From 1895, the date that North American Jazz was created in New Orleans, to March 2008, there was not such a thing as a Haitian Jazz Show on the airwaves. On March 16, 2008, DJ K (Kedner Stiven) decided to put together a radio show he baptized as “Jazz Creole” broadcasted weekly on a New York Radio station. To promote, expose and encourage this movement, DJ K launched the first Annual Haitian Summer Jazz festival, which was held on Sunday August 17, 2008.
Now comes the 5th Annual Haitian Jazz Festival on August 25, 2012 featuring a cast that includes Joel Widmaier, Jean Caze, Monvelino Alexis and Mozayik.
As a precursor, Haitian Summer Jazz Festival Inc. is having a Press Conference on Thursday, August 23, 2012 from 06:00 to 09:00 pm at TheVault Café, 481 Hempstead Turnpike, Elmont, NY 11003.
The media and festival-goers will have the opportunity to ask questions and address any issues or concerns they may have regarding the 5th edition of the festival.
During the news conference, the Haitian Summer Jazz Festival, Inc. friends, members and its team will expose exciting new plans for this year’s festivities.
Scheduled speakers are Gashford Guillaume of Mozayik, Joel Widmaier, Monvelino Alexis, Kedner Stiven himself and some of the HAITIAN SUMMER JAZZ FESTIVAL 5th Edition performers.
Haitian Summer Jazz Festival is hosted by Chez Mirelle’s, 170 Post Avenue, Westbury, NY 11590 on August 25. Showtime is 08:00 pm till 02:00 am Sunday.
Originally posted on April 15, 2011; update 4 on May 02, 2011
A number of St. Lucia-based entities have banded together to bring attention to the plight of Haitian musicians who in some cases, have lost homes, equipment, places to play, sources of income, relatives and even hope, no thanks to the January 2010 earthquake that wreaked havoc on the Caribbean island nation.
In May 2010, the St. Lucia School of Music, the Folk Research Centre, the Cultural Development Foundation, Alliance Française and the East Caribbean Collective Organization for Music Rights (ECCO) invited festival and cultural organizers from Haiti, Guadeloupe, Martinique and Trinidad and Tobago to a meeting of the Haiti Music Collective, in St. Lucia, at which time a call was made to festivals the world over to book at least one Haitian musician or group in their respective line-ups for 2011.
The Forum was hosted by St. Lucian Jazz outfit Bluemangó and Labowi Promotions, the organizers of Jazz in the South, part of the St. Lucia Jazz franchise.
The Forum rationalised that Haitian artistes have made a tremendous contribution to Caribbean identity and civilization and so are deserving of the solidarity of Caribbean musicians as they rebuild their music scene and reconstruct their lives.
Labowi Promotions has in fact been supportive of Haitian artistes for over ten years, having had musicians from Haiti at Jazz in the South almost every year since 1997.
For this the 20th anniversary of St. Lucia Jazz, Labowi Promotions welcome the Wéspè Pou Ayiti Project (Haitian trumpeter Jean Caze, St. Lucian pianist/composer and co-founder of Bluemangó Richard Payne, Guadeloupean drummerSony Troupé of the Sony Troupé Quartet and member of Trio Laviso) to Coconut Bay Resort and Spa in Vieux Fort on May 01, 2011.
It was announced on Thursday, April 28 that theWéspè Project, originally scheduled for Saturday, April 30, had to be moved to Sunday, May 01, due to portending inclement weather. TheProjectwas fitted into the Sunday programme with Andy Narell and Lord Relator’s University of Calypso,Jean Caze, and from Guadeloupe, Trio Laviso andSonny Troupé, fresh from Jazz de Outre-mer in Paris during which he shared the spotlight with fellow French West Indians, Alain Jean-MarieandTricia Evy. There was no indication if St. Lucia’s Rupert Lay would still be part of Jazz in the South. Lay was originally on the Saturday 30 card.
There were reports Sunday night of incessant rain and flooding in St. Lucia. However, it appeared there were no plans to disrupt Jazz in the South any more than it already had. Therefore, the St. Lucia School of Music’s Black Antz will open for the Sonny TroupéQuartet and a Collaboration of Jazz in the South Artists at the Rudy John Beach Park, Laborie starting at 03:00 pm on Monday, May 02.
