Musical performance is ethereal art form – you can record it, but it’s not the same feeling as hearing it live. While those notes hang in the air, emotions of every kind move through you, but they don’t last. The premier concert of the new Culver City Jazz series opened at the Kirk Douglas Theater on Sunday, September 14, 2025 with Jason Marsalis, the esteemed vibraphone player, and a ‘trio plus’ – . al. Adam Ledbetter on Piano, Jeff Littleton on Bass and Gengis Don on Drums with vocals by Vanisha Gould. To say the music was sublime would be setting the vibe far too low; it was sensation
The initial introduction by Edgar Varela, the special events manager for the City of Culver City noted “Culver City deserves the best,” and his introduction of the Jazz Bakery’s Ruth Price put a spotlight on the venerable organization that helped to curate the event. Price, who spoke from her seat in the front row, offered that she’d just cracked two ribs, and so she was happier making her comments sitting down. Noting the long relationship between the City and the Jazz Bakery – “We’ve been here since 1992,” she lauded the Kirk Douglas Theater as a great place for the show.
Marsalis began the set by introducing his musicians, who he noted that he’d admired from afar, but had not worked with before; and went right into some great vibraphone. Playing a selection of songs from jazz masters both requisite and unexpected, he began with work by his father, jazz pianist Ellis Marsalis, and proved himself to be a stellar member of that very talented clan.
The guest vocalist, Vanisha Gould, was a treat; opening with the song “Lucky to Be Me” from the musical “On the Town” her voice was both intimate and soaring, taking the old tune out for a brand new spin.
In the second part of the performance, Marsalis surprised the audience by offering some of the lesser known work of a well known composer – the late Brian Wilson. Dipping into “Sunflower” and “Solar System,” the jazz arraignments gave the melodies not just a fresh sound, but a whole new context.
Gould came back to sing some original material of her own, including “Cute Boys,” an ode to window shopping for eye candy that gave her vocal talents room to play, and “Donovan,” a gently heartrending ballad.
The crowd cheered and applauded at the end of the show, but a quick standing ovation did not produce a hoped-for encore. Jazz is known for being an all-night job; perhaps the musicians had to get to on to their next gig.
Some tickets are still available for the next two shows – Sept. 21 and 28 – but get them soon. They won’t last.
Judith Martin-Straw
Photo from Edgar Varela
