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2009 Stanford Jazz Festival

Stanford Jazz Workshop

June 26-August 8, 2009

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Artistic excellence, intimate venues and a welcoming atmosphere define the Stanford Jazz Festival experience, making it unique place where jazz listeners of every generation can gather and feel at home. The 2009 season offers a tantalizing array of talent, including familiar Festival crowd-pleasers such as Dena DeRose, Madeline Eastman, Wycliffe Gordon, Julian Lage, Taylor Eigsti, Wayne Wallace and the Heath Brothers, along with return appearances from past favorites Eric Alexander, Regina Carter, James Moody, Donald Harrison and Matt Wilson. Other highlights include Dafnis Prieto and Gonzalo Rubalcaba, giving Opening Weekend a cosmopolitan flavor and zest. The festival's two retrospectives, 1959 Revisited and Stan@Stanford: Remembering Stan Getz, are of particular interest to those who wish to expand their knowledge of the origins of jazz while listening to a bevy of SJW's rising stars blaze a path to the future.

Concerts and workshops take place at the following venues:

• Campbell Recital Hall - Stanford University, 541 Lasuen Mall, Stanford, CA  94305
• Dinkelspiel Auditorium - Stanford University, 471 Lagunita Drive, Stanford, CA 94305.

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• Ticket Info

  Tickets: $14-$40

  Info Phone: 650-725-ARTS (2787)

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• Dates & Times

  Dates:
  June 26-August 8, 2009

  Times:
  Mon-Sun: Various times; see schedule.

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• NOTE: We do our best to ensure all information is accurate, however it's a good idea to visit the website or call the venue to verify the information.

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  • Event Name: Chris Potter's Underground
    "Chris Potter Leads the Way for Tenor Players"
    Review posted by: Richard Ferrie from San Jose, CA USA, Jul 11, 2006
    

    Saw this show. Chris keeps moving on. Like Trane (though he may sound frequently more like Rollins, etc.), he keeps changing, keeps getting deeper into his own sound. Like Trane, he has countless... Expand

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    Saw this show. Chris keeps moving on. Like Trane (though he may sound frequently more like Rollins, etc.), he keeps changing, keeps getting deeper into his own sound. Like Trane, he has countless imitators whom one chooses not to "out" because imitation is indeeed the sincerest form of flattery. Incredible concert. Three standing ovations. A rending of clothing. A cry of women in the night. Dreadful beauty. Was there anyone in the audience who was not a musician listening fror the next note to play? Collapse

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