Wéspè Pou Ayiti Project
The Forum would like to see all Caribbean festivals and events do the same for our neighbours.
St. Lucia Jazz is off and running again. That sun did not, however, rise in the east; rather it came up on the fringe located to the South of St. Lucia, at Laborie and Vieux Fort.
As reported above, that was not the original plan. Bad weather forced Jazz in the South to push back its first event on Saturday, April 30 by one day. Thus, their Sunday, May 01 show at the Coconut Bay Resort and Spa in Vieux Fort shared the starting line with Jazz on the Beach, the Beachfront of Royal by Rex, and the Fire Grill Restaurant and Lounge Bar.
An all-St. Lucian lineup led by the premier Lucian saxophonist and Caribbean Jazz icon, Luther Francois, rang in The Jazz at the Jazz on the Beach. Tailing off behind Francois’ conga line were the likes of Blues guitarist Robert ‘Zi’ Taylor among others – Stacy Charles & Phaze Band, 4th World, Pantime Steel Band and Teddyson John. Luther Francois could be seen again at Carellie Jazz – in the park on May 02.
Over at the Fire Grill on May 01 was the Derek Yard Project together with a lapokabwit (goat skin) drum ensemble. Jazz on the Grill is a three-day fringe event, which ends on May 03.
Move over Derek Yard, Boo Hinkson & Friends will man the Fire Grill on Monday, May 02 from 08:00pm; and Zi & the Vibe Tribe will serve the menu on Tuesday, May 03 at the same time. Boo Hinkson doubles the fun at J Q Charles Shopping Mall on Tuesday, May 03 during Jazz Rhythms @ Rodney Bay Mall.
The name Markus Schwartz has grown in my consciousness for some time now. It has come up time and again as I continue to introduce myself to the body of Haitian Jazz artistes, be they Jazz artistes born of Haiti or Jazz artists born with a Haitian soul – no matter where they are in the diaspora. But I could not have been ready for what I heard upon dunking the Markus Schwartz & Lakou Brooklyn’s “Equinox” in the CD carousel and the “lanbi” (conch shells), “tcha-tcha” gourd shakers and the “Fe” (iron instrument, fashioned from the recycled automobile leaf spring) came into sonic view as an introduction to Kote Moun Yo?(Where are the people?).
Upon hearing the orchestral drum chorus that anchors the head of Kote Moun Yo?, one would not have guessed it, but Markus Schwartz & Lakou Brooklyn is a four-man band from the Brooklyn yard. For effect, Schwartz sampled various iterations of Haitian drums and looped the recordings in real-time to create the impression of a battery of drummers playing together. No click tracks and electronic drums here, thank you.
Further enhancing the mood of the piece is the mellow, understated horn of Jean Caze and the electric guitar noodling of Monvelyno Alexis. Granted, both Caze and Alexis take their turns at melody deconstruction; and Schwartz imposes himself in the mix oh so slightly, especially after Caze makes a run through a number of choruses. However, it was the ensemble playing that made the greatest impression on me for a start. What an invigorating first impression that was!
The music of Markus Schwartz and Lakou Brooklyn is naturally soft, yet powerful, lending fresh meaning the saying that one does not have to be loud to be heard. With this kind of sound, excitement has to be found in the nuances. In pursuit of this, the leader adds another layer to the repertoire, the acoustic bass of Paul Beaudry, on Yanvalloux.
Beaudry is charged with the responsibility of eschewing in trumpeter Caze whose straightforward statement of the head of this title, ushers in a dream, one that becomes a fantasy on the back of the hushed picking of the guitarist. Schwartz is almost inaudible on this one, letting Caze go front and center. This is Jazz at its core, complete with trading and exchange. Therefore, Caze must characteristically return the favour to Beaudry, which he does by expanding the theme to inspire the bassist to essay another unique interpretation on the low-end.
Fortune is on Beaudry’s side again on the next offering, Seremoni Tiga. This time, he must use the bowed bass to summon up and chant the Vodou down. Meanwhile, the trumpeter is squeezing some poignant notes out of his horn to conjure the sensibility of the solicitation just right. Then he lets go to the figurative dancers who respond to the enchantment derived from the drums and percusssion with the kind of fervour set aside for the trance. I can see all this unfolding in my mind’s ears. The music is telling me a story. My first impression of Markus Schwartz and Lakou Brooklyn is not misplaced.
