46th Annual Tri-C JazzFest

46th Annual Tri-C JazzFest
Playhouse Square
Cleveland, OH
June 26-28, 2025

Jazz festivals occupy a precarious space these days. Pressured by financial constraints, too many have drifted toward booking artists with only a passing connection to the jazz tradition. Cuts to both public and private funding have only compounded the difficulty of producing large-scale music festivals. This year's Tri-C JazzFest wasn't immune to those realities. Several of its outdoor performances veered into genres far afield from jazz, but these shows were free and succeeded in attracting the kinds of large, diverse crowds that appeal to corporate sponsors. Fortunately, the ticketed indoor concerts offered some of the most compelling programming in recent memory, even accounting for the obligatory nods to fusion.

After a familiar opening-night set from Trombone Shorty—an artist who, while crowd-pleasing, has arguably been overexposed at the festival—the core of the programming unfolded on Friday and Saturday. The longstanding format of presenting multiple shows across the various Playhouse Square theaters continued, but this year saw improved logistics: performances were more generously spaced and often staged in the same venue, making for a smoother audience experience.

One of the weekend's two major tributes featured the Clayton-Hamilton Jazz Orchestra honoring the centennial of Oscar Peterson's birth. Their expansive set traversed a range of styles, from the funky swagger of "The Jody Grind" to the crisp swing of "Squatty Roo." Tenor saxophonist Rickey Woodard stood out with his ebullient tone, while drummer Jeff Hamilton provided stylish propulsion throughout. A particularly poignant moment came with John Clayton's expressive arco bass work on "How Insensitive," a highlight of the set's first half.

When pianist Benny Green joined the ensemble, he delivered a breathtaking trio of solo pieces, reaffirming his stature as one of the finest jazz pianists working today. He then anchored "The African Suite," an ambitious eight-movement composition by Peterson that had never been performed in its entirety during the pianist's lifetime. Thanks to scores and archival recordings provided by Peterson's widow, Clayton was able to fully realize the suite for the first time. Rounded out by two percussionists and guitarist Dan Wilson, the piece spanned a wide emotional spectrum, offering rich moments for Green and other soloists to shine.

Stanley Clarke has long occupied a unique space in the jazz world, bridging genres as a popular crossover artist while maintaining a firm grounding in acoustic jazz traditions. In recent years, his ensembles have reflected a strong commitment to mentoring the next generation of players, and this year's performance was no exception. Clarke stuck primarily to the upright bass throughout his generous set, avoiding the smooth jazz trappings that often accompany crossover appeal.

Clarke gave ample room to his young bandmates, forging strong onstage chemistry with violinist Evan Garr. A standout moment came with a dynamic interpretation of the Charles Mingus classic "Goodbye Pork Pie Hat," which blossomed into an ensemble showcase. Guitarist Colin Cook traded blazing lines with drummer Jeremiah Collier, pushing the tune into fiery, exploratory terrain.

Emilio Modeste offered a particularly expressive turn on soprano saxophone, his phrasing evoking the spirit of Wayne Shorter. Cook brought intensity to his electric solos, but his acoustic playing was especially compelling. Before wrapping the night with the expected encore of "School Days," Clarke stepped aside for Collier, whose extended drum solo was a dazzling display of technique. While it flirted with excess, the sheer command and energy were undeniable.

Friday night's finale burst into full Technicolor splendor with the arrival of the Sun Ra Arkestra. Though their visionary founder left this planet over three decades ago, the Arkestra has continued to channel his cosmic spirit, evolving yet ever rooted in the eclecticism that defined the band since its inception in the early 1950s. Now under the charismatic direction of Knoel Scott, the 13-piece ensemble remains a fearless explorer of jazz's vast terrain.

