Sep 5

Sep 5 Chicago Jazzfest-Day 3

Blues, Chicago Tourism, Festivals, Musicians, Performance, Public Declarations, Things to Do in Chicago

Earlier today, a number of very talented musicians played what I assume was top notch jazz on the two stages on the Chase Promenade, one at the north end and the other at the south . Unfortunately, my nephew, Alfie, chose today for his bar mitzvah, which meant I was tied up for most of the day in Highland Park. After handing Alfie an envelope filled with crisp one-hundred dollar bills, I headed back to the city for Day 3 of the 2026 Chicago Jazz Festival. Family comes first, but I did miss performances by the Miquel de la Cerna Trio, vocalist Joan Collaso, saxophonist Kevin King, bassist Frank Russell and his quintet, and a number of other fine musicians.

One thing was for sure: I was not going to miss tonight's headliner, the Miles Davis Electric Band (“MEB”). But before revisiting Miles and the likes of Bitches Brew, I listened to the three groups preceding the MEB on the Pritzker Pavilion stage.

First up tonight was Prodigio Claudio, a band rooted in Puerto Rican culture. The band’s leader, Eligio “Prodigio” Claudio Diaz, plays the cuatro, which is a 10-string blend between a lute and a guitar. Angel Salas, one of Diaz’s young proteges, played what appeared to be a smaller version of a cuatro, but it also just might have been a small guitar. Salas also doubled on flute. Osvaldo Aviles added congas to the mix, with Fredy [correct spelling] Quintero rounding out the mix with his bass.

Musically, no one could find anything objectionable with what Prodigio Claudio was playing on stage. But to my ears, what they were playing was not jazz, even under the most elastic interpretation of the term. What I was hearing was more akin to classical music. Diaz and Salas largely dominated the sound. Undoubtedly, some in the seats and on the lawn enjoyed what they were hearing, but Prodigio Claudio was not to my taste. The music simply was not dynamic, lacking range and noticeable variations. The set was monochromatic and monotonous.

After a brief intermission, vibist Patricia Brennan brought her septet to the stage. In 2024, she released Breaking Stretch, which was named top album of the year in the DownBeat Critics Poll. Her group included Cuban trumpet master Kali Rodriquez-Pena, Jon Irabagon on alto and soprano saxophone. Dan Weiss on drums, and percussionist Mauricio Herrera. The group delivered a solid set of modern jazz, with the vibes adding brightness and opening up the soundstage. Bobby Hutcherson came to mind; not because Brennan sounded like the legendary vibist, but because Hutcherson was the first jazz vibist I encountered.

Before the third act, Mayor Brandon Johnson made an appearance, name checking Kendrick Lamar and a Tribe Called Quest. Ever cognizant of the city’s financial issues, Johnson said he hoped all of the out-of-towners stayed an extra night so that the city could collect additional hotel taxes. I certainly like the fact that the Mayor showed up to what is an important annual, cultural event. Kudos to Mayor Johnson.

I was a bit skeptical about the next set featuring vocalist Paul Marinaro, particularly when he and his chiseled good looks walked from off left. His two-day-old facial stubble and elegant suit increased my skepticism. Was this guy a phony hipster?

Turns out, I should have held my skepticism at bay. Marinaro offered up a terrific set of Ellington standards, which included I’m Beginning to See the Light, Don’t Get Around Much Anymore, I’m Just a Lucky So and So, Just Squeeze Me, In A Mellow Tone, Mood Indigo, and Ain’t Got Nothing But the Blues. Interestingly, these selections and the associated arrangements sounded modern despite the fact that most of the songs date to World War II.

I wouldn’t call Marinaro a baritone, but he had a deep, luxurious voice. My notes include the phrase, “smooth and rich like honey” when referencing Marinaro’s voice. But it wasn’t just his voice that made the set so enjoyable. He used gestures very effectively to sell the lyrics and the associated emotions. I am no longer a skeptic.

Now we come to the last set of the evening, which celebrated the centennial of Miles Davis’ birth. The festival’s programming committee decided to highlight Davis’ electric sounds from the late Sixties through the Nineties. The program notes appropriately reference four legendary Davis albums: In a Silent Way, Bitches Brew, On the Corner, and Jack Johnson.

Quite frankly, I don’t recall which album the opening number came from—I suspect Bitches Brew—but it was spot on. The bass line had the confident swagger I associate with Davis and his electric period: the dude making his entrance in stylish clothes, probably wearing a wide-brim red Fedora and black alligator shoes.

Tonight, Theo Croker, Orbert Davis, and Corey Wilkes each showed great courage, each taking on the role of Miles Davis. While I might be intimidated by such a task, they weren’t.

Because I am not a trumpeter, I have no idea how easy it is to imitate Miles Davis. Nor do I know whether he was a great technician. To me, Davis’ genius lies in his willingness to throw the old book out and try something new—something that he did countless times during a career that extended over five or six decades. He created whole sub-genres.

The band brought game. Darryl Jones, the Rolling Stones’ bass player, layed down the beat, with plenty of space between each note. Echoes of guitarist John McGlaughlin punctuated the air thanks to Jean-Paul Bourelly. The air was awash is percussion thanks to percussionists Munyungo Johnson and Rasaki Aladokun. Yep, two percussionists, together with drummer Vince Wilburn Jr., who is Miles’ nephew and who put the band together.

When the concert came to an end, I was deeply satisfied. Not surprisingly, I’ve been listening to Jack Johnson as I write this review. The musicians on stage did Miles’ electric period more than justice. What a way to end the third day of the festival.

Click on an Image to Enlarge It. The Images Are Not Necessarily in Exact Chronological Order]