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Bill Frisell tour dates 2024

Bill Frisell is currently touring across 5 countries and has 11 upcoming concerts.

Their next tour date is at Miami Beach Bandshell in Miami, after that they'll be at Bimhuis in Amsterdam.

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Upcoming concerts (11) See nearest concert

GroundUP Music Foundation presents "GroundUP Music Festival 2024"

TivoliVredenburg

The Ardmore Music Hall

BOMBYX Center for Arts & Equity

The Kenndy Center

Emmauskirche

Islington Assembly Hall

The Bradshaw Hall

Gent Jazz Festival

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Union Chapel

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Bill Frisell is a humble Living Treasure.

Over the trajectory of his career, he has retained the authenticity of his instrument’s voice. Truly sui generis. He also has the capability to let everyone in the ensemble take it to a next level. We are lucky to have him in New York.

Oh, and he is a terrific daddo to his dotter.

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ScienceDriven’s profile image

Bill Frisell is an incredible guitarist with so much character in his playing, we were entertained every moment. His chemistry with Charles Lloyd left you feeling thrilled, satisfied, hopeful, and reminded me of the sweetest moments of love that I have experienced throughout my lifetime - it takes a real musician to evoke those emotions in me. So it was lovely, in a very literal sense.

amber-eckerlund’s profile image

Although William Frisell is known as one of the leading guitar jazz artists since his career began in the late 70s/early 80s yet his influence has been noted in a variety of genres including progressive folk, classical music and country music. It is perhaps due to his immeasurable musical ability and insane instrumental skill.

Fans travel from far and wide to see Frisell's expert guitar playing in person and he never leaves them disappointed with long shows developed to really showcase his finger picking skills. Not contented with his own discography, the man of the hour covers the likes of The Kinks and The Beach Boys to further demonstrate his range as a guitarist and also his knowledge of those he calls inspiration. He has brilliant rapport with his backing band and its great to see a group of musicians clearly enjoying each others company and talents onstage together as they seem to feel very lucky to be able to play to packed out shows night after night. A finale inevitably comes with 'Telstar' and 'Lift Off' becoming the highlight of the evening so far.

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Concerts & Events

Sunday, April 3, 2022  ·  7:00 PM CDT

Bill Frisell Trio

Featuring thomas morgan & rudy royston.

4544 N Lincoln Ave · Gary and Laura Maurer Concert Hall · 773.728.6000

bill frisell trio tour

Bill Frisell's career as a guitarist and composer has spanned more than 40 years and many celebrated recordings, whose catalog has been cited by Downbeat as "the best recorded output of the decade."

Recognized as one of America's 21 most vital and productive performing artists, Frisell was named an inaugural Doris Duke Artist in 2012. He is also a recipient of grants from United States Artists, Meet the Composer among others. In 2016, he was a beneficiary of the first FreshGrass Composition commission to preserve and support innovative grassroots music. Upon San Francisco Jazz opening their doors in 2013, he served as one of their Resident Artistic Directors. Bill is also the subject of a new documentary film by director Emma Franz, entitled Bill Frisell: A Portrait, which examines his creative process in depth.

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Bill Frisell’s  career as a guitarist and composer has spanned more than 40 years and many celebrated recordings, whose catalog has been cited by  Downbeat  as “the best recorded output of the decade”.

“Frisell has had a lot of practice putting high concept into a humble package. Long hailed as one of the most distinctive and original improvising guitarists of our time, he has also earned a reputation for teasing out thematic connections with his music… There’s a reason that Jazz at Lincoln Center had him program a series called  Roots of Americana .”  –  New York Times

His latest recording is  Valentine , on Blue Note, a trio album with Thomas Morgan (bass) and Rudy Royston (drums) that has been hailed as “a masterpiece” by  Downbeat .  “They consistently and strikingly play as one, voices intertwined, completing phrases as if sharing a single thought… Even overdubs are so perfect that everything feels utterly organic… the performances represent jazz playing at its most sublime.”

Frisell’s recent album , HARMONY  and has been described in the New York Times as follows:

“The eminent guitarist improvises in smoky ringlets of melody, drawing the influence of classic jazz guitar into a palette based on early American folk music. HARMONY finds Frisell playing smoldering original compositions along with a few covers alongside vocalist Petra Haden, cellist Hank Roberts and guitarist and bassist Luke Bergman.”

