Lockdown, Noah has enjoyed many ups and downs during the quarantine.
"I recently started teaching at Longy School of Music of Bard College, which is a really inspiring community to be a part of. I'm always looking for new music to inspire me but Coltrane and 90's Rock are staples forever. I’m grateful for my wife, who has been able to keep me grounded, focused and has given me tons of support. We also recently adopted a dog named Xena, which now rounds out our fur-child family (Chipie is our cat)."
"I’ve known Keyed Up!’s Rob Duguay for over a decade, so I’ve gotten to witness the organization grow and Rob’s hard work and vision for a long time. I’ve played gigs in NYC that were supported by Keyed Up! over the years and words simply can’t express how meaningful their support is for the community - not just for the players themselves, but also as experiences for the people listening and watching."
You can catch Noah streaming live on Monday nights, 7:30 on the Virtuosity facebook page.
Photo - Anthony Porcar Cano
Our next featured artist for the "Chats With the Cats" series is bassist, Steve Wood.
Family influences played a strong role in Steve's early development, "My dad played some piano as a hobby. He got me into classical music. Also my older brother started playing guitar and turned me on to jazz and funk. I started playing bass just before I turned 12. For Christmas that year my parents asked my brother who's records they should get me. He told them Charles Mingus and Ron Carter so that's who I first started checking out.
Growing up in a musical and artistic household, Kelly recalls the sounds of her childhood along with the gigs she attended with her father, a fine bass player himself.
"I grew up hearing John Coltrane, Thelonious Monk, Bill Evans, Wayne Shorter, Miles Davis and many many legendary musicians in our home. We would go to see live shows whenever a big act was in Florida. My dad took me to see Chick Corea, Bela Fleck and the Flecktones, Ravi Shankar, Maria Schneider, Ahmad Jamal, McCoy Tyner and so many others."
Born in Little Haiti, Willerm expresses his love of his hometown and early influences.
"Little Haiti, oh how my heart misses you so much! I absolutely loved my childhood growing up in Miami. One of the most loving, funny, hard working communities that I have ever been a part of. God willing, I would love to end this story called life back home giving back all that I have learned in life. Growing up, there was a scene, but it wasn't accessible for kids, not like other cities such as Chicago or NYC. There's a cut off time for the city, and it probably was at your best interest that you went home during that time! Unfortunately, when I started playing the piano, I was the only one in my family (that I am aware of) that was in music. My biggest influences have been all my musical family, John McMinn: he had me at the age of 11 thinking "this is what I want to do in life", Melton Mustafa Sr.: Greatest musical mind I've ever come across, Christopher Dorsey: hard work, determination, never giving up, leave it all on the field, no excuses."
From a small village in Buenos Aires called Necochea, Julieta spoke about her love of her hometown and her musical introduction. "I really loved growing up there, it's a city with a lot of Nature. I don’t come from a Musician’s family. My dad loves music; he plays a little bit of guitar, but no-one used to listen to jazz in my house. I went to a Music Institute in Necochea to learn Piano at the age of 9 or 10".
Despite beginning on the piano, Julieta first ventured into jazz when she picked up the saxophone as her teacher had asked her to join the big band.
Clark spent the majority of his upbringing in Seattle Washington."There was a bit of a scene there at that time. When I got to middle school, my instructor was Wadie Ervin, and he introduced me to Joe Brazil who was heading an organization called the Black Academy of Music, later becoming the Brazil Academy of music." Clark went on to gig with his big band around Washington State. He also played with an R&B group that played in the city - dances and functions - as well as playing in the Little and Junior Symphonies. "But I wasn't really doing much in that time, I was still in High School"
A native of St. Louis, Jim remembers a small scene there and coming to jazz music later than most.
