Kurt Elling is “the standout male jazz vocalist of our time.” – The New York Times

Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz - The Washington Post

This is a singer of supreme confidence, a vocalist at the top of his game and a true master of jazz vocalese.- JazzReview.com

DEDICATED TO YOU, Kurt Elling’s second recording for Concord/Universal, will propel his career to new heights. Elling is an eight-time GRAMMY nominee who has spent the last nine consecutive years at the top of the Down Beat Critics poll and the last four consecutive years winning the JazzTimes Readers’ poll. He has won five Jazz Journalists Association Awards for Best Male Vocalist and the Prix Billie Holiday from the Academie du Jazz in Paris. His quartet tours the world continually, performing to critical acclaim in Europe, the Middle East, South America, Asia and Australia, and at jazz festivals and concert halls across North America.

In addition to leading a regular quartet that features collaborator Laurence Hobgood, Kurt Elling has spent recording and/or performing time with an array of artists that includes Terence Blanchard, Dave Brubeck, The Clayton/Hamilton Orchestra, Benny Golson, Jon Hendricks, Fred Hersch, Charlie Hunter, Al Jarreau, David Liebman, Joe Lovano, Christian McBride, Marian McPartland, The Bob Mintzer Big Band, Mark Murphy, John Pizzarelli, Kurt Rosenwinkel, and The Yellowjackets. He has written multi-disciplinary works of art for The Steppenwolf Theater and by commission for the City of Chicago. Kurt Elling is a former National Trustee and National Vice Chairman of the National Academy of Recording Arts and Sciences (The GRAMMYS) and has been artist-in-residence for the Monterey Jazz and the Singapore Music Festivals.

Kurt Elling’s rich baritone voice spans four octaves and displays an astonishing technical facility and emotional depth. Elling has an awesome command of rhythm, texture, phrasing, and dynamics, often sounding more like a virtuoso jazz musician than a mere singer. His repertoire ranges from his own compositions to modern interpretations of standards, both of which can be the springboard for free form improvisation, scatting, spoken word and poetry. As composer and lyricist, Elling has written scores of his own compositions and set lyrics to the songs and improvised solos of many jazz masters. In addition to the compositional work he has done with collaborator-in-chief Laurence Hobgood, Elling has collaborated in the creation of new pieces with John Clayton, Fred Hersch, Bob Mintzer, Charlie Hunter and Orbert Davis, among others.

Kurt Elling has been featured in profiles for CBS Sunday Morning, for CNN, and in hundreds of newspaper and magazine reviews and articles. The Washington Post declared, “Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.” Said Jazzreview.com, “This is a singer of supreme confidence, a vocalist at the top of his game and a true master of jazz vocalese.” The Chicago Tribune decided that “Kurt Elling is going to change many listeners’ minds on the meaning and purpose of Jazz singing.” The Guardian (UK) declared, “Elling is an omnicompetent artist of almost ruthless efficiency ... (He) is truly a musical phenomenon.” And Jazz Review (UK) raised the possibility that “Elling may be the greatest male Jazz singer of all time.”

Recordings

Kurt Elling’s recording career began at age 27 with the release of “Close Your Eyes.” Nine of the thirteen songs on the album were part of a nine-selection demo that was accomplished enough to secure a recording contract with Blue Note. Co-produced by Elling and his collaborator, pianist Laurence Hobgood, the album featured the first incarnation of the Kurt Elling Quartet and introduced many signature aspects of the singer’s sound: inspired vocalese versions of jazz compositions and improvised solos (“Dolores Dream,” “Those Clouds are Heavy, You Dig,” “Hurricane”), the melding of poetry and music, original compositions, and an emotional range from frenetic up-tempo to tender ballads. “Close Your Eyes” secured Elling his first GRAMMY nomination.

