TK Blue

We are delighted to announce TK Blue as our latest featured artist.

Growing up in Lakeview, Long Island, Talib Kibwe, otherwise known as TK Blue was born to Caribbean parents from Jamaica and Trinidad respectively. Whereas nobody else in his family plays an instrument, he learned a lot in his youth, starting on the trumpet at age 8.

"I got exposed to the Caribbean musical heritage as well as some jazz. My mom loved Horace Silver and Louis Armstrong. And whilst there is not a huge jazz scene in Long Island, NYC was 45 mins away. It should be noted though that I grew up down the street from saxonist Billy Mitchell and tap dancer Conrad "Little Buck" Buckner. I met Eddie Jefferson through "Little Buck" and all three of these artists helped shape my musical growth."

"My main influences growing up were the entire Motown sound: James Brown, Sly and the Family Stone; then later in my high school years it was Gene Ammons, Pharoah Sanders and the CTI sound with Freddie Hubbard, Hubert Laws, Stanley Turrentine, George Benson and the like"

When High School was finishing, TK had aspirations to attend Boston University.

"I received a full scholarship, but racism derailed this choice and luckily I had applied to NYU and also received a full scholarship. It was a blessing in disguise as in NYC I was able to attend the Jazzmobile Saturday workshop, studying with Jimmy Heath, Frank Foster, Ernie Wikins, Billy Taylor, Jimmy Owens and a host of jazz royalty. I also studied with Joe Newman, Yuself Lateef, and Rahsaan Roland Kirk at Jazz interactions. At Henry st Settlement I studied with Paul West and Billy Mitchell."

After touring with South African pianist Abdullah Ibrahim for 3 years, TK moved to Paris.

"Living in France was wonderful and I had a chance to perform with many groups from across the globe. On top of that I was able to learn French and to perform and travel extensively through Africa."

These USIA state department tours were in large part to the first LP that TK produced in Paris as band leader, entitled "Egyptian Oasis".

In a career littered with highlights, TK mentions getting to play with the who's who of big names over the years.

"One particular highlight was being musical director for a record date with Randy Weston in 1991 called 'The Spirit of our Ancestors' on Verve records. Also, on "African Sunset", I had to solo after jazz master and royalty Dizzy Gillespie!"

Like all of us however, TK is in hibernation until all is safe and quarantine is over.

"I have been practicing lots and composing new music. It keeps you loose but nothing beats live performance for an audience. I always try and check out what's on the current jazz charts and Joey Alexander's #1 album is a masterpiece! All my gigs from March 17th (tour in France) through the end of June have been cancelled. July and August are up in the air. Like many musicians I have lost a lot of money during this time, but that's not my focus. My main focus is to play live for people, not so much for monetary gain, but to spread love, joy and happiness. Music is a healing force for the universe and we need live music now more than ever."

"What KEYEDUP! are doing is wonderful. I am a huge fan of the JFA and they are doing extraordinary things to help artists. They are angels on earth helping as many musicians as possible. May God bless their hard work and commitment to keep jazz alive and well.

Charlie Apicella

We are delighted to announce Charlie Apicella as our next featured artist for Chats with the Cats.

Growing up in Hudson in upstate New York, it was his father's older brothers that got him into music.

"One uncle went to Woodstock and that became a huge influence on me. My oldest uncle introduced me to people like Yusef Lateef and Archie Shepp. Later, when I entered college, those were the two people I studied with at UMass. Through my dad I became heavily interested in real blues like BB King, Muddy Waters, and Lonnie Johnson."

"I have always been interested in hard bop music and in my opinion, New York and New Jersey are the world capital for that sound. I’m so happy to have been here for the past 10 years and I have had the ability to really grow as a composer and bandleader. I’ve had great success with my band Iron City."

You can hear Charlie and his band Iron City on Thursday Friday and Saturdays at IL Porto: Brick Oven Pizza and Ristorante - and Charlie speaks lovingly about the relationship they have with the venue.