"I remember seeing that Dizzy video on PBS from 1966. It had Kenny Baron, James Moody and Chris White on bass. I think I was 17 or 18 years old at the time. But it got me in the right spot. When I started playing, my main influences were two guys I lived with. One was the saxophone player Chris Cheek and the other was bassist Steve Kirby. We had a loft in the section of town called Soulard. It's right up next to the Mississippi and the Budweiser brewery is there as well. We had an agreement that whoever played the first note of the day, got the apartment for that day to practice!"
Growing up in Lakeview, Long Island, Talib Kibwe, otherwise known as TK Blue was born to Caribbean parents from Jamaica and Trinidad respectively. Whereas nobody else in his family plays an instrument, he learned a lot in his youth, starting on the trumpet at age 8.
"I got exposed to the Caribbean musical heritage as well as some jazz. My mom loved Horace Silver and Louis Armstrong. And whilst there is not a huge jazz scene in Long Island, NYC was 45 mins away. It should be noted though that I grew up down the street from saxonist Billy Mitchell and tap dancer Conrad "Little Buck" Buckner. I met Eddie Jefferson through "Little Buck" and all three of these artists helped shape my musical growth."
Growing up in Hudson in upstate New York, it was his father's older brothers that got him into music.
"One uncle went to Woodstock and that became a huge influence on me. My oldest uncle introduced me to people like Yusef Lateef and Archie Shepp. Later, when I entered college, those were the two people I studied with at UMass. Through my dad I became heavily interested in real blues like BB King, Muddy Waters, and Lonnie Johnson."
I grew up in Sapporo, Japan. I studied classical piano and jazz saxophone at the local YAMAHA music school. There was a big band for kids that was operated by the city called Sapporo Junior Jazz School. We had many concerts throughout the year. We were lucky to have the opportunity to have a workshops from the professional musicians. One time, Herbie Hancock came to give us a clinic! I studied with several teachers back then. Yosuke Sato who played the saxophone with Gregory Porter's band is one of my former teachers. Of course, he was an outstanding player in Sapporo so I decided to study with him. I'm the only musician in my family. My father is an architect and my mother is a designer for the playground equipment. But they love music, especially my father. Although my cousin in high school is trying to be a musician.
Endea grew up in Detroit and cites the city's importance in her musical beginnings
"Growing up in Detroit was like growing up in a mecca of music and art. Everywhere I went I heard music, I saw art, I saw dance, I saw innovators. My biggest influences were my first two mentors. Rodney Whitaker and Marcus Belgrave. They were the ones that encouraged me to start playing bass and they made me keep going. There has always been a great music scene in Detroit, from Motown, Jazz, Techno, Hip-Hop, and Gospel. So many musicians today are influenced by Detroit artists."
Building Sustainable Careers in Jazz:
Income Opportunities and Support for Working Musicians
Vester Bonnén
Research project prepared for Jazz Generation, October 2026
1. Background
For aspiring young musicians, the artistic possibilities in jazz are easily visible, but it is much harder to discern how working musicians can balance earning a living, booking their next engagements and finding time to continue developing their craft. As a 17-year-old saxophonist, who is interested in both the performance and business side of jazz, I wanted to understand what kinds of earnings strategies were currently used by musicians and how they could build careers that are sustainable, not just from an economic, but also artistic perspective. I was also curious about how the wider music industry supports, or fails to support, jazz musicians’ careers.
This study was prepared for Jazz Generation, a charitable organization generating performance and educational opportunities for jazz musicians. I have personally benefited from one of Jazz Generation’s programs – the Jazz Standard Youth Orchestra – and I hope the findings of this study can be useful to other young musicians and to an organization working with the jazz community.
2. Research Question
The central question of this research project is: What helps musicians build sustainable careers in jazz, and what kinds of support might make those careers more achievable?
“Sustainable” is defined as: being able to meet living costs and continue working in music over time, with room for artistic development. Income size, income predictability, time usage, working conditions and costs, as well as artistic freedom, all influence the concept of sustainability.
