Jason spends the majority of his time producing and recording music for various artists. This “Texas Tenor” also gives lessons for saxophone, of course, and several other musical instruments including flute, piano, bass, drums and harmonica. He leads a 21-piece Jazz Big Band for special occasions and performs regularly with his own trio. Audiences and fellow musicians say they can feel the soul in his live performances. His platform as a seasoned musician, is used to teach future generations the true story and progression of blues and jazz. He continues to serve as a mentor locally and internationally to many up and coming musicians and artists.
The Dallas Jazz Collective plays an impressive set. The second night of City Performance Hall’s grand opening weekend addressed two very different questions. The first was easy enough: Is there decent jazz in Dallas?In a perfect world, the answer would be obvious. But like most non-European cities, Dallas isn’t ga-ga about jazz, so its deep pool of talented players often struggle to find fans and places to play.That wasn’t a problem Saturday night as the Dallas Jazz Collective strut its considerable stuff for a respectable-size crowd in the 750-seat theater. A new ensemble led by saxophonist Jason Davis, the Collective showcased more than 20 stellar musicians in an unpredictable, far-flung setThe show opened with sublime electric guitar work from Lucky Peterson, who’s a bluesman, not a jazz player. But veteran musician Wendell Sneed put it into perspective, explaining “I don’t think there’d be jazz if it weren’t for the blues.”From there, it was all over the map, from an ever-shifting “Over the Rainbow” to a version of Roy Hargrove’s “Liquid Streets” to Damon K. Clark’s gorgeous take on Van Morrison’s “Moondance.” All of the singers burned brightly, including Candino Newman, Cherish Love, Candace “Mahogany” Miller and Tatiana Mayfield, who sang “A-Tisket, A-Tasket” and somehow made you forget all about Ella Fitzgerald’s version. Anoher stand-out was deep-voiced Victor Cager, who took “Fly Me to the Moon” from a whispery dirge into finger-popping swing. The instrumentalists soared as well, especially Roger Boykin on lickety-split piano, and the hard-driving horn section featuring alto sax player Aaron Irwinsky, trombonist Tony Baker and trumpeter Mike Shields. The drummers — Mike Mitchell, Lamont Taylor and Andrew Griffith – raised some serious hell during a pair of manic solos.
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