"Il Porto is the best gig I have ever had. It is a nice, busy neighborhood spot and a great sounding room for jazz. I have been Music Director, playing and booking three nights per week since 2013."

"The success I have had at Il Porto would not have been possible without KEYEDUP!. Music is an important part of their business model and they are paying for a band three nights per week. KU! subsidize the cost each night and the ability to play that many nights per week has helped me build a steady business for them while the band is able to focus on playing the music we are interested in."

So whilst we've all been hunkered down, Charlie speaks of his experiences with isolation, whats been on his music playlists and new music. "I’m trying to look at this as a vacation. I have some nice concerts booked for the next 12 months so I hope to come out of this landing on my feet. I find myself starting to practice after 9 PM, trying to keep my New York late night stamina up. Iron City has been in the rotation at Blue Note since 2018. That gig is great because I can add horn players like Joe Magnarelli, Don Braden, or Freddie Hendrix.

I just finished my seventh record which I will release in January as a vinyl-only release.

This is the first time I have made a record of standards, it is not with my band Iron City. My usual format of horns and congas added to the organ trio is where I focus on my original tunes and arranging. This record is bass and drums with tenor saxophonist Stephen Riley on a couple tunes. I collect jazz vinyl records and recently found a bunch by 1950s guitar players. I have rekindled my interest in folks like Johnny Smith, Tal Farlow, Freddie Green, and Bucky Pizzarelli. Also Billie Holiday has come back into rotation heavily. I love her mid-1950s Verve records, all of which are great small groups featuring some of the guitarists I mentioned.

Erena Terakubo

We are delighted to be featuring saxophonist, Erena Terakubo.

KU! : Where did you grow up? Who were your main influences from there? Was there much of a scene? Do you come from a familial jazz background?

Erena: I grew up in Sapporo, Japan. I studied classical piano and jazz saxophone at the local YAMAHA music school. There was a big band for kids that was operated by the city called Sapporo Junior Jazz School. We had many concerts throughout the year. We were lucky to have the opportunity to have a workshops from the professional musicians. One time, Herbie Hancock came to give us a clinic! I studied with several teachers back then. Yosuke Sato who played the saxophone with Gregory Porter's band is one of my former teachers. Of course, he was an outstanding player in Sapporo so I decided to study with him. I'm the only musician in my family. My father is an architect and my mother is a designer for the playground equipment. But they love music, especially my father. Although my cousin in high school is trying to be a musician.

KU! : How have you combined your Japanese heritage into your playing style today?

Erena: I'm not sure if I combined my Japanese heritage into my playing style. I would love to do a project like that for the future.

KU! : what inspired you to move here to New York and how have you found it?

Erena: I think one of the big reasons would be meeting Ron Carter and Kenny Barron when I was 18 years old. I just wanted to live closer to them. But also, I wanted to be around the musicians who were better than me, to inspire and motivate me.

KU! : What music/artists are you listening to this month?

Erena: I'm listening to Clifford Brown and Lee Morgan this month.

KU! : What are you looking forward to coming up? Touring/Album/ particular gig?

Erena: I'm looking forward to play as a special guest at Turnmillnyc on December 4th!! This is my first experience with KEYEDUP!. I heard about it thought this event in Turnmill! I can't wait to explore about it more.

Clifton Lee

We are honored to announce trumpeter Clifton Lee as our featured artist.

A true legend of the scene, Cliff has played with some of the greatest names at some of the greatest venues. From Snow Hill, Alabama, Cliff described his childhood as atypical to others in Jazz.

