Dazzle is honored by the people of Denver to win not one, not two, but THREE Westword Best of Denver 2024 awards.
THANK YOU, DENVER!
Best Jazz Club (Music & Venues)
Best Blues Club (Reader’s Choice, three years in a row)
Best Late-night Jazz
Dazzle has brought so much to the jazz scene since it opened its doors at 930 Lincoln Street in 1997, but the venue really showed its love for the city by deciding to spotlight another jazz club when it had its long-anticipated reopening in the Denver Performing Arts Complex last August. The El Chapultepec Piano Lounge honors the come-as-you-are spot that closed during the pandemic, in partnership with the El Chapultepec Legacy Project. Dedicated to maintaining the ‘Pec’s legacy, the lounge offers late-night sets from 11 p.m. to 1 a.m. on Thursdays, Fridays and Saturdays — and they’re all free.
These are the touring shows that are coming to Denver. All of the other shows on our website are top local musicians.
Nicholas Payton Trio with Adam Deitch & Will Gaines
Show Description
Musical Style: Black American Music As a leading voice in American popular music, the Grammy Award-winning Nicholas Payton is a multi-instrumentalist, vocalist, composer, producer, arranger, essayist, and social activist who defies musical and artistic categories. All the while, he honors the tradition of what he terms “postmodern New Orleans music,” as well as the spirit of Black American Music, of which he states, “There are no fields, per se. There are lineages.” The New Orleans-born Payton has followed his calling since growing up under the tutelage of his parents — acclaimed bassist Walter Payton and Maria Payton, a pianist and vocalist. Already a prodigy before entering the first grade, he began playing trumpet at age four and started performing professionally at age 10. Before the age of 20, he was already in demand by everyone from Danny Barker and Clark Terry to Elvin Jones and Marcus Roberts. Payton released his first album, From this Moment, in 1995 on the famed Verve label. He received his first Grammy nomination in 1997 for the album Doc Cheatham & Nicholas Payton, and for the category of Best Instrumental Solo, which found him winning the award that year. Payton has released over 20 recordings as a leader, pushing musical boundaries and showcasing a variety of contemporary and traditional styles, while displaying his ambidextrous ability to play both the trumpet and keyboard at the same time when he’s inspired to do so. He has collaborated with numerous mentors and contemporaries alike, ranging from Common and Cassandra Wilson to Trey Anastasio, MonoNeon, and Jill Scott, to Dr. John, Joseph “Zigaboo” Modeliste of The Meters, Allen Toussaint, and Abbey Lincoln to name a few. His most recent albums are Quarantined with Nick and Maestro Rhythm King, both released in 2020. “Everything I write is about life experiences. The music means nothing without life. A life lived. It’s not just notes on a page. It’s not just a technical exercise. It’s vibrations and energy,” Payton says. “And I’m striving to help lift, if possible, raise the vibration of the collective conscious one audience, one album, one song at a time. If I can’t do that, there’s no point in me playing. That’s why I play. It’s about contributing to society and inspiring. That’s my life as an artist, period. Challenging people to think differently, to think critically and to not be slaves to the system and the status quo.” In addition to Payton’s work as a performer, he is an equally respected composer, having written The Black American Symphony an orchestral work, which the Czech National Symphony Orchestra commissioned and performed. He led a live concert performance of Miles Davis’ renowned Sketches of Spain with the Basel Symphony Orchestra in Switzerland. “Pretty much all the music that I play is centered in Black culture, Black music. And that’s why I’ve eschewed jazz and came up with the terminology, Black American Music, because I want to be connected to the whole of it,” Payton says about genre. “It’s all the same. John Coltrane and Charlie Parker and James Brown could be neighbors. So what’s the distinction there? The only difference in the music is who they came through, and where they’re from.” As a leader, Payton’s seminal writings and discussions on the problematics of the term and associations of “jazz” have inspired musicians, researchers, music listeners, and thinkers alike. As such, he termed Black American Music, or #BAM for short, to represent the breadth of improvisational musical creations created by Black people in the U.S., regardless of genre. His introduction of #BAM into the lexicon of popular music discourse landed him an entry in the New York Times’ “The Decade in Jazz: 10 Definitive Moments” in 2019. “(Black American Music) is … a liberation music, it is our first global recognition in humanizing, if you will, a class of people who were systematically dehumanized for centuries,” Payton says. “The concern for me is to draw from the wellspring of all the great Black ancestors who inspired me to play this music in the first place. And to hopefully keep that energy, that spirit.” Through his mission-driven work and art, Payton continues to creatively move boundaries, while inspiring and remaining inspired by the pioneering lineage of Black American Music, of which he is a part.