Recognized as one of America’s 21 most vital and productive performing artists, Frisell was named an inaugural Doris Duke Artist in 2012.  He is also a recipient of grants from United States Artists, Meet the Composer among others.  In 2016, he was a beneficiary of the first FreshGrass Composition commission to preserve and support innovative grassroots music.  Upon San Francisco Jazz opening their doors in 2013, he served as one of their Resident Artistic Directors.  Bill is also the subject of a documentary film by director Emma Franz, entitled  Bill Frisell: A Portrait , which examines his creative process in depth.  He has received an honorary doctorate from the Berklee College of Music.

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BILL FRISELL TRIO

Opening concert of the 38th jazzdor-strasbourg festival.

At the age of 71, after a career spanning more than forty years that has seen him establish himself as one of the most decisive and influential guitarists and composers of contemporary (post)jazz, Bill Frisell loves nothing more than to return to the fundamentals of his instrument and to his skilfully syncretic own aesthetic in a trio setting. Opting for the most fragile and poetical aspects of this minimalist orchestration, all three musicians project themselves without a net into dreamlike climates with shifting textures, applying the prism of the most contemporary jazz to all the stylistic facets of Americana (from blues to country). This is music that is fundamentally elegiac and melancholic, through which Bill Frisell, faithful to his poetics of evasion and innuendo , explores the most intimate imaginary territories with modesty.

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Outside the Box

9/15/2023 12AM

bill frisell trio tour

Guitarist Bill Frisell's new combo, FIVE, is a double trio, with two bassists and two drummers who have collaborated with him frequently over the years.

Genre-bending guitarist Bill Frisell brings two new combos to the Palladium

By Scott Hall

Unusual collaborations have been a hallmark of Bill Frisell’s career for decades, so it’s entirely on-brand that the venerated guitarist, composer and arranger will perform with two unconventional and entirely different combos when he visits the Center in October.

To be sure, Frisell has solid jazz credentials, having studied in the 1970s under guitar legend Jim Hall and gaining attention in the early ’80s as a session player at ECM Records and sideman for veteran drummer Paul Motian. Since then, however, his musical path has been far from typical.

These days, the multiple-Grammy nominee is known as an Americana innovator as much as a jazz cat, blending folk, country, blues, rock and other genres into a style marked by subtlety and space rather than blazing speed. His sonic signature includes the use of electronic effects such as reverb, echo and looping to conjure atmospheric layers of sound. He has collaborated with folk singers, classical orchestras and New York avant-garde pioneers. He has interpreted traditional standards and works by composers as diverse as Thelonious Monk, Aaron Copeland and John Lennon.

Playing the Palladium on Oct. 21 for the first time since a 2017 appearance with saxophonist Charles Lloyd, Frisell will perform with both halves of a coheadlined tour. His new ensemble, the Bill Frisell FIVE, is an amalgam of musicians who have backed him in the past in various formats: bassists Thomas Morgan and Tony Scherr and drummers Rudy Royston and Kenny Wollesen.

The other combo is Owl Song, a trio led by Grammy-nominated West Coast trumpeter-composer Ambrose Akinmusire, with Frisell on guitar and New Orleans-based drummer Herlin Riley. Frisell and Akinmusire have worked together frequently since they first met in 2013 while playing together at, of all things, a birthday tribute to singer-songwriter Joni Mitchell. Like the FIVE, this unusual lineup has performed only a handful of times.

By phone from New York City, where he was playing a weeklong stand at the Village Vanguard after returning from a European tour, Frisell discussed the origins of these new projects. The following interview has been edited for clarity and length.

Applause: Your new combo, the FIVE, is essentially a double trio. How does that work?

Guitarist Bill Frisell sits on a stool wearing a shirt that says "Music is good," a Fender Telecaster guitar by his side.

Frisell: It's something I've been thinking about for years, and then it just took forever to get everything all lined up. I just had this dream about all these guys I played with so much, in a trio with Rudy and Thomas, and then a trio with Kenny and Tony, and then sometimes Kenny and Thomas will play or sometimes Rudy and Tony will play, and I’ve played duo with all of them, so the connections are super strong. When we finally did it, it was like the most far-out thing for me, being right in the midst of this. I'm surrounded by all these guys, and I'm getting this incredible sort of stereo thing going on. I probably have the best seat in the house.

The choices that Tony makes, just intuitively, are not the things that Thomas would do, and the same with Rudy and Kenny, so it feels like they can really play. No one has to hold back or edit anything, so this amazing counterpoint starts happening. Like the drums, I really wasn't sure how that would work, but they both seem to be completely free, and no one's tiptoeing around each other. It's like they can really go full out, and somehow it's working. I think it's more about the way the personalities of the people themselves are interacting with each other. It's not so much about the instrument. It's more about the way of thinking that they all have.

