Branford Marsalis Quartet: A Joyous Celebration in Jamaica, Queens

On a beautiful summer afternoon at Rufus King Park in Queens, the Branford Marsalis Quartet turned the Downtown Jamaica Riddim and Jazz Festival (07/26/2026) into a joyous celebration. The quartet is one of the finest working groups in contemporary jazz. Its regular lineup includes Joey Calderazzo on piano, Eric Revis on bass, and Justin Faulkner on drums. Calderazzo and Revis were unavailable for this performance and were replaced by Geoffrey Keezer on piano and Barry Stephenson on bass. The substitutions did little to lessen the impact of the music. In fact, the chemistry was remarkably strong for a group that, given the late personnel changes, had likely not played together very often. Keezer, in particular, was magnificent and proved to be the perfect foil for Marsalis. His playing was inventive and technically dazzling, but never showy for its own sake. He listened closely, responded beautifully, and helped give the performance much of its sense of spontaneity. Keezer smiled often and seemed to be having the time of his life.

Marsalis alternated between tenor and soprano saxophones, playing both with equal virtuosity. His tenor had its familiar power and depth, while his soprano was fluid, lyrical, and wonderfully assured. Yet the performance never felt like a showcase built around him alone. Marsalis was a generous bandleader, giving the other musicians plenty of room to solo and shape the music. Justin Faulkner was outstanding throughout, a real powerhouse whose energy drove the band without overwhelming it. Stephenson, who hails from Marsalis' hometown of New Orleans, fitted comfortably into the group and helped create a performance that felt cohesive, relaxed, and open.

The program included two compositions by Joey Calderazzo, "The Mighty Sword" and "Conversation Among the Ruins." Marsalis' most recent album, Belonging (2025), featured the music of Keith Jarrett, and the quartet delivered a wonderfully engaging rendition of Jarrett's "'Long as You Know You're Living Yours," capturing both its gospel-inflected groove and subtle Caribbean lilt. One of the more unexpected choices was the 1928 Fred Fisher standard "There Ain't No Sweet Man That's Worth the Salt of My Tears." It has become something of a staple in Marsalis' repertoire in recent years, and its inclusion reflected his fondness for uncovering overlooked gems from the Great American Songbook rather than relying on more familiar standards. The quartet also performed "Criss Cross" by Thelonious Monk and Duke Ellington's Mood Indigo, as well as a lengthy version of "Cheek to Cheek" that was full of warmth, wit, and effortless swing. The set ended with an extended New Orleans-style celebration of "The Bucket's Got a Hole in It," which the band stretched to roughly 15 minutes. By then, the concert had taken on the feeling of a communal party. Young tenor saxophonist Chris Lewis joined the band for the final half hour and played exceptionally well. Marsalis gave him ample space to make his presence felt, and the two saxophonists engaged in a series of spirited and impressive exchanges. Lewis seemed completely at ease and more than held his own.

What stayed with me most was the balance between musical excellence and sheer enjoyment. The musicians played at an extraordinarily high level, but there was nothing stiff or overly serious about the performance. They smiled, laughed, listened, encouraged one another, and seemed to take real pleasure in where the music led them. That feeling was infectious and the musicians fed off the large crowd's energy. The audience was not simply watching a display of extraordinary musicianship. We were being drawn into the celebration. After the concert, Marsalis remained for at least half an hour, taking selfies and speaking with fans. He was approachable, gracious, and generous with his time. I spoke with him briefly, and he responded thoughtfully to my questions. This performance was one of the highlights of what has already been a summer of exceptionally great music for me. Everything about the afternoon, from the playing to the atmosphere, came together beautifully.