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The San Jose Jazz 35th Summer Fest sprawled around the Tech Capitol’s historic Plaza de César Chavez and outlying areas. It presented a balance of large and smaller stages, both outdoors and indoors. Strategically spread around the outdoor stages were eight spellbinding alebrijes, a public two-month installation from Oaxaca, Mexico, towering 20 to 22 feet tall and out of the reach of concertgoers. The mythical and vividly painted dragon-like structures, which lit up at night, exhibited the richness of Mexican heritage through bold design and masterful craftsmanship.
Astonishingly, and probably not intentionally, concertgoers through skillful maneuvering, could see nothing but jazz or avoid jazz entirely, due to the diverse programming that also incorporated Americana, electronica, blues, swing, R&B and homegrown music. The lineup for 2025 didn’t embody any jazz superstars per se, was instead loaded with a remarkable mix of invigorating veteran artists and some forthcoming sensations-destined to be luminaries.
From the aforementioned category was Something Else! featuring alto saxophonist/bandleader Vincent Herring. His fellow conspirators included tenor saxophonist Wayne Escoffery (Director of Jazz Studies at Yale), guitarist Paul Bollenback, trumpeter Freddie Hendrix, drummer Lewis Nash, pianist Dave Kikoski and bassist Essiet Essiet. Their set was hard-bop oriented and resounded with Freddie Hubbard’s “Destiny’s Children” and a powerfully grooving version of Coltrane’s “Naima.”
Contrarily, 85-years-young Mary Stallings, the Queen of San Francisco Bay Area jazz vocalists–-and—arguably nationally—was ultra velvety. Her jazz pedigree includes work with Count Basie, Dizzy Gilespie, Cal Tjader, Wes Montgomery and Geri Allen. Sidemen for the gig were pianist/Music Director David Udolf, bassist Ron Belcher and drummer Gerald Greene. Stallings gave a clinic on how to sing with gracefulness and swing stylishly. Among the songs she soared on were “It’s Just The Gypsy in My Soul,” and vocalese versions of “Monk’s Dream” and Oliver Nelson’s “Stolen Moments.”
Masterful singer/guitarist John Pizzarelli held court with Mike Karn on bass and Isaiah J Thompson on piano. In his typical humorous and easy-flowing style, his trio highlighted songs from Nat King Cole’s canon such as “True Love,” “Paper Moon,” “Sweet Loraine,” “Ain’t I Good To You” and of course “(Get Your Kicks on) Route 66” featuring Thompson and Pizzarelli jamming away while delighting the audience.
Drummer Carl Allen’s Trio with Ralph Moore on reeds and Reginald Veal on bass, waved their pure jazz flag high, while the bandleader also showcased his comedic timing, and cited that it was Jack DeJohnette’s birthday. Getting down to business, they showcased tunes from Allen’s latest recording Tippin’ that included a jubilant rendition of Pat Metheny’s “James,” thematic “Roy’s Joy” in memory of Roy Hargrove and “A Morning Story” written by bassist Christian McBride who’s on the new album. In addition to the record’s selections, the trio played a slowed down interpretation of Monk’s “Misterioso.”
Somewhat difficult to categorize, vocalist Sachal Vasandani -who acknowledges being influenced by Betty Carter and Shirley Horn—possesses an impressive technical range, conveying a variety of emotions and drawing from a wide array of artists. For SJJSF, he with Bay Area natives Dayna Stephans on sax and percussion, and Charles Altura on guitar, showcased songs from his latest project Best Life Now. Among his highly evocative new songs were “Too Easy” and the poetic “Sometimes I Miss (The Way).”
Celebrating the roots of jazz with bits of R&B and gospel thrown in, was the 65-year-old, predominantly acoustic, Preservation Hall Jazz Band. The fabled septet led by sousaphone/bassist/vocalist Ben Jaffe ignited the crowds’ partying passions and served up their classic repertory. Among them were “Lord, Lord, Lord, You Sure Been Good to Me,” Ray Charles styled “New Orleans Blues” and vintage Crescent City R&B hit “Rich Woman.” It was originally recorded by vocalist/saxophonist Clint Maedgen’s grandfather, McKinley "Li'l" Millet in 1955.
In regards to the younger and upcoming potential jazz stars were three very different artists. Summer Camargo, a 23-year old trumpeter is currently the youngest member of the famed Saturday Night Live (SNL) house band as well as being a Jerome Greene Fellowship recipient at Juilliard. Leading her own band, with Sterling Cozzo on piano, Rodrigo Martinez on bass, and Miles Turk on drums, the trumpeter spotlighted her originals, “JP Shuffle” for her father, and Latin styled “Girl in a Jeep” for her younger sister.
