Grace Kelly & Aubrey Logan

Tucson Jazz Fest Presents:

Grace Kelly & Aubrey Logan

Jan 12 Sun

Doors: 6:00 pm / Show: 7:00 pm

The Rialto Theatre

$31.50 - $51.50

This event is all ages

Age Restriction - 7 and over

Grace Kelly
Grace Kelly
Saxophonist, singer, composer, producer, and educator Grace Kelly plays with the heart and passion of an old soul yet with the genre-bending zest and energy of a 25-year-old. Grace Kelly released her 10th CD as a leader. The latest album, Trying To Figure It Out, was voted #2 Jazz Album of The Year in the 2016 Downbeat Magazine Readers Poll.
In Dec 2015 Jon Batiste snagged Grace as a regular on The Late Show with Stephen Colbert’s band, Stay Human, playing multiple reeds and singing. In 2016, Grace was also thrilled to join a dynamic 10-piece house band for NBC’s new variety show “Maya & Marty,” starring Maya Rudolph and Martin Short and produced by Lorne Michaels.
As Grace Kelly defiantly reminds us on The Other One, a standout number from her 10th Album Trying To Figure It Out, she’s not looking to be like anyone else. “Got my own thing,” she sings over the song’s urban, trance-like groove. Although the singer and saxophone player has been acclaimed by critics and audiences alike as a jazz musician, the track’s exhilarating chorus, haunting keyboard hook and brittle electro edge show an artist interested only in playing what she loves labels be damned.
Already known for defying genres with her award-winning music, Kelly is picking up steam by rewriting the rules of the performance experience. Her recent project, GO TiME: Brooklyn, brought a fully live, choreographed, electrifying show to the Systems 2 recording studio in New York City in front of a spellbound in-person audience and to thousands more globally over a Facebook Live broadcast The gutsy and dynamic re-imagining of music creation brought together Kelly’s phenomenal live audience chemistry with the intimacy and mystery of the recording studio and the community-igniting technology of Facebook Live. Fans have responded in droves, with over 100,000 views on the video to date and thousands of positive comments and shares.
“This idea was created so I could connect with fans all around the globe and have them feel the magic of presenting new music and experience it more viscerally through their screens,” Kelly said. “I want them to feel as if they’re there for the conception and making of it.”
Kelly is no stranger to finding innovative ways of getting her music out to larger audiences. Via Facebook, Instagram, and her Youtube channel, she has released more than 60 “PopUp” videos that feature her playing in non-standard live settings - including locations as unexpected as a gondola in Venice, in the water in Labadee, Haiti, and in New York’s Times Square, the latter in a spirited duet with Leo P. “I have had so much fun doing those, I wanted to find other ways to present my music so it feels like an experiential thing for everybody,” Kelly said, citing the new project as an example.
After the Facebook Live session is streamed, Kelly and band will get busy recording a full-length studio album for a projected August release, to be supported by another Facebook Live video performance, with special guests.
But whatever the style, Grace also garnered many awards from jazz critics and fans alike. The winner of “Jazz Artist of the Year” at the 2016 Boston Music Awards and the winner of the 2016 64th Annual Downbeat critics poll “Rising Star Alto Saxophone’ and (eighth time named to the poll), “Alto Saxophonist of the Year” by NYC Jazz Fans Decision 2016. spices up the sound with the lyrical and soulful phrasing of her instrument. Kelly, who guested with the Jazz at Lincoln Centre Orchestra as part of the events surrounding Barack Obama’s inauguration celebration at the request of the ensemble’s director, Wynton Marsalis - remains as committed to superior playing as ever.
As a band leader she has performed over 800 concerts in over 30 countries in notable venues as the Hollywood Bowl, Kennedy Center, Carnegie Hall and Symphony Hall and festivals such as Montreal, Newport and Montreux. Grace has performed and/or recorded with Harry Connick Jr, Wynton Marsalis, Dave Brubeck, Steve Martin, Tina Fey, Martin Short, Maya Rudolph, Emma Stone, Lin Manuel, Questlove, Esperanza Spalding, Lee Konitz, Phil Woods, Ron Carter, David Sanborn, Marcus Miller, Dianne Reeves, Dee Dee Bridgewater, Huey Lewis and Gloria Estefan to name a few.
For Kelly, evolution is part of the jazz artist’s credo.
"I'm a very strong believer that jazz is about improvisation and about creating and spontaneity," Kelly once said in an interview. "That's what really drew me to it, but I think there's plenty of music that can fuse elements of jazz with its own type of sound whether it's rock or pop. I'm not into 'No, this isn't jazz.' I like everything that's good and I encourage people to think that way."
Kelly says she has been well served by applying those same jazz concepts to the personal demands of everyday life. “I really take the concept of improvisation and spontaneity in the music, and I live it,” she said.
That personal readiness for anything accounts, in part, for the open-spirited nature of her art. “I try to say yes as much as

