Reviews: Phillip Golub, Cécile McLorin Salvant, Branford Marsalis, Vijay Iyer, Etienne Charles, and Ambrose Akinmusire
By Perry Tannenbaum
June 6, 2025, Charleston, SC – Jazz roots run deep in the Carolinas, where such international jazz ambassadors as Thelonious Monk, Dizzy Gillespie, Nina Simone, and John Coltrane were born. Though we’re usually not mentioned in the same breath as Newport, Monterey, SFJazz, DC, or Montreal, the Carolinas are home to significant festivals worth celebrating in High Point, Columbia, and – in years when we get our act together – Charlotte. Yet our most significant jazz festival has been hiding in plain view for nearly 50 years: Spoleto Festival USA. From its first year in 1977; when the headliners included Phil Woods, Urbie Green, and Louis Bellson; jazz has been a constant at Charleston’s international performing arts revels. Unlike visual arts, country music, puppetry, or circus, jazz has been on the bill at every Spoleto.
Of course, so much more besides jazz is offered at Spoleto. Any of the staple components of the festival – opera, theatre, chamber music, choral music, or dance – can find itself hiding in plain view amid the prodigious entirety of the festival, 120+ performances this year over 17 days. Strip away that mass of other stuff and it isn’t really hard to see that the 2025 lineup down in Charleston measures up with the best in North America. Cécile McLorin Salvant, Branford Marsalis, Vijay Iyer, Ambrose Akinmusire, Phillip Golub, and Etienne Charles not only match up well with the most elite festivals on the continent. Two of them, trumpeter Akinmusire and keyboardist Golub, lingered at multiple festival sites for three-day residencies, giving four and six performances respectively.
Thanks to the efforts of general director Mena Mark Hanna to make the massive festival more navigable, the jazz artists were listed on consecutive pages in the festival’s promotional brochure and the free – and comprehensive – festival program books for the first time. Scheduling was also conveniently compressed so that you could sample all of these jazz giants within the space of 10 days. Mavis Staples and Arooj Aftab, headliners at multiple jazz festivals around the country, were also slotted into Spoleto’s Front Row pop/country/rock/folk series, and accessible during that same timeframe.
My own jazz feast started on Day 5 of the festival with Golub’s quintet, his final program at the Circular Congregational Church. My fondest memory of the Circular dates back to 1997 when Spoleto’s production of Benjamin Britten’s moody Curlew River was staged there in dim gilded light. As a jazz venue, the Church was most unkind to Golub’s piano, which seemed to emerge from its corner as a somewhat muffled echo, though the bandleader’s perch was fortified with a Rhodes synthesizer. Neither Alec Goldfarb’s electric guitar nor Daniel Hass’s cello was spooked by the hall’s acoustics, and the remainder of the rhythm, Sam Minaie’s bass and Adriano Vicentino’s drums, may have actually been enhanced.
The quintet played Golub’s Abiding Memory Suite in its entirety, with Vicentino as the only newcomer to the ensemble that recorded the studio album released in 2024. Once the piece, played without significant pauses, drifted away from the piano, it proved to be nicely varied and unpredictable. After Goldfarb’s guitar pierced the hall with its ethereally thin and silvery timbre in “Threads Gather,” the oddest, most scattered and modernistic episodes, “A Regrouping” and “Unspooled (Waiting Quietly),” cast a quiescent spell. “In a Secret Corner” carried that irregular flow forward, building gradually before breaking back into metrical jazz. Though he played provocatively in spots, Hass seemed underemployed until late in in the suite, when he at last justified his presence with some memorable solo work in “At the 11th Hour.”
It was fascinating to see and hear various configurations of the Spoleto Festival USA Orchestra throughout our 12-night stay. Massenet’s Thaïs, a Mozart symphony, Britten’s The Turn of the Screw, the Sibelius Violin Concerto, and Cécile McLorin Salvant each had a uniquely configured ensemble – led by three different conductors. It was a bit surprising for me, nonetheless, that the ensemble playing behind Alexi Kenney in the Sibelius underperformed compared with the superb support Salvant received three nights earlier in the same hall, Gaillard Center.
