Let It Come to You

“The wonderful thing about making music (and possibly the reason why it's considered a universal language) is that the only requirement for understanding and enjoying music is the will to observe, interpret, and to be moved. I hope that this music takes you on whatever emotional journey you need at the moment...it certainly took me on one!” –Taylor Eigsti, Let It Come to You

The mantle of “child prodigy” is not only heavy but often difficult to cast aside. Taylor Eigsti’s talent was apparent when he was a mere toddler, and the young pianist drew considerable attention from age 8 when he opened for David Benoit, shared the stage with Dianne Schuur and at age 12, with Dave Brubeck at 13, released his first recording at 14 and joined the faculty of the Stanford Jazz Workshop at 15. Since, the Menlo Park, California native has opened for Diana Krall, Al Jarreau and Hank Jones, appeared twice on Marian McPartland’s Piano Jazz, graced the covers of Jazziz and Keyboard Magazine, landed in two consecutive DownBeat Critics Poll, and was the subject of a BET Jazz special. And his fifth recording and Concord debut, Lucky to Be Me (2006), not only featured a supporting team that included Christian McBride, Lewis Nash, James Genus, and Billy Kilson, it received two Grammy nominations as well (best instrumental composition and best instrumental jazz solo). With his Concord follow-up, Let It Come To You, in stores as of May 6th, 23-year-old Taylor hopes he’s finally proven himself worthy of both praise and criticism on the basis of his music alone.

"Javon adds a modern twist to the music we grew up with. Everybody get ready for a funky good time." - Branford Marsalis

Javon Jackson

Javon Jackson was born in Carthage, Missouri and raised in Denver, Colorado. Sonny Stitt's music inspired Javon to pick up saxophone at a young age. Jackson began working professionally in local jazz clubs at age 16, playing with former Max Roach Quintet pianist Billy Wallace. During this time, Javon met and was befriended by Branford Marsalis, who encouraged Javon to attend the Berklee School of Music. Two of Javon's instructors at Berklee were saxophonist Billy Pierce and pianist Donald Brown, two former members of Art Blakey's legendary Jazz Messengers. One of the seminal groups of the hard bop movement of the 50's and 60's, the Messengers provided a training ground for the likes of Freddie Hubbard, Lee Morgan, and Javon's early mentor, Branford Marsalis.

Out to Lunch Quintet © Andera Canter

One of the top events in local music in 2006—in my opinion—was the release of The Out to Lunch Quintet: Live at the Artists Quarter. Produced by Don Berryman (Jazz Police) and featuring five of the most creative jazzers in the Midwest, the recording took the seminal 1964 work of saxophonist Eric Dolphy and presented it with a 21^st century glow. The very fact that this music was performed at all was in itself a major event in jazz. This weekend, May 9-10, the OTLQ returns to the Artists Quarter to continue its mission—honoring the music of Dolphy through recreations of his compositions and original works.

On his liner notes, Don Berryman provides an informative summary of the short life of Eric Dolphy, a masterful composer, arranger and performer on multiple reeds. He was a favorite of Mingus and Coltrane, but perhaps best known as the composer of avant-garde compositions using odd time signatures further pushed outside by his dissonant and unpredictable blowing style. Notes Berryman, “Out to Lunch influenced a generation of jazz players…and is regarded not only as Dolphy’s finest recording, but as one of the greatest jazz recordings.” Tragically Dolphy died at age 36 in June 1964, a few weeks before Blue Note released his seminal recording.