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May 22nd - 27th

Diego Urcola (trumpet)

Taylor Haskins (trumpet)

Richard Nant (trumpet)

Sandro Tomasi (trombone) 

Miguel Zenón (alto sax)

Bill McHenry (tenor sax)

Chris Cheek (tenor sax)

Ben Monder (guitar)

Guillermo Klein (piano)

Fernando Huergo (bass)

Jeff Ballard (Drums)

Guillermo Klein, the Argentine pianist and composer, has an affinity for transforming highly methodical designs into music that feels soulful and uncalculating. His primary vehicle over the last 20 years has been Los Guachos, 11 elite musicians stationed in Buenos Aires and New York.
— The New York Times

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The Vanguard Jazz Orchestra is the current title for the band that began its life as the Thad Jones/Mel Lewis Jazz Orchestra in 1966 and has performed continuously for over 50 years.




May 29th - JUNE 3rd

Chris Potter (tenor saxophone)

Ethan Iverson (piano)

Ben Street (bass)

Billy Hart (drums)

Mr. Hart has covered the full jazz spectrum during his accomplished career; he isn’t a classicist or a throwback. His younger band mates demonstrate a grasp of modern traditions but also a strong aversion to nostalgia. The whole enterprise functions in the present tense...He has a loose but authoritative approach to propulsion, along with an almost scary conviction in the power of a single emphatic gesture: the thwack of a mallet on a floor tom, the washy impact of a full-tilt cymbal crash.
— The New York Times

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June 5th - JUNE 10th

Mark Turner (tenor sax)

Scott Colley (bass)

Kenny Wollesen (drums)

A superbly versatile bass player, Scott Colley’s wealth of experience is drawn from having played with the biggest names in the jazz scene – Michael Brecker and Herbie Hancock to name but two – and he’s successfully building a solid reputation for himself as a leader...Colley is engaging, propelling the action forward with a relentless sense of swing.

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June 12th - JUNE 17th

Dave Douglas (trumpet)

Joe Lovano (tenor sax)

Lawrence Fields (piano)

Linda May Han Oh (bass)

Joey Baron (drums)

Tenor-saxophonist Joe Lovano and trumpeter Dave Douglas have been major names for decades, always creating stimulating post-bop music that defies classification as anything beyond “modern jazz.” Douglas and Lovano consistently bring out the best in each other and they blend together gracefully, creating the band’s own personal identity.
— Jazz Monthly

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June 19th - JUNE 24th

David Murray (tenor saxophone, bass clarinet)

Craig Harris (trombone)

Mingus Murray (guitar)

Lafayette Gilchrist (piano)

Rashaan Carter (bass) 

Russell Carter (drums)

The protean and prolific David Murray is a force of nature. Surely, no tenor sax or bass clarinetist in the last two decades has crafted as distinctive and commanding a tone as his. Nor have many explored - much less mastered — the many musical milieus he’s investigated: free, bop, ballads, soul jazz , ska, world beat...Wherever he’s heard, Murray is a fount of resourceful, intriguing musical ideas...The essence of Ben Webster and, at times, Paul Gonsalves, floats through his idea, but never dominate. Even John Coltrane’s spirit seems to hover about him. But he’s not obsessed with becoming one of the many Coltrane clones currently available to be heard. David Murray is a true jazz original.
— All About Jazz

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June 26th - July 1st

Tom Harrell (trumpet)

Mark Turner (tenor sax)

Charles Altura (guitar)

Ugonna Okegwo (bass)

Johnathan Blake (drums)

The trumpeter Tom Harrell has been doing this a long time, through various schools and vogues: He can play slow and fast and in between, sometimes all within a single line. But his improvising is always temperate and proportionate. He keeps you on the hook, but doesn’t shout, doesn’t stop the clock. Plenty of improvisers are specialists in now-ness, revealing a solo as a series of events, or present-tense flashes. With Mr. Harrell, it’s all one event. He’s always processing ahead and behind, and you feel as if you’re hearing the whole of the narrative at all times, from was to is to will be...Mr. Harrell has been one of the best composers, improvisers and bandleaders in jazz since the late ’80s, and he knows how to make contrasts sound exciting: playing slowly over a fast tempo, playing quietly but with power. But he also uses the contrast of his own sound set against that of the groups he’s playing in.
— The New York Times



JULY 3rd - July 8th

Barry Harris (piano)

Ray Drummond (bass)

Leroy Williams (drums)

It’s one thing to admire and study the music of the bebop era. But Barry Harris lived it, becoming one of Detroit’s best jazz pianists in the 1950s before relocating to the New York area — and eventually moving into the New Jersey estate where Thelonious Monk himself resided. At [over] 80, Harris still speaks bebop as his musical language, though it’s transformed in his hands into something supple, round, warm.



JULY 10th - July 15th

Russell Malone (guitar)

Rick Germanson (piano)

Luck Selleck (bass)

Willie Jones III (drums)

Obviously, we are in the capable hands of a master. Absolutely fluid touch and beautiful integration between moving lines and harmonic cadences. The sound of the instrument is well-balanced throughout the entire register. The relaxed quality of everything that ‘s being played gives it such a warm feeling. To play that stuff is extremely hard. This is an absolute master, the best of the best.
— Kurt Rosenwinkel



JULY 17th - July 22nd

Mary Halvorson (guitar)

Michael Formanek (bass)

Tomas Fujiwara (drums)

The name of this avant guitar-bass-drums trio might suggest a small object capable of inflicting agonizing pain, but never fear, Thumbscrew take you only a relatively short distance beyond the creative jazz comfort zone. Expect some mild abrasions, but also the sharp focus of skilled improvisers who happen to be fine composers as well.
— All Music

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JULY 24th - July 29th

Fred Hersch (piano)

John Hébert (bass)

Eric McPherson (drums)

Photo by John Rogers Photography

In the quest to describe the music of Fred Hersch in a word — a preposterous task, but not a pointless one — you could do a lot worse than “refinement.” Mr. Hersch is a pianist of cultivated taste and erudition; he’s also the sort of jazz musician who brings a lissome elegance to his playing, disinclined to accentuate the effort behind it all. But there’s another definition of refinement that has to do with painstaking progress, the incremental stretch toward an elusive ideal.
— The New York Times