Jane Monheit is a jazz and adult contemporary vocalist with a deep passion for the Great American Songbook. With many highly acclaimed solo albums, countless awards and accolades, and over two decades of international touring experience, Jane has not only been an extremely successful bandleader, but has had the privilege of making music with some of the greatest musicians, arrangers, and producers in jazz.
During her childhood, Jane studied woodwinds and piano, spent a decade performing in award winning choirs, and participated in community theater on Long Island. Throughout all of this, her focus remained on jazz, especially interpretation of the Songbook. At the age of 20, during her senior year at the prestigious Manhattan School Of Music, Jane placed second in the Thelonious Monk Competition, now known as the Hancock Competition. This led to an incredible career trajectory, catapulting Jane into the jazz stratosphere nearly overnight.
By 22, Jane was working with legends such as Tommy Flanagan, Ron Carter, and Kenny Barron, recording her first albums, and touring the planet. This led to collaborations with jazz luminaries such as Terence Blanchard, Ivan Lins, Tom Harrell, John Pizzarelli, Christian McBride, Vince Mendoza, Jorge Calandrelli, and many more. Countless television appearances followed, including David Letterman, Conan O’Brien, CBS Sunday Morning, Good Morning America, The Tonight Show, The View, and many popular international talk shows. Several successful film soundtracks have also included Jane’s music, including Sky Captain And The World Of Tomorrow and Never Let Me Go.
After more than twenty years, twelve studio albums and countless recorded guest appearances, Jane has continued to tour the world nearly nonstop, including playing iconic venues such as Carnegie Hall, The Hollywood Bowl, and headlining at nearly every legendary jazz club on the planet, most notably NY stalwarts such as the Village Vanguard and Birdland. In addition to touring, she also writes English lyrics for Ivan Lins, and uses the knowledge and experience she has gained both at Manhattan School Of Music and on the legendary bandstands of the world to educate and uplift students worldwide. Jane resides in Los Angeles with her husband of over twenty years, drummer Rick Montalbano, and their son.
Musical Style: Holiday Show To watch Stella Cole perform is to be transported back in time. Her sense of joy and wonder is infectious – one look at her massive social media following makes this clear. Take a quick scroll through the comments of any of her many viral videos and you’ll see not only her irresistible charm, but an ability to expose fans of all ages to the wonders of the Great American Songbook, especially when these timeless stories are told honestly by an artist with an uncanny ability to transcend generations. On her highly anticipated debut recording, Stella is presented performing interpreting a collection of classics in a variety of settings, including many featuring an orchestra arranged by multiple Grammy-winner Alan Broadbent. Featuring songs made famous by everyone from Barbra Streisand (“When the Sun Comes Out”) and Judy Garland (“The Boy Next Door” and a classic re-interpretation of “Over the Rainbow”) to Billie Eilish (“My Future”) and Audrey Hepburn (“Moon River” of course!), it is sure to be one of the most impressive vocal recordings of 2024. Upon first hearing Stella Cole, one is immediately struck by her rich tone and extraordinary vocal control. However, what is particularly rare is her ability to interpret songs that were initially intended for actors in character in a direct, personally vulnerable way that connects to something within herself, placing her in the lineage of the greatest interpreters of the repertoire. Perhaps most exciting, to her many young fans, who have never heard these songs before, these are Stella Cole songs, which clearly makes her one of the most exciting artists of her generation.
Otis Taylor grew up in Denver, but like the old blues song said, he was born in Chicago in 1948. According to Taylor his parents were both jazz fans. My dad worked for the railroad and knew a lot of jazz people. He was a socialist and real bebopper. His mother loved everything from Etta James to Pat Boone. The first instrument Taylor learned to play was the banjo, but he soon rejected the banjo for its association with the racist American South. Taylor would eventually return to the banjo upon discovering its African roots.
Like so many musicians in Denver, Taylor drew inspiration from time spent at the Denver Folklore Center founded by Harry Tuft, where he first heard Piedmont, Delta, country, and Chicago blues artists like Son House, Muddy Waters, and Mississippi Fred McDowell. He learned to play guitar and harmonica and while still in his teens he formed a band called the Butterscotch Fire Department and later the Otis Taylor Blues Band.
