Jazz Icon Monty Alexander Ushers in the New Year at Blues Alley
By • January 8, 2026 0 289
By LaMarr Funn
As the final hours of 2025 slipped quietly into memory, there was no place more alive—or more joyful—than Blues Alley. Tucked along a narrow, brick-lined passage in Georgetown, Washington’s storied jazz sanctuary marked its 60th anniversary in the most fitting way possible: with the return of jazz icon Monty Alexander. With two sold-out shows and not a seat to be found, the room pulsed with anticipation, history and celebration, reminding everyone why Blues Alley remains one of the most magical rooms in American music.
Low ceilings, candlelit tables and walls that seem to breathe with memory created an intimacy unmatched by larger venues. Conversations softened as the lights dimmed, glasses clinked one last time, and the hum of expectation settled over the crowd. This was not merely a concert—it was a ritual. For more than five decades, Monty Alexander has made Blues Alley a home, and on this night, the reunion felt both reverent and exuberant.
Alexander has been performing at Blues Alley since his early 20s. For 52 years, he has returned—particularly each December—to close out the year in what he often calls a “homecoming.” This year’s run, from December 27 through December 30, carried special significance, aligning his annual residency with Blues Alley’s diamond anniversary. He frequently describes the club as “magical,” and that magic was unmistakable. The bricks themselves seemed to hum as Alexander spoke lovingly of the room, acknowledging the greats who played there before him.
Photo by LaMarr Funn.
He recalled being welcomed into Blues Alley by mentors Dizzy Gillespie and Milt Jackson, names etched permanently into jazz history and into Alexander’s own musical DNA. The stories flowed effortlessly, blurring the line between legend and lived experience. One particularly enchanting moment had the audience leaning in: Alexander reminisced about a young Monty playing while Frank Sinatra sat at the bottom of the steps inside Blues Alley, cheering him on.
Ranked as fifth in The Fifty Greatest Jazz Piano Players of All Time, Monty Alexander’s style remains unmistakable. His music is a joyful fusion of hard-swinging jazz, Caribbean rhythms and the soulful depth of blues and gospel. His playing radiates buoyancy—rooted, rhythmic, and airborne all at once. Proudly, and without fail, he introduces himself as “born in Jamaica,” carrying his heritage into every phrase.
For this New Year’s celebration, Alexander was joined by his core trio: Luke Sellick on bass and Jason Brown on drums, collaborators from his recent “D-DAY” tour. Together, they moved as an elastic, intuitive unit, shifting effortlessly across moods, eras and continents.
The evening unfolded like a joyful gamble. Alexander opened with a reimagined rendition of “Won’t You Come Home, Pretty Baby,” familiar yet entirely new. With Monty, predictability is never part of the deal. Duke Ellington gave way to Billy Taylor, then suddenly a James Bond theme, followed by Stevie Wonder—each tune both homage and playful reinvention. A natural griot, Alexander shared stories of global adventures and encounters with musical icons. Recalling a London performance attended by Stevie Wonder himself, he seamlessly reached for a piano harmonica and launched into “Isn’t She Lovely,” sending the crowd into delighted cheers.
A soul-infused composition by Billy Taylor followed, steeped in gospel and classical flourishes. Alexander paused to honor Washington, D.C.’s great pianists and spoke fondly of meeting Duke Ellington. “I love all kinds of music,” he told the audience. “If it’s music, it’s music.” That philosophy came alive in a call-and-response moment as he called out “Dayo,” prompting the audience to thunder back in unison. The chant blossomed into a calypso groove, transforming Blues Alley into a communal celebration.
Ellington’s “Things Ain’t What They Used to Be” slid seamlessly into the swagger of the James Bond theme, followed by a romantic turn with “Misty” or “Embraceable You,” accented by a surprise pluck from inside the piano and a gentle samba undercurrent. A tender rendition of Charlie Chaplin’s “Smile” drew an audible wave of awe from the room.
One of the evening’s most intimate moments arrived when Alexander’s wife, Caterina Zapponi, joined him onstage to sing “C’est Si Bon,” her soft, elegant delivery adding warmth and grace. The second set ventured further into imagination—Miles Davis meeting Marcus Garvey in a dream, Burt Bacharach and The Carpenters transformed through a Caribbean samba lens, drawing collective “oohs” and “ahhs.” Beneath it all were interwoven calypso and island melodies—threads of home stitched into every improvisation.
As the final notes rang out on December 30, Blues Alley felt suspended in time—rooted deeply in history yet brimming with possibility. In its 60th year, the club once again proved its enduring power. Monty Alexander didn’t simply close out 2025; he ushered in 2026 with joy, brilliance, and swing, reminding us Blues Alley is the Crown Jewel for Jazz, Music and Culture in Washington D.C. right here in the heart of Georgetown where music moves and time itself can’t help but dance along!
