Inspired by community and music.
The first few days in New York City have been both affirming and inspiring—exactly the kind of time that reminds you why jazz and the arts matter.
I came to the city with the intention of meeting with members of Jazz at Lincoln Center and organizers from all across the country to discuss programming ideas, future collaborations, and the very real challenges facing jazz in a changing media landscape. These were thoughtful, candid conversations about how jazz is presented, how audiences are reached, and how institutions and independent platforms alike must continue to evolve while staying rooted in quality, context, and care for the music.
What stood out most was the shared understanding that jazz needs strong advocates—voices willing to champion not just events, but all the businesses and venues that can help sustain jazz as an art form. We spoke openly about the impact of shifting media habits on jazz promotion and the need to build meaningful partnerships that serve both artists and audiences. Within those discussions, Buffalo was not an afterthought—it was part of the conversation. Our history, our audiences, and the momentum we are building were met with genuine interest and respect. It was equally exciting to see the interest in how our JazzBuffalo Online Platform and presence have evolved and grown.
And then there was the music—always the music.
Over the past few days, I was reminded again of the depth, breadth, and vitality of jazz today.
Tomeka Reid and her septet from Chicago delivered a powerful Ellington-inspired suite of original music that balanced reverence and improvisation. It was deeply thoughtful music—rooted in legacy yet unmistakably of this moment—reminding us how jazz continues to reinterpret its history with purpose and clarity.
Seeing Veronica Swift once again affirmed her place as one of the most compelling vocalists of her generation. Her command, confidence, and expressive range were on full display, reinforcing just how far she has come and how fully she inhabits the music.
An infectious tribute to Eddie Palmieri featuring an all-star ensemble brought the room to life with rhythm, joy, and deep cultural resonance—a reminder of how Latin jazz continues to be an essential and vibrant force within the broader jazz continuum.
I also had the pleasure of discovering vocalist Kate Kortum, whose performance immediately stood out. Her artistry, curiosity, and presence signal a voice worth following—exactly the kind of emerging talent that keeps jazz fresh and forward-moving.
Pianist Gabriel Chakarji of Venezuela brought remarkable creativity and perspective, reinforcing how jazz today is enriched by global voices and lived experience.
And in one of the most joyful moments of the week, Leroy Jones—Preservation Hall master and a modern-day embodiment of New Orleans jazz in the spirit of Louis Armstrong—took the stage with his hometown friend Herlin Riley and special guest Emmet Cohen. It was lineage, swing, spirit, and celebration all at once—a reminder of jazz’s power to connect generations and traditions in real time.
Taken together, these performances underscored something we often say at JazzBuffalo: jazz is for everyone. Jazz is for the people.
Just as importantly, this time in New York reinforced our ongoing mission to advocate for Buffalo as a premier jazz destination. Sharing our story—our audiences, our commitment to quality presentations, and the work being done through Jazz at Kleinhans, The Jazz Lounge, Art Meets Jazz, the Northwest Jazz Festival in Lewiston, NY, and the Buffalo Jazz Festival—as well as supporting other jazz efforts-was met with enthusiasm and curiosity. There is a growing recognition that Buffalo is doing something meaningful and sustainable.
These first few days have been a powerful reminder that jazz thrives through connection—between cities, between institutions and independent platforms, and between artists and audiences.
The music is strong. The conversations are necessary. And Buffalo belongs squarely in the national jazz conversation.