THE MESSENGER, 1997 (Blue Note)

The second Blue Note recording, “The Messenger,” began to cement Elling’s critical reputation (along with that of collaborator Laurence Hobgood) as a producer, arranger, and composer. Daring re-workings of the standards “Nature Boy” and “April in Paris” set the stage for a suite of Elling/Hobgood originals and extended vocalese (“Tanya Jean,” “Gingerbread Boy”). Said the Chicago Sun-Times, “More than any mainstream singer to come along in recent times, [Elling] thrives on free expression ... But as much of a wild streak as all this suggests...Elling imparts a sense of being in complete control of his destiny.” In addressing Elling’s writing for this record, The Boston Globe said, “The lyrics (Elling) has written to Dexter Gordon’s ten minute ‘Tanya’ solo are to most attempts at vocalese what an epic poem is to a sonnet.”

THIS TIME IT’S LOVE, 1998 (Blue Note)

Elling’s third recording for Blue Note, “This Time It’s Love,” was a polished and romantic outing. Opening with a treatment of “My Foolish Heart” that has become a staple of Elling’s live shows, the album addresses the theme of love with hip arrangements of jazz standards, new compositions by the Elling/Hobgood team, and more of Elling’s vocalese expansions. Down Beat gave the recording four-and-a-half stars and said, “Again, the singer reveals his grand gift for vocalese lyrics,” calling his lyric to Freddie Hubbard’s classic “Delphia” solo “a superb love paean.” The record won Elling his third consecutive GRAMMY nomination.

LIVE IN CHICAGO, 2000 (Blue Note)

The next release for Blue Note was recorded live at Chicago’s storied Green Mill Lounge, Elling’s home and long-time artistic base. Straight from the heart, and comprised largely of previously unrecorded material, the album featured Elling singing with jazz great Jon Hendricks and blowing with Chicago tenor greats Von Freeman, Ed Petersen, and Eddie Johnson. Here again Elling is heard pushing the boundaries of vocalese on his lyric tour de force for Wayne Shorter’s signature composition, “Night Dreamer.” “This CD reflects Elling’s utterly creative genius, tearing down conventional perceptions,” wrote the Jazz Educators Journal. “An on location recording of Kurt Elling is absolutely the way to go to capture higher measures of his literal uniqueness as a nouveau phenomenal male jazz vocalist. A ‘live’ session truly unveils the spontaneous, sizzling charges and poetic imagination he develops in the venue, promptly pulling in the audience close-up with an intensity that is both tender and fierce.” The GRAMMY nomination for “Live in Chicago” was Elling’s fourth.

FLIRTING WITH TWILIGHT, 2001 (Blue Note)

Elling’s fifth Blue Note recording, “Flirting With Twilight,” presented a collection of timeless songs set against spare, beautiful horn arrangements, and featured an all-star rhythm section of collaborator Laurence Hobgood on piano, bassist Marc Johnson (Bill Evans, Steps Ahead, Bill Frisell), and drummer Peter Erskine (Weather Report, John Abercrombie, Peter Erskine Trio). Reviewers were stunned. Down Beat exclaimed, “Nothing ... prepared me for Elling’s accomplishment on ‘Flirting With Twilight,’ a cohesive, highly personalized exploration of 12 demanding love songs ... which he addresses with the legato grace of a master ballroom dancer.” JazzTimes declared, “With ‘Flirting With Twilight’ ... Kurt Elling continues his triumphant reign as the thinking man’s vocalist.” “Flirting With Twilight” garnered two GRAMMY nominations, including one for Laurence Hobgood’s arranging.

MAN IN THE AIR, 2003 (Blue Note)

For his sixth Blue Note record, “Man In The Air,” Elling wrote and performed lyrics for nine jazz compositions that might be considered classics of the genre. Jazz compositions and solos from writers as diverse as Pat Metheny, Herbie Hancock, John Coltrane, Bobby Watson, and Joe Zawinul all received the Elling treatment. Including an epic seven-minute vocalese of “Resolution,” the second movement on John Coltrane’s album, “A Love Supreme,” the album crowned Elling’s six-record run at Blue Note. Biographer Lara Perigrinelli wrote, “The success of these pieces tends to hinge on vocal control, sonic atmosphere, and use of space. Their lyrics follow suit. Elling wrestles with themes of love, life, loss, and the indefatigable human spirit in all of their complexities without allowing himself to indulge in clichés or platitudes.” The album featured intelligent, swinging performances from guest artist Stefon Harris and the ever-necessary collaboration of Laurence Hobgood.

