Pittsburgh International Jazz Festival Brings It Back To The Streets

After camping out at a soccer stadium last year, the Pittsburgh International Jazz Festival returned to Liberty Avenue and the August Wilson African American Cultural Center to deliver an impressive array of music and related events over four days in September. Clevelanders played a prominent role in the festival on stage and behind the scenes.

From Maysa to Marsha Ambrosius, the artists featured on two free outdoor stages
and others in the AWAAC brought knockout performances that make this festival one of the outstanding of its kind. One of the beautiful things about it is that it provides exposure for artists who may not be household names yet, but prove their talent justifies inclusion in such a festival.

Vanisha Gould is one such artist. A transplant from Simi Valley, California to New York City, she’s a singer/songwriter with an earthy candor and lyrical command largely missing from contemporary hip hop and R&B radio programming. Her style is inspired by vocalists like Billie Holiday, Sarah Vaughn, Carmen McRae and Nancy Wilson and her songwriting is a breath of fresh air. She did a magical set with a duo of musicians, just her with a bassist and keyboardist.

Another standout vocal performance came with Sy Smith singing with Orrin Evans and the Captain Black Big Band. Her rendition of the Nina Simone classic Feelin’ Good slayed the audience as she started it with hip hop-flavored verbal mixing and scratching with beat boxing segueing into what a small big band can do with instrumentation.

Endea Owens and the Cookout was another stellar set with her cadre of musicians, including a few colleagues from her day job with Stephen Colbert’s late night talk show. Her warmth onstage was infectious and her command of the upright bass was equally vivacious.

Cleveland’s own Chris Coles, saxophonist and member of the Cleveland Jazz Orchestra, had the role of conductor and musician with his Nine Lives Project. It paid tribute to the nine victims of the massacre that occurred in a church in Charleston, South Carolina a few years ago. It included an animated film in one of the movements, choreography by a solo dancer, two rappers and spoken word artist Orlando Watson, the Senior Director of Programming at the AWAAC. Providing musical support was none other than trumpeter Sean Jones, as well as Theron Brown, Chris Anderson, Tommy Lehman and others from the CJO. It was a very moving performance.

Watson also served as MC for several performances, bringing his spoken word skills into play to introduce Robert Glasper to the delight of an anticipating audience.

Jones did a set of his own with a small unit consisting of three younger players, all between the ages of 20 and 22, who capably and impressively demonstrated that jazz is in good hands. Although he’s a native of nearby Warren, Ohio, Jones is considered by some as the mayor of Pittsburgh jazz, having deep roots and connections with the music scene there with his history of involvement with the music.

Average White Band was presented with a Legacy Award by the festival’s creator and President/CEO of the AWAAC, Janis Burley. She stepped off the stage and the funk from one of America’s favorite R&B groups commenced. It was to be the final performance in Pittsburgh for a band that has been touring for 51 years. They’ve been a part of the PIJF on several occasions, so the parting was bittersweet. They did songs from their debut album, and perennial favorites School Boy Crush, Cut The Cake, A Love Of Your Own and the closer, Pick Up The Pieces.

Pianist Emmet Cohen brought his beaming smile and virtuosity to the stage for a high intensity set during his mid-afternoon excursion.

Music took an international twist with crowd favorites Cimafunk, high energy danceable music and the Latin flavor coming from Luejida Luna and her group from Bahia. Add to that the raw blues from Shemekia Coleman, and the masterfully executed set by Grammy Award-winning keyboardist Robert Glasper and you have the makings of another successful outing in its 14th year by the Pittsburgh International Jazz Festival.

Planning for the next festival began on the following day. Watson promises the 15th year will be one to look for. Burley says it will most likely be on the street again. Jazz fans will definitely have something to look forward to experiencing again.