True to form, the Arkestra's set drew from every corner of the idiom. A mambo-inflected version of "A Stranger in Paradise" fit surprisingly well alongside the jubilant swing of Fletcher Henderson's "Big John's Special," exemplifying the group's seamless blend of tradition and experimentation. While Tara Middleton lent her theatrical vocals to many of the evening's tunes, the magnetic force at the center of the performance was Scott himself. A whirlwind of energy, he dazzled on saxophones and conga drum alike, even launching into flips and breakdance moves mid-set.

One of the evening's most memorable moments came during a raucous baritone saxophone duel between Scott and Anthony Nelson on a piece by Charles Davis, a display that was both playful and virtuosic. At times, the group's exuberance threatened to spiral into chaos, but drummer George Gray provided a steady hand, anchoring the madness with rhythmic clarity.

A familiar presence at Tri-C JazzFest, likely due to his involvement with the college's educational initiatives, trumpeter Dominick Farinacci opened Saturday's proceedings with a heartfelt nod to his Cleveland roots. This two-fer event also featured a second half by pianist Taylor Eigsti and vibraphonist Christian Tamburr, offering a dynamic contrast that helped shape one of the day's most memorable programs. Farinacci's portion began appropriately with a warm rendition of "Song for My Father," setting the tone for a series of collaborative features. First pairing with saxophonist Ken Lee Grand, and later with Ernie Krivda and Howie Smith, Farinacci showcased both camaraderie and command. His local ensemble, save for pianist Richard Johnson, included bassist Jordan McBride, drummer Gabe Jones, and percussionist Patrick Graney.

The second half of the set belonged to Eigsti and Tamburr, who paid tribute to the legendary partnership of Chick Corea and Gary Burton, a collaboration that began with the landmark Crystal Silence (ECM, 1972) and spanned over four decades and seven albums. Selecting standout pieces such as "Bud Powell" and "Spain," the duo struck a balance between reverence and reinvention. Eigsti's performance was technically brilliant yet emotionally resonant, while Tamburr's command of both four-mallet and two-mallet techniques made his playing as visually striking as it was musically captivating. Their interplay was seamless, and the set easily stood among the festival's high points.

Filling in for Dianne Reeves, who had to withdraw due to a death in her family, The Baylor Project made their Cleveland debut and left a deep impression, winning over a new wave of admirers in the process. Jean Baylor, with her perfect intonation and burnished tone, commanded the stage throughout a superb set that blended beloved standards like "Tenderly" with the group's original compositions. Her husband and musical partner, Marcus Baylor, led the band from behind the drums, bringing flair and rhythmic finesse that elevated the ensemble without overshadowing it.

The frontline pairing of saxophonist Keith Loftis and trumpeter Freddie Hendrix added rich textures and delivered standout solos. Pianist Terry Brewer provided harmonic grounding for Baylor's soaring improvisations, while her deep rapport with bassist Eric Wheeler brought added warmth and cohesion to the group's sound. Having spent several months in Cleveland caring for her mother before her recent passing, Baylor dedicated the performance to her memory. The gesture added emotional weight to an already heartfelt evening.

A party atmosphere erupted in full force as Pedrito Martinez and his group brought the festival to a jubilant close. A native of Cuba steeped in the Santería tradition, Martinez has been a powerful presence in the Latin jazz world since relocating to the U.S. in 1998. In addition to winning the Thelonious Monk Competition and appearing in the iconic film Calle 54, he's been an essential collaborator on numerous projects while leading his own dynamic ensemble in recent years.

A constant flurry of motion, Martinez was rarely stationary behind his congas—frequently leaping up to sing, direct the band, and drive the crowd into a state of rhythmic frenzy. Pianist Ahmed Alom added infectious vamps with electrifying solo lines, while bassist Sebastian Natal laid down an unshakable foundation. Matching Martinez in intensity was percussionist Manny Marquez, whose command of timbales and a compact trap kit resulted in a dazzling, four-limbed display of ingenuity. When Weedie Braimah joined the fray on djembe, the groove deepened into something primal and magnetic. The hypnotic energy drew people out of their seats, filling the area in front of the stage with dancers caught up in the music's irresistible pull.

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