In 2007, having fulfilled his original obligation to Blue Note of six recordings, Kurt Elling reviewed his strategic partnerships across the board and decided to join with the burgeoning Concord/Universal partnership.

NIGHTMOVES, 2007 (Concord)

NIGHTMOVES represented a real page-turn for Kurt Elling. For his first outing on the Concord/Universal label, Elling created a noir-ish “cinema of the mind,” a sonic LP of life lived between dusk and dawn. With guests Howard Levy, Romero Lumbambo, Christian McBride and Bob Mintzer, the new disc featured Elling’s own writing alongside that of Duke Ellington, Betty Carter, and A.C. Jobim. The opening salvo in JazzTimes’ review of “Nightmoves” seemed to respond to Elling’s overall career: “If there is a royal bloodline of male jazz singers, I’d suggest it progresses from Satchmo to Mel Torme to Jon Hendricks to Mark Murphy to Kurt Elling. While there are plenty of clever jazz lads around with noble ambition ... none show any sign of trumping (or even echoing) Elling’s kaleidoscopic amalgam of gifts.” CDReview, perhaps letting their enthusiasm run away with them, called “Nightmoves” simply “the best vocal release of the millennium.”

Other Accomplishments

In 2002, Elling produced a vocal summit entitled “Four Brothers” at Chicago’s Park West Theater, which featured Elling, Mark Murphy, Kevin Mahogany, and the legendary Jon Hendricks. A cross-generational tribute to the art of jazz singing, the “Four Brothers” on occasion featured Andy Bey, Giacomo Gates and Peter Eldrige in place of Kevin Mahogany. Elling led the group on successful tours of Europe and the U.S. in 2003 and 2004 to broad acclaim. A final blowout performance in the summer of 2005 took place in Chicago’s Millennium Park. That concert featured Sheila Jordan in the fourth spot and was called “Three Brotha’s and a Motha’.”

In 2004, Elling was invited to perform and record a groundbreaking work by pianist and composer Fred Hersch. A prolific composer, Hersch created a song cycle based on words from Walt Whitman’s LEAVES OF GRASS, performed by a ten-piece chamber jazz ensemble of voices, brass, woodwinds, strings, and rhythm section. Hersch’s masterful writing, together with the vocal performances of Elling and Kate McGarry, made this a transcendent record. JazzTimes wrote, “Both vocalists bring a pure tone and the kind of technique that makes everything seem effortless to Hersch’s twisting melodic lines, bringing out their lyrical beauty while ensuring that none of Whitman’s words are obscured.”

In 2006, as artist-in-residence at the 49th annual Monterey Jazz Festival, Elling teamed up with composer/bassist John Clayton to create “Red Man/Black Man.” Here Elling juxtaposed his own new writing with the works of Native American poets – most notably, Maurice Kenny – and the late Chicago poet and Pulitzer Prize-winner Gwendolyn Brooks in a musical setting that featured the Clayton/Hamilton Orchestra. Said allaboutjazz.com, “ ... the emotional depth of the piece, the power of Elling’s poetic selections and the strength of Clayton’s musical conception are undeniable. This outstanding composition hits home with substantial force.”

Elling has gone beyond jazz performance to write and direct more broadly based literary and artistic events, most notably in works commissioned by Chicago’s Steppenwolf Theater. In 1998 he undertook a critical, multi-dimensional exploration of the life and work of Beat poet Allen Ginsberg. In reviewing the show, The Chicago Tribune called it “audacious” and “provocative.” “ ... Elling’s [treatment] turned a fairly predictable survey of Beat Literature into a more balanced view of a key chapter in American history. Here was an evening of poetry and music informed by a sense of morality, as well as an aversion to politically correct points of view.” This show was remounted to further critical acclaim at the Kennedy Center in Washington, D.C., the Annenberg Center in Philadelphia, and at the Galway Festival in Ireland.

