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Deborah Swiney

Even before releasing her 2017 full length debut, I Remember Rio, Deborah Swiney had distinguished herself as an artist who’s fully committed to jazz. While many in this city go on to sing the soul or gospel music they were raised with, only a few choose to walk on the more swinging side of the street. While Swiney, too, began singing in other genres, her new single, a stellar take on Johnny Mercer and Hoagy Carmichael’s “Skylark,” only solidifies her dedication to the great American art form known as jazz.

She’s come a long way from the blues and gospel of the South Memphis neighborhood where she grew up. Between her mother’s blues piano and singing in the choir at the Greater Open Door Missionary Baptist Church on Florida Street, she was hooked on singing from an early age, even if adult life had other plans — for a time. “Towards the end of my marriage, I said, ‘Well, you know, things aren’t going too well here. I think I’m going to start doing some things that I like to do.’” Then she began singing more than ever.

Dabbling in modeling on the side, Swiney stepped up as the lead singer for local R&B and pop band Krazar, but her real leap forward came in 1992, when she was hired as a background singer in Al Green’s touring band. Even then, at the height of Green’s disavowal of pop, “we would be performing gospel music, but people would be hollering out ‘Love and Happiness!’ or ‘Let’s Stay Together!’” says Swiney. “Of course, he would end up singing those at the end. The longer I was in the band, each year we would do less gospel music.”

Meanwhile, The Nile, Swiney’s gift and décor shop, became a musical hub as well. “Folks would come and sit in,” she recalls, “like Kelley Hurt and Chris Parker, and Gerard Harris, or John Williams, the bassist. Even Rufus Thomas and Carla Thomas would come in and hang out for a minute. So it was pretty cool.

“Then, around 2004, Ed Finney walked into my store,” Swiney explains. The celebrated jazz guitarist had been making a name for himself ever since playing on Beale Street in its 1960s heyday. “He said, ‘Deb, would you like to sing in a blues quartet at the Peabody?’ … And we ended up playing the Corner Bar at the Peabody for three and a half years!”

From that point on Finney schooled Swiney in the great standards of jazz. “Ed ended up being my mentor and my music director. He really was a big influence.” Even after the Peabody gig came to an end, they played as a duo and in other combinations for years. 

Their partnership came to its fullest fruition in recording I Remember Rio with some of Memphis’ greatest players, including Tony Thomas, Sam Shoup, Tom Lonardo, Lannie McMillan, Felix Hernandez, and Ekpe Abioto. Swiney rose to the occasion with soulful, brassy vocals, while Finney created perfect settings for her voice, lending his own imaginative guitar lines as needed, and even contributing the title song.

That album garnered many weeks of airplay on local jazz station WUMR (now WYXR). Since then, Swiney has gone from success to success and developed a deep commitment to the community, both through her Sharing Music & Arts nonprofit, which provides free entertainment to the special needs community, and her Sunset Jazz series at Court Square. The series’ sixth year begins May 11th with Keenan Shotwell, with others to follow on the second Sunday of every month through October. Indeed, it’s been so successful that she received the 2019 Downtown Memphis Mighty Light Vision Award for her efforts. “It makes me feel good that my city is recognizing me,” she says.

And now, as of April 30th, she’s dropped her stellar version of “Skylark” on all streaming sites. Led by her newest musical director and guitarist Gerard Harris, the band also includes Sylvester Sample (bass), Dr. T.W. Sample (piano), and Terry Saffold (drums). Meanwhile, catch Swiney live every Thursday at The Cove from 6 to 9 p.m. 

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Sunset Jazz

As many music lovers savor memories of hearing their favorite bands on the Mississippi’s shores at last weekend’s RiverBeat Music Festival, another such experience is just heating up: the Sunset Jazz series at Court Square. And while the performances, taking place once a month from May through October, may lack strobe lights, flame cannons, or the feeling of a weaponized kick drum rattling your chest, they will offer their own kind of fireworks: the sheer virtuosity of the series’ featured artists.

The musicianship is top-notch partly because the series’ producer and curator, Deborah Swiney, is a seasoned jazz singer herself. After she released her 2017 album, I Remember Rio, there were precious few jazz-friendly venues in which to promote it — so she took matters into her own hands.

“I had been wanting to do something at Court Square Park forever,” she recalls. “It’s a beautiful park, with the gazebo there to use as a stage. So I contacted Penelope Huston at Downtown Memphis and threw the idea out there, and she loved it. We did a pop-up event and had a great turnout, far beyond what we would have ever imagined. So I did a couple more.”

Pivoting from her own work to the likes of Chris Parker and Kelley Hurt, who had only just premiered their stunning No Tears Suite in Little Rock, those other 2018 pop-ups set a tone of eclecticism and quality that has continued to mark the series, now in its fifth year (after a two-year break during the worst of Covid). “I try to do something different each time,” Swiney says.

Ted Ludwig
This year’s lineup carries on that tradition, while keeping the focus firmly on Memphis-based artists. Season opener Ted Ludwig (appearing on Mother’s Day) has become a fixture at The Green Room at Crosstown Arts, for instance, with his trio often backing talent visiting from elsewhere (as in this Wednesday’s performance with New York saxophonist and composer Jim Snidero). “To me, he’s one of the top guitar players around,” says Swiney, “and we have a bunch of great guitarists in Memphis. He grew up in New Orleans and won the Louis Armstrong Award in high school there, then studied with the great pianist Ellis Marsalis.”

