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Marquis Hill: New Gospel Revisited w/ KENDRICK SCOTT on drums ft/ Christian Kuria
Saturday, February 19, 2022$40 – $50
Seating times: 7:00pm, 8:30pm, & 10:15pm. Doors open 30 minutes early.
TICKET AVAILABILITY: IF SELECTED TICKETS ARE “SOLD OUT”, PLEASE CHECK AVAILABILITY FOR ANOTHER TIME AND ANOTHER SEATING TYPE
JAZZ@theEDGE! Marquis Hill: New Gospel Revisited
Marquis Hill -Trumpet
Kendrick Scott – Drums
Jahari Stampley – Piano / Keys
Joshua Crumbly – Bass
From his beginnings as one of Chicago’s most thrilling young trumpeters, to his current status as an internationally renowned musician, composer and bandleader, Marquis Hill has worked tirelessly to break down the barriers that divide musical genres. Contemporary and classic jazz, hip-hop, R&B, Chicago house, neo-soul—to Hill, they’re all essential elements of the profound African-American creative heritage he’s a part of. “It all comes from the same tree,” he says. “They simply blossomed from different branches.”
That mission to bring styles together, complemented by Hill’s absolute mastery of his instrument, is a through line connecting his many achievements. It can be heard on his latest album, Modern Flows Vol. II, with its seamless blend of jazz interplay, hip-hop-infused rhythms and socially conscious spoken-word. It’s integral to The Way We Play, his Concord Jazz debut from 2016, where Hill and his musicians reinvent jazz standards using their generation’s wide- ranging influences. It marks the four records Hill self-released before November of 2014, when he won the Thelonious Monk Institute of Jazz competition and became a presence on the global scene virtually overnight. And it defines the revelatory live dates by Hill’s longtime working group, the Blacktet, which the Chicago Tribune called “a remarkably polished, immensely attractive ensemble.”
For Hill, playing and listening without limits has long been an instinct. “It comes naturally; that’s the way I hear the music,” he says. “I came up in a household where my mom played Motown, R&B, Isley Brothers, Barry White, Marvin Gaye. Then I received my first jazz record, by Lee Morgan, and that was added to the collection. … I truly believe that the music is all the same.”
Well before Hill won the Monk prize—arguably the most important jazz competition in the world—his reputation for brilliance was firmly established in the Midwest, as a member of the Chicago Jazz Orchestra, an in-demand sideman and a bandleader. Today, Hill maintains a nonstop touring schedule with the Blacktet, and the intensely interactive, utterly unique band has become a kind of graduate school for next-level talent—Hill included.“One of the most beautiful things about leading a group is the flow of knowledge and energy that we bounce off of one another,” he says. “Each member contributing their distinctive voice is what truly makes the music and magic happen.”
Drummer and composer Kendrick Scott kicked off his blue note contract four years ago with we are the drum. Expertly produced by Derrick Hodge, Scott’s creative confidant and musical brother, and featuring a stunning guest performance by vocalist Lizz Wright, it earned rave reviews and reiterated how oracle, scott’s long-running working group, is one of the most thoughtfully powerful jazz bands of its generation.
As far back as he can recall, Scott, who was born in Houston in 1980, has imbued his music with deeper meaning. “coming up in church,” he says, “you played music for a message; you played music for a purpose. Oracle lives in that space, no matter what we’re playing.” Like his fellow Houston drum greats Harland and Jamire Williams, Scott grew up with a mother who was an acclaimed gospel choir director. On top of that bedrock, he developed his technique through private mentorship and public jazz education, spurred on by an environment of fierce but brotherly competition. He moved to New York in 2003, and raised his profile performing and recording for blue note in trumpeter Terence Blanchard’s band (with future Blue Note artists Hodge, pianist Aaron Parks and guitarist Lionel Loueke).
Throughout his time at the helm of his own group, Scott has employed the lessons he’s learned as a sideman working with jazz’s great bandleaders. Like Blanchard, Scott encourages his players to exercise their personalities and to contribute music. He has also performed regularly as part of Charles Lloyd’s band, and has adapted the tenor legend’s sense of trust and intuition.
Born and raised in the San Francisco Bay Area, Christian Kuria first attracted internet attention in 2016 as a Hip Hop and R&B guitarist.
Soon after, he began to incorporate his guitar playing into fully-produced covers. This led Kuria towards composing and producing his own original music.
In late 2019, Christian made his US touring debut as support for the critically acclaimed writer, producer, and singer, Cautious Clay.