Vocalist Hazel Mitchell-Bell is one of Washington, D.C.'s first ladies of jazz. Following her highly praised 2018 recording, Stronger Than Ever, she released Sack Full of Dreams in May 2021. She appears on festival, concert and club stages, enjoying one sellout after another. Working closely with pianist and Music Director Vince Evans, she performs and records with orchestras, big bands and smaller ensembles, stoking the fires of the D.C. jazz scene.
The two have worked together since 2016. Stronger Than Ever features standards from the Great American Songbook and R&B hits backed by an 11-piece orchestra. The indie album enjoyed 12 weeks on the Roots Music Report Top 50 Jazz Chart, peaking at #12. Robert Rusch of Cadence Magazine calls her voice: “fresh and compelling and gripping.” Jim Hynes of Making a Scene calls her “one of the most impressive vocalists to enter this incredibly competitive arena of jazz vocalists.”
Sack Full of Dreams reflects a heightened level of artistry and broadening of repertoire for Mitchell-Bell, whose influences include Nancy Wilson, Ella Fitzgerald, Dinah Washington, Sarah Vaughn and Phyllis Hyman. The 12 tracks feature her interpretations of jazz, blues and R&B favorites made famous by such artists as Nina Simone, Aretha Franklin and Luther Vandross and also include tunes from Broadway repertoire.
The stunning songstress has performed at Blues Alley and other top clubs in the nation’s capital as well as the Kennedy Center, Montpelier Art Center, Keystone Korner, Preservation Jazz Festival, Mid-Atlantic Jazz Festival, Panama Jazz Festival and Sheldon Cultural Center in St. Louis. She has thrilled standing room only audiences at D.C.’s City Winery and received standing ovations at such spots as the Cafe Mezzanotte, Keystone Korner, D.C. City Winery and Westminster Jazz Night series.
Hazel Mitchell-Bell
Local emerging early music ensemble Musica Spira presents Forth From Her Pen: Music by 17th-Century Italian Women. Women have been actively involved in the process of music-making as performers and composers since antiquity, although their contributions have often been overshadowed in our historical narratives. Seventeenth-century Italy, in particular, was home to a number of women whose musical works would come to define the most important genres of the Baroque period. Musica Spira’s program features music by four women who excelled as professional musicians in a variety of settings. Isabella Leonarda and Lucrezia Vizzana spent their lives in convents composing sacred motets and sonatas for their fellow sisters. Francesca Caccini was the highest-paid musician at the Medici court and the first woman to write a fully-staged musical dramatic work. Barbara Strozzi was one of the most prolific composers of her time, publishing eight volumes of cantatas that she performed in her father’s private salon.
Doors open: 6:30pm Show 7-10 pm (2 sets) Advance tickets: $15 Day of show: $20 Parties of 4 or more can reserve a table for an additional $35. Contact info@JKproductions.org Minors welcome but must be accompanied by parent or guardian.
Doors open: 6:30pm Show 7-10 pm (2 sets) Advance tickets: $15 Day of show: $20 Parties of 4 or more can reserve a table for an additional $35. Contact info@JKproductions.org Minors welcome but must be accompanied by parent or guardian.
Tommy Holladay graduated summa cum laude from the internationally acclaimed Berklee College of Music, where he was additionally awarded the William G Leavitt and the Stephen D. Holland scholarships for jazz guitar performance. In May 2014, Tommy received his Master’s degree (with honors) in jazz studies from the New England Conservatory, where he studied with Brad Shepik, Billy Hart, Jerry Bergonzi, John McNeil and many other renowned jazz artists. While at NEC, Tommy was elected by the faculty to join the national music honors society Pi Kappa Lambda. In July 2014, Tommy performed as a semi-finalist at the Socar International Montreux Jazz Guitar competition. He now resides in New York City. Tommy has shared the stage with Jaime Valle, Darren Barrett, Duncan Moore, Walter Smith III, Justin Faulkner, Jason Robinson, Gilbert Castellanos, Rob Thorsen, Joshua White, and Ed Delucia. In addition, Tommy holds an Associate’s Degree (with high honors) in mathematics from San Diego Mesa and a certificate in computer science from Boston University. https://tommyholladay.com/
Corcoran Holt presents the New York vibraphonist with a top-flight quartet.