What do you enjoy about working with Ambrose Akinmusire?

Trumpeter-composer Ambrose Akinmusire is dressed in black, looking back over his should at the camera.

He's like one of my heroes, he's so fearless. He just has something in his imagination about that combination (of instruments), and now, I'm really excited that we actually get to see where it can go from there. Every time I hear Ambrose or play with him, I come away having to rethink things, or it's just super inspiring as a person and as a musician.

You seem almost driven to collaborate with as many people in as many styles as possible. Obviously you draw inspiration from working in these different settings.

That's my whole musical life. Every time I play with someone else, that's how I learn, and you learn so fast. You know, you can practice all you want, and then if you just sit down with somebody for a minute, it's like, you learn a thousand times faster. I just thrive on that, I think. I've been so lucky too, in that way,

just so many opportunities that come up.

You studied clarinet in younger days. Does that affect how you approach music now?

My heart never was really in it, but I did it for a long time. All the way through even two years of college I was a music major with clarinet, and you know, I always did well, first chair and all this stuff, but somehow, I wasn't connected spiritually or something. But then years later, I realize how much I'm so thankful for all the basics, learning to read and learning to count and playing in an orchestra or a band and trying to blend with other instruments.

And also the breathing, playing a wind instrument – I still find myself breathing with what I'm playing. It's sort of connected to your body more, or the way your natural breathing or phrasing would happen. My memory of the clarinet is like there’s sort of a pressure, you're blowing through this thing, and there's pressure in your body, and I think that feeling has impacted the way I play guitar, too.

You seem to favor solid-body electric guitars, in particular the Fender Telecaster, which is not traditionally considered a jazz guitar. What do you like about it? (Commonly associated with country music, the “Tele” was one of the first mass-produced solid-body guitars, with a simple design dating to 1950.)

Well, everything just works, you know? It's so simple, it’s like they got it right, way back then. There's nothing really that you don't need, but it's got everything you do need. And then also, I have to say, I do love playing other guitars, but it's the traveling part that’s just such a challenge. So a Telecaster, you can drag it behind a truck or something and it will probably come out still playable, where if you had some fine archtop guitar, to try to get that on an airplane, it's just hopeless these days. So a lot of it’s just the practical part, too. With a screwdriver, you can kind of take it apart and put it back together and fix it. But I do love Telecasters.

Bill Frisell FIVE and Ambrose Akinmusire’s Owl Song

Saturday, Oct. 21, at 8 p.m.

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Bill Frisell Trio

Tour:  may, 2024 - may, 2024, booking territories, booking agent.

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Bill Frisell

Bill Frisell Trio review – memorable journey with the quiet maestro

Jazz Cafe, London Country music, John Coltrane and the Goldfinger Bond theme all played a part in the audacious jazz guitarist’s relaxed and wandering show

“W e’re surrounded!” Bill Frisell exclaimed, blinking in unmistakable delight at the expectant intimacy of the packed Jazz Cafe on Monday. Across four decades of original composition, technical vision and jazz-improv audacity, the quiet Seattle maestro has become the Jimi Hendrix of contemporary music’s quirkier forms, revolutionising the palette of the electric guitar, and inspiring artists from avant-rockers to electronic producers.

One of his most empathic partnerships has been this occasional but long-matured trio with Tony Scherr on bass and Kenny Wollesen on drums. They mostly play the world’s concert halls, and the sight of glowing faces at the edge of the cramped stage sparked the band into a truly memorable single-set show.

As so often for Frisell, country music played a big part, particularly in the opening pieces, including a hard-struck and funky country dirge that revealed one of his signature traits: making musical resolutions quiver with so many ambiguities of harmony and colour that even the most conclusive accent or reverberating chord becomes an invitation to travel somewhere else.

After a lazily swinging jazz ballad sketched in Wes Montgomery -like harmonies, followed by a vivacious chord dance, and a playful busk between Frisell and Wollesen while Scherr fixed a broken string to shouts of encouragement, the leader relaxed so much that by his standards he became almost voluble. “There’s so many things I’d like to talk to you about, but I shouldn’t,” he confided, as his thoughts turned to John Coltrane, the 50th anniversary of whose death fell on Monday. Then he wandered, speculatively at first and then with increasingly headlong bebop-drive, into the famous harmonic maze of Coltrane’s Giant Steps, before turning a country slow-burn into an Afrobeat jive, given a sinister echo by the reverse-delay pedal. A gently rapturous What the World Needs Now Is Love and a semi-abstract Goldfinger – with shimmering chords and glimpses of the Bond theme set against Wollesen’s cymbal-rim scrapings – were capped by an uptempo jazz encore, propelled by Scherr’s fast-walking bass and Wollesen’s skimming ride-cymbal groove.

