The 2024 Litchfield Jazz Festival (LJF) was held from July 26 to 28 at the Frederick Gunn School in Washington, CT. Several Grammy Award winners were part of this 29th year’s line-up.
Friday, July 26
The festivities began with the annual Gala on Friday, an absolutely gorgeous evening, where a few combos from the Litchfield Jazz Camp performed on a beautiful outdoor terrace. Every year, the Jazz Camp mentors young musicians, and over the years the Camp has turned out many professional artists. The first combo, We Got Cake, was led by pianist Julian Shore, and they played in a most accomplished way, creating a very mellow atmosphere. There improvisations were thoughtful and incisive with inventive solos. The band played together beautifully.
Vita West Muir, LJF founder, welcomed the crowd, and discussed the Jazz Camp and how they gave $70,000 in need-based scholarships. She introduced Don Braden, Musical Director of Litchfield Jazz Camp, who talked about the meaning of jazz, and the inspiration the mentors get from the kids at the Camp. He thanked all the people for attending, and for all the donations.
The second group, Sticky Chicken, under the leadership of saxophonist Kris Allen, started with an up-tempo rendition of “Comes Love,” which was beautifully sung by vocalist Kaitlynn Abbott. They followed with a lively number with great musical interaction. If you closed your eyes, you could imagine you were listening to seasoned musicians.
Vita West Muir returned to the mic and mentioned the violinist in Sticky Chicken, Conor McMillen, had just been given the music the night before, and joined the group that morning. There was nothing but camaraderie and sharing, and it was a wonderful thing. Then, Vita introduced Albert Rivera, Operations Director of Litchfield Jazz Camp, music professor, and professional saxophonist. Albert talked about his Camp days and meeting Luques Curtis, and he reminisced about how they would play until they had to go to bed. Rivera noted that he was a scholarship student at Litchfield Jazz Camp, so you never know what will flower from the scholarships given.
The third group, Dr. Creg’s Flowers, was headed by bassist Luques Curtis. They played some powerful straight-ahead jazz, followed by an exquisite ballad sung by Danielle Angrand. There were stand-out solos, and unbelievably tight performances, especially from a group so young.
The fourth band, The Bridge, was under the direction of saxophonist Wayne Escoffery. The group started with some incendiary jazz that just swept the crowd away. Once again, it was hard to believe that you were listening to young students. These bands are really a testament to the wonderful work being done by the Litchfield Jazz Camp. This group included music by Horace Silva, and they were clearly up to the task. Then, vocalist Jolie Demesmin joined the group and did a superb performance of “Pug-Nosed Dream.”
For the indoor concert at the Gala, the host was Mike Gow of WZBG Radio. Gow recalled how years ago, Vita asked him to fill in as a host of LJF when the scheduled host couldn’t make it, and he has hosted for years.
The opening act of the evening was another Jazz Camp group, Roll 7, assembled by guitarist Paul Bollenback. They began with a lovely rendition of “The Look of Love,” wonderfully sung by Ricki Rizzo. They continued with Cedar Walton’s “Fantasy in D,” a sizzling piece that lit up the room. After the set, Vita told the audience that drummer Cooper Fenton is only 14 years old!
The headliner of the evening was composer/saxophonist/multi-instrumentalist Alexa Tarantino, who started at Litchfield Jazz Camp at 14. Now, she is a principal saxophonist with the Jazz at Lincoln Center Orchestra. Alexa has also appeared with Arturo O’Farrill, Cécile McLorin Salvant, Artemis, and many others. Tarantino’s band included pianist Steven Feifke (Alexa’s husband), bassist Jennifer Vincent, and drummer Jared Schonig.
Alexa thanked Vita West Muir, Don Braden, and Albert Rivera for her experiences at the Jazz Camp, which gave her a start to her flourishing career in jazz. She added that Jazz Camp changes lives for so many young musicians. The group started with an energetic number by Wayne Shorter, and they played like they had been together for years. Alexa showed off the skills that have brought her so far, and her band members provided marvelous support, with each artist getting their moment in the spotlight. The band followed with a mellow, minor-key tune that washed over the crowd like a warm wave.
The music continued with Alexa’s originals “Surge Capacity,” and “Violet Sky,” as well as Charlie Parker’s “Chi Chi.” Then Tarantino performed “A Time For Love” as a solo in tribute to her high school teacher, who she said changed her life, and who was in the audience. It was a hypnotic, moving song, and Alexa owned the stage with this one. She said she’d get with her former teacher after the concert. The next song was Tarantino’s composition, “A Race Against Yourself,” a high-speed chase where the quartet took the crowd on a lightning-fast ride. None of the players missed a beat, playing like a well-oiled machine.