3. Research Method
This was an exploratory qualitative study based on two parts:
1. Semi-structured interviews with 15 professional jazz musicians carried out in New York, Barcelona and Copenhagen during summer and fall of 2026.
2. A review of relevant published literature, studies and statistics
Interviews
Between July and October of 2026, I conducted thirteen interviews with fifteen professional jazz musicians in New York City, Barcelona and Copenhagen. The eleven individual interviews and two paired conversations include musicians at different career stages and with experience across American and European scenes. I recruited the musicians through professional contacts I made by participating in jazz education programs run by the Jazz Generation (NYC) and the Global Music Foundation (Barcelona), and the selection was not meant to be a balanced comparison of the two locations. The interviews were semi-structured i.e., conducted using and interview guide and open follow-up questions. Topics covered included: income, career development, geographic opportunities, and advice for someone starting out. Several respondents did not wish to disclose exact number or rank income sources or priorities. Hence, the responses were analyzed thematically: material was grouped around income, relationships and learning, geography, promotion (including social media), and support for paid work. I looked for recurring themes as well as difference and exceptions.
The analysis was based on transcripts of the interview recordings I made. Codes I1–I11 identify individual interviews and P1–P2 identify paired conversations. In the following report, accounts are paraphrased and names withhedl names to respect privacy assurances given to the study participants. My experience as a student musician helped me ask the interview questions, but it does not make me an expert on the profession. The musicians’ accounts are hence the main evidence in this report.
Published Literature Review
This short review of published literature and statistical reports was used to provide context for the interview question and to interpret interview findings. It draws on selected academic studies and a large musician survey, rather than attempting to be a comprehensive review. In her 2013 article, Thomson examines the multiple roles and income sources of working musicians (not only jazz musicians). Pinheiro and Dowd (2009) investigate the relationship between jazz musicians’ earnings, experience, versatility, and professional connections in three metropolitan areas. The 2008 study by Creech et al. examines the challenges and mitigating factors of transitioning from music education to professional work. The (somewhat outdated) article by Haynes and Marshall (2018) examines the advantages and disadvantages of social media in supporting the careers of independent musicians.
A large German jazz survey from 2022, the 2023 UK Musicians’ Census with close to 6,000 respondents, and reports on venues and arts support are used to add statistical and institutional context. It is important to note that older articles and studies do not necessarily match 2026 conditions. AI was used in identifying literature and statistical data.
3. Scope and Limitations
The interviews provide an account of independent musicians’ experiences, not statistically relevant data. Any financial information that was collected is incomplete and self-reported. Hence, I do not calculate average earnings nor make causal claims based on the data. Some of the interview guide questions suggested possible answers. Recruitment of respondents through personal contacts may favor more well-connected musicians. I did not include people who left professional music in my interviews. In the conclusions and recommendations section, I interpret the evidence rather than report tested or proven strategies. The project was prepared for Jazz Generation.
4. Findings
Few Musicians Can Make a Living from Jazz Performance Alone
My strongest conclusion from this research is that young jazz musicians should prepare for a career where performance is just one of several income sources. Based on my interviews, these additional sources include teaching (80% of interview respondents) alongside arranging, booking and organizational work. [I1–I3; I5; I10]
The published research I reviewed makes supports this finding and makes it broader than just the responses of a few individuals. (See Table 1) Germany’s Jazz Study 2022 found that 75% of full-time jazz respondents also taught. In its self-employed full-time group, concert fees supplied approximately half of income in the pre-pandemic year 2019. The rest came from teaching and other sources (Deutsche Jazzunion, 2022, pp. 57, 77). Other wider musician surveys have similar conclusions, although they cover other genres besides jazz.
Table 1. Selected evidence on income and work Source and Population Findings Implication US survey, 2011; 5,371 respondents across music genres (Thomson, 2013) 18% received all music income from one category. Only 6.3% received all music income from live performances. Income from only performance was uncommon. The figures did not show total income or whether the income reported covered living costs.