Ekpe & the African Jazz Ensemble
June’s concert will feature the more international side of Memphis jazz with percussionist Ekpe Abioto’s African Jazz Ensemble, one of the few local groups who pursue the sounds of contemporary Africa. “Ekpe also has a great resume, and he does a lot of studio work,” says Swiney. “He played on my Rio album and if someone needs a percussionist here it’s likely to be either Ekpe or Felix Hernandez.” While Abioto’s ensemble is often known to delve into Afrobeat territory, Swiney says, “he’s likely to focus more on the jazz part for this series.”

Stephen M. Lee
While many parents and aspiring young players know of Lee as a teacher, some may not realize that he’s a world-class pianist in his own right. He studied under fellow Memphian Donald Brown in his college years, then went on to develop a career in New York for over a decade. When he received the Steinway and Sons Top Teacher Certificate Award in 2017, he returned to Memphis and founded the Memphis Jazz Workshop to fill in gaps in public school music education here. The program has been a great success. Swiney sees his July performance as a chance to showcase “more straight-ahead jazz.”

Soul Ingredient
After Lee’s July performance, the following month will present the best of what his educational efforts have wrought. Soul Ingredient collects some the Memphis Jazz Workshop’s finest young players into a powerhouse ensemble. “Have you ever heard these guys?” exclaims Swiney. “I heard them at an event last year, and had I been in another room and not seen that these were kids, you couldn’t have convinced me that they were so young. Of course, all their instructors are professional musicians and you can just tell they’re getting taught by some of the best top players.”

Soul Ingredient (Photo: Elizabeth Fitzgerald)

Patrice Williamson
Memphis doesn’t see enough of the singer featured in the September Sunset Jazz show, possibly because she teaches at Berklee College of Music in Boston. But Jazz Times magazine wrote that “Patrice Williamson isn’t a singer, she’s a one-woman jazz sampler. She is a woman of many voices, each distinctly intriguing, all distinctly her own.” Growing up in Memphis, Williamson’s father introduced her to both gospel and the music of greats like Louis Armstrong, Nat King Cole, and Lena Horne, and that blend influences her singing to this day.

Patrice Williamson (Photo: D&D Pro Imaging)

Brian “Breeze” Cayolle
Further cementing the close ties between New Orleans and Memphis, this Crescent City-native has been a fixture in Memphis since Hurricane Katrina nudged him northward. “He brings a bit of New Orleans wherever he goes,” says Swiney of the clarinetist and saxophonist, who held down Wednesday nights at Lafayette’s Music Room for years. “He’s played with a bunch of people and he’s quite celebrated,” Swiney adds. Cayolle will wrap up this year’s Sunset Jazz series on October 13th.

Visit sunsetjazzmemphis.com for details.

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Music Music Blog

Joyce Cobb Kicks Off Sunset Jazz at Court Square

Sure, most Memphians have heard of the Sunset Symphony. There will likely be a big turnout for this year’s iteration of the traditional spring concert, centered on the Memphis Symphony Orchestra’s “MSO Big Band,” playing everything from swing to samba. That alone shows there’s a growing audience here that’s hungry for jazz. But not as many music fans know of that other great outdoor experience, Sunset Jazz.

Starting as a pop-up concert in 2018 in that historical downtown gem, Court Square Park, it had become an annual event by the next year at the request of Downtown Memphis, with series curator Deborah Swiney receiving a Downtown Memphis Vision Award that year.

This weekend, the annual free series is upon us once more, and there’s no better artist to champion the city’s jazz heritage than Joyce Cobb, who’ll perform with her band from 6-8 p.m., Sunday, May 14th, as the sun sinks in the west.

Those who attended the Stax Museum of American Soul Music’s Night Train gala on April 29th were treated to a performance by Cobb, and it revealed how her truly eclectic and passionate approach remains firmly rooted in jazz. Indeed, between songs she reeled off a list of the jazz greats who’ve emerged from Memphis — Jimmie Lunceford, George Coleman, Phineas Newborn, Jr., Charles Lloyd, etc. — by way of calling out the need for a Memphis Jazz Museum.

Yet despite her mastery of both the history and the artistry of jazz, she remains as stylistically diverse as ever. That’s only fitting for a singer who first came to Memphis from Nashville in the mid-seventies to record country music for Stax Records. After that fell through amid the label’s financial demise, she stayed here, becoming a Memphis institution in her own right. And she finally did get a Top 40 single, 1979’s “Dig the Gold” on Cream Records, a politically charged jam that borders on Afro-Pop, recorded at the now-legendary Shoe Productions Studio.

Joyce Cobb and band at the Stax Museum of American Soul Music’s Night Train gala (Credit: Michael Donahue)

The same venturesome spirit that led to her genre hopping in the ’70s persists today, as was well in evidence during her Night Train set. Calling out the Miles Davis classic “All Blues,” she gave us a heads up to listen to some lyrics she was adding to the typically instrumental piece. But we had to wait for that, as she proceeded to wail beautifully on the blues harp. Anyone who thought of Cobb as only a singer should certainly take note of this performance. And if you thought of her as strictly a jazz artist, listen to the lyrics that follow.

As an encore, Cobb took to the harp again, this time letting her ace band’s funky flag fly high. Expect more of this vibe, or vibes — from classic jazz to who knows what? — this coming Sunday evening at Court Square Park.

Sunset Jazz at Court Square takes place the second Sunday of each month, May through October, 6-8 p.m. Free.

May 14:  Joyce Cobb
June 11:  Gary Topper
July 9:  Deborah Swiney
August 13:  Paul McKinney
September 10:  Cequita Monique
October 8: Southern Comfort Band  (Univ. of Memphis)