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Legendary saxman Frank Catalano consistently headlines world-class festivals and sells-out venues throughout the USA, Europe, & Japan. Thanks to his signature sound & renowned reputation, Catalano averages 150 concerts a year with his jazz quartet. As a coveted guest artist, Frank often lends his sax stylings to high-profile rock groups. Recent highlights include playing a 7-minute improvised sax solo at The Hollywood Bowl with The Smashing Pumpkins, closing out the Chicago Blues Festival with Los Lobos, and performing with Les Claypool, Sean Lennon, and the Violent Femmes. He also teamed up on a unique version of the Jane’s Addiction hit “Jane Says” w/Perry Farrell, Billy Corgan, & Jimmy Chamberlin, Frank’s longtime friend & collaborator. A Belgian documentary about Frank entitled “Sugar Jazz” premiered at the Tokyo Liftoff Film Festival and has since screened worldwide. The film captures Frank’s musical essence and reveals his candid musings with the backdrop of iconic Chicago locations in the city where he was born. While just a teenager, Catalano signed to Delmark Records and released a string of critically acclaimed recordings with jazz greats including Randy Brecker, Ira Sullivan, Willie Pickens, Paul Wertico, and his mentor Von Freeman. His co-led album with Freeman, “You Talking To Me” remains a cult classic. Catalano is the only known saxophonist to perform with Miles Davis, Charles Earland, Elvin Jones, Junior Wells, Randy Brecker, Stan Getz, Betty Carter, Tito Puente, Tony Bennett, & Louie Bellson while still in high school. As a sideman, Frank has been heard by millions thanks to his collaborations with Jennifer Lopez, Beyoncé, Maurice Joshua, Destiny’s Child, John Legend, Tony Bennett, Seal, and countless others. Frank’s numerous accolades include an IMA award at Lincoln Center and induction into the Fox Valley Arts Hall of Fame. He has featured on 3 Grammy‐winning & 11 Grammy-nominated recordings and received a Tech Grammy Award for his numerous patents & developments. At 19 years old, Frank was the youngest sax player to be voted into the Downbeat Critics Poll. Head to his website to find pout more about all he does/did. Amazing cat!

Lurrie Bell is bonified blues royalty and was recently inducted into the Blue Hall of Fame in Memphis. He started playing with his father Carey Bell at age 7 and went on to play with Muddy Waters, Howlin’ Wolf, Willie Dixon, and many other blues giants. Bell’s career was on a path to stardom when his undiagnosed bipolar and schizophrenia go the better of him. Initially, he failed to receive the medical treatment he needed and unfortunately experienced periods of homelessness and other adversities. Thankfully in 2016, Lurrie’s album “Can’t Shake This Feeling” received a Grammy nomination and his career was again on an upward trajectory. It is clear that Mr. Bell has some soul in his blues and the music he and Frank present, shows that off from the first note.

I had thre chance to play catch-up with friend of the proGram, Frank Catalano ahead of the event with him and Lurrie Bell (bringing along the quintet as well) on May 24th at the North Street Cabaret. We get into what the creation of this project and new album has them doing since late last year. The Summer sounds super busy and as we spoke, he was playing the next day with Mr. Randy Brecker. Frank is one of my favs because of that versatility you’ll hear him mention during this call. Know so much as a jazz guy, not a single avenue would not be neglected by him, I think. The people that call him to be a part of things is wide and wild. We find out who is the band joining them here and Madison and we spent a good chunk of time getting to know the new Set Me Free record. All the things he did, from producing to playing, the soul of this album is felt throughout. Frank tells the tales of the album and some of the tunes – not be be missed, as the feelings are true and need to be heard. Frank also does the same while building a setlist around a track or two from the new record. Absolutely always a good chat (and concert) with Frank Catalano.

Arun Ramamurthy is a violinist, composer & educator based in Brooklyn, NY. Rooted in South Indian classical Carnatic music, Arun is a versatile musician, performing internationally in both traditional Carnatic & Hindustani settings, as well as blurring genres with his own innovative projects like the acclaimed Arun Ramamurthy Trio & Nakshatra duo with violinist Trina Basu. Arun studied under the celebrated violinist brothers, Sri Mysore Nagaraj & Dr. Mysore Manjunath, the distinguished violinist Sri. Ananthakrishnan as well as many early years with western classical violinist Jim Mate. He has shared the stage with luminaries like Dr. M. Balamuralikrishna, Sudha Ragunathan, Reggie Workman, Kenny Werner, Jamey Haddad, Amir ElSaffar, Hamid Drake, Martha Redbone, Yacouba Sissoko, Adam Rudolph, Lizz Wright, Subhankar Banerjee, Mashkoor Ali Khan, Awa Sangho, Roman Diaz, Melvis Santa and many more. Arun’s music has brought him stages like Carnegie Hall, Lincoln Center, Celebrate Brooklyn and many other celebrated venues. He leads the Arun Ramamurthy Trio, an ensemble that brings a fresh approach to Carnatic classical repertoire and features Arun’s original composition work. Praised by All About Jazz as “a beautiful, exotic, ear-opening listening experience” ART released their 2nd studio album ‘New Moon’ in September 2024 through Greenleaf Music. He also co-leads a violin duo project with wife & violinist Trina Basu, reimagining string chamber music through the lens of Carnatic, western chamber music and jazz. The duo released their debut studio album “Nakshatra” in January 2022. As a composer, Arun has created new works for his Trio (ART) & duo project with Trina Basu, scores for theatrical productions such as Tom Stoppard’s Indian Ink, for Indian classical dance, and for the pioneering musician’s collective Brooklyn Raga Massive. Arun received Chamber Music America’s New Jazz Works grant to compose his Trio’s upcoming release New Moon. He was also commissioned through New Music USA to compose original work for Malini Srinivasan’s ‘Appeasing Radhika’, an ambitious project investigating Devadasi lives in Indian Classical performing arts. Arun is a co-founder of Brooklyn Raga Massive, a genre-bending musicians’ nonprofit rooted-in and inspired-by the classical music of South Asia. In 2010, Arun created and produced Carnatic Sundays, a traditional and cross-genre concert series at the iconic West Village haunt, Cornelia Street Cafe. Throughout his career, Arun has curated and performed in hundreds of concerts bringing together music from all over the world. Arun also is a dedicated educator, teaching Carnatic music privately to children and adult students, professional string players and instrumentalists from various genres. He conducts workshops and has held teaching-artist residencies working with student ensembles at Oberlin Conservatory of Music, Brooklyn College’s Jazz & Big Band program, NYU, Yale University, Sarah Lawrence University, and many others.