German Jazz Study
2022; around 1,000 respondents 75% of full-time respondents taught in addition to performing. Concert fees represented just under 50% of income for self-employed full-time musicians in 2019. Shows the importance of other work alongside performance. Is specific to jazz musicians.
UK Musicians’ Census 2023; nearly 6,000 respondents across music genres 43% earned under £14,000 a year from music; 53% used income or financial support from sources outside music. Music activities are not always enough to cover living costs. Outside support includes employment, family help, and benefits.
A Portfolio Career Is the Most Realistic Income Model for Sustaining a Career in Jazz
My interviews and the reviewed literature support a practical conclusion that a portfolio career is a more realistic starting model for young musicians than depending entirely on jazz performance alone. This doesn’t mean that performance isn’t important – on the contrary. My interviews document performance-centered careers: both I4 and I11 currently earn mainly through performance and touring and do not teach; I6 and I9 also describe performance as the main source of income. This shows that performance can remain central without establishing that all living costs are met from playing jazz alone. [I4; I6] Teaching and other work seem to be just part of the economic reality of a jazz career rather than evidence that a musician lacks artistic commitment.
This led me to ask the follow up question of: which combination of paid work allows a person to keep developing and performing over time? Here are the findings most relevant to this question:
• The largest income source is not always the most stable. For I3, teaching provides 30–40% of annual income and is a dependable source. Even though performance fees bring in the larger income share for I3, they vary considerably between busy and quiet months. This response illustrates why the share of annual income and the reliability of that income are both relevant levers to consider. In other words, a smaller, predictable income source can make it possible to cope with variations in a larger one. [I3]
• For I2, gigs and some private teaching form the largest source of income. I2 would like teaching to contribute more, in part because this would give him greater choice over which performance engagements to accept. The same musician expresses a worry that too much teaching could crowd out playing. This is an interesting finding: financial stability can offer artistic freedom, but the work that produces stability also takes up valuable time. [I2]
• I1 identifies teaching as the largest income source while they continue to perform. I5 describes teaching as the most reliable source and explains how this activity, which was initially taken on for financial reasons, ended up becoming meaningful. This produces another interesting conclusion: teaching can be a valuable for both artistic and educational reasons, as well as a source of income. [I1; I5]
• In P2, one of the respondents describes school teaching as less steady than expected and says they prefer private lessons due to the greater control they offer over scheduling and fees. I4 does not currently teach at all. These accounts challenge the more generalized advice I have encountered about teaching that treats every teaching role as secure or assumes that every good performer will want to teach. Those looking to teach should consider factors like student demand, working conditions, preparation time, and their own interest in the work, before committing to a teaching assignment. [P2; I4]
• A career can be more than just performing and teaching. I7 reports receiving income from organizational work, performance, teaching, and booking, and says that organizational work contributes the most. I7 also describes how previous work at a music venue created valuable lasting contacts with musicians. I5 describes project management as another source of income. These examples show that there are more choices available to young musicians interested in the music industry: a sustainable career can involve creating opportunities for other artists as well as performing yourself. [I7; I5]
• The balance of income can change over time. I1 performed before teaching became a major source of income for them. I7 gradually added activities and now aims to take fewer, better-paid performances. One income mix is therefore only a point in a career, not a life-long formula for a musician. [I1; I7; I10]
Taken together, these findings highlight how income portfolios should be evaluated not only based on the number of income sources but also how the different activities work together and support each other. For example, a regular teaching engagement may improve income stability but create conflicts with larger touring opportunities. Or numerous small gigs may cover essential living costs but not leave enough time and energy for musical development. In other words, simply adding more activities does not guarantee a sustainable career.
