For anyone looking to map the frontiers of what is possible on the trumpet, BOP STOP was the place to be last June*. There, with the Dan Weiss Quartet, Peter Evans laid out all the landmarks: Olympic-level feats of circular breathing, splatters of 16th notes (or were they 32nds?) in a register beyond the Kuiper Belt, even playing rhythms by placing the microphone in the bell of his instrument and blowing unpitched thuds.
It was eye-popping, yet it was all in a day’s work for Evans, who returns to the Hingetown club Thursday for a solo set in the final presentation of the 2025 season of concerts presented by New Ghosts.
Growing up in Chicago with a father who played old-school rock and blues, saxophonist Anthony Bruno got an early immersion in the grind of the working musician.
“Whether it was in rehearsal spaces, bars, festivals, green rooms, recording rooms– that was just my life,” he said. “So when I would hang out and talk to other kids in school they’d be like, ‘What did you do this weekend?’ I’m like, ‘I was at this festival, then this rehearsal, and this thing,’ and they’re like, ‘What is that?’ I was like, ‘Oh! That’s not what every kid does all the time?’”
It’s what Bruno does all the time, and increasingly, in Cleveland where he will lead a high-powered quartet at BOP STOP Friday.
(clockwise from top left) Ken LeeGrand, JT Lynch, Derrick James, Ray Harvin, Sakait Baksar
At the summit meeting of Cleveland saxophonists convened this past summer at the Tri-C JazzFest, Ernie Krivda, Ken LeeGrand and Howie Smith were to take center stage in a round robin. But host Dominick Farinacci announced that LeeGrand would play his featured material first. “He has to get to a gig in Fairlawn at 3,” Farinacci explained. It was shortly after 2 p.m.
I was there and reviewed the concert for All About Jazz (you can read it here), so when I spoke with LeeGrand earlier this month, I had to ask him if he made it. “Yes I did. I got there–it was probably, like, 3:07, and the guys that I had assembled to do that [gig] knew what was going on, so they had already started. I didn’t even take the reeds off the horns. I left my reeds on. So when I got there, all I had to do was put the necks on the saxophones and put my stand together and roll.”
When it comes to music, “roll” is what Ken LeeGrand does—as an educator, instrumentalist, bandleader, griot and inspiration. Now 73, LeeGrand has been on the scene for so long, he essentially is the scene. So it makes perfect sense that during this weekend of homecomings and family reunions, his most enduring band, Horns And Things, will be featured at Ohio City’s Irishtown Bend Taproom.
(clockwise from top left) Jinari Kemet, Liz Bullock, Ray Flanagan, Gretchen Pleuss
Though hip-hop artists have made it a genre unto itself, the mixtape, a homemade cassette of songs, was the Spotify playlist of the 1980s and ‘90s. Mixtapes were playable, tradable declarations of musical allegiances and taste, a medium of exchange and sometimes winsome mash notes to crushes, delivering their message at 1 7/8 ips.
True, it’s hard to imagine jazz nerds assembling cassettes of favorite Maynard Ferguson cuts to give to romantic objects (harder still to imagine they had such objects). Still guitarist Dan Bruce liked the concept so much that he’s making a mixtape live and on stage by arranging songs performed by Liz Bullock, Ray Flanagan, Jinari Kemet and Gretchen Pleuss with an a-list jazz ensemble.
When the protean Brazilian producer/arranger/composer/instrumentalist Hermeto Pascoal died in September at age 89, obituary writers were challenged to find someone to compare him to (maybe Prince came closest). Hermeto, as he was invariably known, summed up his musical philosophy as tudo é som, “all is sound.” No wonder his nickname was o Bruxo, the Sorcerer.
As a student at the Cincinnati College-Conservatory of Music, pianist Ben Tweedt came under Hermeto’s spell, an enchantment that inspired an evening of the master’s compositions at BOP STOP Saturday evening.
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