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43rd Annual Tri-C JazzFest Cleveland

Courtesy C. Andrew Hovan
43rd Annual Tri-C JazzFest Cleveland
Playhouse Sqaure
Cleveland, Ohio
June 23-25, 2022
Not quite ten years ago in 2014, the Tri-C JazzFest morphed from a spring event held largely on campus to a summer happening in downtown Cleveland's Playhouse Square. Like with most festivals, the pandemic put the kibosh on the event's usual format. After a two-year hiatus, all activity recently shifted back downtown for an inspired return to form.
In customary fashion, local acts held forth on the outside stage, while ticketed concerts took place inside at the various theaters. The educational component also returned with vigor as the additional Next Gen Stage hosted many student ensembles. Sitting squarely within the status quo the festival has maintained for several years now, there is a smattering of ticketed shows that lie outside of the mainstream jazz tradition. Aside from those events and the outdoor performances, this review covers the rest of the sets that filled the festival's generous Friday and Saturday schedules.
A native of Ohio and an active educator on many fronts, trumpeter

Sean Jones
trumpetb.1978
In the tradition of jazz musicians grafting their own melodies onto standard changes, Jones displayed his clarion voice on "How High?," a piece he says was inspired by a "long night with some herbal sustenance." Pianist

Allyn Johnson
pianoThe centerpiece of the set would be an original that Jones wrote thinking about the supercontinent that existed in the past. The idea of easily traveling from one nation to another intrigued Jones as a way that might foster unity among human kind if it were still possible today. Propelled by drummer
James Johnson III
drumsFor the closing number, "Prof," Jones affirmed the value of mentorship in his musical life and the obligation to return the favor to today's budding generation. In the tradition of benchmark numbers like "Cherokee," Jones' original offered its share of challenges which were tackled with poise by special guest Thomas Schinabeck. Just 19 years old, the alto saxophonist recently finished his freshman year at Peabody Institute where Jones is on faculty.
Friday's straight ahead offerings concluded with a set by Sound Prints, the quintet led by trumpeter

Dave Douglas
trumpetb.1963

Joe Lovano
drumsb.1952

Wayne Shorter
saxophone1933 - 2023
Drummer

Rudy Royston
drums
Matt Penman
bass
Leo Genovese
keyboardsb.1979
Cleveland is proud to claim Lovano as a hometown hero, and one of his originals would tip the hat to an iconic jazz spot from the past. "The Corner Tavern" was penned for a club once located on East 78th and Cedar Avenue, which was a regular hang for Lovano's father Tony. The front line locked in for a lanky melodic statement marked by various hits over a fluctuating groove.
Part of the magic of this group's set would be the variety of material. "Libra" calmed the seas with a ballad moment that brought forth eloquent solos from both horns. "The Flight" would close the evening on a high note, both Douglas and Lovano trading licks back and forth under the support of the rhythm section. Genovese built his statement with the skills of a master storyteller. At its peak, the pianist's solo invoked the abstractions of

Cecil Taylor
piano1929 - 2018

Oscar Peterson
piano1925 - 2007
At first thought, the inclusion of

Raul Midon
vocals
Herbie Hancock
pianob.1940

Nicholas Payton
trumpetb.1973

Gerald Clayton
pianoAmong the many highlights of a very generous set, Midon's "I Love the Afternoon" hit a samba groove punctuated by bass tones that traditionally would be played by the Brazilian surdo. Akin to the style of

George Benson
guitarb.1943

Al Jarreau
vocals1940 - 2017
Proving that his multifaceted talents know no bounds, "Bad Ass and Blind" lived up to its title with Midon's rapping mingling with profound lyrics that went far beyond the hip hop norm. A master at pacing a set, Midon also took to the piano for his poetic "Listen to the Rain," which was inspired by songs about rain, particularly Joni Mitchell's "Rainy Night House" and the Beatles "I'm Fixing a Hole." A touching nod to his recent bride, "Waited All My Life" concluded an awe-inspiring recital from a talent deserving of wider appreciation.
NEA Jazz Master

Eddie Palmieri
piano1936 - 2025
Flanked on three sides by audio monitors due to his current hearing deficits, Palmieri was no less the dynamo at 85 years old than at any other time in his recent past. He worked the crowd and invited them to clap along to the clave beat as the group launched into "Picadillo." Bassist

Luques Curtis
bass, acousticLouis Fouché
saxophone, alto
Jonathan Powell
trumpetb.1982
It seemed the pianist must have had

Cal Tjader
vibraphone1925 - 1982
Recalling his days playing the dance halls of New York City, Palmieri's set concluded with the iconic "Azucar Pa' Ti." With a remarkable hybrid setup including timbales and components of a typical drum set,

Luisito Quintero
percussionAs the festival wrapped up with award presentations and shout outs to sponsors, the closing performances commenced with an intimate duo set by pianist

Kenny Werner
pianob.1951

Gregoire Maret
harmonicab.1975

Toots Thielemans
harmonica1922 - 2016
Another veteran of the festival, bassist and bandleader

John Clayton
bassb.1952

Rodney Whitaker
bassb.1968

Ulysses Owens, Jr.
drumsb.1982

Sam Blakeslee
tromboneThe iconic "Eternal Triangle" proved the perfect feature for the saxophone section as each horn man stood up for their moment in the spotlight. Particularly attractive were the contrasting styles of altoists

Chris Coles
saxophone
Dick Oatts
saxophone, altob.1953

Dominick Farinacci
trumpetb.1983
Back in 2006,

John Pizzarelli
guitarb.1960

Frank Sinatra
vocals1915 - 1998
Equally pleasing to fans of crooning as to those with an ear for jazz guitar, Pizzarelli commanded the stage with some stimulating spells on guitar as well as scatting along with his own melodies. Clayton picked up the bass to bow alongside Pizzarelli during a tender moment and then brought the evening to a close shuffling along with the band as Pizzarelli affirmed "Yes Sir, That's My Baby."
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