Pianist Aaron Diehl, new artistic director of 92NY’s Jazz in July, is one of the most distinctive and respected artists in jazz. Championed by and touring with Wynton Marsalis early in his career, Diehl has also been pianist and music director for Cécile McLorin Salvant and collaborated with jazz legends including Benny Golson and Jimmy Heath. Classically trained at Juilliard, he lives in both worlds quietly blurring lines, headlining at jazz clubs and festivals, and appearing as soloist with major symphony orchestras. The expansiveness of Diehl’s musical mind informs not only his own artistry, but now his programming of Jazz in July. He talked with us ahead of the festival about his new role, the artists he’s excited about presenting, reasons to linger after the concerts, and what makes him soar when he takes time away from music.
You first performed at Jazz in July in 2017, in Bill Charlap’s four-piano celebration of the great Art Tatum. Jazz in July 2024 kicks off this week – the festival now shaped by you in your first season as artistic director. How are you feeling about it all?
I’m excited! And, of course, a little nervous given the rich history of the festival starting with Dick Hyman, then led by Bill [Charlap]. I remember playing “Tiger Rag” in that 2017 concert, and I’ve been fortunate to be part of two or three seasons since. So it’s been great to get to know some of the folks behind the scenes, some of the people who attend, and The 92nd Street Y in general – I’m not just diving into the deep end! And Jazz in July was in my life long before that. I began coming to the concerts soon after I moved to NYC to start at Juilliard in 2003. It was like a masterclass hearing those concerts. They were very much a part of my musical development and my understanding of what it meant to be up on a stage like that. So being where I am now, it’s all a bit surreal but I’m very honored.
What has it been like to wear this new hat and to approach the music from the artistic director viewpoint?
This role brings a whole other perspective on musicmaking and creativity. You realize you’re not only responsible for your work onstage (I’m playing in five of the six concerts) but for curating shows, organizing them, finding ways to put artists together, ways to connect with the audience. It’s a busy time of year with artists traveling to festivals all over the world and I feel very fortunate to have been able to involve so many great musicians. I was very pleased that Mr. Barron agreed to take time out of his busy schedule to be part of the festival. Same as Benny Green. In addition to getting everyone to be available and excited, there is figuring out schedules that align with rehearsals, and putting music together that would play on everyone’s strengths – that’s the most important thing to me: to highlight these musicians in the best way possible and feature the most distinctive aspects of their artistry. There are a lot of moving parts to it all, and it involves a very different skill set.
The festival ranges from a hard-bop piano bash to Bach-inspired explorations to a Creole-spiced jazz party, and more. Tell us about it.
It’s all about the artists. The first concert (Wed, July 17) features Kenny Barron and Benny Green – two of my musical heroes, both of whom have solidified themselves as bastions of the modern piano language and the language we call bebop, hard bop, etc. Also on the bill is Helen Sung, an amazing musician and writer, and Joe Block – a remarkable musician who’s really coming up. I’m trying to highlight the significance of these artists in unique ways. I’m playing on this program too. I love the piano and pianists, and we’ve got five on opening night!
The next night (Thu, Jul 18) features the Isaiah J. Thompson Quartet – Isaiah is young and energetic, and he has a tremendous amount of soul and his own approach to the piano. I wanted him to have an opportunity to share his distinctive voice with his ensemble in a very intimate setting – this is one of two concerts in Buttenwieser Hall at The Arnhold Center, and it opens up possibilities to be able to program in two halls. Another of the concerts I’m really looking forward to is Singers & the Song (Sat, Jul 20). The program features three generations of vocalists, each with a very unique way of telling a story: the legendary Marilyn Maye – a powerhouse, who has been making music for so long and is so dedicated to the craft; Catherine Russell, an amazing singer from a strong jazz lineage; and Ekep Nkwelle – a young singer with an extraordinary jazz sensibility, and an artist who approaches songs in her own way. I’m really excited to be playing on this program with my trio.
Etienne Charles & Creole Soul (Wed, Jul 24) kick off the second week of concerts. Etienne is from Trinidad, and he brings to the festival the rich musical language of the Caribbean and how it relates to the general language of jazz – something that isn’t explored a lot. The concert is going to be a lot of fun, and it’s going to be hard for people to stay in their seats – they’re going to want to dance! In the Preludes concert (Thu, Jul 25), three pianists explore the idea of the prelude, blurring the lines between what is through-composed and what is improvised. Adam Birnbaum, a wonderful pianist and someone I’ve always admired for the scope and breadth of his musical approach, plays selections from his arrangements of preludes from Bach’s The Well-Tempered Clavier. Jeb Patton, another wonderful artist who I first heard performing with the Heath Brothers, performs original compositions that explore the European approach to prelude writing, with references to Chopin and Scriabin, while segueing into a very deliberate approach in jazz. Rounding out the concert, I’ll play some of Roland Hanna’s Preludes, written in the 1970s. There will be three pianos on stage, arranged in a kind of triangle with the rhythm section and horns in the middle. We’ll go between each prelude without stopping, each pianist playing in succession. It’s going to be very special.
Tyshawn Sorey – a huge talent – is featured on the final concert (Sat, Jul 27). He brings his exploration of the American Songbook as he himself describes it – as a living body, that can include pieces by Kenny Barron and Benny Green or Ahmad Jamal or pop music alongside songs by Irving Berlin. Tyshawn has great skill in being able to arrange music in a way that’s very compelling, very engaging, and super nuanced. Tyshawn and [vibes master] Warren Wolf are musicians of the highest order – the way they think, the way they play. There are no limitations to what they can do. They are two of the greatest musicians in the world.
Jazz in July has long been a festival where, alongside legends, a new generation of jazz luminaries – Cécile McLorin Salvant among them – have been showcased early in their careers. What excites you about the young artists you’re presenting?
In general, it’s important for young artists to be visible. It’s even more difficult now than when I was coming up. It’s important for audiences to get to know these artists, for them to have a platform, to engage with audiences – that’s something that has to be developed. As it relates to the festival, I love being able to give Isaiah a showcase with his own quartet. Joe Block is an incredible pianist and arranger with a holistic approach and a very unique voice. He’s also a very mature musician despite being 25. Ekep is also just 25, and similar to Joe in the maturity of her delivery of a lyric and her phrasing, her sense of feeling. That doesn’t come naturally to everyone – she’s a true natural, and I’m really excited to see how she continues to evolve and develop.
When people come to Jazz in July, they can meet and talk with the musicians after the concerts, have a drink at the bar, and socialize. You’ve been part of these post-concert hangs yourself. What do you like about them?
This music is born out of social interaction. Initially, until the 1940s and even beyond that, it’s been dance music, and there’s an innate social nature to it. I think it’s really important to have a connection, a symbiosis between those on stage and those coming to listen. When the musicians and people from the audience gather after the concerts I think everyone gains a real sense of community.
Finally, do you have a passion outside of music? Something you do to renew/recharge?
I love aviation. I’ve been flying for over 20 years – it’s something my dad was into. It uses all of the facets of the mind, and in some ways is very much like music in the awareness that is required. When I’m playing on stage, I have to be aware of what everyone is doing and how I fit inside that equation. When I’m flying, it’s first and foremost flying the plane but also awareness of what’s going on outside the cockpit, instructions from air traffic control, and more – all of the neurons in the brain are firing at once! But flying actually helps me decompress. I’ll be doing more of it when the festival is done(!)
Jazz in July begins Wed, Jul 17. Explore the full lineup here.