Frisell had earlier paid tribute to the deep-rooted but endlessly flexible American musical traditions he loves with the typical understatement that “this is pretty good music – it just keeps on going”. The cheers of the crowd furnished a very loud amen to that.

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Cleveland's jazz impresario Jim Wadsworth keeps the music alive, booking top acts in local clubs

  • Updated: Jan. 29, 2024, 4:30 p.m. |
  • Published: Jan. 29, 2024, 8:27 a.m.

bill frisell trio tour

  • Malcolm X Abram, cleveland.com

CLEVELAND HEIGHTS, Ohio - If you are a music lover who has attended a live jazz show in Northeast Ohio over the past 30 years, chances are better than good that you’ve been to a Jim Wadsworth Production . Indeed, you could argue that Wadsworth, with a big assist from his business partner Steve Frumkin, has almost singlehandedly kept the live jazz concert scene alive in these parts since JWP first started booking shows in the early 1990s.

Sure, Playhouse Square and the Tri-C JazzFest have done their parts, booking top-name jazz acts to theaters, college auditoriums and other big venues. But when it comes to bringing national touring acts and top local talent to clubs -- where jazz can be experienced as it was really meant to be experienced -- Wadsworth & Co. are king. Over the years, they have brought many of the top names in jazz to town to play intimate gigs at places ranging from Peabody’s DownUnder to Wilbert’s and Nighttown and many more.

Wadsworth, 66, has booked legends such as Ahmad Jamal and McCoy Tyner, Stanley Clarke and Tony Williams. He brought a young pianist-singer named Diana Krall to town before she graduated to theaters and Grammy wins. Bill Frisell played a Jim Wadsworth Production show. So did the Manhattan Transfer.

Many of the best shows happened at Nighttown in Cleveland Heights, which was Wadsworth’s main home base for 20 years. From 1999 to 2020, he booked a who’s who jazz talent into the dining room of the beloved Irish bar and restaurant. Jamal, Tyner, Joshua Redman, the Count Basie Orchestra, Hugh Masekela all played Wadsworth jazz shows at Nighttown. For two decades, Wadsworth worked in concert with Nighttown owner Brendan Ring to transform that space into one of the premier jazz venues in the United States, a place beloved by aficionados for its chill, old-school vibe.

Jim Wadsworth's Cleveland Jazz Memorabilia

Jim Wadsworth shows off his extensive collection of jazz memorabilia from his prolific career as Nighttown's promoter and owner of Jim Wadsworth Productions. Judie Vegh, Special to Cleveland.com

The magical run ended in 2020 when Ring closed the restaurant amid the COVID-19 pandemic. He later sold it to an investor group that has reopened the restaurant but with no currently announced plans to bring back the music. Wadsworth and Frumkin have moved on and are working hard to keep live jazz alive at other local venues like Market Garden Brewery in Cleveland,BluJazz and Musica in Akron and other small rooms.

They also have programmed the annual Lakeland Jazz Festival for more than a decade, and they book shows nationally, too. Their JWP Agency has a roster of more than 60 artists who regularly perform and tour the country.

Wadsworth and Frumkin are committed to continuing their work, believing that the future of jazz is bright - and that live jazz will continue to thrive here.

“It’s a worldwide art form, while still having very firm roots in the U.S.,” Wadsworth says. ”There is definitely still an audience for live jazz in Cleveland and Northeast Ohio. More and more very talented young players are emerging. We have some great college and university programs, and various non-profit entities, and clubs that keep the music going.

“There will always be ups and downs ... but the future looks great.”

Living the jazz ‘lifestyle’

Wadsworth says jazz was “always my lifestyle,” even as a kid growing up in Kansas City, a hotbed of jazz history and innovation and one of the great live-music cities of the early jazz era. He says he spent countless hours listening to late-night jazz radio as a young man. He bought his first jazz record before his 13th birthday. It was “Swiss Movement,” a soul-jazz live album recorded at the 1969 Montreux Jazz Festival in Switzerland featuring the Les McCann trio, with saxophonist Eddie Harris and trumpeter Benny Bailey.