Every album has to have a ditty, I think. On “Equinox,”Cecia is it. Cecia is the type of song that can be learned as easily as a classic pop tune from yesteryear. It is simple enough, I figure, so that the subject for whom this traditional Haitian song was written could find its meaning. Placed as it is, in the middle of the six-song playlist, it serves as a pause – an intermission of sorts – for next up is the title track, “Equinox” by John Coltrane.
Not that it matters so much, but “Equinox” is the one oddity of the album. (Don’t misunderstand!) Apart from Yanvalloux (written in 1956 by Haitian guitarist and composer Frantz Casseus as part of his “Haitian Suite”), “Equinox” comprises of strictly Traditional Haitian songs. Nonetheless, if for no other reason than that it is important for a local audience, in this case Haitians and Caribbeans (this is what Canadians call us), to appreciate that Classic Jazz can be re-worked respectfully in an indigenous format, “Equinox” is a perfect fit in this context.
That said, the traditional compositions, all of which are assumed to be in the public domain, are what make “Equinox” a valid addition to the growing library of hyphenated Caribbean-Jazz, if I can call it that. In this regard, Markus Schwartz & Lakou Brooklyn have done justice to Haitian rara.
Want some mental stimulation?
Track down this recording,
and spin it when all is clear
for you must immerse completely.
Distractions are not welcome
for there is too much to hear.
There’s too little to miss in this forbidden Jazz fix
amidst the uncluttered song sequence than numbers six.
Jean Caze: trumpet, flugelhorn, vocals, conch shell
Monvelyno Alexis: electric guitar, vocals, percussion
Paul Beaudry: acoustic bass, percussion
EQUINOX (Soundkeeper Recordings, SR1002):
Kote Moun Yo?
Yanvalloux
Seremoni Tiga
Cecia
Equinox
Gede Drum-n-Bass
Equinox is Stereophile’s February 2011 Recording of Month, performed by Markus Schwartz and his band, Lakou Brooklyn, and recorded using Metric Halo’s award-winning ULN-8 by sound engineer Barry Diament of Soundkeeper Recordings.
Learn how Diament recorded the album using premium Nordost Valkyrja microphone cables with the Metric Halo ULN-8, paired with his Mac laptop running Metric Halo’s Record Panel.
“With only one microphone feed per playback channel, the result is quite time coherent and focused,” said Diament. “Any imperfections become obvious. With my ULN-8 and the Record Panel, this simple setup does a wonderful job capturing the performance as an audience member would hear it.”
Island Productions and Promotions of Trinidad and Tobago put together their second annual Mother’s Day tribute to mothers on Sunday, May 09, 2010. This follow-up to a similar event last year took place at the Senior Common Room Grounds of the University of the West Indies, St. Augustine campus from 06:00 pm, Sunday.
At the top of the card as listed on the MamaDis is Jazz website was the pianist Dave Marcellin Trio.
However, the line up was so packed with some of the best Tn’T Jazz talents that it would not be a stretch to lump the Marcellin Trio with the UTT Jazz-tet, which boasts other national greats drummer Sean Thomas, guitarist Theron Shaw, keyboardist Wayne Guerra and bassist Douglas Reddon; The Jazz Singer Vaughnette Bigford;
…bassist/multi-instrumentalist Mike Boothman; and sitar player Mungal Patasar and Pantar.
Also appearing at Mama Dis is Jazz was 3 CANAL, The PCS Nitrogen Silver Stars Steel Orchestra, Kenneth Clarke, Robert Munroe and friends.
Haiti
Another Caribbean Jazz-themed Mother’s Day event that took place in the diaspora was the Mother’s Day Haitian Jazz Music Celebration. Some of the most prominent Jazz musicians from the Haitian side of the world were down to perform at SOB’s on 204 Varick St. and We. Houston. They were keyboardist Reginald Policard with bassist Addi Lafosse, drummer Harvel Nakundi; bassist Rigaud Simon with guitarist Eli Menezes, keyboardist Axel Laugart, saxophonist Joe Albano, drummer Gashford Guillaume and percussionist Sergo Decius.
Making special appearances at An Evening of Haitian Jazz Music were trumpeter Jean Caze and singer Pauline Jean with drummer Shirazette Tinnin, keyboardist Miki Hayama, bassist Linda Oh and percussionist Paula Green.