I had the chance to catch up with Arun ahead of the trio landing in Madison on May 3rd along with woodwind sound designer Pawan Benjamin at the North Street Cabaret. We get right into what one in attendance should be ready for while Arun shares what makes the trio a sonic brotherhood with percussionist and friend of the proGram, Sameer Gupta, and electric bassist Damon Banks. Arun walks us thru the development of the latest album, ‘New Moon’ and I would be remiss if I did not give him a chance to shout out the all that Brooklyn Raga Massive really is (besides a something that has opened many more doors for me to explore into). This will go down as one of those shows I will recall for a lifetime.

Branford Marsalis continues to thrill audiences around the world while racking up achievements across diverse musical platforms, even after 4 decades in the international spotlight. From his initial recognition as a young jazz lion, he has expanded his vision as an instrumentalist, composer, bandleader & educator, crossing stylistic boundaries while maintaining an unwavering creative integrity. In the process, he has become an avatar of contemporary artistic excellence winning 3 Grammy Awards, a Tony nomination for his work as a composer on Broadway, a citation by the National Endowment for the Arts as Jazz Master, and a 2021 Primetime EMMY nomination for the score he composed for the Tulsa Burning documentary. His first instrument, the clarinet, gave way to the alto and then the tenor & soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his 1st major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey’s legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and it remains his primary performance vehicle. The Quartet has established a rare breadth of stylistic range, known for the telepathic communication among its uncommonly consistent personnel, its deep book of original music replete with expressive melodies and provocative forms, and an unrivaled spirit in both live & recorded performances, the Branford Marsalis Quartet has long been recognized as the standard to which other ensembles of its kind must be measured. Branford formed the Marsalis Music label in 2002, and under his direction it has documented his own music, talented stars such as Miguel Zenón, and un-heralded older masters including one of Branford’s teachers, the late Alvin Batiste. Branford has also shared his knowledge as an educator. He enjoys working with students and has formed an extended relationship with North Carolina Central University where he has been teaching for the past eighteen years. He has also taught at Michigan State University and San Francisco State University and continues to conduct workshops throughout the world. As for other public stages, Branford spent a period touring with Sting, collaborated with the Grateful Dead & Bruce Hornsby, served as Musical Director of The Tonight Show Starring Jay Leno and hosted NPR’s widely syndicated Jazz Set. The range and quality of these diverse activities established Branford as a familiar presence beyond the worlds of jazz & classical music, while his efforts to help heal and rebuild New Orleans in the wake of Hurricane Katrina mark him as an artist with an uncommonly effective social vision. Together with Harry Connick, Jr. and New Orleans Habitat for Humanity, Branford conceived and helped to realize The Musicians’ Village, a community in the Upper Ninth Ward that provides homes to the displaced families of musicians and other local residents. The centerpiece of the Village is the Ellis Marsalis Center for Music, honoring Branford’s father. The Center uses music as the focal point of a holistic strategy to build a healthy community and to deliver a broad range of services to underserved children, youth and musicians from neighborhoods battling poverty and social injustice. In January 2024, following in his father’s footsteps, Branford was appointed Artistic Director at the Center and in this capacity, he will shape the artistic trajectory and steer the organization’s creative vision for the future.

I had the complete honor of spending a little time chatting it up with Mr. Branford Marsalis. We dive head first into the upcoming event in Madison on May 1st at the Wisconsin Union Theater. We talk about what people with hear & see at this shared encounter, including the spontaneous interactions. The Quartet gets introduced to us as well so we now know a little more about those folks spending the time with us. They also have a new alum out on Blue Note Records titled ‘Belonging‘, it is an interpretation of Keith Jarret’s 1974 ECM release. Mr. Marsalis shares how this music hits and how it shapes from the original and how the quartet works as students of music, with a slight reminisce of their John Coltrane ‘Love Supreme’ experience years ago. While talking about the tune, ‘The Windup’, we end up talkin’ baseball, sharing our unlove for one particular NY team and I would have been remiss not to try and learn more about his work with the Grateful Dead’s ‘Eyes Of The World’. Note to self, no noodling! Man, I appreciate how this cat does things the way he does things.