possible,” Kelly says. “If you have a closed idea of what you want in your head, and it’s only going to go this way from - A to B to C - you miss a lot of other things that could be popping up. And because you have such a small mind frame, you won’t be able to see those great opportunities.”
In recent years, she has been featured on Amazon’s Emmy-nominated TV show “Bosch,” CNN.com, Glamour Magazine, Forbes, Billboard, Vanity Fair, Huffington Post, and in many appearances on NPR. As a songwriter, she has won multiple ASCAP Composer Awards and International Songwriting Awards.
Grace also produced, emceed, and performed in a major All-Star concert at Berklee Performance Center recently, as
she established and raised funds for the Fred Taylor Endowed Scholarship Fund at and in partnership with Berklee College. www.fredtaylorscholarshipfund.org
Raised in a household that exposed her to many forms of music, Grace was drawn to jazz by melodic players like Stan Getz and Paul Desmond. Kelly also found in the music a freedom to express herself that she had not found in her classical piano lessons. Née Grace Chung in Wellesley, Mass., in 1992, Kelly started taking clarinet lessons in Grade 4 but quickly switched to alto sax at the age of 10. She was soon transcribing Charlie Parker and Miles Davis pieces.
Kelly recorded her first album, Dreaming, when she was 12. Even on that debut release, the music pointed to her future eclecticism by mixing the pure pop of On My Way Home with selections like the Beatles’ Can’t Buy Me Love, a medley of Blue Skies and In Walked Bud and the self-composed odd-meter jazz instrumental G-Bop.
“My way has always been a mix of music I’ve listened to and loved, including jazz, pop and blues,” Kelly says. “Even when I made that first album, I was a total Broadway kid, so some of that even creeps in.”
Times Too (2005) was an ambitious double disc that mostly paid homage to jazz standards on its first half and explored classic Beatles and Stevie Wonder, along with some innocent and catchy originals, on its second. Every Road I Walked (2006) followed, further refining Kelly’s ability to blend genres. Self-penned tracks like Filosophical Flying Fish, with its second-line groove, and the easily accessible charmer Finish Line sounded quite at home with a sweet and sensitive reading of Somewhere Over the Rainbow, a winning excursion into bossa nova with Samba de Verao and a lightly funky Summertime.
Kelly, 14 at the time of the album’s release, received the first of her five (5) ASCAP Foundation Jazz Composers Awards for the title track and was invited to perform with the Boston Pops. For the occasion, she wrote her first full orchestral arrangement, adapting the award-winning piece.
Lee Konitz, the influential composer and alto sax player, who had been Kelly’s teacher and mentor since she was 13, became her collaborator on the 2008 release GRACEfulLEE, which featured the two stretching out with a stellar band made up of guitarist Russell Malone, bassist Rufus Reid and drummer Matt Wilson. An almost 10minute take on Konitz’s Thingin’, the stately, jointly-composed title track and taut, unaccompanied improvised miniatures like Alone Together and Buzzing Around were among the highlights. The album was a critical triumph as well, drawing a 4-and-1⁄2-star review in the jazz bible Downbeat, an endorsement that later earned it a spot in the magazine’s Best Albums of the 2000’s issue. “Her duet with Malone on Just Friends is stunning in its simplicity and feeling how can a teenager communicate this depth of expression?” the publication’s Michael Jackson wrote in his appraisal.
Mood Changes, released in 2009, found Kelly playing tenor, alto and soprano sax on her most Self-assured work to that point. The bouncy, swinging Happy Theme Song set a celebratory, searching tone best showcased in smart, inventive arrangements of Comes Love, Ain’t No Sunshine and I Want To Be Happy.
A second auspicious studio collaboration followed when another alto sax legend, Phil Woods, 80 at the time, teamed up with Kelly, then 18, for The Man With the Hat (2011), which also brought a tour to promote the album. Master and protegée traded ideas on four of the disc’s seven performances, including the swinging title track and a stunning reading of Billy Strayhorn’s Ballad For Very Sad and Very Tired Lotus Eaters.
“We jammed together through I'll Remember April,” Woods said of his first musical encounter with Kelly. “How did she sound? I gave her my hat! That is how good she sounded! She is the first alto player to get one. Hooray for the future of jazz and the alto sax!"
Kelly added to her musical pallette later that year by releasing the reflective jazz-gospel set Grace, most of which featured her and inspirational jazz pianist George Russell Jr. putting their own stamp on traditional spirituals, without further accompaniment. Among the few exceptions, Kelly’s melodic overdubbed solo piece Grace Alone and a joyous, infectious Let There Be Peace on Earth with percussionist Jamey Haddad from Paul Simon’s band were every bit as satisfying.
By then, the music sounded as if it were coming from a deeper place.
“I really believe in universal energy and vibrational energy, and I think music comes from that place,” Kelly says. “So it would be safe to say that music is my religion.”
In efforts to bring jazz to a younger audience as well as to bridge music, cinematography, and her joyful personality, Grace
launched a new weekly video series called “Grace Kelly PopUp" on Facebook, youtube and Instagram in February 2017, which
has already racked up over two million views.