Janelle Gill began piano instruction at the age of 5. As a middle school student, Janelle was introduced to jazz by Delfeayo Marsalis when he performed a workshop at her school. She continued her studies at the Duke Ellington School of the Arts with saxophonist Davey Yarborough, and at Howard University under the tutelage of Dr. Raymond Jackson & Charles Covington. Janelle can be found performing though out the DC Metro area & beyond. Janelle has performed with Oliver Lake, The Blackbyrds, Delfeayo Marsalis, David Murray & many local artists. She can be heard on recordings by Kenny Rittenhouse, Mauro Marcondes, Kris Funn & Will Smith.
Max Light won 2nd place in the 2019 Herbie Hancock Institute of Jazz International Guitar Competition, judged by Pat Metheny, John Scofield, Lionel Loueke, Russell Malone, Lee Ritenour, Chico Pinheiro, and Stanley Jordan. His debut trio recording, "Herplusme," was released February 14, 2020 on Red Piano Records. Max has performed and recorded with Noah Preminger, Donny McCaslin, Jeremy Dutton, Kaisa Maensivu, Jason Palmer, Jon Gordon, John Ellis, Dan Weiss, Colin Stranahan, Kevin Sun, and Bobby Watson among others. He is a regular collaborator with Downbeat Rising Star tenor saxophonist Noah Preminger. The duo released an album on Steeplechase in March 2022 entitled “Songs We Love.” He appeared on Preminger’s 2019 album "Genuinity" (Criss Cross) and Preminger’s 2020 album "Contemptment" (Steeplechase) alongside Kim Cass and Dan Weiss. This quartet toured Europe in Fall 2021. He appeared on Jason Palmer’s seminal 2018 recording "Live at Wally’s Jazz Club: Volume 1-2" (Steeplechase), and more recently on Yong Lee’s 2021 album "Touch" alongside Walter Smith III. He most recently appeared on Kevin Sun’s 2021 release "<3 Bird" (Endectomorph). Max is from the Washington DC area, now living in New York City. He lived in Boston for 6 years where he received his Bachelor’s Degree at New England Conservatory and performed every Friday and Saturday at the legendary Wally’s Jazz Cafe with world renowned trumpeter Jason Palmer. He received his Master’s Degree from the Aaron Copland School of Music at Queens College. He regularly performs as an artist in residence at Hotel 7132 in Vals, Switzerland through Newvelle Records. Max was an instructor at the Washington DC Jazz Academy of Music from 2013-2016 and regularly teaches private lessons in New York City and virtually. https://www.maxlightguitar.com/
Alison Crockett, Soul and Jazz Diva, who has been in the worldwide the music scene as a vocalist and educator for decades has created a program/performance that seeks to educate and include singers of all ages and generations in the joy of singing Vocal Jazz. Alison has been an award winning and prolific Jazz, soul, and electronica vocalist and has been featured on dozens of recordings including King Britt in his Neo-soul creation, “When the Funk hits the Fan”, the acid jazz and hip hop mash up of Us3 “An Ordinary Day in and Unusual Place”, as well as two EPs and four full length records most notably the chart topping “On Becoming a Woman…” She has been described as “Mix [of] Nina Simone’s urgency, Betty Carter’s chops and Jill Scott’s sass, and you’ll get the bold and bravura vocalist Alison Crockett…”. Alison then released “Return of Diva Blue”, a electronica remix record, “Bare” an acoustic piano based record, “Mommy, What’s a Depression?” a political mashup of funk, jazz, electronica and soul originals and jazz standards and finally, “Obrigada” an EP recorded in Brazil of originals and Bossa nova classics. Alison has always been a craftsman, journeying through different genres, seeing the musical world through new eyes each time. She has toured the world several times over, working and recording with multiple artists in various genres. Alison has also spent the last two decades of her life promoting music and jazz vocal education. As a University Professor first at Temple University and then at George Washington University she has trained jazz and pop vocalists privately and through the jazz choral ensemble, GW JiVE. She has worked with school age children as the Musical Director of Highbridge Voices, writing, arranging and conducting over 250 children from the Bronx, to being the Choral Music instructor at the prestigious Fillmore Arts Center in Washington, DC for over 10 years. In her last year of teaching at Fillmore, she started to center totally on jazz choral education, exposing students to the joy of swinging and scatting and understanding the history and culture of Jazz music. This was the genus of Generations of Vocal Jazz the performance festival. Generations of Vocal Jazz goal is to create intergenerational connections through the performance and study of choral jazz music. This program initially culminated in a performance featuring singers from the Baby Boomers and Generation X (Capitol Voices of Levine School of Music) to Millennials (GW JiVE jazz choir), all the way to the present generation Z (Fillmore Jazz Choir). The DC area has a plethora of successful jazz professional and amateur singers. The vocal jazz community is strongly interconnected, but not with the K-12 choral community. GVJ seeks to rectify that through partnerships with schools, teacher trainings, and performances, most notably the Generations of Vocal Jazz performance, held annually at George Washington University.
