Review – Dylan Canterbury Quintet Kicks Off Jazz on Jay Season Thursday, June 5, 2025

Trumpeter Dylan Canterbury put a confidently positive spin on things Thursday, opening the new 13-show season at Jazz on Jay in Schenectady’s Jay Square.

He led his quintet through his original swing-bop “Spin” to open, then followed with “Quiet Revolution” which he explained urges us to be the change we want to see. They closed 90 minutes later with the similarly optimistic standard “Wrap Your Troubles in Dreams and Dream Your Troubles Away.”

Dylan Canterbury’s New Quintet – From left; Wyatt Ambrose, guitar; Dave Shoudy, bass; Canterbury; Matt Niedbaski, drums; and Tyler Giroux, keyboard

There was nothing didactic or naively simplistic about this since the well-made originals and carefully curated standards all inspired complex and sophisticated playing by all hands: Canterbury, trumpet and flugelhorn; Wyatt Ambrose, guitar; Tyler Giroux, piano; David Shoudy, bass and Matt Niedbalski, drums. Familiar faces to jazz fans hereabouts – Canterbury had introduced “Quiet Revolution” with Keith Pray’s Big Soul Ensemble at the Van Dyck years ago – the quintet played its first gig just four days before. But there was nothing tentative or loose about this, either. They showed they know how to blend and how to emerge from the blend in individual statements that shed a personal light on things.

After the spry opener “Spin,” Canterbury noted “We’re off,” in racetrack parlance, shifting to a more reflective, slower tempo in “Quiet Revolution.” He took the best solos in both but let everybody shine throughout. Though Shoudy and Niedbalski took the fewest solos, they jumped out of their supporting roles whenever Canterbury cued them, with gusto and grace. Ambrose and Giroux bought fresh thinking and fluent playing to everything.

Noting they were shifting from their most serious-themed song, with its Buddhist serenity, to the least – “Torgo’s Lament” inspired by what Canterbury called a terrible movie* – they slowed to a waltz-time amble, Canterbury shifting to flugelhorn for a mellow feel, then stepping back for Shoudy to make his solo statement.

“Trust Fall” cruised on their more customary mid-tempo, and here Canterbury gave the drummer some and Niedbalski rose to the challenge, without distorting things, playing within the song and his groove.

Matt Niedbalski

Steve Swallow’s “Eiderdown” slid back to a mellow and conversational expression, nicely balanced but spiced with short, punchy statements. Then it was back to originals, the lively flugelhorn reverie “Bullfrog” with its complex cadence and bright, lively flow.

Tyler Giroux

The challenge of COVID shaped “One More Step,” an “it’s-always-SOMETHING” lament that launched from a sweet intro sentiment to adventurous riffing. Inspired by “Watershed Down,” the new “El-Ahrairah” – Canterbury enjoys celebrating animals – set breezy trumpet and guitar riffing in a cozy flow that resolved in a pulsing coda. 

Wyatt Ambrose

Two covers closed the show, to pleasing effect. Canterbury preemptively discouraged any smooth jazz expectations around Dave Grusin’s “Chanson” by mixing mockery with a faithful quote of Chuck Mangione’s saccharine “Feels So Good” before launching into a hearty, mellow, easy and very adult rendition as Shoudy’s bass pulsed sweet and strong.

Dave Shoudy

Reprising the optimistic mood of his own “Quiet Revolution” earlier. Canterbury acknowledged our tough times of strife and stress, offering an antidote to trouble in Bill Evans’ arrangement of “Wrap Your Troubles in Dreams.” This was no over-reverent antique, as everybody’s skill and spirit engaged the familiar melody in confident ownership and expression. And, like everything they tackled all the say, it swung, offering sweetness and light, but nothing obvious or superficial. Canterbury said in a pre-show interview a few days ago that he and this new quintet would play “largely in the post-bop style, influenced primarily by 1960s Blue Note recordings.” The songs, and performances, respected that promise to strong and effective purpose. Everybody was solid and confident, but Canterbury played as the first among equals. His ideas and phrasing were strong from the first times I saw him play in Keith Pray’s big band at the Van Dyck, but he has grown impressively since then, in confidence, complexity and imagination; swinging mellow or urgently proclaiming.

From left: Tyler Giroux, Dylan Canterbury, Wyatt Ambrose, Matt Niedbalski, Dave Shoudy

Sultry air – 88 degrees at show time, and throughout – drove fans under the four tents that organizers kindly provided, taking refuge from heat that almost, almost, discouraged Steve Nover from dancing. A few dozen third-graders marched in from the nearby charter school to sit in sometime fidgety rows up front. Discovering painter Ubu working in the wings off stage right, they clustered around her and she invited a few of the braver ones to help. Sweet.

Jazz on Jay continues Thursday, June 12 with guitarist Todd Nelson’s JazzAmericana trio: Nelson, guitar; Kyle Esposito, bass; and Justin Tracy, drums.

*Manos: The Hands of Fate.”

Linnea Bailey of the Proctors Collaborative Hosted Jazz on Jay

All Jazz on Jay shows are free. The rain site is Robb Alley at Proctors, 532 State St., Schenectady. Seating is provided indoors; fans bring their own seats to Jay Square.

Jazz on Jay is presented by the ElectriCity Arts and Entertainment District and sponsored by the New York State Council on the Arts, a Schenectady County Legislature Arts & Culture Grant, Downtown Schenectady Improvement Corporation, The Schenectady Foundation, Price Chopper/Market 32, MVP Health Care, Schenectady County, Schenectady City Hall, and Proctors Collaborative. This blog is a series media sponsor.