Monday nights are typically pretty quiet, as far as live music goes, but the volume has boosted bigly this year. On a week-in, week-out basis, it may be the best live music night in all of Florida. You can still see them there fairly often, along with others who’ve cooked in that nook over the years, including Pierre, Stefan Klein and Evan Ruffino. The late, great drummer Von Barlow (1943-2020) began them in the early 2000s with a trio that included Lawrence Buckner on bass and Eric Riehm on tenor saxophone dozens and dozens of local music legends worked that room. Johns Avenue, Avondale), 9pm to midnight, probably the oldest continuous jam sessions in Northeast Florida.
Sundays always end at The Casbah (3628 St. Later, there’s a jam at Wildcrafters (2105 Park Street, 5 Points) from 7-10 p.m., featuring drummer Ulysses Owens Jr, along with Scott Giddens on keyboards and Barry Greene on guitar DJ Luna Xcel fills in the gaps with aplomb. They have rotating groups playing every week, with artists including Jonathan Baptiste, Patrick Campbell, Kyle Colina, Aaron Johnson, John Lumpkin, Jack Miller, Langston Oliver, Sacha Perry, Jonah Pierre and Janae Yates. It begins fairly early at Posting House (2018 Hendricks Avenue, San Marco), 4pm to 7pm. Sundays have the highest concentration of jam sessions in Northeast Florida. This subject is really kind of a rabbit hole, so we’ll be adding to this list as new events develop. Here’s a rough guide to the ones we think you should put your ears on.Īt the bottom of the page, you’ll find a night-by-night listing of the city’s current crop of jam sessions. Rock, Bluegrass, folk and hip-hop all have their jam sessions. We are lucky to have more than our share here in Northeast Florida, and it’s not all restricted entirely to jazz. For music fans, they can be inexpensive and distinctively entertaining. For musicians the jams serve as a way to sharpen chops and develop material, as well as network and tighten the creative bonds within their scene. Jam sessions aren’t as prominent a feature of the jazz scene today, but every major city has them. Things are very different now, but in some ways they’re exactly the same. It’s from that scene where almost every major jazz musician of the postwar era matriculated. Bebop was forged in these competitive fires, and most of the early innovations in that style were developed in after-hours jam sessions on 52nd street. (Birdland was named after Charlie Parker in 1949, and by 1953 he had been banned, but that’s a story for another day.) The Jazz At the Philharmonic (JATP) tour took that same energy and packaged it for audiences as far away as Tokyo. By the early 1940’s, jam session activity had coalesced around a cluster of clubs on 52nd Street in Manhattan, places like Minton’s Playhouse, Monroe’s Uptown House, The Three Deuces, the Onyx Club and Birdland. The generation that followed included Jelly Roll Morton, whose Library of Congress recordings provide a primary source for the music’s origins, as well as Louis Armstrong and Sidney Bechet, who brought the music to global prominence in the 1920’s.įrom New Orleans, the music migrated north, to places like Chicago, Kansas City and New York, and from there it spread around the country. The early icons, like Buddy Bolden and Freddie Keppard, were never recorded. These battles took place primarily on trumpet and piano, which were the most prestigious instruments in the jazz hierarchy (then and now), but every player ran the gauntlet back then.
The metaphor is apt, because violence was hardly uncommon. There was never a shortage of challengers, and no surplus of top positions. In the era before records, before radio and before the modern touring infrastructure, the prominent musicians of every territory held onto their spots with the tenacity of champion fighters. As with so many other things, the jam session concept has its roots in Storyville, New Orleans, where jazz music began in the late 1800’s. The jam session has played a central role in the evolution of American music for over a century.
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