First Ever- Jazz Drama Program Summer Jazz Arts Institute

Eli Yamin at the keyboard at The Jazz Drama Program's Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

Eli Yamin at the keyboard at The Jazz Drama Program’s Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)


We did it!  On July 1 and 2, we broke ground on the first ever Jazz Drama Program Summer Jazz Arts Institute.  With my great colleagues LaFrae Sci, Tom Dempsey, Shireen Dickson, and Jeanie LoVetri we launched what we hope will be a vital charging station for imaginative education through jazz for years to come. Thanks to Lehman Stages at my alma mater, Lehman College, City University of New York in the Bronx, we had two days to go deep into different modalities of teaching and learning in jazz.  We asked questions about what do teachers and students need to have a great experience exploring jazz?  What fundamental skills and aesthetic values do they need to access?  How can we deliver them in an engaging, enriching and revitalizing manner?

After I gave a brief introduction to the Institute, master singing voice specialist Jeannette LoVetri gave a stunning two-introductory overview of Somatic Voicework ™, the LoVetri Method.  This method of training singers prepares you to sing jazz and blues by developing your awareness of the different registers of the voice-head and chest and how to mix them with ease to get the particular sounds and vocal flavors that you want.  It may seem obvious that singing the blues is different then singing Italian opera, but for too long, there has been little formal training available to those of us who want to sing American styles of music, most of which flow out of the blues.  Jeanie’s method is based in up to the minute information from leading doctors and medical researchers in the field of voice science and it was a tremendous treat to hear directly from Jeanie how we can begin to develop a healthy foundation for learning and teaching singing jazz and blues.  For more information on Jeanie’s teaching method, visit Somatic Voicework

Jeannette LoVetri at The Jazz Drama Program's Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

Jeannette LoVetri at The Jazz Drama Program’s Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)


Next, Jazz Drama Program Dance Director, Shireen Dickson, gave us a hands on workshop in Making Jazz-Based Dances.  The dance workshop scaffolded specific universal jazz qualities onto pedestrian (everyday) movement to demonstrate how easily movement phrases can be developed to tell stories. While the class’s primary objective was to demonstrate how a jazz platform can offer an immediate point of entry for all bodies, and how this technique is used when working with JDP youth, the session also modeled very clear hallmarks of JDP’s dance education rubric: body percussion, musical phrasing, rhythmic pedestrian movement, improvisation, collaboration, and sharing.



Teaching Artist Judd Nielson, Dance Director Shireen Dickson, Board Member LaFrae Sci explore syncopated movement in dance workshop. (Photo by Ayano Hisa)


Day One concluded with teaching artist, drummer and composer LaFrae Sci leading participants into the well of African American song and rhythm from which jazz music and culture flows. This session combined vocal, rhythmic and body movement to explore spirituals and the blues as a foundation of jazz learning across disciplines: vocal, instrumental, solo, dance and theatrical work. The session was presented as a critical complement to more traditional, foundational jazz instrumental and vocal learning and guided participants to embody blues vocal expression as well as the shuffle rhythm as the foundation of swing and the key to accessing the healing properties of jazz.


LaFrae Sci at The Jazz Drama Program's Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

LaFrae Sci at The Jazz Drama Program’s Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)


Day Two began with a review of Somatic Voicework ™, the LoVetri Method, led by teaching artist, singer and songwriter, Cindy Hospedales, who is also a Level III certified Somatic Voicework teacher.  Cindy presented the method as student-centered and ideally suited to meet students where they are at.  She showed how isolating registers can help determine vocal issues that need to be addressed and demonstrated specific vowel sounds to use to access head, chest and mix registers and specific strategies for blending and extending range. Cindy emphasized the point that when teaching students to sing, teachers must know how to recognize certain problems that inexperienced singers typically face and have concrete information that provide solutions, especially when it comes to expressive singing in contemporary music, formally known as Contemporary Commercial Music (CCM).


Cindy Hospedales at The Jazz Drama Program's Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

Cindy Hospedales at The Jazz Drama Program’s Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)


After the vocal session, teaching artist, guitarist, author and Professor at LaGuardia Community College, Tom Dempsey, led us into a cross-modality exploration of Improvisation.  The workshop began with a wide ranging discussion branching off from intriguing quotes on improvisation such as the one below by Ralph Ellison.