Being Best Is Not Good Enough – Relationships Turn Talent into Opportunities
The interview respondents seem to agree that musical ability is essential to a successful career, but they describe a profession where this is not enough. People need to know what a musician can do but also feel comfortable working with them. I1 links instrumental competence with punctuality, kindness, and relationships that have developed naturally through shared musical experiences. I7 explains that musicians may invite someone on the road after seeing how that person is behaving over time. These are accounts of trust built through repeated contact. [I1; I7]
It seems that learning and relationship-building often happen together. I2 values the community of peers and teachers built during their studies. I4 describes how playing with others can lead to further development of musical abilities as well as to projects and engagements. I6 emphasizes practical skills learned on the bandstand, such as introductions, endings, listening, and responding to other players. I5 highlights demanding musical encounters with experienced players as a lasting source of growth as an artist. [I2; I4–I6]
The published research I reviewed supports these findings. In the study by Pinheiro and Dowd (2009) stronger social connections and greater musical experience were associated with higher earnings among jazz musicians in three US metropolitan areas. The study of 27 musicians across four genres by Creech et al. (2008) identified mentoring, peer networks, and varied performance experience as useful support in the transition to professional life.
It is important to note that the interview respondents resist treating networking as a substitute for musicianship. I3 emphasizes playing well and developing an individual musical voice. For a young musician, the implication is to strive to become a player others have heard, learned with, and can rely on. [I3]
A Bigger Scene Is Not Always Better
Large urban jazz centers might offer more work opportunities for a musician, but the cost of living and working in these centers might reduce their attractiveness. I2 describes the work required to establish themselves in a large scene and recognizes the security of another musician’s teaching position elsewhere. I3 mentions higher competition in larger jazz cities. I7 emphasizes the relationship between modest gig fees and living costs. In conclusion, more venues in a city do not automatically mean enough accessible, adequately paid work for each musician. [I2; I3; I7]
Larger jazz centers can, however, offer substantial artistic benefits. I5 describes a major jazz center as transformative because of the musicians and musical standards they encountered there. I6 makes a very illustrative point: a large jazz scene might make it easier to play the music one wants, even if making a living is still difficult. [I5; I6]
6 Social Media Can Be an Important Career Tool for Emerging Talent in Particular
Social media can create visibility for a young musician’s work before that musician has an established reputation. The respondents’ clearest support for social media is with regards to musician discovery, promotion, and facilitation of professional contact. I6 believes that social media has made it easier for younger players to create visibility for themselves and obtain gigs. I4 describes a self-reinforcing cycle in which playing with others leads to gigs, gigs require promotion, promotion increases Instagram presence, the resulting wider recognition strengthens professional credibility and finally, in I4’s view, helps in getting fair payment. I7 also thinks online presence as helpful, but mentions the importance of face-to-face relationships and trust [I4; I6;I7]
One of the respondents in P2 places strong personal emphasis on building a social media presence and thinks it is underused by others. I5, who is an older respondent, also argues for adapting to current promotional tools and compares digital promotion with press packets and posters of the past. This shows that support for digital promotion (including social media) does not neatly split into younger proponents and older opponents. [P2; I5]
The interviews also captured criticism and skepticism of social media. I2 recognizes some of the professional importance of social media but does not recommend unrestricted use. I2 gives a personal account of how social medica can provide inspiration, but can also be misleading, drain energy, and increase anxiety. I1 mentions the growing pressure to demonstrate – to managers and promoters – an audience appeal through social media. Taken together, these accounts suggest that being visible on social media creates an additional demand on musicians’ limited time. This can be especially stressful if the time needed to create promotional content competes with time left over for practice. It can also be frustrating when a growing social media following becomes confused with musical or artistic growth. [I2; I1] Even though the study by Haynes and Marshall (2018) was made before today’s social media platforms and is not a study of young jazz musicians, it provides a relevant comparison to my research. The 43 independent musicians surveyed and interviewed by the authors placed value on online reach and professional connections, but they were less certain about financial returns and often found it difficult to build reach beyond existing audiences. The study findings support networking but warn that one should not assume online reach automatically produces a sustainable career. This aligns with the finding from my interviews, which also highlight the importance of distinguishing visibility, professional connections and earnings as separate potential outcomes of social media that aren’t necessarily clearly linked.