The world now revolves around Haiti as peoples from the four corners of the globe mobilize in response to the tremendous human suffering wreaked upon it by the 7.0 magnitude earthquake of January 12, 2010.
Central to this outpouring of support is music. Artists from across all genres have already begun to lend their talents and star power to draw in support, in cash and in kind, for our brothers and sisters who occupy one-third of the island of Hispaniola that they share with the Dominican Republic.
Not to be left out of the loop, Jazz artists are no more swinging their axes, blowing their horns, wielding their sticks, beating their drum heads and exercising their pipes just because, but rather for the cause.
For instance, Haitian Jazz artist Pauline Jean, instead of preparing for her tour to Haiti for the International Festival de Jazz de Port-au-Prince, was otherwise engaged with Project S – “Sisters in Jazz” in putting on a Benefit Concert for Haiti Earthquake Relief. The Tuesday, January 19 Exclusive that resulted from this collaboration was held at Tutuma Social Club, New York, NY.
Joining Jean were five other lead females, drummer Shirazette Tinnin, bassist Mimi Jones,keyboardist Miki Hayama, saxophonist Camille Thurman and percussionist Paula Green with support from Luis Perdomo on keys and Obed Jean Louis on guitar.
The Pauline Jean Quintet and other Talented Artists United for the Cause, performed at MIZIK POU AYITI/Music For Haiti Benefit Concert on Friday, January 29 at the Dweck Center for Contemporary Culture, Brooklyn Public Library.
The evening of music in support of relief efforts in Haiti also featured Buyu Ambroise (with Paul Beaudry, Steeve Belvilus and Allan Mednard in the Blues in Red Band), Mozayik, Jean Caze,Markus Schwartz (Tanbou Nan Lakou Brooklyn), Chardavoine, Melanie Charles, The Altino Brothers, Lou Rainone, Tiga Jean Baptiste and more…
Jean gets back to her charitable ways at il Casale Italian Bar, Belmont, Massachusetts on Monday, March 15 2010 with Her Sisters in Jazz band (Pauline Jean (vocals), Mimi Jones (bass), Shirazette Tinnin (drums), Miki Hayama (keys) and Paula Green (percussion).
Heritage and Heart for Haiti will celebrate the vibrancy and history of Haitian culture through its music and art. Pauline Jean and the Sistas will perform classic Haitian music while narrating the long-term needs of the Haitian people who have become victim to the devastating earthquake of January 12.
Part proceeds are earmarked for the Clinton Bush Haiti Fund.
Canadian flautist Jane Bunnett, who was due to perform at the International Festival de Jazz de Port-au-Prince from this weekend, had a cause of her own to fulfill on January 28, 2010. Bunnett organized a fundraiser for that day at the Hugh’s Room, 2261 Dundas St. W, Toronto to, as she told InsideToronto, “…make as much money as we can…to go to Doctors Without Borders.” Her assemblage comprised of the Spirits of Havana with special guest Hilario Durán and others.
More than that, Bunnett has pledged to do a whole series of such fundraisers for the people of Haiti. Thus, the same soprano sax that would have wowed the Port-au-Prince Jazz fraternity from January 23-30 sounded a clarion call to Jazz Fans in Toronto to reach out on January 28 and lend their helping hands.
Jane Bunnett has a history with Cuba, which serves as a hub of sorts for her Latin forays. Several collaborations with Cuban and other Latin musicians have resulted from that relationship. Interestingly, she became inadvertently tied to the Haitian experience through musicians of Haitian origin who migrated to Cuba.
Now we go across the waters to Jamaica for an example of Haitians helping Haitians. Singer, songwriter and producer JeanPaul Solomonoff, born to a Haitian mother and a Russian Polish Jewish father, performed with Jamaican pianist Monty Alexander at the 2010 Jamaica Jazz & Blues Festival, Jan. 28th. All proceeds are destined for the Clinton/Bush Haiti Fund.
JeanPaul teaming up with Alexander was not an ad hoc pairing by any means. In fact, Alexander appears on JeanPaul’s début single Eyes for You from a forthcoming album entitled Introducing JeanPaul. The single drops on iTunes on February 14, 2010. I figure it might well be a Valentine for Haiti.