There was a sense, after three previous appearances at Spoleto, that both the festival and Salvant were wanting to try something different and reach higher. And until the festival premiered its production of The Turn of the Screw, Salvant was incontestably the highlight. We haven’t seen a new album from Salvant in two years, but none of Darcy James Argue’s orchestral arrangements were from that mostly French Mélusine release. Neither of the songs in the set that the diva has recorded, her own “Left Over” and Noël Coward’s “Mad About the Boy,” had orchestral arrangements before Salvant brought them to Charleston, and she sat down at the piano to replace the esteemed Sullivan Fortner (cover boy on the February 2025 issue of DownBeat) for her own original.
The highlights of the set were Salvant and Argue’s fresh takes on Duke Ellington’s “Sophisticated Lady” and Billy Strayhorn’s “Lush Life,” perhaps their most beloved ballads. But the audience showed even more enthusiasm for Stephen Sondheim’s “Send in the Clowns” and Michel Legrand’s “I Will Wait for You” from The Umbrellas of Cherbourg. With a disdain that would have pleased Parisians, Salvant sang the original French lyrics, “Je ne pourrai jamais vivre sans toi,” without a single interpolation of the English lyric. Salvant’s “Send in the Clowns” reminded us of the quirkiness that charmed the world from the outset of her career, flouting the usual 3/4 groove, speak-singing some of the familiar lyric, and wiping away some of the usual nostalgia and sentimental goo. Best version I’ve heard since Carmen McRae.
Naturally enough, since Branford Marsalis was on the May cover of DownBeat, he and his quartet surely do have a new album out there to tour with, Belonging. Marsalis didn’t lean on the recent release as heavily as Golub leaned on his, but he certainly referenced his magazine celebrity with the two titles he did pluck from that CD, “’Long as You Know You’re Living Yours” and “Blossom.” Both were Keith Jarrett compositions, chiming well with the front page May headline, “Marsalis Tackles Keith Jarrett.”
Branford was pretty cool as a bandleader, usually slipping away after his soprano or tenor sax solos were done – often abruptly – behind Justin Faulkner and his drumkit when others were soloing. Pianist Joey Calderazzo not only had ample chances to shine in the Jarrett pieces, but he also had two of his compositions, “The Mighty Sword” and “Conversation Among the Ruins,” prominently featured on the setlist.
With past stints jammin’ with Sting and leading The Tonight Show band, it would appear Branford’s appetite for celebrity has long since been satisfied. Bassist Eric Revis also got some love when Marsalis called for his “Nilaste” toward the end of the concert. Lighter gems – and more popular with the Charleston Music Hall crowd – were Jimmy McHugh’s “On the Sunny Side of the Street” and the rousing encore, “My Bucket’s Got a Hole in It” (more likely by Buddy Bolden or Clarence Williams than Hank Williams).
Iyer took over Sottile Theatre with his supertrio two nights after Marsalis. Like Iyer, bassist Linda May Han Oh and drummer Tyshawn Sorey (a fellow MacArthur Fellow) had both headlined at Spoleto in past festivals. As a group, they’ve put out two albums in the past four years, but in live performance, it was hard to see them as close-knit. Whether they wished to simulate a recording studio ambiance or someone in the group wished to remain unmasked despite COVID fears is anyone’s guess. But they sat and stood at more than the customary distance away from each other. When I last saw Iyer play at the Jazz Standard in New York, my wife Sue and I were seated closer to Iyer than either Sorey or Oh.
Despite the trio’s separation, their chemistry and interaction were all the more amazing. Each appeared to be in his or her own world, yet they were constantly interconnected. If one of them was not playing, he or she seemed to have peeled off at a predetermined or spontaneously signaled moment. Intensity didn’t wane in those moments when balances shifted among the players. Sorey could assert himself with a single stroke anywhere in a measure and take complete control with a sudden flurry, endlessly inventive and colorful. Oh showed us once and for all that she is a composer/improviser who can easily hold her own in the presence of two major virtuoso composers – even though her bass didn’t penetrate at the Sottile like it does on the trio’s recent Compassion recording, where it’s as intimate as your heartbeat.
As for Iyer, he once again proved nonpareil. In the space of a single piece or solo, he could build to the epic force of McCoy Tyner, jet through that thunderous cloud he and Sorey stirred up, and emerge with all the purposefulness, lyricism, and freedom from mannerism of Bill Evans. “Overjoyed,” a very inventive and angular cover of Stevie Wonder’s tune, was probably the easiest for newcomers to Iyer’s music to latch onto. The “Free Spirits/Drummer’s Song” pairing was far more exciting for me because Sorey was so much sparer, explosive, and creative than he was on the Compassion track. Other trios might have swung harder, but since the great Evans trios, none I’ve heard was more beautiful or compelling.