Structural Changes Are Needed to Maintain Jazz as an Art Form
The simple truth is that it doesn’t matter how good a musician you are, if there aren’t enough well-paid performance opportunities. I1 would like more regular small gigs and I3 describes a mismatch between the number of well-trained musicians and the available stages. In P1, the interviewees mention places to play together, steady work, and support for creative activity as important aspects of a sustainable career. [I1; I3; P1] The problem is not only limited to jazz musicians. Live music venues themselves also face a difficult business model. The Music Venue Trust’s Annual Report 2025 shows that 53.8% of UK grassroots music venues made no profit, while the sector’s average profit margin was 2.5% (Music Venue Trust, 2026, pp. 8–11). These figures cover multiple music genres and cannot hence be transferred directly to jazz clubs. However, they still show why increasing musicians’ earnings is not as simple as just asking already strained small venues to pay larger fees. Funding from public and private sources can help venues cover part of the performance fees and in this way support paid performances. For example, The Danish Arts Foundation directs grants to cover musicians’ fees at eligible venues and music associations, with municipal co-funding. Jazz Generation’s KEYED UP! supplements professional musicians’ performance payments and draws support from foundations, individual donors, and state agencies. These are concrete models for putting support into paid engagements. I4’s discussion of subsidized performance opportunities offers a more nuanced example of their value: support can give musicians room to make projects that would be difficult to finance from audience revenue alone. I4 also challenges the expectation that young players should accept to play for free just to get exposure. On of P2 respondents on the contrary emphasizes the
experience gained from playing gigs regardless of compensation. This disagreement raises an important accessibility issue: if early experience depends heavily on unpaid work, those who can afford it have an advantage. [I4; P2] Financial subsidies are not the only form of support needed to keep live jazz performances alive. Audience development is another important area. I1 mentions listeners who may not know what to expect from a jazz concert. I7 emphasizes connecting directly with audience members
and cultivating future demand. I6 also stresses the relationship between performance and listeners. These responses point to the importance of finding more structured ways to cultivate and educate a future generation of jazz audiences. [I1; I6; I7] Business education of jazz musicians is identified as another form of support. I7 wants more practical preparation for financial and administrative responsibilities. I6 describes students acquiring advanced musical skills without obtaining a clear picture of the work they intend to
pursue. Learning skills such as budgeting a project, communicating with a booker, understanding payment terms, and organizing a performance could help musicians make the most of their work opportunities. [I7; I6; I11]
5. Implications and Conclusions
For young musicians:
Develop a second paid skill. Try different paid jobs like teaching a few private students, arranging for an ensemble, organizing an event, or learn recording and production skills. Before expanding your work in a given area, evaluate your personal enjoyment and determine how much demand there will be for your services in the area. Actively seek opportunities to play with peers and mentors to build not only skill set but lasting relationships. Young musicians could form a rehearsal and performance group and invite more experienced musicians to come and play with them and give them feedback. (This is an approach that I am already currently testing with the current operating model of the Jazz Standard Youth Orchestra, which is one of Jazz Generation’s programs.). When choosing a school, don’t just look at teaching quality and cost, but also evaluate what opportunities the school offer for playing with peers and mentors, and what performance opportunities could arise from those.
Compare longer-term work opportunities based on not just pay, but cost of working/living.
When evaluating moving to a new city, for example, don’t just look at paid performance opportunities, but also consider other factors like living costs, travel times, teaching opportunities, competition from other musicians vs. quality of potential collaborators, and size of available audiences.
Use social media purposefully. Match your content to your intended outcome. For example, a recording of a strong performance can help a bandleader or booker discover you, a reel breaking down well-known solo can create more engagement and bring new followers, a concert announcement can bring someone to your show, and a clear contact page can make a booking easier. Stick to a manageable yet consistent posting frequency.