Elling was commissioned one year later to create an event fusing jazz and modern dance, this time featuring his wife, professional dancer Jennifer Elling. Again Elling was praised as an innovator. The Chicago Sun-Times said, “Having risen as a Jazz singer on the wings of modern poetry, including his own, (Elling) is in full thrall of art’s interactive possibilities.” The Chicago Tribune agreed, proclaiming, “Because spoken word, subtle lighting design, fluid stage direction and a heady spirit of improvisation all play key roles, the evening touches on more aesthetic forms than one generally encounters in a week’s worth of concert going. So many of these vignettes prove eloquent – with the crisp imagery of Elling’s lyrics enhanced by the abstract, poetic motion of the dancers – that it’s difficult to single out highlights.”

Perhaps the highest profile commission to date has come from the City of Chicago, which invited Elling to write, direct, perform in and host a ninety-minute performance event for its millennial celebration. Two guests from every country in the world were invited to Chicago and were hosted by the city for a weeklong celebration, “The Whole World Comes Home To Chicago.” Elling’s production, “This Is Our Music, These Are Our People,” served as the showcase of the city’s artistic life. The show featured blues great Buddy Guy, Von Freeman, the late author and historian Studs Terkel, word jazz artist Ken Nordine, the late Illinois Poet Laureate Gwendolyn Brooks, members of the Joffrey Ballet, visual art from Ed Paschke and Tony Fitzpatrick and a ninety-voice gospel choir, The Reginald McCracken True Voices of Christ Concert Ensemble. The Chicago Tribune called the results “stirring ... magical ... Such seamless blends of talent resulted from long hours of planning.”

In February 2001, Elling created yet another new work for the Steppenwolf Theater. For this production, titled “LA/CHI/NY,” he invited one poet and one musician from each of America’s three great cities to bring the sounds of their environments to the stage in a new collaboration. Poets Kamau Daa’ood and Tracie Moore represented Los Angeles and New York, with Elling himself speaking for Chicago. The musical ensemble featured Elling’s Blue Note label mate, New Yorker Charlie Hunter playing eight-string guitar, L.A.’s B-Sharp Quartet leader Herb Graham, Jr. playing drums, and Chicago’s Mars Williams (NRG Ensemble, Liquid Soul) playing tenor saxophone. The Chicago Sun-Times wrote, “...‘LA/CHI/NY’ was less about geographical connections than spiritual ones. But it radiated such good vibes, you can only hope that plans to take it east and west come to fruition.” The Tribune went further, saying, “Someone, somewhere ought to give Elling the means to take stage work, or any of his others, and bring them to fruition through a longer engagement. With that opportunity, Elling might truly be able to change the way audiences think about jazz, poetry and life in America.”

In addition to his work as an artist, Kurt Elling served as a national trustee for the National Academy of Recording Arts and Sciences (The GRAMMYS) beginning in 1999. In May of 2003, he was elected Vice Chair of the 17,000-member service organization and served two successful terms. While Vice Chairman, Elling was effective in opening up new channels of communication within the Academy. He helped create and hosted the first two annual Recording Academy Salutes to Jazz. He oversaw the creation of the Academy’s Lifetime Achievement and Trustees Awards Review Committee. For his work on behalf of the Academy, Elling was presented with two distinguished service medallions.

On the larger political scene, Kurt Elling ran for and won election at the congressional level to join the Illinois Delegation to the 2004 Democratic National Convention. Chief among his actions in the lead up to the 2008 election, Elling acted as master of ceremonies at a jazz oriented fundraiser at New York’s 92nd Street Y. Musicians like Roy Haynes, Brad Mehldau, Dianne Reeves, Jeff “Tain” Watts, Charlie Hunter, Doug Wamble and Roy Hargrove came together with Kurt to perform on behalf of an Obama victory and raised more than $70,000 to send off to the DNC in time to help ensure a historic and welcome outcome.