“There is a cruel contradiction implicit in the art form itself. For true jazz is an art of individual assertion within and against the group. Each true jazz moment (as distinct from the uninspired commercial performance) springs from a contest in which each artist challenges all the rest, each solo flight, or improvisation, represents (like the successive canvases of a painter) a definition of his identity: as individual, as member of the collectivity and as link in the chain of tradition. Thus, because jazz finds its very life in an endless improvisation upon traditional materials, the jazzman must lose his identity even as he finds it.”   Ralph Ellison

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Upon listening to Miles Davis Quintet’s live performance (1964) of “My Funny Valentine” with Miles Davis – trumpet, George Coleman – tenor saxophone, Herbie Hancock – piano, Ron Carter – bass, Tony Williams – drums, participants identified key components of jazz improvisation taking place and contributors in the group. There was discussion on the elements of sound (timbre, dynamics, rhythm, articulation, etc) and how the essential aspect of listening fueled meaningful interaction between group members that contributed to the overall masterpiece of the recording.  Some key words shared by participants: Playfulness, Feeling, No eraser, Courage Collaboration, Supporting, Vulnerability, Control, Critical thinking, Yes and…, Generosity, Dexterity, Shared language.

Tom Dempsey at The Jazz Drama Program's Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

Tom Dempsey at The Jazz Drama Program’s Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

JDP Co-founder Clifford Carlson looks on at Teaching Artist Cindy Hospedales in flight at Summer Jazz Arts Institute (Ayano Hisa, photo)

JDP Co-founder Clifford Carlson looks on at Teaching Artist Cindy Hospedales in flight during Improvisation Workshop at Summer Jazz Arts Institute (Ayano Hisa, photo)


The final workshop of the day was led by teaching artist, musician, actor, Program Director at Tribeca Performing Arts Center, Mario Giacalone. The theater workshop complemented yet challenged how participants viewed vocal and physical improvisation from an abstract rhythmic place. With a previous foundation laid in Tom’s Improvisation session, participants, with the clear instructions to “not think just do” and “give yourself permission,” who had never experienced this type of workshop were able to push against comfort boundaries, and see immediate relevance to their own non-theatrical artistic/teaching practices.


Actor/musician Mario Giacalone and musician Lance Bryant collaborate in the Summer Jazz Arts Institute at Lehman College. (Ayano Hisa, photo)

Actor/musician Mario Giacalone and musician Lance Bryant collaborate in the Summer Jazz Arts Institute at Lehman College. (Ayano Hisa, photo)


We concluded the Institute with a discussion that reviewed Jazz Drama Program practices that we experienced in the Institute.

  1. Teaching in a circle (communal)
  2. Taking things step by step.
  3. Embrace the role of women. **  (A lot of awful male performances are seen having prominent roles, whereas women, typically get minor/insignificant roles.
  4. Emulating/Copying.
  5. Interactive improvisation/Experiential group.
  6. Body awareness. Holistic, vocal, body, mindfulness.
  7. Just do it. Be in the moment and embrace the Judgement Free Zone.
  8. Permission parameters (Ex. You can do whatever you want in the circle, BUT… do not lose eye contact.)
  9. Have teachers on equal playing field as students/teachers as facilitators.
  10. Meeting students where they are.
  11. Remember to always incorporate the blues, as that is the grounding foundation of JDP.

*** THIS is what differentiates JDP from other European art forms. It separates from   emphasis on technical ability and focuses more on freedom/expressing.

  1. Culture of the blues = Accessible. Comes up from “the people”.
  2. Inclusive
  3. Mindfulness of connections between different disciplines. (Dance, Vocalists, etc.)
Teachers and Teaching Artists Jump for Joy at Summer Jazz Arts Institute at Lehman College (Ayano Hisa, photo)

Teachers and Teaching Artists Jump for Joy at Summer Jazz Arts Institute at Lehman College (Ayano Hisa, photo)


We are working on a more detailed paper outlining the activities of The Jazz Drama Program’s Summer Jazz Arts Institute 2015 at Lehman College. Please let me know if you are interested in receiving a copy when its done by leaving a comment below.  Also, we are gathering names of teachers and teaching artists who might like to join us next summer at the Institute.  We plan to have it around the same time-end of June/early July.  You can contact us by visiting The Jazz Drama Program, where you will find the latest information on the organization’s activities and methods.


