Jonathan Scales Fourchestra

Thu, Oct 16

Join us for an unforgettable Thursday night, featuring the return of Jonathan Scales Fourchestra to BLU Jazz! Doors: 7:00pm Show: 8:00pm Tickets: General Admission ($25 in advance), ($35 day of show) Jonathan Scales is one of the most innovative steel pannists on the planet, and is redefining and challenging traditional expectations of his signature instrument. In his hands, the sonic palette of an instrument often associated with cruise ships and tropical resorts is radically expanded to mimic the role of horns, piano, vibraphone or marimba due to his stunning, virtuosic technique. Scales’ mesmerizing compositions have captivated listeners and elevated him to the status of a true composer, forging new territory in the medium of instrumental music. From club and festival stages across North America and Europe, and tours of Africa, Southeast and Central Asia as a Cultural Ambassador for the US Department of State, to their NPR Tiny Desk Concert featuring Béla Fleck, the Fourchestra’s live shows make even the most jaded listeners forget where they are… even if just for a precious moment. This may seem an odd thing to say, but on the verge of releasing their eighth studio recording, Jonathan Scales Fourchestra is only now truly embracing their identity as a group. For many years, Jonathan’s live band was a fluid lineup of top-notch musicians, and even included an “all-star” version with bassist MonoNeon (Prince, Nas), drummer Sput Searight (Snarky Puppy, Snoop Dogg) and percussionist Weedie Braimah (Trombone Shorty, Christian Scott aTunde Adjuah), as well as a number of other marquee players. Now, however, the Fourchestra is a decidedly indivisible band, and Jonathan is writing for the trio, not just the pans. “…joyously inventive…” -JazzTimes “To say I am impressed would be a gross understatement! Wow, Jonathan!” -Béla Fleck “At the end of the day Scales is going to be a major player in rewriting the books on steelpan music outside the box.” -When Steel Talks “Jonathan Scales brings new vitality to the traditional Caribbean instrument, picking up where Othello Molineaux left off 20 years ago with Jaco Pastorius.” -JazzTimes