“I think all Americans have some knowledge of jazz, as it is part of our national heritage, and the music is literally in the air,” he says. “In some ways, jazz was more popular, and in the mainstream, when I was a kid in the ‘60s and early ‘70s than it is now.”

Wadsworth’s early interest grew exponentially when he went away to boarding school in northern California, close to the San Francisco Bay area, a fertile hotbed for jazz in the early 1970s. He and jazz-loving classmates made regular trips to the city to see legends such as pianist Horace Silver and bassist Charles Mingus at venues like Keystone Korner and the Circle Star Theater and events such as the Berkeley Jazz Festival.

He moved to Ohio in the 1980s to go to college at Kent State University, where he graduated in 1985. He headed to grad school at Cleveland State University, where his passion for jazz became something more than a hobby.

Wadsworth quickly found a group of fellow jazz lovers, joined the Northeast Ohio Jazz Society, and eventually became the organization’s primary programmer while volunteering at the local NPR station, WCPN-FM/90.3. Add Wadsworth’s general distaste for traditional 40-hour workweek drudgery, and a career and small business based upon music began to inadvertently take shape.

“I tried the 9-to-5 world, and it just wasn’t working out,” Wadsworth said in a recent interview in the cramped basement of his Cleveland Heights home, surrounded by hundreds of records and CDs, posters and memorabilia collected during a lifetime in the music business.

“I didn’t realize it at the time. I was in graduate school at Cleveland State, and I had a sales job before that. It was kind of laying the groundwork for a career that I didn’t even know was going to exist,” he said.

Wadsworth didn’t love sales, but he loved jazz and sharing it with people. So when a longtime local jazz promoter decided to call it quits in 1990, there was suddenly a vacuum in the local jazz booking scene and Wadsworth decided to “pick up the slack.”

Jim Wadsworth's Cleveland Jazz Memorabilia

Wadsworth has an impressive recall for the many venues, some long gone, he has visited as a fan and promoter over the years, including the old Peabody’s Down Under in the Flats, The Diamondback Brewery in the Gateway District, Corman’s, the Ensemble Theatre, Wilbert’s, Rhythms, and of course, Nighttown.

Wadsworth considers the first show he did as a professional to be a concert was at Peabody’s Down Under in August of “1990 or ‘91″ featuring late guitarist Hiram Bullock, who recorded and performed with Jaco Pastorius, Steely Dan, Paul Simon, Billy Joel and David Sanborn. He also was a member of the “Late Night With David Letterman” band.

From there, Wadsworth was all in, hand addressing and mailing thousands of postcards and stuffing envelopes to send to his continually growing (pre-email) mailing list. He booked countless shows, becoming ensconced in the local and national jazz scene. He worked nonstop to fulfill his dream of bringing top-quality local, national and eventually international musicians to the Cleveland area.

Wadsworth booked his first show at Nighttown in 1999, featuring guitarist Frank Vignola. A few years later when the original owner was ready to retire and Brendan Ring was getting ready to step up and buy the restaurant, he turned to Wadsworth.

“He was looking to buy it, and he wanted to bring new energy and he wanted to up the traffic.”

Nighttown

Decorative artwork frames the stage where live bands performed at Nighttown The Plain Dealer

Wadsworth continued as music director but with bigger and better offerings and things took off quickly. Nighttown soon landed on DownBeat magazine’s annual list of the top jazz clubs in America.

Word spread among jazz greats, as Nighttown’s legend grew. Bookings blossomed. So did surprise appearances. One night, Wynton Marsalis stopped in impromptu after playing at the Palace Theater and sat at the piano. A few years later, Stevie Wonder showed up late on Sunday night with his entourage and played piano for two hours and bought the house Champagne.

Taking things to the next level

Wadsworth met his current business partner Frumkin at a show at Wilbert’s downtown. It was a fateful encounter.

Frumkin, a recently retired bass player and jazz fan, has helped take JWP to the next level. The duo forged a working and personal friendship that has lasted decades.

“Steve came up to me one day when I met him at Wilbert’s, but I didn’t really know him, and he goes, `Jimmy, these shows are great, man. I’m really enjoying this, but, you know, you need more people.’

“I’m like, ‘No kidding, man.’ He goes, ‘What you need is an email list.’ And I said, ‘OK. I’ll tell you what, You’re buying all these tickets. You’re spending a lot of money here. You can come to the shows for free from now on, and you can bring anybody you want, but you got to take care of the email list.’ And he kind of looked, he goes, ‘Ok, I’ll do it,” Wadsworth said.