Changing gears, the trumpeter impressed the crowd with her knowledge of Louis Armstrong (his birthday was a week earlier (August 4th 1901) and trad jazz. Camargo and Cozzo played an extraordinary version of “Weather Bird” that Armstrong recorded as duet with pianist Earl Hines in 1928. With the full band, she performed the legendary trumpeter’s immortal “When It’s Sleepy Time Down South.”
Vocalist/songwriter Stella Cole is a TikTok and YouTube phenomenon who’s amassed nearly 20 million views. The 27-year-old’s 21st century adaptations of the American Songbook, aided by Grammy-winning arranger Alan Broadbent (not at the show) thrilled festival listeners. Among the songs performed were Sinatra’s “Walking in The Sunshine (of Your Love),” Henry Mancini’s “Moon River,” Latin hit “Quizás, quizás, quizás” converted to “Perhaps, perhaps, perhaps” and Cole Porter’s “Anything Goes.” Solid, uncluttered accompaniment came from pianist Brandon Goldberg, bassist Mikey Migliore and drummer Henry-Allen Barfield.
Another stand out performance was 29-year-old Mambai-born, hard-thumping electric bassist/vocalist Mohini Dey that was a mind-blowing and super high-energy experience. She’s strongly influenced by bass icons Stanley Clarke, Marcus Miller and Victor Wooten with traces of Larry Graham and Tal Wilkenfeld. With cohorts, drummer Marco Cirigliano and keyboardist Daniel Szebenyi, the 20-year veteran virtuoso blazed a wide path featuring her mostly food oriented original compositions such as “Meat Eater,” “First Food, Then You,” “In-N-Out” and “Introverted Soul,” that alternated between fusion and prog-rock, with rapid-fire raga scatting included.
Aligning more with classic soul and hip-hop was Jose James: 1978: Revenge of the Dragon. It was the birth year of the singer dubbed “the jazz artist for the hip-hop generation.” Additionally, the year signified a period when R&B, funk, rock, disco and jazz, along with reggae and African music were freely intermixed on radio airwaves, and hip-hop was emerging. With bassist Ben Williams, drummer Jharis Yokley and keyboardist BigYuki, the bandleader showcased Emily King’s “Come to My Door,” “Trouble” and the Gil Scot-Heron inspired “Park Bench People.”
Also in the same category was the funk grooving Headhunters. Their set was highlighted with the ever popular ethereal “Butterfly.” It was first recorded with Herbie Hancock, the band’s founder/keyboardist/producer in 1973. The same for multi Grammy-winning saxophonist, aerophone (EWI) player, arranger and composer Tom Scott who revisited his successful crossover band, The L.A. Express, also formed in 1973. Aided by guitarist Grant Geissman, keyboardist Ruslan Sirota, bassist Chris Colangelo and drummer Gary Novak they played percolating jazz/blues numbers.
Included were “Sneaking in The Back,” “I Want to Get Closer” (composed for Grover Washington), and mid ‘60s mega country/pop hit “Ode To Billy Joe” that was contemporary jazz and funk styled. Closing the set was “Feels so Good” a homage to recently departed flugelhorn player/bandleader Chuck Mangione. Geissman, a San Jose native played with Mangione in the mid-70s for the top-selling record and reunited with him in 2000 for the album Everything For Love.
Alto saxophonist/computer composer/educator David Binney’s Action Trio with bassist Pera Krstajic and drummer Louis Cole were in their own orbit. The trio’s sound was a stimulating melding of electronica, fusion, funk and free jazz, with some prog rock elements. It definitely was not for listeners looking for a mellow hang. Featured compositions were Ralph Towner’s “Night Fall,” and the trio’s own “For My Friends” and “Birth.”
As expected, Latin music was well represented at SJJSF with a whole stage dedicated to the artform. Amongst the many bands presented, the three who stood out were all vastly different. Eleven-member Malo, originally led by vocalist Arcelio Garcia with Carlos Santana’s guitar playing brother Jorge, thrived during the turbulent early 1970s, and were once the Bay Area’s prime Latin fusion group. Remarkably, they’ve managed to survive since then and took the crowd down memory lane with “Pano,” “Offerings” and their biggest hit, oldies styled “Suavecito.”
The Latin Grammy-winning, 19-person Pacific Mambo Orchestra were powerful, dense and seductive. The audience danced tantalizingly and freely to the large ensemble’s engaging mix of Afro-Caribbean rhythms, mambo, salsa, R&B and contemporary jazz. Tunes that further excited the concert goers was Stevie Wonder’s “Over Joyed,” a tribute to recently passed Latin piano giant Eddie Palmieri and Tito Puente’s super-hot cha-cha “Oye Como Va.”