If NIGHTMOVES, Elling’s 2007 release for new label partners heralded a new era for the work of Kurt Elling, his forthcoming release, DEDICATED TO YOU: Kurt Elling Sings the Music of Coltrane and Hartman, takes the heralded past into the era’s new future. Recorded live at Lincoln Center’s American Songbook Series, the recording is a showcase for Elling at his most expansive and emotional. The concert is built on arrangements created by long-time collaborator Laurence Hobgood for voice, rhythm section and the string quartet known as ETHEL, and features master tenor saxophonist Ernie Watts. Look for the release of DEDICATED TO YOU on June 23, 2009.

For printable bios, EPK's, press images and promotional materials, please see the news+press section of this site.

Contact: The Jazz Tree - 212.475.0415

Kurt's collaborator since 1995, pianist/composer/arranger Laurence Hobgood has enjoyed a multi-faceted and dynamic career. His first "school for jazz" was the storied and vibrant University of Illinois music scene of the early 1980's; mentors included composer and audio synthesis pioneer Salvatore Martirano, classical piano teacher and phenomenon Ian Hobson, and longtime patriarch of the university jazz bands John Garvey. Frequent interaction/collaboration between the jazz and composition "camps" resulted in a unique environment that fostered a total picture of modern music.

After moving to Chicago in 1988 he quickly became an active member of that thriving scene. Leading his own quintet to critical acclaim, forming close musical ties with local phenoms like drummer Paul Wertico and saxophonist Ed Peterson, gaining invaluable experience in the recording studio and continuing his compositional explorations helped prepare him for his destined encounter with a charismatic and brilliant young singer.

Hobgood was awarded three consecutive fellowships (‘90, ‘91 and ‘92) to perform in the Aspen Music Festival where he played with many great artists including Gary Burton, Clark Terry, Claudio Roditi and Bob Mintzer.

And then in 1993 he met Kurt Elling. The young singer "sat in" (against all precedent) with the Ed Peterson Quintet on their weekly essay at virtuosic jazz insanity; the group, which played every Monday at the storied Green Mill in Chicago's Uptown, was known for it's "beyond difficult" repertoire and completely open and experimental approach. Hobgood had been a member of the band for some time at that point; when it was announced that a singer was going to sit in (nobody ever "sat in") genuine surprise and some instinctive trepidation were quickly replaced by relief, then respect.

The growing friendship soon evolved into the start of a true collaboration. In 1994 Hobgood helped Elling produce what became 1995's "Close Your Eyes", the first of six records for the iconic Blue Note label, all Grammy-nominated. The Chicago Tribune honored them as 1995 Chicagoans Of The Year in the Arts. And in 2001 Hobgood received his own Grammy nomination for his arranging on "Flirting With Twilight".

He has performed both with Elling and with his own trio at Carnegie Hall, Lincoln Center, John F. Kennedy Center for the Performing Arts, Birdland, Chicago’s Symphony Center, Ravinia, as well as the world’s most prestigious jazz festivals, including Montreaux, North Sea, Monterey, Spoleto USA, Newport, Umbria, Montreal, JVC Festivals in Paris and Japan and many others.

He has played and/or recorded with Jon Hendricks, Larry Coryell, Lee Konitz, Stefon Harris, Peter Erskine, Marc Johnson, Joe Lovano, Benny Maupin, Paul Wertico, Kurt Rosenwinkle, Ernie Watts, Clark Terry, Bobby Watson, Mark Murphy, Clark Terry, Bob Mintzer, Von Freeman, Paul McCandless, Buddy Guy, Gary Burton and Eddie Daniels, to name a few.

In 2003 he received a Deems Taylor award, given by ASCAP for the year’s outstanding music journalism, for his article “The Art Of The Trio”, published by JazzTimes magazine.

His new CD, "When The Heart Dances", a duet recording with iconic bassist Charlie Haden, will see its U.S. release in late summer 2009. It's already been released in the U.K. and has received a slew of 4-star reviews, most notably from the Independent and the Guardian.

And Elling's new Concord offering, "Dedicated To You: Kurt Elling Sings the Music of Coltrane and Hartman", to be released June 23rd (2009) in the U.S., features Hobgood's string quartet arrangements in a dynamic live performance from Lincoln Center.

A long time Chicago native, Hobgood has lived in New York since 2006.

Rob Amster is on extended creative hiatus.