Participants at The Jazz Drama Program's Summer Jazz Arts Institute at Lehman College, City University of New York (photo by Ayano Hisa)

Participants at The Jazz Drama Program’s Summer Jazz Arts Institute at Lehman College, City University of New York(L-R-standing-Lance Bryant, LaFrae Sci, Tom Dempsey, Dmitry Ekshut, Aasha Collins, Deanna Witowski, Mario Giacalone, Brian Davis, Clifford Carlson, Shireen Dickson, sitting-Eli Yamin, Cindy Hospedales (photo by Ayano Hisa)

Guatemala Jazz Festival 2015 – Final Day

The last day of the tour was my favorite because we visited and gave a workshop at La Alianza, a shelter for girls who are victims of trafficking and sexual violence.  The place is run exceptionally well by a staff of extremely devoted and expert women who give these girls the support and shelter they need.  There is a a music program at the shelter run by Steban, who is doing a great job motivating everyone to SING!  We had no problem teaching everyone “Freight Train” and before long LaFrae had about half the 45 girls on their feet doing a line dance while Evan, Paul and I played the blues.  Other girls, many who had babies on their lap, took to the kazoo and joined in instrumentally.  The whole place vibrated with MUSIC.  We must go back.

In the afternoon, we played for 500 high school kids on the outskirts of the city at Santa Catarina Pinula.  LaFrae and I had played their in 2011 with the blues band and recognized the head of the music school, Estuardo Lopez, who gave us a warm “hola.”  The students in the audience brought the energy up to the level of a rock concert and we stayed for an hour afterwards signing Cd’s, t-shirts, notebooks, whatever their was to sign.  I know there will be lots more swinging after we have moved on through.  And, I certainly hope to be back one day….for Hasta Luego Guatemala!!!  Muchas gracias!!!


Guatemala Jazz Festival 2015 – Ambassador’s Residence

Back to Guatemala City now for a reception at the residence of U.S. Ambassador Todd Robinson.  We could not ask for a more welcoming host.  Ambassador Robinson hails from Newark, NJ, a jazz town once and forever.  He truly believes in the power of jazz to uplift and unite everyone.  He is also an idealist who inspires us with his affirmation that we all can contribute to a world of greater equity and justice.  I’m proud to know him and will continue to do all I can to live up to his example of representing the best of what the United States is all about…

Eli Yamin Quartet with U.S. Ambassador Todd Robinson

Eli Yamin Quartet with U.S. Ambassador Todd Robinson


Ambassador Robinson and guests express their enthusiasm and support for JAZZ!

Eli Yamin Quartet and IMOX

Eli Yamin Quartet with IMOX Jazz, a local professional group and Ambassador Todd Robinson

Eli Yamin Quartet at Ambassador’s Residence


Guatemala Jazz Festival 2015 – Coban

The second day of the tour we drove to Coban in central Guatemala.  The city is surrounded by beautiful mountains and has a more country feel to it.  Watch out for the chocolate soup before lunch~!  I thought I was in heaven.

In the afternoon we gave a workshop in a municipal building to students receiving lessons on scholarship.  Their teachers are first rate including the pianist who played in the professional jazz quartet that opened for us at the evening concert.

In the workshop we did an overview of jazz including Maple Leaf Rag with the kids stomp/clappin’ and Evan playing all the the harmony and rhythm on the clarinet.  Then we taught Elizabeth Cotten’s “Freight Train” and had everyone keep singing the theme while we improvised over it to “mess them up.”  They were too good and kept the melody going even with unaccompanied drum solo!  Later, most everyone got out their horn and we had a terrific jam session on the Hop Wilson blues “I Feel So Glad.”  We even found an eight year old boy who gobbled up the shuffle like it was his new best friend!

