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“If it doesn’t look like we’re having fun, you get your money back.” – Ron Kearns

Well, no one got a refund at the kick-off event for the 2014 Jazz Samba Project at the Strathmore. Kearns, a jazz saxophonist who can play entire albums by memory, seemed to be having a wonderful time at The Mansion at Strathmore with his extremely talented friends and a captivated audience.

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Paul Wingo on guitar, Kent “Thunder Fingers” Miller on bass, and Mark Prince on drums make up the rest of this charismatic quartet, and special guest Michael A. Thomas rounded out the evening on the trumpet. The Ron Kearns Quartet was formed in 2012 to commemorate the 50th anniversary of Jazz Samba, Stan Getz and Charlie Byrd’s definitive album for the genre, being released. The album was actually recorded in Washington, D.C., so it was fitting that the celebrations continue here. The classic beauty of The Mansion added to the feeling of history, so I felt like I was being entertained after a lovely meal at Downton Abbey.

Not that early 20th century England society would have tolerated the funky island rhythms, mind you. The Brazilian influence that helped create bossa nova was unmistakable throughout the evening. Kearns’ smooth melodies were the audio equivalent of hips swaying, and the other instruments supplied the crashing waves, the fruity drinks, and the warm sun. Nearly half the attendees of the sold out show moved to the music in their seats during “Girl from Ipanema” and undoubtedly would have danced in the aisles if there had been space to do so. But just as the Mark Prince created a controlled explosion of sound with his drums in the intimate venue, we kept our composure.

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It was a night of paradoxes, as the musicians were simultaneously humble and aware of their musical genius. The format of the songs seemed loose and focused on individual performances, but the sounds played off each other perfectly, like the comedic timing of an improvisation troupe.  Each man was free to explore where the music took him, with Wingo even slipping into the theme song from “M*A*S*H” at one point during the opening number “Day in the Life of a Fool,” better known as “Black Orpheus.” Whenever Miller showed off his range on the bass or Thomas wailed a long and soaring note, the other men onstage were the first to applaud and cheer.  They obviously enjoyed themselves and enjoyed being in the company of such accomplished artists, and so did the audience.

You can join the party by checking out Strathmore’s upcoming events (http://www.strathmore.org/eventstickets/calendar.asp) and joining Ron Kearns’ mailing list for more information on performances and available albums (www.ronkearns.com).

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