The music of acclaimed pianist Lafayette Gilchrist draws on the span of jazz history from stride to free improvisation, along with inspiration from hip-hop, funk, and Washington D.C.’s unique go-go sound. This show features Gilchrist’s original compositions, which thrive on making surprising mashes of styles and influences, boldly veering from piledriver funk to piquant stride, vigorous swing to hip-hop swagger, contemplative abstraction to deep-bottom grooves. Gilchrist has toured extensively with David Murray, and his compositions have graced the soundtracks of David Simon’s acclaimed television series The Wire, The Deuce, and Treme. His work thrives on making surprising connections between styles and influences, boldly veering from piledriver funk to piquant stride, vigorous swing to hip-hop swagger, contemplative abstraction to deep-bottom grooves. At Takoma Station, Lafayette will lead a sextet consisting of Brian Settles (saxophones), Leo Maxey (trumpet), Herman Burney (bass), Kevinn Pinder (drums) and Bashi Rose (percussion). In addition to his sextet, Lafayette leads the genre-defying ensembles the New Volcanoes and the Sonic Trip Masters All Stars, and along with bassist Michael Formanek and drummer Eric Kennedy he’s a member of the adventurous collective trio Inside Out. In 2017, Gilchrist was named a “Local Legend” by Baltimore Magazine, while Baltimore City Paper named Lafayette Gilchrist and the New Volcanoes as “Best Band.” In 2018 he was chosen as a Baker Artist Award winner. Gilchrist has performed with Cassandra Wilson, Macy Gray, Oliver Lake, Andrew Cyrille, Orrin Evans, Paul Dunmall, Hamid Drake, William Parker, and many more. Gilchrist’s recent albums – 2019’s Dark Matter and 2020’s Now – landed on numerous critics best of the year lists at National Public Radio, Paste Magazine, Cadence and many others. Doors open: 6:30pm Show runs 7-10pm (2 sets) Advance tickets $20 Day of show $25 Parties of 4 or more can reserve a table for an additional $25. Send a request to info@JKproductions.org Minors welcome but must be accompanied by parent or guardian.
In collaboration with Elijah Jamal Balbed, The Kreeger Museum is honored and thrilled to present Jazz at The Kreeger, a series that furthers our mission to share music across the city. Now in its third year, this series supports and spotlights the wealth of musical talent in our metropolitan area.
Soulful, passionate, stirring...these are the words most often used to describe Kirk’s music. Forged from his Memphis, (TN) gospel roots and his 1980‘s initiation into the thriving Houston, TX nightclub scene, Kirk’s big, rich tenor sound is unmistakably his. The 80’s were highlighted by Kirk’s stepping out of his blossoming sideman role and forming his own band. It was there that Kirk ultimately developed both his “voice” and songwriting in the crucible of the local club scene––especially at a rooftop club called Cody’s. It was also in Houston where jazz pianist Bob James “discovered” him and brought him on tour, which led to five successful albums with Columbia Records, including Cache, Kirk’s first #1 album. As well, Kirk and Bob received a Grammy nomination for their collaboration album, Joined at the Hip. After moving to Los Angeles, Kirk became an in demand session player for top artists like, Barbara Streisand, Al Jarreau, Luther Vandross, Larry Carlton, Quincy Jones and most notably, Whitney Houston, amongst many others. It’s his sax heard on the mega-hit, “I Will Always Love You.” Kirk soon followed that career high point with his phenomenal hit album released on Warner Bros. Records, For You, perhaps the most successful of over 25 solo recordings to date; others include his eclectic, and much lauded, Gospel According to Jazz series, (Chapters 1, 2, 3 and 4). In addition to his many solo projects, Kirk was also a member of the popular soul/jazz group, BWB, which features Kirk as the “W” of the group with Rick Braun (trumpet) and Norman Brown (guitar). An ordained minister, Kirk has earned a Masters of Art in Religion. It’s in this spirit that he serves his community in various ways when his touring schedule allows. There is also his daily fifteen minute podcast, Bible In Your Ear (BIYE), in which he invites you to listen along as he reads through the Bible in a year. In addition to music and ministry, Kirk has a passion to educate young, aspiring musicians and is currently engaged as a music professor at Visible Music College in his hometown of Memphis. Kirk is the recipient of numerous awards and acknowledgements for his musical excellence including three Dove Award nominations, an NAACP Image Award nomination and has won two Stellar Awards-Gospel music’s highest honor. A twelve time Grammy nominee, Kirk won his first Grammy award (2011)for Best Gospel Song (“It’s What I Do”––featuring Lalah Hathaway) alongside life-long friend and gifted songwriter, Jerry Peters. In a career spanning decades, Kirk has a sound that is uniquely his; it is a sound that leaves an indelible imprint on the listener.