In the afternoon, it being Sunday, we went to the Mall to play for the people.  It was a gas, actually…

Guatemala Jazz Festival 2015 – Concert in Guatemala City

Our first concert of the tour was at the auditorium at Instituto Guatemala Americano in Guatemala City.  It was a pleasure to play the Baldwin grand on stage and interact with the audience who engaged deeply with us.  Our program included songs from our recent CD,  “Louie’s Dream, for our jazz heroes.”  We played the title track composed by Louie Armstrong and pianist Marty Napoleon, “Baraka 75,” dedicated to Amiri Baraka, great poet, activist and mentor and “Don’t Go Back On Your Raisin”, from the musical I co-wrote with Clifford Carlson about women fighting for and winning the right to vote in the U.S. in 1920.  As it turns out, this year is the 70th anniversary of women’s suffrage in Guatemala and the audience joined us to celebrate.  You can also see a photo of me playing percussion.  That was part of our exploration of Thelonious Monk’s “Evidence.”  We closed the concert with a collaboration with members of the University Jazz Club.  We played a Guatemalan song that warmed everyone’s heart, “Luna de Xelaju.”

Guatemala Jazz Festival 2015 – workshop Universidad de San Carlos de Guatemala

It was wonderful to return to Guatemala, this time with quartet and LaFrae Sci on drums (she and I were there in 2011 with the Blues Band), Evan Christopher on clarinet and Paul Beaudry on bass.  The first day we gave a workshop at Universidad de San Carlos de Guatemala, got to know the wonderful students including a great young singer named Jose Pablo who sang Misty, a budding bassist named Gabriiela as well as The Prez, M.Sc. Lester Homero Godinez Orantes.  We taught the heartbeat is the shuffle and the shuffle is the heartbeat of the blues…



I bet you can play too!

Play the Blues with Eli


What can I say to the parents of children who want to be professional musicians?

Eli Yamin starting out as professional musician.  Photo by Grace Moon

Eli Yamin starting out as professional musician. Photo by Grace Moon

Mom:  “Eli, my son loves music and says he wants to be a musician.  Can you pleeeese convince him out of it?”

Eli: Young man, you must ALWAYS play music.  The music you make brings beauty and positive spirit to the world.  And goodness knows, we need more of it.  Choosing a career in music is a separate decision.  A successful music career relies on the cultivation of many skills both musical and non musical.  To make a living or good wage as a musician, you need to develop skills in business and/or education.  These may or may not be of interest to you.  So, before putting all your eggs into the making-your-living-by-playing-music basket, spend time finding out where you are at in these other areas.  Some ways you can do this are:

1)     Volunteer or work in a classroom with kids or another setting where you can see how you feel about teaching.  At 12, I worked as a junior sailing instructor and taught 7 year olds how to tie knots.  I remember the thrill I got when my “students” learned and could do what I showed them.  As I kid I loved sailing small boats.  This led me to the opportunity to be a junior sailing teacher to teach 7 year olds and gave me a glimpse of my potential as a teacher.  What other loves do you have that you can explore?  There may be a way to connect them with your life in music down the road.

Mercedes Ellington and Eli Yamin

Mercedes Ellington and Eli Yamin

At 24, upon returning from my first gig on the road as musical director for Duke Ellington’s Sophisticated Ladies 10th Anniversary National Tour directed by Mercedes Ellington, I volunteered at the West Side YMCA Day Camp.  They asked me what I did.  Upon learning I was a musician, they hired me as music teacher for Kinder Camp at $25/hour.  At the time I had no idea how to talk to three year olds.  I met with other Nursery School music teachers, took a three-day teacher training with Betsy Blachly at Bankstreet College and by the fall was hired as music teacher for the Co-op Nursery School at double my initial pay rate.  I developed a jazz curriculum for 2-5 years olds (being able to sit up was the only prerequisite to my class) singing songs like “Oo Shoobie Doobie,” “Ain’t Nobody Here But Us Chickens” and “Potato Chips.” I also sang folk tunes, told stories I learned from my childhood hero Pete Seeger, and finger plays and dances.  I improvised a lot and learned to be present in a way with students that had an indelible effect on me.  I had a poster of Dizzy Gillespie smiling in my room and used to say a prayer to him before the kids would come. “Dizzy, please show me what to do with these kids today.”  It worked out well.  I taught two and a half days a week while playing pass the hat gigs in East Village and touring with Glenn Miller Band and later, Illinois Jacquet.  I was blessed by having mentorship by Chicago Drummer Walter Perkins, who was like a second father to me, and played in his band all through this period and beyond.  Teaching young children during this time helped my income and helped me grow as a musician and person.

Eli Yamin with his student Amaya at Jazz at Lincoln Center.

Eli Yamin with his student Amaya at Jazz at Lincoln Center.