“I’m a little different to most musicians. I came up in Alabama surrounded by a family of musicians. I was the youngest of seven kids and everyone picked up an instrument – my brothers Leonard and Clarence played Sax and trombone, my sister Grace was a vocalist, my brother Billy is an outstanding composer and bass player, my Sister Consuela was a great pianist and they’ve worked on Spike’s (Cliff’s nephew and acclaimed director Spike Lee) film soundtracks. My father was a band leader and my mother was a concert pianist so yeah I was definitely surrounded by talented musicians”

His childhood in Alabama happened during times of racial segregation and harsh discrimination

“I grew up in the Jim Crow era. There were white bathrooms and colored bathrooms, separate water fountains and we sat at the back of the bus. Fortunately my Grandfather, William James Edwards set up a music academy in 1893 (By 1918 the school, known as the Snow Hill Institute, owned 24 buildings on more than 1,900 acres and had between 300 and 400 students pursuing both academic subjects and vocational training. It shut down in 1973) which kept us above a lot of the racism that was going on but we were still greatly affected”

The main difference of his musical introduction was that he didn’t pick up the trumpet until the age of 12, considerably later than most. “I always played but didn’t take to the trumpet professionally until the 70s playing in a family band when I got called up to the sinners”.

On moving to the north-east he noted the difference in approach to race that he experienced. “I recently went back to a museum in Montgomery and couldn’t believe the difference in racism. It’s much better now but it still exists in small pockets. People just weren’t subjected to the same in NYC”

This move to New York brought him to teaching music at a junior high in Brooklyn in the 60s.

“I loved it. I introduced them to jazz when all they had was classical music. One boy, Arthur Rhames (saxophonist and guitarist) was in one of my classes. I definitely get some credit for getting him started!”

When asked about the music of today, Lee remains a fervent fan of the old school.

“There are lots of great young players, guys that are carrying on the tradition. I’m not much for fusion – I like the classical feel. Miles, ‘Trane, Errol Garner – these guys. These guys can’t be replicated. The scene is moving, but these guys cannot be replicated.” Cliff was actually the first musician to receive a check from Keyed Up! when he played with the Low Key Trio at Turnmill. Upon hearing this news he smiled, laughed and said “it is an honor! Keyed Up! Is doing some great work.”

Cliff will be playing with the Low Key Trio at Turnmill at the start of the New Year, January 2nd.

Hyuna Park

We are delighted to feature pianist Hyuna Park.

Growing up in a small port city of Masan in the south East of Korea, Hyuna was first immersed in music from a young age. “I grew up around my mothers music school so I would have to say she is my main influence! I started with classical then started improvising. It was until after graduating from high school that I got to hear jazz”.

Hyuna knew from this point forward that she wanted to study jazz so she decided to move to New York.

“I wanted to study jazz and whoever I met recommended moving to New York. I went to Queens College to study for 2 years and it was amazing. There was so much to learn and I was challenged in numerous ways particularly learning English concurrently. But what I learned from my professors was invaluable. I think getting into the swing feel was most challenging (and still is!). Upon graduating I met many fantastic musicians who continue to help me learn. In essence, my butt never stops getting kicked!”

Hyuna was the winner of the international women of jazz award in 2018.
“I was confused initially as I was in a category with vocalists but the judges liked my version of “the Girl from Ipanema” and I performed with my trio at the 2018 international women in jazz festival. Although there have been many incredible women in jazz, we are still fighting to be acknowledged as equally strong and professional musicians as men.

Hyuna has tried to incorporate her Korean heritage into her style today using Korean grooves and rhythms “not only are there so many rhythmic variations, the respective space between the beats reminds me that the silence can be a beautiful tool in music.”

So what has Hyuna been listening to this month? “Herbie Hancock, mulgrew Miller, SF Jazz collective, joe Henderson’s big band album. Also some Korean traditional form “Sanjo” by the legendary Gayageum player Sung Geumyeon. Her playing really has so much swing and groove with her Janggu accompanist. “

Hyuna has just arrived in Banff to participate in a jazz workshop and will be playing at Birdland theatre on thanksgiving night “I’m looking forward to celebrating a traditional American holiday with a touch of Korean influence. Why not give it a little twist? After all this is New York!”

