Pitt Jazz Seminar Concert 2025

One thing I didn't clarify in my preview post about the Pitt Jazz Seminar Concert was the one person who was not part of the performance that night - Chad Taylor, the head of Jazz Studies at Pitt and the person who put the event together. Considering the event was titled Percussion Discussion, with that instrument featured prominently, and that one of Taylor's former teachers (Joe Chambers) was a featured guest that evening, it was a bit of a surprise. (Though the internet indicates that he was just returning from a European tour with James Brandon Lewis a few days earlier.) Taylor was on hand to help emcee the event, but that was it. One can't help but admire someone who prefers to put the spotlight on other people during an event like this. 

Sasha Berliner

The first half of the show feature two separate sets. Vibraphonist Sasha Berliner started the night with a solo performance on her instrument, where she created and played along with some loops. She covered some wide ground, beginning with György Ligeti's "Musica Ricercata #7" and a version of "My Funny Valentine" that was long and dreamy and nothing like the chestnut that has been done umpteen times. When she set up some low bass loops and started playing with four mallets, it was a exciting surprise to hear the voicings that came up on top of the foundation. It was even cooler when it turned out to be Thelonious Monk's "Light Blue," which is a challenge to pull off in any context, especially as a solo. In lesser hands, it can feel lugubrious but Berliner gave it some spark.

One personal frustration throughout the evening stemmed from the on-the-fly stage direction. Over 55 years, there has always been a little of that (announcers mispronouncing artists' names or admitting "I've never heard of this guy") and there was a little of that going on. The evening's official host, Mike Canton (host of The Soul Show on WZUM-The Jazz Channel) provided a warm welcome and introduced the acts, but he could've provided more details on how the order of the show would proceed. He had introduced Berliner quickly, when she seemed to need a moment to set up shop. He also talked up the tap dancing that would be part of the Joel Ross Trio's set, but never introduced dancer Melissa Almaguer by name. 

Tap has been highlighted in previous seminar concerts as well as concerts staged by the Kente Arts Alliance. The late Jack DeJohnette also performed in an evening with Savion Glover in 2016 at the Manchester Craftsmen's Guild. So it's not unusual to see it here in town. Yet the Ross trio's flowing sound didn't seem like the best pairing with Almaguer. The group and the dancer are clearly inventive artists, but it took a while for both parties to sound like interaction was happening. This could have been due in part to a mix that didn't carry the dancer's work up to our seats.  

Left to right: Aaron J. Johnson, Reggie Watkins, trombones
Yoko Suzuki, Ben Opie, Kenny Powell: saxophones (seated). Erik Lawrence, alto, flute.
Bobby Sanabria, drums. Howie Alexander, piano. Lee Smith, bass.
Warren Smith, tympani. Joe Chambers, vibes.

The second half of the show saluted the percussion ensemble M'Boom with a band that featured the last living members of that group, rounded out by Bobby Sanabria on drums and a crew of local musicians filling out the horn section. The ensemble came out of the gate blazing, starting with Bobby Hutcherson's "Pomponio." Joe Chambers and horn section leader Erik Lawrence (on alto) both took fiery solos that hinted at the excitment that was coming. 

They continued saluting the late vibraphonist Hutcherson by following with his "Ballade Die Ravel," which Chambers arranged. Sanabria had already started to kick some serious ass in the previous tune. During this one, he dextrously played congas and cymbals, in addition to traps and became one of the rhythm section's driving forces.

Pittsburgh pianist Howie Alexander was a last minute addition to the band, filling in for Aaron Graves, who was listed in the program. Chambers seemed to fascinated with our hometown whiz, giving him multiple solo space, on which he delivered. It was as much of surprise to Alexander as to everyone else, but his solo on Duke Ellington's "Midnight Sun" put his authority on full display. Vocalist Mavis SWAN Poole joined the group for a few songs, including the Max Roach/Abbey Lincoln piece "Mendacity," another song that has not lost is relevance in current times.

Mavis SWAN Poole

Chambers, Warren Smith (who spent most of the set behind four tympani) and Sanabria all began patting their chests towards the end of the set, setting a pulse that most of the band picked up on. After they made their way to center stage, they eventually headed back to their respective spots and things shifted into a big roar from the wealth of percussion instruments. Smith never got much in the way of space to stretch out but he made his presence known. And at 92, we're lucky that he made the trip. He and Chambers were bestowed with Lifetime Achievement Awards during the performance too.

Although the performance lasted over two hours (including intermission) it felt like it wrapped up a little too suddenly. The marimba towards the front of the stage was never used. (For a moment, we were hoping that Ross and Berliner might come out onstage to join in for a closing tune.) Nevertheless, a good time was had by all. 

The evening program even offered some "Save the Date" info for next year's seminar and concert - The Jazz Organ Summit, November 1-8, 2026. You've been reminded.