Heading further south into the Caribbean Sea, Barbadian musician/artists undertook a massive Relief Concert and Telethon on Saturday, January 30 from mid-morning til nightfall. From first glance, one would think that every single singer of songs and player of instruments were lined up backstage at Farley Hill to touch nerves and coax the goodness out of the pockets of their country folk.
Haiti, Barbados Loves You – Relief Concert and Telethon was an eight-hour marathon featuring 114 local Barbadian artistes and 7 bands. David Rudder, the special guest for the occasion, was no doubt a must-have on the strength of his “Haiti” apology.
These hundred plus artists ran the gamut of Gospel, R&B/Alternative, Spouge, Reggae/Dancehall, Calypso/Soca and, yes, the Jazz of Kellie Cadogan, Arturo Tappin, Nicholas Brancker and Marisa Lindsay.
The other women and men of honour are:
Allison Norville, De Warrior, Hozia Hinds, Kareem Clarke, Lillian Lorde, Mya Daniel, Paula Hinds, Shane Forrester and Sister Marshall from the Gospel field;
Carolyn Leacock, Dwayne Husbands, Kirk Browne & Strategy, Omar McQuilkin, Philip 7, Ria Borman, Richard Stoute, Rosie Hunte, RubyTech, TC, Toni Norville and Kim Derrick from the R&B/Other Alternative field;
Kirtorah, Mike Grosvenor, Mike Thompson and Tony Grazette from the Spouge field;
Albert Olton, Brimstone, Buggy, Danielle, Fully Loaded, LRG, Oracle, Prosperity, Ras Al-I, Seth Billy, Super Ruben, Tabitha, Black-Clay-Soil from the Reggae/Dancehall field;
Adrian Clarke, Allan Sheppard, Colin Spencer, Edwin Yearwood, Gabby, Grynner, John King, Khiomal, Little Rick, Mikey, Mr. Dale, Natalee, RPB (Red Plastic Bag), Merrymen, AC, Dazzle, Sir Raule from the Calypso/Soca field;
The MCs for the marathon are Ferdinand Nicholls, Peter Coppin, Admiral Nelson, Jamar Browne and Mac Fingall.
From Barbados in the middle of the Lesser Antillean arc, we make a great big loop to the north-western end of the Caribbean region. We land in the Cayman Islands where the Rotary and Rotaract Clubs of Grand Cayman organized Cayman’s Jazz musicians for Haiti.
The island’s Grand Old House, on Wednesday, February 03, was ground zero for a silent auction Haiti Relief effort featuring saxophonist Gary Ebanks and Leyannes Valdes, Chris Bowring, Big Eye Squirrel and Cool School.
Swedish Jazz musician Ed Epstien, a friend of the Woodshed Collective from early, has mobilized the Jazz fraternity over there for a Haiti benefit tentatively scheduled for February 13 at Martas Cafe in Lund, Sweden. Weeks in the making, Ed tells us that “it looks like it is finally going to happen.” We do hope it does, Ed.
Coming back around from the Caymans, we touch base with the Haiti Community Support (HCS) of the United States Virgin Islands. The HCS had been active in their support of Haiti for seven years before the earthquake struck and were already in the habit of mounting an annual Fundraiser and Family Fun Day to fund the school that they built, a hot lunch programme for the 200 pupils at that school, a medical clinics that has been treating quake victims from day 3 and water projects.
This year, the HCS held its seventh fundraiser on Sunday, February 21, 2010 at Mt. Victory Camp in Federicksted, St. Croix, not as a one-off event, but with a special mission to raise US$80,000 over the entire year. This project, called “Eighty for Haiti” will go towards maintaining the clinics over the long run.
Of course, no fundraiser would be complete without music. So for the Jazz, in came the VI Rhythm Section; for the Quelbe/Fungi/Scratch/Folk (call it what you will), Stanley and the Ten Sleepless Knights, for a swing through Cuban Son, there was Seite Son…and the list goes on.
This is the plan: Cuban pianist Elio Villafranca lands in Haiti this weekend for Festival International de Jazz de Port-au-Prince 2010. Villafranca has been hired by Canadian saxophonist/flautist Jane Bunnett for her January 23 – 25 FIJPaP concerts. Bunnett then leaves Haiti, but Villafranca stays on at the behest of Haitian singer Pauline Jean.