“My experience with Keyed Up! has been fantastic, I was lucky enough to meet bassist Rob Duguay who invited me along to Keyed up gigs. I remember walking into a restaurant in midtown and Bruce Barth was playing with his trio. Their music enlightened all those who heard it and you could see the reaction to people’s pleasure at such incredible live jazz music. Giving this elegant excitement to visitors from all over the world as well as those occupying the city shows the importance of Keyed Up!”

Joy F. Brown

We are delighted to announce our featured musician, singer Joy F Brown.

Born and raised in Newark NJ, Joy’s introduction to music came through her parents. “My whole family is musical – my father was a big advocate of music growing up, there were always instruments around; a piano, fender Rhodes, guitars. Music was life to my father, a Pentecostal preacher. He was very strict in that secular music was not allowed at home though I heard it at friends or cousins’ houses. I grew up with lots of gospel. My parents grew up during the depression and I listened to a lot of music from that era. The Dixie hummingbirds, Sam Cooke and the Soul stirrers, 5 blind boys of Mississippi, Roberta martin singers. The gospel sound of Chicago particularly. The elders of the upper Midwest came from the south”

Joy attended the High School of performing arts in NJ (where she learned afterward that Sarah Vaughan attended the same alma matter) and then went on to study engineering in college. Years later, Joy went back to education to study music where she was immersed in classical music. “Studying classical and growing up in the church, jazz is the perfect landing spot – like goldilocks – jazz is the perfect combination – it’s the technicality of classical but the soul, improvisational and depth of the gospel”. “My exposure to jazz is really only a couple of years old. WBAI talk radio, Grandpa Munster had a show on Saturdays that I would listen to every week. Around Nina Simone’s birthday he played a song called “images” – her voice grabbed me. Unaccompanied. He talked a bit about her – they developed a good friendship as activists. I went to Barnes and Noble and purchased her album and I put it in my Discman. I repeated “I love you Porgy” over and over and over. I needed to hear more of this. “Black brown and Beige” was the next purchase, which I felt I could get away with playing in the house. “Blues in Orbit” featured Mahalia Jackson, which was just about ok with my father! Many artists, Coltrane, Washington etc started in the church. That’s why I'm grateful for my upbringing. I don’t consider myself religious but I learned about the presence of feeling something deeper. It’s that intangible tangible. With good authentic music you will always feel something.”

Fast-forward to 2015 and a friend volunteered Joy to sing at a café for seniors. “I didn’t know what to sing so I sang the music of their day. I didn’t know anything about the etiquette or even how to sing the songs, I just went from lyrics on an Ipad. It was then I realized that I sounded like Dinah Washington. My favorite singer growing up was Gloria Griffin of the Roberta martin singers. She had the ability to sound gruff and then also become very small and intricate in how she sang.” So someone heard me and I got invited to a jam session, Nov 2015. I fell in love with the live music, which connected me back to the Pentecostal church. It was nice to be in an environment where musicians played music live. I was invited to Winard Harpers’ jam session on Fridays in Jersey. He said ‘you need to go to NYC and go study with Barry Harris’. I looked him up, went to a workshop and it changed my life. I remember walking in and thinking how can I learn in a room full of people. I sat there and listened and the things he said were so vital I went every Tuesday for 2 years. He is truly the keeper of the bebop flame. Murray Wall and Richard Clements, they took me under their wing (Monday night’s at 11th st bar) – Murray invited me over to his house and taught me songs, tempos, keys etc. For that reason they were like guardian angels to me. I met Rome Neal – he gave me my first gig at the Nuyorican poets’ café in the west village, which I stumbled through but he believed in me.”