For Jazz Generation:
The strength of Jazz Generation is their ability to connect artistic development with work that pays. KEYED UP! already creates more paid performance opportunities, while the Jazz Standard Youth Orchestra provides performance experience, artistic mentorship, and student leadership opportunities. I’d like to propose the following ideas to build further on Jazz Generation’s existing work:
Support career continuity as well as individual performances. Recurring engagements like residencies at selected venues could help musicians better plan their income, create an ensemble and bring audiences back. It would be important to specify in advance what the venue’s contribution is and how Jazz Generation’s subsidy can be used to increase the musicians pay rather than just replace money the venue would otherwise provide.
Create opportunities to link mentorship end education with paid opportunities and hands-on business learning. A youth ensemble could for example be asked to produce a public concert. Jazz Generation could invite a music industry professional to mentor the students and help them work through all the related project tasks including, how to choose a repertoire, run rehearsals, negotiate with a venue and agree on all contractual details, prepare a budget, an participate in promoting the concert.
In summary, my main conclusion for other young musicians is to design a realistic portfolio of work that allows you to make a living and supports artistic growth. For Jazz Generation, it is to help musicians make that portfolio less precarious through broader career learning, relationships, and adequately paid performance opportunities. I truly hope that jazz musicians can afford to keep playing. The future of jazz depends on it!
9 References
Creech, A., Papageorgi, I., Duffy, C., Morton, F., Haddon, E., Potter, J., ... Welch, G. (2008).
From music student to professional: the process of transition. British Journal of Music
Education, 25(3), 315–331. doi:10.1017/S0265051708008127 Danish Arts Foundation. (n.d.).
Honorarstøtte til rytmiske spillesteder [Performance-fee support for live music venues]. Source: https://www.kunst.dk/for-ansoegere/soeg-tilskud/honorarstoette-til-rytmiske-spillesteder
Deutsche Jazzunion. (2022). Jazz Study 2022: Living and working conditions of jazz musicians in Germany.
U. Johnen, J. Fraisse, S. Marquardt, & R. Nübling. English edition. Source: https://deutsche-jazzunion.de/wp-
content/uploads/2024/02/Deutsche_Jazzunion_Jazz_Study_2022.pdf
Haynes, J., & Marshall, L. (2018). Beats and tweets: Social media in the careers of independent
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Help Musicians & Musicians’ Union. (2023). Musicians’ Census 2023. Findings published by the
Musicians’ Union, September 11. Source: https://musiciansunion.org.uk/news/first-ever-uk-
musicians-census-provides-unparalleled-insight-into-the-careers-of-the-uk-s-musicians
Jazz Generation. (n.d.-a). KEYED UP! Source: https://jazzgeneration.org/keyed-up
Jazz Generation. (n.d.-b). Jazz Standard Youth Orchestra. Source: https://jazzgeneration.org/jazz-standard-youth-orchestra
Music Venue Trust. (2026). Annual Report 2025. Source: https://www.musicvenuetrust.com/wp-
content/uploads/2026/01/MVT_2025-Annual-Report_Digital-Spreads.pdf
Pinheiro, D. L., & Dowd, T. J. (2009). All that jazz: The success of jazz musicians in three metropolitan areas. Poetics, 37(5–6), 490–506. doi: 10.1016/j.poetic.2009.09.007
Thomson, K. (2013). Roles, revenue, and responsibilities: The changing nature of being a working musician. Work and Occupations, 40(4), 514–525. doi: 10.1177/0730888413504208
Online sources were consulted in October 2026.
Primary research
Thirteen interviews recorded by the author during July–September 2026, involving fifteen professional jazz musicians. I1–I11 identify individual interviews; P1–P2 identify paired conversations. The anonymized interview records are the sources for the bracketed citations in the text. Names and direct quotations are withheld in accordance with the assurances given to participants.
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