Kind of Blue House Session

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It’s been a busy two months for Muneer Nasser. The trumpeter has played all around town—from D.C. Jazz Festival to Westminster Presbyterian Church—to promote his latest album, Blue House Session. Recorded last summer in Silver Spring, the album “contains some of the purest, most tunefully accessible stuff this side of 1965,” Michael J. West writes in this month’s Swing Beat. 

Indeed, Nasser’s gift and skill as a trumpeter is on full display in the album, which includes a vastly talented band made up of tenor saxophonist Elijah Easton, pianist Allyn Johnson, bassist James King, and drummer John Lamkin III. But perhaps, most importantly, writes West, is that “Blue House Session is one thing that a great deal of contemporary jazz forgets to be: fun.”

As Nasser’s own star rises, he’s making sure the legacy of another isn’t left behind. The trumpeter is the author of Upright Bass: The Musical Life and Legacy of Jamil Nasser, his father. The book is based on interviews with his dad, a bass player from Memphis who moved to New York in 1956 and had a prolific career, especially as an accompanist for modern jazz pianists. 

Nassar’s book “offers a very different perspective on jazz life,” writes West. “Jamil released only one album as a bandleader … otherwise he was known as a sideman. Sidemen don’t usually get a say in the realm of the jazz memoir—which is unfortunate, as Upright Bass demonstrates.”

For a deeper look at Nasser’s dedication to his father’s legacy and insight into his own work as a talented local musician, read this month’s Swing Beat on our website.

—Sarah Marloff (tips? smarloff@washingtoncitypaper.com)

Credit: Courtesy of the United States Attorney's Office

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Credit: Darrow Montgomery/file

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By City Paper Staff (tips? editor@washingtoncitypaper.com)

Credit: Darrow Montgomery

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By Alex Koma (tips? akoma@washingtoncitypaper.com)

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By City Paper staff (tips? editor@washingtoncitypaper.com)

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By Sarah Marloff (tips? smarloff@washingtoncitypaper.com)

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