Despite her late start, Joy remarks that whilst she is aware of the difficulties of being a woman in jazz, they are not her experiences. “I came into it older, I wasn’t a young girl so I think that changes things a bit. Not only that, I made up in my mind that I needed other musicians to respect me as a musician. I curbed the BS and got straight to the music. There have been one or two isolated incidents but I grew up around strong male influences so I’ve never been too much of a diva and I think that was appreciated – I just get on with it. Joy also spoke of the importance of KEYEDUP! to the city and also candidly about the difficulties of pursuing music full-time “I'm very grateful for KU – they supplement many venues that would like to be involved but cant. It’s important that we receive fair payment and also that we are treated well – we are providing the ambiance. Jazz is probably the one genre that you have to be in love with – you’re very lucky if you can make a living from it. I quit it 3 times a day – when the bills are there, there was a point where I was sleeping on park benches because I was determined to make this jazz thing work. Every time I would make my mind up to quit I would hear something new or sit in on a good set and be reinvigorated. I remember listening to “She” – a George Sharing tune at 11th St bar that did something to me. It was amazing. I felt like I was transcending time and space. I closed my eyes and went somewhere else. Moments like that make you realize that you can’t give it up. Corporations are pushing the pop industry; do I sell my soul to become less than I know is pure to pay my bills? As musicians we ask ourselves this question over and over. It’s definitely a love affair. So what has Joy been listening to this month? “Bouncing with Bud – Bud Powell and his trio has been on repeat for days. His technicality, his spirit – it’s a combo. He is a genius. You can hear Joy Tuesday nights at Mezzrow for vocalists, 10:30-1am. She is planning on recording an album in June and will be singing at Dizzy’s with Ruben fox’s big band in tribute to Duke. Finally, every Friday 5-7 at church st “the hang”. She will also be touring in Italy in October.

Jordan Piper

We are excited to feature the incredible pianist, Jordan Piper for our next Chats with the Cats.

Growing up in a few different places, Jordan didn't get into Jazz until high school in Bellingham, WA.

"My first influences were a group of local musicians who had a regular Tuesday night gig at a place called Stuart’s coffee shop. They included drummer Julian MacDonough and trumpeter Kevin Woods who are still active in the Pacific Northwest jazz scene. Stuart’s was a fun place to hang out and eventually some musicians I met there and in high school jazz band started jamming together regularly. We became a band called the “Jazz Omelette” and inherited the Tuesday night gig. Around the same time, I auditioned for bassist Chuck Israels’ college big band and he became a big early mentor of mine. His influence eventually lead me to attend William Paterson."

During his time here, a friend asked him to fill in for him with the Straight and Narrow gospel choir in NJ. He's been there ever since.

"Working with the gospel choir at Straight and Narrow is great because I can see the power of music transforming lives firsthand. These are people who are in treatment for serious addictions and mental health issues, so music becomes therapeutic for many of them. Singing in a choir is something that many of them have never done, so they are stepping outside their comfort zones and learning a lot in the process. It’s a great reminder of why I do what I do; to connect with people through a universal language and try to uplift them."

A prominent performer around the city, Jordan reveals what he's been listening to. "I always listen to the great singers especially to learn standards. I recently rediscovered the alto player Frank Strozier whom I’ve been enjoying on the Roy Haynes album from the early sixties called “People”. Another album I’ve been digging is “For Real!” by Hampton Hawes/Harold Land. I also enjoy listening to “Traditions in Swing”, Phil Schaap’s radio program on WKCR which is a great education on early styles of jazz."

So where can you see Jordan this month? "I'm Playing with Joey Cavaceno’s quartet at Smalls April 14, with my trio and Eyal Vilner’s big band at the Django April 13. My regular KEYEDUP! performances of course at The Brightside Tavern on Monday’s and Turnmillnyc on Wednesday’s. "

“KEYEDUP! has been so important in helping to sustain and grow NYC’s jazz scene. By showing venues they can grow their business by committing to regular live music, KU! has helped musicians and listeners alike.

Murray Wall

Next up for Chats with the Cats, we are featuring bassist, Murray Wall.

Murray grew up in Australia and speaks of the musicians he followed from a young age.

