Long hailed for her style-blurring renditions of artists spanning Tom Waits and Jimi Hendrix to Marvin Gaye and Metallica, Elles sees Youn Sun Nah bringing her remarkable voice and unique perspective to a range of songs that have deeply fueled her own indescribable musical approach, all made famous by such iconic female artists as Björk, Sarah Vaughan, Grace Jones, Roberta Flack, Edith Piaf, Grace Slick, Maria João, and more.

Recorded in New York City alongside acclaimed pianist Jon Cowherd (Brian Blade, Cassandra Wilson, Lizz Wright) and producer/musician Tomek Miernowski, Elles spans a wide array of songs either written or performed by notable women artists, from soulful spirituals (“Sometimes I Feel Like A Motherless Child”) and psychedelic milestones (“White Rabbit”) to long-overdue takes on “Feeling Good,” “My Funny Valentine,” “I’ve Seen That Face Before (Libertango)” and “Killing Me Softly With His Song.” Backed by Cowherd’s subtle yet inventive work on a variety of keyboards, Youn Sun Nah reimagines standards both old and new in typically captivating fashion, traversing gender and generation with precision, magic, and intimacy.

Youn Sun Nah is among contemporary jazz’s most admired vocalists, an international award-winning singer, songwriter, and performer, hailed by The Guardian for her “seamless” movement “between impressionistic high drama, abstract improv, or a folk artist’s candid simplicity.” The Seoul, South Korea-based artist began her musical journey with piano lessons as a child before singing gospel with the Korean Symphony Orchestra as a teen. A career in musical theatre beckoned but Youn Sun Nah instead chose to pursue her own muse by attending Paris’ Institut National de Musique de Beauvais, Nadia and Lili Boulanger Conservatory, and the CIM, a school of jazz and contemporary music. Youn Sun Nah quickly affirmed herself as an exceptional vocal star, winning prizes at jazz festivals and competitions.

In Podcast 989, Youn and I talk about how she chooses cover songs that she can inhabit with her own spirit and style, how she came to jazz late, and why she has constantly changed accompanists through her year long tour. Musical selections include “White Rabbit” and “Baltimore Oriole” from Elles, and “My Favorite Things” from her breakthrough album Same Girl.

No Cowards in Our Band is a musical drama telling the story of renowned activist and abolitionist Frederick Douglass (1818-1895) through his own words. With the performance just days before the 2024 Presidential Election, the piece is a striking reminder of the power of the pen, the voice, and the vote.

Based on a libretto by Anthony Knight, Jr. and interwoven with Negro spirituals arranged by GRAMMY-nominated jazz artist Orrin Evans, No Cowards in Our Band stars actor, artist, and TV personality Masud Olufani as Frederick Douglass performing with a trio of opera singers, the “moving and electrifying performer” (Wall Street Journal) Nia Drummond, soprano – who went viral last year for a rendition of Happy Birthday that made Busta Rhymes cry – Metropolitan Opera tenor Edward Washington II, and Opera Ebony and Syracuse Opera’s Gregory Sheppard, bass.

Evans is a fixture on the jazz scene now, and is featured on the cover of Downbeat in November. As a deft tune deconstructor, he traverses a broad timeline of the vocabularies of swinging, blues-infused hardcore jazz and spiritual jazz/avant garde jazz traditions, as well as the Euro-canon, with the intuitive spontaneity of an ear player. He projects an instantly recognizable sound, sometimes eliciting flowing rubato poetry. He records and performs in collaborative projects include the Eubanks Evans Experience (a duo with eminent guitarist Kevin Eubanks); the Brazilian unit Terreno Comum; Evans’ working trio with bassist Luques Curtis and drummer Mark Whitfield, Jr.; Tar Baby (a collective trio of 20 years standing with bassist Eric Revis and drummer Nasheet Waits); and the Captain Black Big Band, which just recently released Walk a Mile in My Shoe (Imani Records).

Orrin was just off the red-eye from gigs on the West Coast when I caught up with him by Zoom, and we discussed his very personal involvement with No Cowards in Our Band, as his mother was an opera singer, and his father a playwright. We also dig into Walk a Mile in My Shoe, from which you will hear the Captain Black Big Band take on Bread’s 70’s soft-rock standard “If,” with a wonderful vocal by Paul Jost.

Saturday, November 2nd at 7pm
Concept and Libretto: Anthony Knight, Jr.
Musical Arrangement: Orrin Evans
Director: Michael Hofmann

Masud Olufani as Frederick Douglass

Nia Drummond, soprano
Edward Washingington II, tenor
Gregory Sheppard, bass

Tickets: https://hudsonhall.my.salesforce-sites.com/ticket/#/instances/a0FUT000002I0d72AC
Tier 1: Reserved Seating, $45 (plus $5 fee)
Tier 2: General Admission, Mid-Center Section/Side Aisle, Front Mezzanine, $30 (plus $5 fee)
Tier 3: General Admission, Rear and Side Seating, far sides may be partially obstructed, $19 (plus $3 fee)

Tord Gustavsen has gone down many musical paths in his still-blossoming career. Classically trained and educated in musicology, Tord also has a deep knowledge of jazz, which he has seamlessly integrated with the folk and religious music of his upbringing in Oslo. In many ways a quintessential ECM artis (though in our conversation he says he did not think this was originally the case), he has performed and recorded in any number of traditional jazz formats, as well as integrating choirs, singers and world music into his sound.

With Seeing, Tord begins an intricate new chapter in his series of acclaimed trio recordings, initiated in 2003 with Changing Places – an album that is today considered a classic. The new recording with its compact, concentrated song forms features five Gustavsen originals, two chorals after Johann Sebastian Bach, a traditional Norwegian church hymn, plus the 19th century English chorale “Nearer My God, to Thee."Tord, together with long-time ally Jarle Vespestad on drums and Steinar Raknes on double bass digs deep into his unique blend of jazz, blues, gospel, Scandinavian folk and church music on the album. Fans of the deeply moving and meditative music for which Gustavsen has become famous will not be disappointed. Seeing, recorded in fall 2023 at Studios La Buissonne in Southern France, was produced – naturally - by Manfred Eicher.

Podcast 987 is our conversation, as we talk about his trio, the new album, his musical background and influences, and how he approaches improvisation. Musical selections include “Seattle Song,” taken from an improvisational idea he and the trio created as a sound check before a show in the Emerald City, and a stirring version of “Auf Meinen Lieben Gott,” which featuring a stunning bass solo by Steinar Raknes.