Born to an unmusical family in midwestern America, Rob Amster has been able to fashion a career in the jazz field for over twenty years. And, in doing so, he has been able to conquer his avowed life-long enemies: commercial television and lazyness.

Blessed with supportive (though musically untalented) parents, Rob began studying electric bass at around the time he started high school. Interestingly, this was also the era that spawned some of the worst t.v. that civilized society has known.

"As I began to practice music and listen to jazz, I also started to coming to grips with the idea that the pinnacle of creativity in American history was probably not the third season of 'Knight Rider,' or even 'St.Elsewhere.' But, to me, jazz seemed quite a bit closer to that high point of creative freedom. And, from there I was hooked."

Following studies at Berklee College and The University of Miami, Rob began his professional career at age twenty by joining the big band of Buddy Rich. He continued with the master drummer until Buddy's untimely passing, making one record with the band during his tenure.

Rob also freelanced with a number of jazz luminaries around that time including Dizzy Gillespie and Milt Jackson.

Following a suggestion from his parents, Rob agreed that he should try to "pull his life out of the toilet" by moving out of their basement, and into the urban splendor that is Chicago , Il.

As if by magic, the fifty dollar gigs began to roll in like a fog, blanketing the bassist with a cloak of comforts including food, heat, and bass strings.

By the time he reached his mid-twenties, Rob had amassed recording and performing credits with artists including: Paquito D'Rivera, Fareed Haque, Joe Lovano, Howard Levy, and many others. In addition, he freelanced, played sessions, and practiced and practiced playing the electric bass. He also shook Sting's hand on two separate occasions.

As he entered his later twenties, Rob began to practice the double bass in earnest. While he started playing more and more gigs on upright, Rob met and began performing with a young Chicago-based singer named Kurt Elling. This association led to Rob's playing on the sessions that became the basis for Kurt's first recording (on Blue Note), "Close Your Eyes."

During this period, Rob toured with Maynard Ferguson, played with Larry Coryell, and started a five year association with Von Freeman. He also got the chance to play with a number of other jazz heavyweights, including John Scofield, Jack DeJohnette, Steve Coleman, Chico Freeman and others.

Since 1995, Rob Amster has been the first call bassist for Kurt Elling's groups, from duo to symphony orchestra. It is through this association that Rob has been able to continue his lifelong fight against lazyness. "Sometimes I do computer stuff on the flights. It usually keeps me awake a little bit more than just coffee. And, I feel like I am really productive when I type fast on the keys, or hear the hard drive whirring. I mean, it's better than staring out the window."

Rob has played with hundreds of noted artists, and on over fifty recordings, as well as numerous good television shows. He is a member of the faculty of Roosevelt University's College of Performing Arts, and is part of Ravinia Festival's "Jazz Mentor" program, which includes some of Chicago's finest jazz musicians.

In May 2006, Ulysses “Bim” Owens Jr. completed a Bachelors of Music degree in Jazz Studies at The Juilliard School in New York City.

His interest in percussion began at the tender age of two when he began experimenting with the drums from his beginnings in church. His youth and inability to read music made it difficult to secure an instructor to enhance what had been identified as a “natural ability.” While opportunities to study other instruments were given, it was no doubt that the drums were and are his true love. At the age of 8 his opportunity to receive instruction finally came, and he not only studied classical percussion and drum set, but studied classical piano for over 10yrs. This assisted him greatly in his reading and comprehension of melody and harmony, which gives his playing a unique sensitivity and musical awareness.

His interest and enthusiasm for the drums has never wavered and because of this; He ‘s had opportunities to perform with some of the world’s finest , including Wynton Marsalis, Vanessa Rubin, Audrey McDonald, Michael Feinstein, Regina Carter, Benny Golson Eric Reed, and many others.

He’s currently touring with various artists such as, Kurt Elling, Dr.Lonnie Smith, Russell Malone, Mulgrew Miller, Antonio Ciacca and the Legendary Count Basie Jazz Orchestra; which have performing in venues nationally and internationally. Through his experiences he’s obtained endorsements from Yamaha Drums, Evans Drumheads and Vic Firth Inc.