"Growing up in Australia, I was mostly impressed by Americans that I heard live - Ray Brown with Oscar Peterson in 1962, Sam Stewart with Rose Murphy, Arvell Shaw with Louis Armstrong, and Red Callender with Nat Cole, although I was just twelve then. These was one bass player from there that I loved, Lyn Christie, and I met him recently here. I remembered all the band members he played with and the names of the songs from more than 50 years ago. So I guess that impressed me."

Whilst he had some Bass lessons to begin with, for the most part Murray is self taught, learning from Jazz records.

"I learned Oscar Pettiford's solo on "Blues in the Closet" with Bud Powell. I was very moved by his sound. You learn things along the way. In New York I took some lessons with Dennis James. With the bow he can make you cry. Also Gene Ramey told me stuff that really helped me - develop a tough - feel dynamics."

Murray moved to the US in '75 for 6 months, frequenting the Angry Squire but speaks about how things have changed since then. "I think the school thing has affected the jazz scene. There's a lot of well trained kids out there who are willing to work for nothing because they need to play in public. A sixty dollar gig in 1979 accounted for a considerable portion of your rent - not any more."

"You come to New York from wherever and you think you're pretty good. But there are twenty people here who do what you do, only better. That's when you have to get serious. I got lucky to work with Jon Hendricks for five years, then Ken Peplowski got me with Benny Goodman, which was a big boost professionally. After Benny died I joined Walt Levinsky's Memorial Band, which consisted of fourteen perfect sight readers and me. I grew up playing dance music, so I was good for that kind of band. Being a jazz player, you find out that sometimes you're hot and sometimes you're not. But you learn how to survive."

When asked about what he's listening to this month, Murray remarks that his favorites don't change much.

"I still mostly listen to Charlie Parker. I like the cellist Emanuel Feuermann for sound and feeling. I like Bebop the best. I like my band with Grant Stewart,Joe Magnarelli, Richard Clements, and Taro Okamoto.

Murray plays with his band at 11th St. Bar every Monday night and mentions how KEYEDUP! has helped them.

"We had the gig at 11th St for about four years before KU! came in to help us. It was a struggle to keep it going. Everybody was getting better offers. We have a lot of people from the neighborhood who loved us, plus young musicians from all over the world. Jazz has to be in the local joints where it is not too expensive. It shouldn't become a tourist music. That is why KU! is so important. You can't get to hear Barry Harris, Charles Davis, or Dwayne Clemons for the price of a drink and a small tip (not too small).

KU! is doing this all over the city. In this video age the live arts - music, dance, and the theatre - are what matter and KU! one of the benefactors that help keep these things alive!"

You can look out for Murray on an upcoming record with the fabulous singer, Joy Brown or every Monday night at 11th St. Bar 8-11

Phil Young

we are delighted to announce Phil Young as our featured artist.

Phil Young is a central figure to the area of Harlem. Having lived there for the majority of his life, the 70 year old remarks upon those he has encountered during his 60+ years of playing

“I started drums at 7 – my father played but he went to the Korean war - when he came back the music was over. I’ll be 71 in March – I've been playing since I was 15 professionally. I played with Bobby Blue Bland at 22. Freddie Hubbard, Mary Lou Williams, Maxine Sullivan, Dizzy Gillespie. The Micki Grant show 'Don’t bother me I Cant Cope' on Broadway. 5th Dimension, The Temptations, Warwick sisters, the Drifters, the Coasters, Shep and the Limelites – the list goes on”

Phil ran the very successful Carolina Flower Shop in Harlem for 26 years. Passed through the generations from when his grandfather arrived in New York from Carolina.

“My Grandfather opened it in 1939 and I was born in 48’ so I grew up around the shop. I was happy running it but felt like something was missing, I was being pulled away from music – I saw friends win big awards and I thought, Jesus Christ I need to get back to work! After 9/11 I lost corporate accounts, having redirected the business from being a community business under my granddad to become more corporate account focused. We worked with Chase banks, various corporate businesses, the Transport Authority. 9/11 hurt the business and made me reassess.”