Since I had seen him live at the Seixal Jazz Festival in Portugal with his quartet less than three years earlier, Akinmusire’s residency was by far the most intriguing for me. But we had to find out what “An Evening with Isaac Mizrahi” was all about – the festival brochure and program book seemed to imply that Mizrahi was everything – so we had to miss out on Akinmusire’s quartet and trio concerts, both of which overlapped. It was especially brutal for me not to attend what would have been my first jazz concerts at Dock Street Theatre after more than 30 years of attending Spoleto, but Sue’s reactions to the giddy Mizrahi and the cutting-edge trumpeter vindicated my choice.
Akinmusire’s gig at the Sottile, our last event in the Holy City this year, was likely the most unique and accessible of his residency, though I’m still bemoaning my lost opportunity to behold an Akinmusire-Fortner-Sorey trio at the Dock. The nine performers in the Honey from a Winter’s Stone concert, including the PUBLIQuartet and vocalist Kokayi, were spread out across the Sottile stage even more widely than the Iyer Trio. Boundaries between what was written by Akinmusire for the string quartet and what was improvised by his quartet were more distinct, but it seemed like Kokayi’s rap rants, rhythmic and melodically on key, straddled those boundaries as the speed of the spewed verbiage increased. Most infectious rap performance I’ve ever experienced, even though most of the words weren’t clear.
Reggie Washington on electric bass and Justin Brown on drums counterbalanced the strings and Kokayi by sticking to their jazz rhythms, but keyboardist Sam Harris brought an acoustic and an electric instrument to the stage, another straddler. Through the course of the evening, as the group traversed their 2025 honey from a winter’s stone recording – with nearly identical personnel – Harris might lay down a vamp on his synthesizer or trigger a modulating drone as frequently as he soloed. Generous space was also set aside for Brown’s thrashings.
Akinmusire had little to say between selections, usually pointing to and naming one of his bandmates, but his horn said plenty, with judicious electronic alterations here and there. You could argue that Akinmusire had somehow synthesized the earliest electronic explorations of Bitches Brew Miles Davis with the two acoustic periods that preceded that revolution, the Kind of Blue period and Davis’s playing with the quintet he led that introduced Herbie Hancock and Wayne Shorter to the universe. But the living trumpeter is undoubtedly building upon that legacy.
None of this year’s jazz events took place outdoors at Cistern Yard, the temple of Spoleto jazz in years gone by. Like last year, when Trombone Shorty had to move his show to the College of Charleston’s TD Arena, weather intervened between us and seeing Etienne Charles and his Gullah Roots band under the live oaks. By now, such last-minute schedule switches are almost routine at the festival: the sound system is tight and the lurid outdoor lighting arrives somewhat intact. Charles’s show was not quite as rambunctious or gaudy as Shorty’s extravaganza had been, but his suite – soon to be officially released on CD – was far more profound, moving, and relevant.
Nor was there any lack of showmanship in the presentation of this epical suite, which traversed the arrival of the Gullah in the New World via the Middle Passage to the morning when Lincoln’s Emancipation Proclamation took effect. In three stages, the Gullah Roots ensemble grew from six to seven, seven to eight, and eight to 14 as the massiveness of Charles’s concept enlarged. Those two historical watersheds were both marked with two-part compositions, “Igbo Landing” and “Watch Night.” After the foundational “Gullah Roots” piece, special guest Quentin Baxter, a longtime Charleston-and-Spoleto fixture, joined the group as a second percussionist for the dramatic “Landing.” Later for “Bilali,” Samir LaGus came forth in more striking African garb than we had seen before, bringing with him a guembri, a three-stringed lute-like instrument that merited its own introduction from Charles.
For “Watch Night,” taking us back to New Year’s Eve on December 31, 1862, a four-woman choir (The Wives), vocal soloist Quiana Parker, and organist/choir conductor Damian Sneed joined the solemn vigil and ultimate jubilation. Visually the spectacle was as grand as the music as Sneed and his singers filled the side of the stage opposite LaGus and the percussion. Issued on September 22, the iconic Proclamation would become law at midnight, the beginning of Freedom Day. One day after Juneteenth 2025, Charles brought his Gullah Roots to the Stage Door at Blumenthal Center for what promised to be a very special Jazz Room concert presented by JazzArts Charlotte.
Art on My Sleeve 