2)     Read books on the music business, take a business course on or off line, intern or work at a music business such as a management company, music festival, cultural institution, record company, radio station or magazine.  When I discovered jazz I was 12 years old.  I found the music at 88.3 on the FM dial, WBGO.  I was mesmerized and hungry to learn more.  I took Count Basie records out of the library and listened daily with great focus to the Smithsonian Collection of Classic Jazz.  So knocked out by what I heard, I could never understand why more of my peers and community in central New Jersey were not as obsessed as I was about jazz.  At 13, I had my first radio show on my high school’s radio station. We were lucky to have one.   At 14, I took on the weekly jazz show and began my career in earnest as a jazz advocate. At 18, this led to me hosting my first professional radio show on NPR affiliate WBGO where I had started months earlier as a Board Operator earning minimum wage.  The program director Wylie Rollins gave me a chance on the air because of three things: 1) I showed up when I was supposed to. 2) I was on time 3) I had great enthusiasm for jazz.  Whereas #3 was important, do not underestimate the power of #1 and #2.  A good degree of success in life can be achieved by consistently showing up and being on time.

I also studied music business tapes and books and asked a lot of questions of my elders.  This was painful at first.  Learning about the stark realities of the music business is so drastically different than the thrill of playing the music, it can be very disillusioning.  Radio was more fun and so I focussed my attention there.  And as the legendary R & B singer Ruth Brown told me.  “Eli, get some joy out of life or life will take the joy out of you.”  Parents and Students–HAVING FUN AND BEING PRACTICAL CAN GO HAND IN HAND. I learned a lot from being engineer/producer of Jazz From the Archives, a two-hour jazz history show hosted by leading historians Dan Morgenstern, Ed Berger, Loren Schoenberg and Vincent Pelote.  This experience introduced me to the rich world of jazz pre 1945 like Johnny Hodges, Ben Webster, Mary Lou Williams, Benny Carter, Jelly Roll Morton, Louis Armstrong.  Very soulful stuff.  I also produced Portraits in Blue with Bob Porter for five years deepening my knowledge and love for the blues.  Artists like Willie Dixon, Otis Spann, Lowell Fulson, T Bone Walker, Bessie Smith, Ruth Brown, Koko Taylor and Johnny Copeland.  I met and interviewed many musicians during this time and gained insight into their lives as musicians and people including:  Benny Carter, Roy Eldridge, Dizzy Gillespie, Marian McPartland, Ray Barreto, Ruth Brown, Art Blakey, Abbey Lincoln, Walter Bishop Jr, Abdullah Ibrahim and Barry Harris.  Barry Harris became a great teacher and later, friend to me.  At 24 years old, I got my own slot on the air hosting Sunday mornings from 6-10am.  I played piano and guitar recordings and called it Sunday Morning Harmony.  The show continues to run today.  I had great energy in those days and made good use out of it.  I would play with Walter Perkins at the Skylark in Queens Saturday night 10:30pm-3:30am, then drive to WBGO’s studios in Newark, New Jersey to sleep on the couch one hour, then go on air 6-10am, then sometimes drive to Westfield, NJ to play a brunch with my trio Solar.  Crazy days.  And a lot of learning going on.  Engaging the energy of youth by following the things that gave me joy and investing time in them helped me develop invaluable skills and contacts to become established as a professional musician.

Court of Barry Harris with Michael Weiss, Barry Harris, Eli Yamin and Lafayette Harris Jr. at Village Vanguard, NYC

Court of Barry Harris with Michael Weiss, Barry Harris, Eli Yamin and Lafayette Harris Jr. at Village Vanguard, NYC

And yes, I did formal training too.  I studied for a BA at Rutgers College, University of New Jersey with a major in music, minor in Political Science, and had the good fortune to take private lessons with Kenny Barron and Keith Copeland.  In addition, I sought out additional teachers outside of Rutgers to gain multiple perspectives and took lessons with the best teachers I could find including Fred Hersch, John Kamitsuka, Jaki Byard and Kenny Werner.  I learned invaluable lessons on the band stand at the Skylark Lounge in Queens performing with the Walter Perkins Trio and backing up local legends who would come through like C.I. Williams and Gwen Cleveland.  We played a lot of blues at the Skylark and I was happy as a clam doing what I loved and receiving great encouragement from the community.  I am eternally grateful for the support I received from so many people all along the way.  It reminds me of a passage in Duke Ellington’s Autobiography, Music is My Mistress.

