JON-ERIK KELLSO 2026 JAZZ LEGEND
Jazz reviewers and critics have referred to Jon- Erik Kellso as “one of today’s most fulfilling main- stream trumpeters and cornetists,”--- “a master of traditional styles who has the capacity to transcend the genre,” --- and “as preferring lyrical sound-paint- ing to brass exhibitionism.” The late Jack Sohmer, who was a musician as well as a jazz critic, wrote: “Jon-Erik Kellso’s poignant, rounded-tone suggests a seamless combination of Buck Clayton, Bill Coleman, Cootie Williams, Frankie
Newton and Roy Eldridge, a synthesis of which anyone may be justifiably proud. From the listener’s point of view, it is difficult to think of anyone, save Ruby Braff, who so successfully embodies the best traditions of the past while at the same time bringing them convincingly into the present. He is telling his story in the hallowed tradition of great yarn-spinners throughout history. He entertains, informs and keeps our interest whetted for the next installment.” Critic Will Friedwald argues “Where some brassmen vary their approach by switching between trumpet and flügelhorn, Mr. Kellso employs a veritable painter’s palette of mutes (consisting of everything from cloth to rubber to metal) that make him sound as though he’s playing at least five different instruments. He is such an eloquent and expressive player on the horn.” Fellow jazz journalist Michael Steinman points out, “Like his hero Ruby Braff, he is a great subversive, digging inside the music to find what others have missed. And he is a model bandleader/on-the-spot arranger, adding intuitive telepathy to any ensemble. His singular individuality has made him admired worldwide.” I made sure to include him in my second book of profiles of contemporary musicians (JAZZ BEAT, More Notes on Classic Jazz, published in 2019) where I chronicled Jon-Erik’s impressive career as follows. Jon-Erik Kellso: A Propitious Phone Call Sometimes life’s opportunities are due to a stroke of luck or a flip of a coin. Or it could just be a matter of being in the right place at the right time. Jon-Erik Kellso’s big opportunity was the result of a series of phone calls back in 1989. Vince Giordano was in need of a replacement for Randy Reinhart in the trumpet section of his Nighthawks Orchestra. He heard there were a couple young horn players in the Midwest who played old-style jazz. Their names were Duke Heitger and Jon-Erik Kellso. Giordano made his first call to the Heitger household. Duke’s dad, Ray, answered the phone. After hearing Vince’s proposition, he replied, “Sorry, Duke’s still in college. Besides, he’s in my band. Try Jon-Erik Kellso up in Detroit,” which Vince promptly did. Giordano knew of Kellso from his work in James Dapogny’s Chicago Jazz Band, so when they connected, he offered him a tryout. Jon’s growing reputation had also resulted in an offer to join the Dukes of Dixieland in New Orleans to re- place Frank Trapani, who had died. “So I had two weeks of tryouts, one in New Orleans and one in New York City, and both resulted in job offers,” Jon said. “It was a tough decision since I loved both cities, but I finally chose The Nighthawks because I enjoyed playing with that
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