Jane Bunnett
In such a strong genre as Cuban piano, (and I’ve been lucky to perform and record with some of the greats … Frank Emilio, Hilario Durán, Gonzalo Rubalcaba, and Chucho Valdés) Elio is the next great voice to check out! His compositions and his playing are extensions of each other (a little like Monk). He’s a thinking man’s Cuban jazz pianist and continually inspires and surprises me. His surprises often come where the lines of composition and performance are blurred into one, that is, when spontaneous improvisations sound like full pre-meditated compositions. (eliovillafranca.net)
Pauline Jean is booked for five consecutive nights including one at the Institut Francais d’Haiti at Port- au- Prince (January 27) and a second at Parc Historique de la Cannes à Sucre in Tabare (January 30). The venues for the other dates on January 26, 28 and 29 are not given at last check. Jean’s other band members for Festival International de Jazz are named. They are Mimi Jones (bass), drummer Shirazette Tinnin – whom I had the pleasure of meeting in May at Jazz on the Hill – and Markus Schwartz (percussion).
The Berklee trained Jean is a New Yorker, born of Haitian parents. It is that background that has fed her arrangements of Jazz and Blues with the traditional Afro-Haitian vibe that becomes her. The character she brings to the genre has in turn taken her to attractive opposites in the 2ndAnnual Women in Jazz Festival and the Haitian Jazz Festival as well as Reggae Vibes in St. Kitts and Nevis.
Her début CD, A Musical Offering (Sekonsa Record), is out since June. She describes this recording, backed up as she is by bassist Corcoran Holt, whom we last sampled on Luther Franςois‘ Castries Underground and Jean Caze, a fixture on the Haitian Jazz scene, among others as “swingin’, bluesy and soulful.” (Pauline Jean on MySpace)
Can you tell?
Jazz Vocalist Pauline Jean performing “Beautiful Friendship” at her CD Release Concert on June 21, 2009 at Metropolitan Room (NYC)
Riyel, Vanessa & Alex Jacquemin with George Mel as a special invited guest were the other invited Haitian artistes from the United States. Joining them would have been Dizwikara de Pierre Rigaud Chery and Natif Jazz Quartet de Claude Carré.
That was the plan.
This weekend was supposed to be a time to play songs of joy and laughter…something like this…
Instead it is a time of wailing, sorrow and tears…something like this…
Hmmm…
The world now revolves around Haiti as peoples from the four corners of the globe mobilize in response to the tremendous human suffering wreaked upon it by the 7.0 magnitude earthquake of January 12, 2010.
Central to this outpouring of support is music. Artists from across all genres have already begun to lend their talents and star power to draw in support, in cash and in kind, for our brothers and sisters who occupy one-third of the island of Hispaniola that they share with the Dominican Republic.
Not to be left out of the loop, Jazz artists are no more swinging their axes, blowing their horns, wielding their sticks, beating their drum heads and excercising their pipes just because, but rather for the cause.
For instance, Canadian flautist Jane Bunnett, who was due to perform at the International Festival de Jazz de Port-au-Prince this month, has a cause of her own to fulfill on January 28, 2010. She has organized a fundraiser for that day at Hugh’s Room, 2261 Dundas St. W, Toronto. More than that, Bunnett has pledged to do a whole series of such fundraisers for the people of Haiti.
Now we go across the waters from Port-au-Prince to Jamaica for an example of Haitians helping Haitians. Singer, songwriter and producer JeanPaul Solomonoff, born to a Haitian mother and a Russian Polish Jewish father, will perform with Jamaican pianist Monty Alexander at the 2010 Jamaica Jazz & Blues Festival, Jan. 24th-29th. All proceeds are destined for the Clinton/Bush Haiti Fund. (As an added note, Claude Wilson of JamaicaMusic OFFBEAT has revealed that “…Etienne Charles joins Monty Alexander on main stage Thursday, January 28 at the Jamaica Jazz & Blues Festival at the Greenfield Stadium just outside Montego Bay.”
From 1895, the date that North American Jazz was created in New Orleans, to March 2008, there was not such a thing as a Haitian Jazz Show on the airwaves. On March 16, 2008, DJ K (Kedner Stiven) decided to put together a radio show he baptized as “Jazz Creole” broadcasted weekly on a New York Radio station. To promote, expose and encourage this movement, DJ K launched the first Annual Haitian Summer Jazz festival, which was held on Sunday August 17, 2008.
Woodshed Entertainment Collective 