Kelly also graduated from the Berklee College of Music in 2011, with a degree in professional music. She has taught residency workshops there since 2012. That year also brought another important opportunity to pass on her musical knowledge: the U.S. State Department sent her on an international speaker’s tour to be an ambassador of jazz and educate the people of Madagascar and the Comoros Islands about the music.
“The folks in the Comoros Islands had never heard of legends like Louis Armstrong or Miles Davis,” Kelly said. “It was a challenging and exciting task.”
The dynamic 2013 Live at Scullers disc offered a country-flavored original, Kiss Away Your Tears, among other self-penned performances and a couple of jazz standards. The 2014 EP Working For the Dreamers featured gems like the urban, soft R&B of Touched By An Angel and the pulsating electro beat of Cold Cold Water, keeping the momentum of change in the foreground of Kelly’s creative agenda.
Trying To Figure It Out, released in February 2016, finds Kelly once again following her restless artistic spirit. The new work explores, in her words, “the world of jazz and beyond.” Fittingly, the album’s musical setting shifts from acoustic, conventional jazz (as typified by her touching version of Somewhere Over the Rainbow, a live favorite) to a genre-bending approach, with more contemporary production values.
Blues For Harry Bosch perfectly illustrates the concept, appearing in two versions - as a retro-jazz piece with a film nour-ish feel and as a thoroughly contemporary remix with a clubby trance groove. The track was written for the Emmy-nominated Amazon Prime series Bosch, in which Kelly will appear when the jazz-loving title character, an L.A. homicide detective, stops into Catalina’s Jazz Club in Hollywood to see her perform during the show’s second season.
But Kelly says she has never lost sight of a larger picture.
“I think everybody comes to life with a calling,” Kelly says. “I’ve been super blessed that my calling in life has been music and that I found it from an early age. But what I really hope my music brings to people is healing. There’s nothing that makes me feel better than when somebody, after a show, says `You lifted me up.’” Is it the main reason she plays? Her response comes without hesitation: “It’s the only reason.”
Aubrey Logan
Aubrey Logan
The media refer to #1 selling artist, Aubrey Logan as “The Queen of Sass,” and it’s easy to see why. Her concerts are a mix of excellent musicality, jaw-dropping vocals, expert trombone-playing, a breathtaking array of originals and original takes on cover songs and, well...fun! Her heart wrenching musical stories has audiences in tears just before her comedic relief has them in stitches.
The Seattle native, trained in trombone performance at Berklee College of Music, Logan soon after made her way to Los Angeles, with dreams of becoming L.A.’s “most cerebral musician with a personality”. Once there she created her own path, lining up professional work with acts as disparate as the Boston Pops, Pharrell, Josh Groban, Seth McFarlane, and Meghan Trainor, and at the same time amassing a huge online following thanks to her performances with the YouTube phenomenon PostModern Jukebox.
Her debut, ​Impossible​, was a top 10 album on the iTunes, Billboard and Amazon charts. Her appearance on ​Summer Horns II, from A to Z​, as a special guest of Dave Koz and Concord Records, became the No. 1 selling Contemporary Jazz Album. Aubrey’s features on Jimmy Kimmel, The Grammy Awards, a PBS special and London Live have kept her in the public eye and millions of fans have watched her head-spinning videos on YouTube and Facebook.
Aubrey is a transplanted Angeleno, with a love for all things on the sunny side of Southern California and a sharp wit about all its pitfalls. On her second studio album, ​Where the Sunshine IsExpensive,​ Loganpayshomagetoheradoptedhometown,asonlytheQueenofSasscould: with a twinkle in her eye and a newfound confidence in her mind.
Aubrey Logan has performed more than 250 shows since 2016. Written in airports around the country (and in LAX, of course), ​Where the Sunshine Is Expensive​ came together as Logan accepted that love it or hate it (but mostly love it), L.A. has her heart.
The trick to making the city work for her, she found, was brutal honesty and vulnerability in her art. “I wrote these songs as a love letter to L.A. and I want people to see that through the darkness, the grit, the grime, there is hope,” Logan says.
Recording ​Where the Sunshine Is Expensive ​was a roll of the dice — because it was all done live at the legendary East West Studios in Hollywood with world-class musicians including guest appearances by jazz legend Dave Koz and vocalist Casey Abrams. Logan’s live studio audience included passionate fans who flew in from around the country to watch the recording.
“Understand,” the album’s lead single, is a ‘70s R&B slow jam that asks for something we all want: a bit of appreciation (and, of course, Logan playing a trombone solo). “I wrote ‘Understand’ at a time when I was feeling particularly angry at the music industry, but I wanted to work through it in song,” Logan says with a laugh.
“L.A.,” the album’s second single, is a song that speaks for itself. It’s loaded with clichés about the city that are also truths based in Logan’s observations, eavesdropping in a coffee shop and driving down the I-5. Her stark, and hilarious honesty about the city is captured in this song’s opening lines, “I have a tan in January, I make six figures and I’m broke / Oh the smog, it ain’t so scary. And the sunset, well it sure puts on a show.”
She’s now preparing for a US Tour, a European Tour, an Australian Jazz Cruise and releasing her new album. So no need to worry....there’s no shortage of “sass” in our immediate future.
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