“Every time I reached a point where I needed direction, I ran into a friendly advisor who told me what and which way to go to get what or where I wanted to get or go or do….Every intersection in the road of life is an opportunity to make a decision, and at some I had only to listen.”

This pathway from student to professional musician was gradual, unplanned, unpredictable, and at times nerve racking.  I would expect many musicians to report similar feelings in their own path.  I was fortunate to always find work opportunities.  For musicians, to be working, is a good goal in and of itself.  It is best if you can follow what you love to find the work.  Be open to different situations and be prepared to pay some dues.  You might find success where you least expect it like I did teaching three year olds finger plays or running tape machines in the middle of the night…

Eli Yamin teaches workshop at Junior Thespians Conference in Dallas, Texas. "Making a Soulful Sound with Nora's Ark, the jazz musical."

Eli Yamin teaches workshop at Junior Thespians Conference in Dallas, Texas. “Making a Soulful Sound with Nora’s Ark, the jazz musical.”





Eli Yamin gives online lessons from Jazz at Lincoln Center’s Jazz Academy

Eli at Keys turns towards audience by Ed Berger

photo by Ed Berger


Eli Yamin celebrates Dave Brubeck on Jazz at Lincoln Center’s Jazz Academy

In mid-december, producer Seton Hawkins from Jazz at Lincoln Center asked me if I wanted to film some lessons on Dave Brubeck’s classic quartet–Paul Desmond, Eugene Wright and Joe Morello.  He said to think about a band who could talk about these great musicians and offer insight into Brubeck’s compositions.  Well, I knew the right drummer in Stefan Schatz because he had told me about studying with Morello some years ago plus I knew he could play the Turkish rhythm that inspired Dave in Istanbul back in ’58. Bassist Paul Beaudry was an easy pick because he is so articulate and swinging.  They there’s Sherman Irby, the lead alto player in the Jazz at Lincoln Center Orchestra.  I thought he would be great because of his sweet and soulful sound.  It turns out, Paul Desmond was the first jazz alto saxophonist he studied and immersed himself in when he first got into jazz from a classical background.

Next, I dove deep into Dave Brubeck’s music. Fortunately I had been practicing “Blue Rondo a la Turk” for some time.  I wrote it out for quartet and mastered the 9/8 rhythm.  Lots of repetition. My friend Dennis from Long Island has been trying to get me to play “Strange Meadlowlark” for the past 2 New Year’s Eve’s.  I thought this would be a great opportunity to write it out and play it with the band.  Hope you like it Dennis.  Paul Beaudry has great things to say about it too.  “Unsquare Dance” is so incredibly hip.  “Take Five” is a must.  And “The Duke” I found out was originally for Dave’s teacher Darius Milhaud as well as his hero and colleague Duke Ellington.  A wonderful collection of music resulted.  And, I started to feel how truly Dave Brubeck has been to me all along my journey in jazz.  Dave once wrote me “I congratulate you for your seeming unlimited patience…”  He was talking about my work with students.  But maybe it was more.  Great things come to those who wait (and keep practicing).


Eli Yamin Quartet at Dizzy's Club Coca Cola at Jazz at Lincoln Center, NYC

Eli Yamin Quartet at Dizzy’s Club Coca Cola at Jazz at Lincoln Center, NYC

We are thrilled to report 4 sold out shows at Dizzy’s Club Coca Cola at Jazz at Lincoln Center in New York City.  Please join us from wherever you are around the globe for the free webcast thanks to Jazz at Lincoln Center!

Webcast Eli Yamin & Friends December 18, 7:30-10:45pm EST

I am joined by an amazing cast of All-Stars, LaFrae Sci, drums, Nicki Parrot, bass, Evan Christopher, clarinet, Catherine Russell, voice.  Catherine has been knocking us out with her interpretation of “It’s the Way That You Talk” from The Jazz Drama Program musical, Holding the Torch for Liberty and she is premiering the vocal version of the song Evan and I wrote dedicated to Mahalia Jackson, “Let His Love Take Me Higher.”  It’s a wonderful to celebrate the holidays.  We hope you can tune in!!!