Alexa said, “It’s been a pleasure to be back with you all. I love Litchfield. It changed me.” The last song of the evening was Luis Demetrio’s “La Puerta,” and Tarantino said it is one of her favorites. This Latin-flavored ballad was a real beauty with great input from each of the musicians. It was a charming finish to a splendid night of music.
Saturday, July 27
Amina Figarova and the Matsiko World Orphan Choir
The afternoon of jazz began with pianist Amina Figarova, who brought the Matsiko World Orphan Choir to perform music from Amina’s CD, Suite for Africa. Amina met the group by a chance encounter on an airplane. She learned that they were orphaned and at-risk children from war-torn Liberia. Their mission is “to turn the pain of loss, hunger, and hopelessness into personal empowerment.” Vita West Muir described the background of the Matsiko World Orphan Choir and how they recently had appeared at the New Orleans Jazz Festival, to rave reviews!
Host Mike Gow introduced Amina and her fellow musicians, drummer Rudy Royston, trumpeter Alex Norris, bassist Luques Curtis, saxophonist Wayne Escoffery, and Bart Platteau (Amina’s husband) on flute. The set began with a sparkling number that featured some deft solos by Figarova and Escoffery. Then the choir members came onstage and started singing a cappella in beautiful harmony. The band joined in on the joy-filled, exuberant music that had the audience clapping, nodding, and toe-tapping. Amina introduced the band and the choir and exclaimed that the children are celebrating Liberia Independence Day! Next was a South African gospel song that really rocked the house. Between the superb band and the outstanding voices of the kids in the choir, it was exhilarating.
“Suite For Africa” was a percussive delight. At first glance, a children’s choir and a jazz band might not seem like an obvious match, but in this case, they blended magnificently. The next piece had the choir singing and chanting simultaneously, followed by a clarion-like flute solo by Bart Platteau, and some fine additions from saxophonist Wayne Escoffery and trumpeter Alex Norris.
Then, a danceable, jaunty melody filled the venue with good vibes and had the talented members of the choir high-fiving each other. “Cha Cha Kuma” had Amina doing double duty as a conductor and pianist on this lovely, upbeat piece. The set closed with “Through These Eyes,” an inspirational song where the choir encouraged the crowd to clap along. This show was an excellent start to the day’s music.
Allison, Cardenas & Nash
The trio of Allison, Cardenas & Nash – bassist Ben Allison, guitarist Steve Cardenas, and saxophonist/clarinetist Ted Nash, made a conscious choice to have a group without drums. This was a nod to the groundbreaking drummerless trios of the 1950s and 1960s led by reedist Jimmy Giuffre and guitarist Jim Hall.
The trio got things started with an intimate tune with a contemplative feeling. The communication between the musicians was marvelously subtle. Then they played a minor-key piece that was quite expressive in a quiet way, with all three artists playing off each other with aplomb. It was so relaxing to listen to, that you could almost have been chilling out in front of a fireplace.
They next performed the title song from their recording, Tell the Birds I Said Hello: The Music of Herbie Nichols. The late pianist/composer Herbie Nichols had tremendous originality and imagination, but although he wrote “Lady Sings the Blues” for Billie Holiday, he was still rather obscure during his life. It was only in the years after his death from leukemia that Nichols became a favorite in avant-garde circles. The performance of Herbie’s song was so calming, whatever tension or anxiety existed in the audience, “Tell the Birds I Said Hello” was just the song to remedy that. The gentleness of each solo further helped to ease the listeners into a state of grace.
The set continued with a tribute to Leonard Bernstein, an emotive compilation from their CD Somewhere Else – West Side Story Songs. For anyone familiar with this iconic play/movie, this was certainly recognizable, yet the trio put their own spin on the music. The next ballad, “Ida Lupino,” by Ben’s longtime collaborator Carla Bley, “Ida Lupino” was from their CD, Healing Power, and it was another meditative beauty that entranced the crowd. These artists really wove some enchantment.
“Waltz New” was sprightly, yet still laid-back, which seems to be the modus operandi of this group, and their interaction was effortless. Another Jim Hall composition, “Bimini,” was the final song of the concert, and the musical conversation was just as good as it had been throughout. Ted Nash’s sax was front and center, and he hit some remarkably high notes. Ben Allison’s bass solo added a fine extra touch to the piece, which closed out the set with style and finesse.
The Bill Charlap Trio
Renowned pianist Bill Charlap grew up in a musical family. His mother is vocalist Sandy Stewart, and his father was Broadway composer Moose Charlap. From his musical beginnings, Bill has had a celebrated career that includes several Grammy nominations and wins. He was joined at LJF by bassist David Wong and drummer Kenny Washington, and the trio began with the lilting and upbeat “I’ll Remember April,” then jumped right into Gerry Mulligan’s “Rocker.” They followed with a deliciously romantic “It’s Only a Paper Moon,” with Charlap’s piano riffs giving special flavor to the emotional number.