Phil didn’t want to immediately step back in to heavy hitting but found a space at Lenox Sapphire that seemed to fit his desires without the pressures of over-scrutiny.

“It was an opportunity to re-hone my craft, I saw the restaurant was up for music and it would be a setting not to be judged (“I’d been away for a minute” – he laughs). I wasn’t jumping back into the Blue Note – I felt I could work with a band that I wanted to work with, something that was my own”.

Phil set up talks with the owner and they agreed about the residency and how it would continue. He developed a band from there – and after many TV appearances and magazine articles here we are.

On the work that KEYEDUP! is doing:

“KEYEDUP! Are doing amazing things, I really appreciate the work you’ve done and continue to do. KU! is one of my favorite organizations and I want to see you guys succeed 100%”

What else do you have going on outside of your weekly night at Lenox Saphire Harlem (8pm)?

“I’m doing a Blues night on Saturdays at the sister restaurant, Gin Fizz (7pm-10) – known as Phil’s House of Blues. Phil will also be receiving the Men’s Magnitude Award for his work in raising money and awareness for Cancer on February 4th.

Endea Owens

We are delighted to be featuring bassist Endea Owens.

Endea grew up in Detroit and cites the city's importance in her musical beginnings

"Growing up in Detroit was like growing up in a mecca of music and art. Everywhere I went I heard music, I saw art, I saw dance, I saw innovators. My biggest influences were my first two mentors. Rodney Whitaker and Marcus Belgrave. They were the ones that encouraged me to start playing bass and they made me keep going. There has always been a great music scene in Detroit, from Motown, Jazz, Techno, Hip-Hop, and Gospel. So many musicians today are influenced by Detroit artists."

"I moved to New York because I wanted better for myself. I wanted to push myself harder and find my voice as an artist. Even with all the chaotic moments that go with living in New York, I truly believe that an individual can start to uncover his/her true calling."

When asked about her experiences as a woman in Jazz, Endea explains that they have varied.

"In Detroit, my male counterparts and I were always treated equally. I never felt as if my mentors were 'going easy' on me. Detroit has a deep mentoring spirit"

"However, later on in my career this changed. I do not believe men and women are represented equally. Some people have been making efforts to change this, but it is a slow process. A musician should never have to feel uncomfortable on the bandstand because someone is making sexual commentary."

"There has to be more female representation in jazz. This does not mean just having an all female band perform; this is more about inclusivity. I believe that we can bridge the gap once we start seeing more women sharing the bandstand with male musicians, teaching at major conservatories/universities, having a voice in jazz publications. Once this truly starts happening, I believe we can start making more of a permanent change."

So who are you listening to at the moment?

"I've been revisiting a lot of past music. Pharoah Sanders, Charnett Moffett, Geri Allen, Nik West. Anderson Paak, Rosalia, Herbie Hancock, Stevie Wonder, J Dilla, Buster Williams. Many of my contemporaries are also creating amazing music as well. So I have many influences to pull from."

And finally, Endea offered her thoughts on how she heard about KEYEDUP! and how it has benefitted her:

"I heard about Keyed Up! through many local musicians. KEYEDUP! helped me tremendously when I first moved to New York. Many of my first gigs in New York were through KEYEDUP!. On those gigs, I knew that I would be able to play with amazing musicians and because KU! matches the band price of each venue, I knew that I wouldn't have to take any odd jobs around the city. I could truly make a living strictly as a musician and be able to focus on my craft. KU! enables artists voices to be heard. Artists that sometimes get overlooked.

In February, Endea will be releasing her first album "Feel Good Music", and you can catch her on tour with Wynton Marsalis

Fintan O’Neil

We are delighted to feature Irish pianist, Fintan O'Neill.