Musical Style: Jazz Christian McBride is an eight-time GRAMMY-winning bassist, composer, and bandleader. He is the Artistic Director of the historic Newport Jazz Festival, the New Jersey Performing Arts Center (NJPAC), the TD James Moody Jazz Festival, and the National Jazz Museum in Harlem. McBride is also a respected educator and advocate for youth, and serves as Artistic Director of Jazz House KiDS and the Jazz Aspen Snowmass Summer Sessions. In addition to artistic directing and consistent touring with his ensembles, he hosts NPR’s “Jazz Night in America” and “The Lowdown: Conversations With Christian” on SiriusXM. Whether behind the bass or away from it, Christian McBride is always part of the music. From jazz to R&B, and pop/rock and hip-hop/neo-soul to classical, he is a luminary with one hand ever reaching for new heights, and the other extended in fellowship—and perhaps the hint of a challenge—inviting us to join him.
For this show he is joined by four rising young master instrumentalists including saxophonist Nicole Glover, guitarist Ely Perlman, pianist Mike King, and drummer Savannah Harris. Michael King – keys Virtuosic pianist Michael King, a Chicagoan native, began playing drums in his local church band at the early age of 4. This fortuitously melodic schooling nurtured an undeniable affinity to the piano and organ, the very seat that he began to occupy, by ear, at age 14. Mr. King is an alumni of Lincoln Park High School and the prestigious Oberlin Conservatory. He was selected to attend the Thelonious Monk Institute and The Ravinia Jazz Scholars program on merit scholarships. Michael has performed with Bobby Watson, Kevin Eubanks, Dave Liebeman, Gary Bartz, Billy Hart, Joel Frahm, Rufus Reid, & Antonio Hart, among others. Currently you can catch Mr. King touring internationally with: DeeDee Bridgewater, Robin Eubanks, Theo Croker’s DVRK FUNK, Soul Understated, & Marcus Printup. Savannah Harris – drums Savannah Harris is a New York City-based drummer, composer and producer. Raised in Oakland, California by musician parents, she gravitated towards the drums at age 2. Steeped in a jazz tradition, Savannah views its connection to all forms of diasporic and folkloric music as central to her approach. She’s performed and recorded with indie and experimental artists Helado Negro, Georgia Anne Muldrow, KeiyaA, Nick Hakim, Kate Davis, Justin Allen, and Standing on the Corner. Her jazz recordings include releases from Peter Evans, María Grand, and Or Bareket. She’s performed with Geri Allen, Jason Moran, Ambrose Akinmusire, Terrence Blanchard, Linda May Han Oh, Billy Childs, Immanuel Wilkins, Joel Ross, and Aaron Parks. Presently, she tours extensively with Christian McBride, Cecile McLorin Salvant, and Kenny Barron. In 2019, Savannah was awarded the Harlem Stage Emerging Artist Award, and she received her master’s in jazz performance from Manhattan School of Music. She was featured twice in the January 2021 issue of Modern Drummer as both a featured artist and a contributing writer. In October of 2021, she debuted her solo piece “With Inner Sound, Truth” commissioned by Issue Project Room as a tribute to composer Ruth Anderson. Savannah was also featured in Sixteen Journal’s “JAZZ” edition, with portraits shot by photographer James Brodribb. Nicole Glover – saxophone Saxophonist, bandleader, composer, and educator Nicole Glover, is based in New York City and has established herself as a rising star and a musician in great demand. Her most recent solo recording is Strange Lands (Savant), with the venerable pianist George Cables. The London Times awarded the album 4 stars, calling it “otherworldly.” It remained near the top of the Jazzweek radio charts for 11 weeks. Nicole is also an integral member of the supergroup ARTEMIS, led by pianist Renee Rosnes. In May 2023, the collective released their 2nd recording, In Real Time, on Blue Note Records. Growing up in Portland, Oregon, Nicole was a student of the American Music Program, a program dedicated to priming students for a career in jazz. In 2009, she moved east to attend the jazz program at William Paterson University. There, she studied with pianists Harold Mabern, Mulgrew Miller and tenor saxophonist Rich Perry. Currently, Nicole is a member of an new quintet led by bassist Christian McBride, and she performs often with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. She has worked with drummers Al Foster, Victor Lewis and Kenny Washington, Grammy award winning vocalists Dee Dee Bridgewater and Buika, saxophonist Rudresh Manhanthappa, vibraphonist Joel Ross, and pianists Geoffrey Keezer, Luis Perdomo, and George Colligan among others. She recently performed