Melodic lyrical and groovy Danish/American piano trio with golden touch, virtuosity and scintillating interplay and communication. Danish Nikolaj Hess is well established as a highly esteemed international jazz pianist and composer. His piano playing is described as brilliantly virtuoso and characterized by a personal delicate touch and mix of superb sense of melodic and creative imagination, and groove and rhythmic sensibility. His inspirations include a deep connection to the American and Scandinavian jazz and improvisational music traditions, and reflect his musical open-mindedness and curiosity, with influences from electronica and krautrock over deep studies of classical music, to folk and folklore music from different parts of the world. Hess has won several prizes, and received numerous grants and awards, from being chosen as the best European pianist under 25 at RAI contest, to his latest receiving the composer's union AUTOR´s prestigious honorary award in 2022, and DMA and Politikens choice as album of the year. He plays on 100+ albums, and has more than 25 own releases, among them prizewinning Nikolaj Hess "Trio" with his New York piano trio, highly praised Nikolaj Hess Spacelab & Strings (Sunnyside Records). His compositions can also be heard in films, with classical orchestras, at exhibitions, and on international stages and venues in most of the World. Hess has worked and recorded with an impressive list of artists, among them Lee Konitz, Benny Golson, Ambrose Akinmusire, Gregory Hutchinson, Chris Cheek, Anat Cohen, Kris Davis, Christian McBride, Jeff Ballard, Thomas Morgan, Tyshawn Sorey, Fela Kuti, Lars von Trier (filmscoring), Robert Wilson, Hal Willner, His albums has streamed more than 20 millions worldwide, placing him as one of the most listened to Danish jazz artists. He is currently finishing an artistic research project, Transformative Reflections, which is supported by the Cultural Ministry of Denmark on inspiration from visual art to music. Sponsored with the Embassy of Denmark “Simply put, these guys are the best piano trio in Denmark, and Nikolaj Hess is one of the most inventive jazz pianists working today” (Mitch Myers Magnet Magazine 2019) “A delightful, reflective, almost pastoral use of light and shade. If Chopin had been born in New York and received tuition from say Bill Evans or Keith Jarrett he may have sounded like this” writes ‘Bebop spoken here’ (UK) beautifully about Nikolaj Hess. “Gold dust. Nikolaj Hess’ fingers on the keyboard is an alchemical affair. An album with a wide range of expression, yet spiritually coherent.” (Chr Munch-Hansen Politiken) “Danish pianist Nikolaj Hess careened between heart-melting delicacy and almost Chopinesque virtuosity. Hess is clearly equipped to face the most gargantuan technical demands, but it was the incredible fecundity of his imagination that impressed the most”(Peter Quinn Art Desk, London) ”No matter whether he is working to unite different musical worlds, or getting down on the anatomy of the groove, Hess’ sound world is one that gathers many different aspects of tradition and culture. Global Motion + and The Champ provide two pieces of the puzzle that makes up his many-faceted vision” Jakob Baekgaard Allaboutjazz “Bilingual in classical and jazz, Hess moves in both cultures with confidence, so the project is not just jazz-with-strings-tacked-on (or vice versa) but an organic hybrid. Though the strings don’t solo they are used as an autonomous voice, providing chromatically embellished melodies, ‘rubbing’ dissonances (caused by adjacent chord tones), canons, chorales and jousting countermelodies. The leader threads it all together, rippling through the colorful arrangements with a gorgeous feathery effervescent touch, equal parts Murray Perahia and Bill Evans.” (New York City Jazz Record)