Review: Bohdan Kinal Quartet at Jazz on Jay, Thursday, June 11, 2026
College students all, the skilled young players of the Bohdan Kinal Quartet coupled respect for the styles and songs of jazz giants with fresh invention Thursday in a sweltering Jazz on Jay show.
Starting with standards “Star Eyes” and “Let’s Cool One,” they settled into the episodic, theme-and-variations approach they then applied to the eight other tunes in their 90-minute set. They also changed up this conventional dynamic by altering players’ places in the arrangements.
The Bohdan Kinal Quartet, from left: drummer Kiemon Noel, alto saxophonist Bohdan Kinal, bassist Vinny Marotta, and guitarist Sam Wagner
While leader-alto saxophonist Bohdan Kinal’s song choices, original compositions arrangements and vivid playing shaped the show, hyperactive guitarist Sam Wagner likely played the most notes. His fluency and freedom, the graceful way he phrased and always knew where things were going, all supported others’ solos. Actually, they all did that, and it worked well with standards and originals.
Bohdan Kinal, above; Sam Wagner, below
The classic melody of “Star Eyes” charmed right out of the box, giving everybody a chance to shine in solo passages then come together at the recap. The easy swagger of Monk’s “Let’s Cool One” featured Kinal’s fast Charlie Parker-like runs, just as Wagner’s guitar went all Wes Montgomery in “Star Eyes.” Kinal played his first break in “Let’s Cool One” for sheer melodic grace, the second for fun.
At times, the quartet played a bit like a pair of duos; the often syncopated beats team of drummer Kiemon Noel and bassist Vinny Marotta; and the melody guys up front: Kinal and Wagner. But things never separated for long as listening and commenting pulled things together.
Kiemon Noel, above; Vinny Marotta, below
Bud Powell’s “Strictly Confidential” stood out, mid-set, with Kinal and Wagner playing in harmony – different notes, in the same places. In Kinal’s original “St.,” he introduced the main melody with everybody rolling strong on it, then launched his solo with a repeat, then a leap.
They put a peppy hard-bop spin on “In the Still of the Night,” perfect for drummer Kiemon’s at first unaccompanied solo, teasing with a phrase on the toms that mutated into hot stuff on snare and cymbals and a quote of “Salt Peanuts.” Kinal and Wagner shared the spirit as Marotta set a repeating figure into the song’s seams.
Another standard followed, “My Heart Belongs to Daddy” in an easy-swinging groove, Marotta’s bass again hitting just right, between riffs, then setting up Noel’s solo with long snare rolls before snare-and-cymbals bursts and unified alto and guitar coda.
Wagner introduced “I Should Care” – another antique, awakened and energized – jumping off from Wagner’s fast guitar bursts and Kinal edging his phrases with vibrato, then playing them straight, unadorned; then Wagner pulsating just as fast. Kinal’s original “Passerby” rode a mellow Latin feel, Marotta’s bass strong in the intro, Kinal’s alto on top through a happy melodic ride and Wagner’s guitar, which flowed fairly sparse early on, going strong at the end.
Like Kinal’s blues “Pensativa” and the cozy “St.,” this original closing number felt melodic, inventive and with a pleasing distinctive energy.
Steve Nover was nowhere in sight; maybe Thursday was just too hot to dance.
As a feel-good bonus, Jerry Gordon of the Swingtime Jazz Society hailed drummer Evan Frenyea, who sat in with the quartet for a song, as winner of the 27th Lee Shaw Memorial Scholarship. Both saxophonist Kinal and guitarist Sam Wagner are recent past winners.
Evan Frenyea sits in with the Bohdan Kinal Quartet, above; Evan Frenyea, below
Kinal will soon be scarce hereabouts, spending the summer studying and performing in Michigan and Colorado.
Jazz on Jay continues Thursday, June 18 with Marcus Benoit. Jay Square opposite Schenectady City Hall hosts Jazz on Jay shows; rain site for the free concert series is Robb Alley at Proctors.
Set List? Right here, on Kinal’s phone:
Hoke's Jukebox 