Mary Lou Williams’ “Zodiac Suite” with the Philadelphia Orchestra under the musical direction of pianist Aaron Diehl. An experienced educator, Nicole is on faculty at Princeton University, Manhattan School of Music, and the San Francisco Conservatory of Music. She is a passionate teacher, and has given many masterclasses and private lessons to aspiring musicians all over the globe. Ely Perlman – guitar Ely Perlman (b. 1999) is a guitarist, composer, and producer hailing from Tel Aviv, Israel. A third-year student at the Berklee College of Music, Ely Perlman is a member of Christian McBride’s newest band. In addition to collaborating with other acclaimed artists such as Shai Maestro and Ben Wendel, Ely leads multiple musical projects, including a jazz quartet highlighting his compositional vision and an indie band called “SWIMS.” Ely released “All We Got” in 2022, his first single as a singer/songwriter, and is currently working on his self-produced debut album. He received his early musical education at the esteemed Jazz Department of the Thelma Yellin High School of the Arts, graduating with honors, and at the Center for Jazz Studies at the Israel Conservatory of Music, Tel Aviv
A version of this article was published on AllAboutJazz.com on June 12, 2023.
The harp is far from a common jazz instrument and the list of famous jazz harpists is a short one. In fact, the list of significant jazz harpists probably numbers about two: Alice Coltrane and Dorothy Ashby. There have been a few others here and there, but none that had the impact of those two. But wait, there’s a new contender on the scene: Brandee Younger. Sunday night at Dazzle, Younger stated her case for expanding that short list of significant jazz harpists.
The harp brings a different sound to jazz. Often associated, in popular culture, with angels floating among the clouds, it seems antithetical to jazz’s often boisterous, gritty, slice-of-life soundscape. But the scope and sounds of jazz are wide and if a player can make an unusual instrument work somewhere within the big jazz tent, he or she will be welcomed.
At age 39, Younger has been playing for several years in a variety of contexts ranging from classical to hip hop. She’s also worked as an educator at several institutions of higher education including New York University and the New School, among others. But it was her albums on Impulse! that started to catch the attention of many in the jazz world, Somewhere Different (Impulse! 2021) and Brand New Life (Impulse! 2023).
Sunday night at Dazzle, Younger brought all her myriad influences with her along with bassist Rashaan Carter and drummer Allan Mednard. She filled her set with tunes from those aforementioned albums, alternating with songs by her harp heroes, Alice Coltrane and Dorothy Ashby (who else?). She began her set with “Rama, Rama,” a composition by Alice Coltrane. This one had an ethereal, floating atmosphere tailor made for the heavenly sonics of her pedal harp. Her original, “Love and Struggle” from Somewhere Different followed. This one, as befitting the title, had a bit more of an edge to it. Another original, “Unrest” followed. She explained that she wrote that song during the pandemic and was inspired by events happening right outside her window.
Another Alice Coltrane piece followed, “Turiya and Ramakrishna” and then her own “Moving Target” from Brand New Life. That one incorporated a busy rhythm section, especially the drum part. The hyperactive rhythmic activity contrasted nicely with the relaxed harp floating overhead. She then incorporated her other heroine, Dorothy Ashby, into the act with her composition “You’re a Girl for One Man Only,” which also appears on Brand New Life.
A solo piece followed, Stevie Wonder’s “If It’s Magic” also from Brand New Life. Younger explained that it was Ashby that played the harp part on Wonder’s original recording which appeared on Songs in the Key of Life (Tamla, 1976). “Spirit U Will” was from Somewhere Different and had one of the sharper edges of the evening, again creating tension with the rhythm section while the harp drifted above the fray in a gauzy reverie.
Perhaps Younger’s biggest challenge of the evening was the Denver Nuggets. Making their way to the NBA finals for the first time in team history, Game 2 of the series began only a few blocks from Dazzle shortly before Younger’s first set. She thanked the audience more than once for choosing her band over the game. Indeed, the first set sold out, even in the face of championship hoops. But the Nuggets have played dozens of games in Denver this season. What Denver hasn’t seen is jazz harp played like this. It was a one-of-a-kind evening.