Congo born and raised, with strong influences from bordering Angola, Ricardo Lemvo and his Makina Loca (Crazy Machine) nonet put a true African spin on Latin music. The bandleader who sings in 10 languages, kept the audience reveling and dancing with an infectious blend of rumba, merengue and salsa that also included Angolan rhythms semba and kizomba. The multi-national group’s hot set included “Mambo Yo Yo,” “Africa, Havana, Paris” and “Ay Valeria!”
In the “Beyond” category were Femi Kuti & The Positive Force, who continued his father Fela’s legacy, but with less defiance; hip-hop/neo soul singer, Bilai; funk/fusion crew Butcher Brown, from Richmond, Virgina; and hip-hop/neo soul edged trumpeter Theo Croker, grandson of the renowned trumpeter/singer Doc Cheatham.
As for big name, non-jazz performers at SJJSF, Grammy and Academy Award-winning rapper and actor Common was the biggest draw. With a hard-hitting band that included Elena Pinderhughes on flute and vocals, he thrilled the audience with “Little Chicago Boy,” “Love of My Life” and freestyle rapping to a pretty lady from the crowd (a regular feature of his shows).
Mavis Staples, an eighty-six year-young soul/gospel/rock Hall of Famer and Civil Rights activist was tireless. With wrangling guitarist/Music Director Rick Holmstrom, she tantalized festival attendees with Staple Singers’ soul/gospel songs “I'm Just Another Soldier,” “Freedom Highway” and their best-known hit “Respect Yourself.”
Five-time Grammy-winner singer/songwriter/producer Lalah Hathaway, daughter of the legendary vocalist Donny Hathaway mesmerized the concert attendees with rocking “(You Got to go) Higher,” silky soul “Show Me” and sorrowful/memory laden “On Your Own.”
Within a block of the SJJSF plaza and its food trucks, are a fascinating selection of worldclass restaurants. Among them are Petiscos, featuring exotic Portuguese dishes (octopus, beef tongue and duck rice) and alluring drinks, and Eos & Nyx; utilizing California seasonal produce and fresh-caught seafood similar to Alice Water’s acclaimed Chez Panisse. For those hankering for something more downhome, the area also offers Black-owned Jackies Place for delicious BBQ and soul food, and Goddess Noir Cakes for designer pastries and cakes.
If escape or a slight diversion from the festival was desired, Alamitos Vineyards located in San Jose’s picturesque Almaden Valley was the perfect choice for an afternoon getaway. Uniquely, it’s the region’s only vineyard winery, and is owned and operated by partners Shaun Coleman and Chris Maune. Their five acre winery, is in a region of mines that flourished during the 1800s, with a miner museum located nearby.
Winemaker George Troquato’s experience and knowledge, along with the estate’s climate and distinct soil were the determining factors for cultivating Syrah, Sauvignon Blanc and Touriga Nacional grapes. The vineyard’s signature wines are "Andorinha” (Swallow in Portuguese) Red, “Laura’s Love” Rosé, “Umunhum” (Ohlone Indian for Humming Bird) Port, and non-traditional blends of Cabernet Sauvignon/Touriga, and Syrah/Touriga. For more info go to: summerfest.sanjosejazz.org and www.sanjose.org.
68th Monterey Jazz Festival
SEPTEMBER 26-28, 2025
The 2025 The San Jose Jazz 35th Summer Fest
MUSIC REVIEWS
Festival & Music Reviews…
by Christopher J Walker and Amanda Wheeler
ENJOY CRAFT BEER MORE!
READ: Chris Walker's Reviews
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Art Garfunkel, former Simon & Garfunkel member, performed at the Segerstrom Center For The Arts with guitarist/keyboardist Tab Laven supporting him. During the mid to late ‘60s S&G captured the sensitivity of college youths through mostly poetic ballads. Garfunkel’s son Arthur Jr.9, began the show sweetly singing Wednesday Morning, 3 A.M the title track of S&G’s debut album. Afterwards the senior Garfunkel proudly admitted, “He has the voice, but I have the hits.” His son later rendered classics “Smile” and “Amore” solely, and with him the Everly Brothers “Devoted to You” and vintage “Let It Be Me.”
Senior Garfunkel showcased writing skills through angelic ballads “Perfect Moment” and “All I Know,” along with his book What Is It All But Luminous (Notes From An Underground Man), published in 2017. However, the audience really came to hear S& G music, since their reuniting is extremely remote. Garfunkel obliged with vocally challenging “Scarborough Fair,” easy flowing “Homeward Bound,” passionately sung “For Emily, Whenever I May Find Her,” lightly rocking “Sounds of Silence” and lyrical gem “Kathy’s Song” to receive a standing ovation. Notably missing from the concert was S&G’s most popular song “Bridge Over Troubled Water” that recently marked its 50th anniversary.
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