What were your first experiences of Jazz in Ireland?

My first experiences were of Louis Armstrong, Ella Fitzgerald and Nat Cole. There was only a few radio stations so they played a little of everything. The play list could be Chopin, followed by the Beatles and then Ella. There were not many musicians in Dublin that played jazz, it was kind of an underground thing.

What inspired you to come to America - any interesting stories?

Well jazz is an African American art form so I came to listen and learn. The first week I was walking down the street and a plumber was getting tools out of his truck with his radio blaring out Coltrane. I knew I was in New York!

What are the main differences, if any, between the Irish and American jazz scenes?

Well the Irish scene today is really bouncing. There are lots of really good musicians and a knowledge base that was not there when I grew up in Dublin. Ireland in some ways is like a bridge between the USA and Europe and the music scene reflects that too. You have American influences and also influences from European folk musics. For a relatively small place Ireland has a great diversity of world music gigs happening. America, with a population 50 times greater than Ireland, has produced it’s share of geniuses so you can go and hear these players more easily here than in Ireland which is a difference but then the Cork Jazz festival has been brilliant over the last 30 years in bringing the very best jazz stars to Ireland. There are smaller but really good other jazz festivals too in Sligo, Limerick, Belfast and Dublin.

Did you feel well-received in America?

Absolutely. New Yorkers are very welcoming to new arrivals. Nobody has ever suggested I “go back where I came from”. Instead they accept you for who you are and let you be yourself. America is a great country with great people and the fact that there are problems does not change that. Previous generations had to work through difficult issues to get us where we are now so we should expect to have to stand up against the racism and injustices of today. That’s our duty.

Who/what are your main influences and why?

Well as I said, jazz is an African American music and “groove” has to be a primary influence. It’s Wynton Kelly’s bounce, the swing of people like Erroll Garner, Herbie Hancock, Mycoy Tyner, Sonny Rollins. The beauty of Bill Evans harmonies and modern masters too like Chris Potter and Fred Hersch. Brazilian music and Irish traditional music too is an influences for me and I try to incorporate that in my playing and compositions.

What music/artists are you listening to this month?

Mulgrew Miller playing Skylark at the Kennedy Center. Kenny Kirkland on Mr.JC. Keith Jarrett.

What are you looking forward to coming up? Touring/Album/particular gig

I am playing / running Jazz Tuesdays at a really cool bar called Sidetracks in Sunnyside Queens. Great whiskeys, micro brews / drink and food specials and of course jazz. We have different artists each week such as Eddie Allen, Stafford Hunter, Valerie Ponomarev, Phil Robson, Kevin Fitzgerald Burke, David O’Rourke, Jeremy Crothers. 8 -11pm Tuesdays with No Cover! Sidetracks 45-08 Queens Blvd Sunnyside, NY 11104 https://sidetracksny.com/Sunnyside-Sunnyside-Sidetracks...

Also I have a new Album just out with some standards and originals featuring Jon Irabagon, Peter Brendler, Dave Mason, Bryson Kern, Jim Robertson and Jeremy Crothers. I am delighted with the feedback I am getting on the album. Its on CD Baby and iTunes, Amazon, Spotify etc. https://store.cdbaby.com/cd/fintanoneill2

What are your experiences of KEYEDUP!? How did you hear about it? What is its general importance to the city?

I think KEYEDUP! has really identified a need in our society that few have tried to address. Live music has become a rarity in places where it used to be the norm such as clubs, bars and restaurants. A lot of younger people have never heard a live jazz group and they are very open to it once they have experienced it. Someone has got to get the music out there in front of people and KU! is doing just that by providing bars, who want to be part of something growing and special, with help in putting on great live music with wonderful musicians. KU! has created a “scene” in many venues ( where there wasn’t before ) and where locals consistently go to be part of that “hang”. It’s a cool idea and I can see KU! expanding to more venues and spreading around the country.