“[Natalile’s] music blends together the sultry, coy emotions of jazz singers that precede her with the tension of jagged rhythms and complex, lush harmonies.”—All About Jazz

“As we enter a new decade, there is no more important figure in jazz than Allison Miller.”—Paste

Natalie John doesn’t just sing and play trumpet. Her singing connects with you instantly, revealing the heart of the music to you. She uses her gorgeous trumpet tone to weave melodies and improvisations that take you on beautiful journeys. With a deep knowledge of the roots of the jazz tradition, she composes with open ears and broad strokes to create a style all her own. 

In this special Festival performance featuring drummer extraordinaire Allison Miller, Natalie brings together like-minded musicians who employ a vibrant approach to contemporary jazz as they seamlessly weave complex harmonies and rhythms with catchy backbeats and heartbreaking melodies to bring the stories of the Great American Songbook to life. 

“How the band moves from carefree jaunt to floating extroversion is jazz magic.”—DownBeat

“A strikingly different sound . . . but retains [the band’s] musical personality.”—AllMusic.com

A little bit of addition has radically reconfigured The Bad Plus. Emerging from the New York jazz scene at the turn of the century with a repertoire encompassing original compositions and elaborately arranged rock and pop anthems, the collective trio became one of jazz’s most popular, influential and long-running bands. Founded by drummer Dave King and bassist Reid Anderson, who grew up together in Minneapolis, and Wisconsin-reared pianist Ethan Iverson, the group underwent a major change when the highly respected Philadelphia pianist Orrin Evans took over from Iverson in late 2017. But with the pandemic hiatus, Evans subtracted himself from the equation to focus on his own projects. Instead of maintaining the trio format King and Anderson recruited tenor saxophonist Chris Speed and guitarist Ben Monder, brilliant, prolific and well-traveled players who should be far better known. “One thing we wanted to do was get away from piano,” Anderson says. “But more importantly, both of those guys are really interesting musicians with very personal approaches.” Like Speed, Monder is best known as a collaborator who brings a jolt of creative energy into any musical situation. While still strongly associated with dramatic interpretations of songs such as Black Sabbath’s “Iron Man,” Blondie’s “Heart of Glass,” and Radiohead’s “Karma Police,” The Bad Plus primarily serves as a vehicle for Reid’s and King’s writing. Rock and pop covers don’t figure much in the band’s book anymore. What hasn’t changed is the tidal force of Anderson’s and King’s whisper-to-a-scream dynamics.

“Destiny Muhammad is a masterful, exploratory musician.”—DownBeat

“Muhammad turns every piece into a soulful adventure.”—Yerba Buena Center for the Arts

Join the acclaimed harpist, singer, and composer Destiny Muhammad for an evening of captivating music that transcends genre. Her masterful technique and soulful vocals will delight her as she weaves together jazz, storytelling, and improvisation.

Renowned for her innovative approach to not only jazz harp but to songwriting and performance in general, Destiny draws inspiration from legends like Alice Coltrane and Dorothy Ashby. Expect a program that blends the rich tapestry of jazz traditions with a contemporary, grooving flair, creating an experience both familiar and exciting.

This will be a night filled with emotion, virtuosity, and the unique power of the harp. Whether you’re a seasoned jazz enthusiast or simply seeking a transformative musical encounter, Destiny will leave you spellbound.

“For sheer vocal beauty, no contemporary singer matches Ms. Callaway.” —The New York Times

“Callaway establishes herself as one of the best equipped jazz vocalists swinging today.” —Chicago Tribune

Ann Hampton Callaway doesn’t just interpret the American Songbook, she’s actually added a few pages of her own. Though best known as a sumptuously gifted vocalist equally at home scatting in a jazz club or revealing a familiar standard’s unexpected drama in a cabaret, she’s also an exceptionally gifted songwriter. Over the past four decades her music and lyrics have been recorded and performed by Karrin Allyson, Barbara Carroll, Blossom Dearie, Barbra Streisand, Michael Feinstein, Patti LuPone, and Lillias White, among many other vocal luminaries. Callaway’s 1992 debut album featured her original musical setting for an unrecorded lyric by Cole Porter, “I Gaze in Your Eyes,” a project authorized by his estate. Now that’s a big entrance! It’s not surprising that she’s been drawn to a vocal legend whose star power often overshadowed her tremendous talent as a tunesmith. Her latest album is 2023’s Fever: A Peggy Lee Celebration (Palmetto). Equally at home performing solo accompanying herself at the piano or backed by a symphony orchestra, Callaway has thrived in just about every type of musical setting. But she’s never performed with an ensemble quite like the SJW 50/50 Jazz Orchestra. Directed by trumpeter Fred Berry, an eminent educator, the 16-piece band features a stellar cast divided equally between men and women. It’s a manifestation of the SJW’s commitment to gender equality, a struggle embodied by players like 50/50 altoist Mary Fettig, who in 1973 became the first woman to join the Stan Kenton Orchestra.