Jam Session

This is your open invitation to join us on Thursdays for our legendary jam session with the Minton’s House Band!

BY THE ARTIST, FOR THE ARTIST

Follow us on Instagram!

DETAILS

From 8PM to 11PM the music doesn’t stop!

Reservations take seating priority.

No Cover/No Minimum PLUS a Free Drink for Artists who take the stage!

 

General Admission Ticket: $20

Student Ticket (must show ID. limited quantity): $10 online – $15 at the door

($20 Minimum Spend Per Guest)  ($10 Minimum Spend Per Student)

(Notice: We enjoy promoting on our social media pages. You may be seen in our promotions!)

More Details:

Doors open at 6PM.

 

House Band warms up the night with a one hour set at 8PM.

Around 9:30PM The House Band will open up the stage to any musicians/guests who would like to perform.

 

People who are planning to perform on stage do not have to purchase an entry ticket. There is NO COVER/NO MINIMUM FOR PEOPLE WHO GET ON STAGE.

 

You are eligible for ONE FREE DRINK TICKET after you finish performing.
Find the Sound Engineer for the drink ticket.

 

Those who purchase tickets online have table reservation priority.

No-show Table reservations are forfeited at 9:30PM. Please come on time!

Hosted by the Playhouse Band!

Alto saxophonist, pianist, and composer Travis Sullivan (www.travissullivan.com) performs jazz standards and originals with his band, The Travis Sullivan Quartet, every Thursday at Minton’s Playhouse. Each week, the Travis Sullivan Quartet features a unique lineup of all-star jazz musicians, including Minton’s regulars and jazz legends.

 

Hosted by acclaimed vocalist and producer Diana Kazakova, Minton’s Thursday Night Jam continues nearly 20 years of creative collaboration with Sullivan. Most notably, Kazakova was the founding lead singer of Travis Sullivan’s Bjorkestra, a globally acclaimed 18-piece jazz orchestra performing the pop icon Bjork’s music.

Travis Sullivan

Piano – Saxophone

Zoho Music and Posi-Tone recording artist Travis Sullivan has earned a worldwide reputation as an alto saxophonist, pianist, composer, and arranger.  Embedded in the New York music scene for the past 20 years, he has been hailed by Jazz Times as being “…a gifted alto saxophonist and improviser who has also developed a strong and commanding voice as a composer.”

 

In 2004, his breakthrough came in the form of Travis Sullivan’s Bjorkestra, an 18-piece big band performing his arrangements of the renowned music of Icelandic pop goddess Bjork. The Bjorkestra has acquired international recognition from performances with acclaimed jazz artists such as Dave Douglas, Kurt Rosenwinkel, and Donny McCaslin, and performances at the Montreal International Jazz Festival, the SF Jazz Festival, and the NYC Winter Jazz Festival.

Diana Kazakova

Producer – Vocalist

Diana Kazakova is from Vancouver and lives in New York City.  An extensively trained singer, she was raised on folk music.  Diana is the founding lead singer of The Bjorkestra, (an 18 piece big band reinterpretation of Bjork’s music), she has played to sold out shows in New York and all along the east coast. Most recently she was a guest vocalist with the Grammy Award winning folk duo The Indigo Girls and she also performed with Enya on Kelly & Ryan on ABC. She has also been a guest vocalist with The Canadian Tenors.

 

Her many producing credits include Great Night in Harlem at The Apollo, Yo-Yo Ma’s Silk Road Project, Drake and PDiddy at the Time Warner Fan Event, NBC.com and the Katie Couric television show.  In her own work as Creative Producer, Diana has worked with numerous New York City musicians and dancers from Broadway and leading dance companies and ensembles. Her Magical Black School Bus Series traveled around New York City and Brooklyn with a troupe of magicians, musicians, dancers and dreamers in tow.

 

Diana has performed across North America as a vocalist and has been the lead in over a dozen Equity musicals and plays, including Godspell, Jesus Christ Superstar, The King and I, Snow White, Street Scene and many more. Diana is also the voice of countless commercials and documentaries on radio and television.

Henry Minton's Jam Nights

In late 1940 Minton’s owner, Henry Minton, hired ex-band leader Teddy Hill as manager. In early 1941 Hill in turn engaged Kenny Clarke, who had played in Hill’s orchestra, to organize a house band for Minton’s Monday “Celebrity Night” jam sessions.


His choice for pianist was Thelonious Monk, Dizzy Gillespie and the brilliant electric guitarist Charlie Christian. Word quickly got out that Minton’s on Mondays was a place to sit in, and the club was soon packed with big-name musicians either listening or waiting their turns to play; including band leaders Benny Goodman, Count Basie, Duke Ellington, and soloists Lester Young, Roy Eldridge, Hot Lips Page, Ben Webster and Don Byas.


In the fall of 1941 Charlie Parker, an obscure alto player, started to attract attention at after-hours jams at another Harlem club, Monroe’s Uptown House. Clarke, in the Parker biography “Bird Lives!”, recalled that “Bird was playing stuff we’d never heard before. He was into figures I thought I’d invented for drums. He was twice as fast as Lester Young and into harmony Lester hadn’t touched. Bird was running the same way we were, but he was way ahead of us. I don’t think he was aware of the changes he had created. It was his way of playing jazz, part of his own experience.”


Clarke and Monk made arrangements for Parker to move to Minton’s, where Parker emerged as a leader of the new music after Charlie Christian’s death in March 1942 (at 25, from tuberculosis). Hill refused Clarke’s and Monk’s request to hire Parker for the house band, so they paid him from their own salaries. Over time, other budding stars of bebop – Bud Powell, Sonny Stitt, Max Roach, Art Blakey, Dexter Gordon, Miles Davis, Fats Navarro and others – would be drawn over to Minton’s to join the revolution. According to Barry Kernfeld, editor of the New Grove Dictionary of Jazz, “the sessions became famous for demonstrations of virtuosity – unexpected harmonies, fast tempos, unusual keys – that discouraged those whose style did not fit in well. These experimental sounds were crucial to the development of bebop.”