“That was the beginning, and then it snowballed, and all of a sudden, we got 1,000 people on our list, then 2,000. Then, finally, we had to hire a service. I have to give credit where credit is due. That was Steve’s innovation. He’s much more technically minded than I am,” Wadsworth said.

Frumkin, who grew up in South Euclid and Pepper Pike, had been playing around town in groups such as the big band Nightcoach. He paid his dues playing weddings and private events before realizing he wasn’t growing as a musician and decided to put the bass back in its case forever.

“It was just time to do other things in life,” Frumkin said from his Sarasota, Florida, home now also known as the Florida HQ of the JWP Agency. Frumkin said he offered to help partly because he had a background in technology, having worked for a telecom company, sold Royal typewriters and worked for Dictaphone. Besides maintaining the email list, Frumkin’s duties included helping with transporting musicians sometimes across state lines, mixing live sound, “whatever Jim needed me to do,” he said.

Eventually, shortly after the turn of the century, Wadsworth told Frumkin he wanted to start a booking agency and take Frumkin on full-time as a paid employee.

“That was largely to give Steve a job. He left the corporate world, and he wanted to be in music,” Wadsworth said.

“I said, ‘Let’s do it.’ I have an entrepreneurial outlook in any job that I’ve ever had,” Frumkin recalled.

Wadsworth already had B3 organ legend Joey DeFrancesco and smooth jazz keyboardist Rachel Z signed as talent to his JWP booking agency. With Frumkin at the helm, the roster grew to include British organist and Northeast Ohio favorite Brian Auger, the late guitarist Larry Coryell and Juno award-winning trumpeter and vocalist Bria Skonberg .

Today, the JWP Agency roster includes as many as 60 artists. Over the years, folks such as Freddy Cole (younger brother of Nat King Cole), songwriter-pianist Mose Allison, Cuban pianist Chuchito Valdes, guitarist Stanley Jordan and Brazilian guitarist Diego Figueiredo , The Four Freshmen and many more have had their careers bolstered by JWP Agency.

Jazz guitar and studio legend Larry Coryell a t Nighttown

Jazz guitar and studio legend Larry Coryell was one of many famous jazz artists to perform at Nighttown. Jim Wadsworth

Just last winter, the agency added more artists, including Canadian chanteuse Emilie-Claire Barlow, who has won two Juno awards and has as many as 1 million Spotify listeners a month. Guitarist Figueiredo is one of their most popular clients. His most recent album “My World” spent 22 weeks in the jazz radio Top 50, peaking at No. 6. The roster has someone for every kind of jazz listener or venue.

Need a big band? The Hot Tonic or Legendary Count Basie Orchestras are available. Looking for some smooth, R&B-infused jazz? Veteran saxophonist Walter Beasley can bring the grooves. Perhaps an evening of warm jazz vocals is what you need. How about Cleveland’s own NAACP-Award nominated Vanessa Rubin or the international flavor of La Lucha with Ona Kirei ?

Since ending the relationship with Nighttown, JWP has been on the hunt for a new local home venue in part because having a central location where local fans can feel confident that whoever is on the bill will be JWP certified helps build a loyal audience but also serves practical reasons.

So far, JWP Concerts has been producing shows at the Market Garden Brewery , including a recent gig featuring trumpeter and educator Dominick Farinacci featuring the Tri-C Jazz Fest Academy’s “Spirit of the Groove” Ensemble with guest vocalist Ava Preston. Wadsworth said MGB is a great venue and has been accommodating, but he’s still on the hunt for the new JWP Concerts HQ.

“Right now, I have to work around the schedules of whatever venue I’m working. So if they have a big Christmas party, or somebody wants to get married or something, they’re gonna make 10 grand on this wedding and we don’t know what you’re gonna do,” he said.

“Eventually, I do hope to have one venue where I can put on shows on a more consistent basis. It may be one of the venues I am already working with or a brand-new entity. I do have some good allies out there, so I am optimistic. It is a work in progress,” Wadsworth said.

John (right) and Martin (left) Pizzarelli with Jazz promoter Jim Wadsworth

John (left), and Martin Pizzarelli (right) with jazz promoter Jim Wadsworth (center) at Nighttown Bruce Hennes

“I think things are on the upswing, but everyone who loves jazz needs to remain vigilant in their support as there are slower times and times of growth,” Wadsworth said.

“We are still in the post-pandemic time when things are just getting jump-started. Currently, I think the scene for touring performers wanting to play here is at a bit of a low ebb. But I do think that will get better as time goes on. I hope to have a positive impact on that myself.”

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