“Godchild” was a lively piece that had great interchanges, with Bill’s piano leading the way, and David and Kenny matching him note by note, beat by beat. “Beyond the Bluebird” was some fabulous straight-ahead jazz with fine contributions from each player. “Blues in the Night” was deliciously down and dirty, like something you might hear in a honky-tonk bar. There doesn’t seem to be anything Bill Charlap and his musical compatriots couldn’t play!
Bill mentioned that the 100th anniversary of Billie Holiday’s passing was just a week before, and he said that Billie and Louis Armstrong were the definitive jazz vocalists. Charlap began “I Can’t Get Started” with a witty piano solo, then he and his cohorts morphed into a rapid-fire “They All Laughed” where Wong and Washington really shone. “Not a Care in the World” was a swinging pleasure, and the players presented it like they really didn’t have a care in the world. “Detour Ahead’ was so evocative and emotional, with a softness that really resonated with the crowd. They changed the pace again with the thrill ride by Charlie Parker, “Segment,” then brought the Saturday concerts to an outstanding closing with Dizzy Gillespie’s swinging bop tune, “Groovin’ High.”
Sunday, July 28
Jazz Brunch
The Jazz Brunch has become a much-anticipated annual event at LJF. It took place at the Bourne Courtyard at the Frederick Gunn School. A cornucopia of delicious food was catered by Litchfield’s Official Chef, Charlene Dutka.
Singer/songwriter/arranger Nicole Zuraitis and saxophonist Albert Rivera were both Jazz Camp students, and now they are both professional musicians with very full plates. Nicole won a Grammy Award in 2024, and the program at the Jazz Brunch was titled A Century of Jazz, which featured music from Tin Pan Alley, The Great American Songbook, and traditional jazz. Vita West Muir thanked everyone for coming, and she introduced the band. Zuraitis was accompanied by drummer Dan Pugach (her husband), bassist Matt Dwonszyk, saxophonist Albert Rivera, and guitarist Paul Bollenback. The band started with “Honeysuckle Rose,” that had Nicole scatting vibrantly, and the band providing lovely support on this charming swing.
“Tea For Two” showed Nicole’s warm, crystal-clear, dynamic voice off to its best advantage, and it was easy to understand why she is now a Grammy Award winner. Albert Rivera’s smooth sax and Paul Bollenback’s guitar riffs added a lot to the song, while Matt Dwonszyk tore it up on the bass. Zuraitis cracked some jokes during this tune, which tickled the audience and showed off her witty stage presence.
The next song, “Georgia,” was made famous by Ray Charles, and Nicole performed it in a sultry, winning way, with equally winning support from the band. Sidney Bechet’s “Si Tu Vois Ma Mere (If You See My Mother)” was a delightful trip back in time that was like a warm hug. Dinah Washington had a hit with “What a Difference a Day Makes,” and this band performed it for all it was worth. Zuraitis said that one of her favorite songs of all time is “Spring Can Really Hang You Up the Most,” and the quintet put their all into this gorgeous, wistful ballad. The George Gershwin composition, “But Not For Me,” was done as a rapid-paced whirlwind ride that exhilarated the audience.
Nicole said she can’t get away from the next song, and added, “This song haunts my dreams.” She wrote the inventive, humorous, “I Love You a Latte,” a delectable confection, which the group played to perfection.
After a short break, the band returned to play a moving ‘Softly As in a Morning Sunrise,” followed by a stellar “September in the Rain” with superb vocals by Zuraitis, a marvelous sax solo by Rivera, a wonderful guitar interlude by Bollenback, and tight drum rhythms by Pugach. “Let Me Love You” is somewhat autobiographical, and Nicole was inspired to write the song by the music of Tin Pan Alley. It was a beautifully romantic tune.
Next, Zuraitis took requests, then joked that she’d ignore them if she didn’t know the song. She and the band performed a snippet of “You Are My Sunshine,” then launched into a splendid rendition of “Unforgettable” that perfectly matched the exquisite summer weather. “Get Your Kicks on Route 66” continued the great vibe of this concert with a delightful version of this classic where they had a blues section in the middle. This band really covered the last century of jazz in a spectacular fashion, and they gave an amazing closing to the 2024 LJF!
LJF 2025
The 30th anniversary LJF will take place from July 25 to 27, 2025! The lineup includes Emmet Cohen, the Matt Dwonszyk Sextet, Pasquale Grasso and Frank Vignola, the Anat Cohen Quartetinho, and Champian Fulton. For more information, go to www.litchfieldjazzfest.com.