Joining in a partnership with these companies has enabled him to venture into the educational circuit through conducting clinics, internationally in such countries as Costa Rica, Portugal,Japan, Israel, Greece, Italy, Austria, Germany, Spain, and Portugal as well as all over the U.S. teaching grade levels, K-12. Ulysses also is a consultant, and artist for The Jazz Aspen Snowmass Academy in Snowmass Colorado under the direction of Christian McBride, Joe Lang, and Jim Horowitz, in which he travels annually and conducts clinics and concerts with this organization, where educating students throughout the world about Jazz is the central goal.

He also serves on the jazz faculty at The Calhoun School in NYC, and maintains a private teaching studio in New York City, and Jacksonville Florida, at his school, USOJazzy School of Music. Ulysses is also in the process of preparing to record his debut Cd in January of 2009, featuring Mulgrew Miller, and many others.

Ulysses’ vision is to continue operating in the area of philanthropy and combining all of his talents, furthering his vision of healing the world with the wonderful gift of music, and education.

With his humble attitude, charisma, and vast knowledge, Ulysses will continue in great success.

Kobie Watkins has made a lifelong commitment to music. A Chicago native, Kobie has cultivated dynamic relationships with his peers as a percussionist/drummer and mentor. From his entry onto the jazz scene, his accolades spanned from being titled as the “Swing Master” of Chicago to being heralded as the “teacher [with the] alter ego as a jazz musician.” With a foundation laid in playing pots and pans as a toddler, Kobie has taken gradual steps to his current status. As a teacher for both the Troy School District (Joliet, Ill.) and the Chicago Public School, after his undergraduate work was completed, Kobie developed a system of timeliness, discipline and structure that would flow well into his other professional ventures.

To demonstrate his ability and charisma, he holds a long list of jazz greats that he has played and recorded with, jazz legend Sonny Rollins, Sonny Fortune, George Coleman, Fred Anderson, Ari Brown, Bobby Broom, Ken Chaney of the Jazz Institute of Chicago, Orbert Davis, Havana, Ron Perillo, Willie Pickens, Bethany Pickens, and the Dennis Winslett Quartet. Additionally, Kobie is a former resident drummer with the Chicago Jazz Ensemble, a frequent player with the Jazz Institute of Chicago, Jazz Showcase Chicago and the Chicago Jazz Festival. His recorded works include Orbert Davis’ Blue Notes (3Sixteen Records 2004), Dennis Winslett’s Soul Journey (BlackFolkMusic 2004) and David Young and The New Republic’s Appassionata (Big Chicago Records 2001). Some of his academic ventures include working with Wynton Marsalis in 2002 at Martin Luther King High School (Chicago, Ill.), acting as a Ravinia Mentor for the Chicago Public School Jazz Scholars in 2003, as well as team-teaching Jazz Perspectives (2002-2003), an undergraduate course at Northwestern University. One of Kobie’s greatest strengths is versatility. In 1998 he played with the Walt Disney World American All Star Band in Magic Kingdom and continued to build a small menagerie of local theatre experience playing for Grease, Caberet, Peter Pan, Man of La Mancha, West Side Story and The Music Man. Kobie also toured with Troika Entertainment playing for the Broadway Musical Comedy, Crazy For You (2004-2005).

Being true to himself and his passion for music that began as a young boy, Kobie continues to pour into other young boys and men. He serves youth ages 9-18 through the Orbert Davis’ Music Alive Program: “Attention for Boys.” Additionally, each summer he can be found playing with a band leading teens in worship at Christian Teen Camp in Lake Geneva, Wis. Kobie is a highly sought out percussionist/drummer in the Chicago jazz community not only for his unique and impressive playing ability, but equally for his professionalism, passion and ability to traverse playing styles, personality types and unique environments. Kobie currently acts as the drummer for Blue Note recording artist Kurt Elling. Kobie received his Bachelor of Music Education from VanderCook College of Music (‘99) and holds a Masters of Music in Jazz Pedagogy from Northwestern University (’03) as well as a Product level Artist with Sabian Cymbals (05).