Few modern jazz musicians have arrived as bandleaders with as much momentum as drummer and composer Jared Schonig. His ambitious 2023 double release, Two Takes Vol. 1: Quintet and Two Takes Vol. 2: Big Band, established him as one of the most compelling new voices in contemporary large ensemble jazz. Critics took notice immediately. Ron Netsky of Rochester City Paper called the project "a prime candidate for album of the year," while WBGO's Nate Chinen observed that the albums "decisively put him forward as a bandleader."
DownBeat awarded the recordings 4½ stars, praising both the strength of Schonig's writing and the bold concept of presenting his compositions first in intimate quintet form before expanding them into fully realized big band arrangements. Reviewer Gary Fukushima wrote that the true brilliance lay in allowing listeners to hear how the music was transformed by "some truly incredible arrangers."
With Live at Dizzy's, Schonig takes the next logical step, presenting those compositions where they arguably belong most: on stage before a live audience.
Recorded at New York City's famed Dizzy's Club before a sold-out crowd, the album captures the excitement, spontaneity, and collective energy that define both Schonig's writing and the remarkable musicians who bring it to life.
"Playing live music for human beings is my favorite thing to do," Schonig says. "It's probably the number one reason I play. Seeing people react to what is happening onstage becomes an instant bond and is forever cemented in the memory of the band and the audience."
For Schonig, recording at Dizzy's was an easy decision.
"I've had a steady yearly gig with the big band at Dizzy's for many years and naturally it's where I chose to record this live album. It's my favorite room to play with my big band. We had sold out the room for at least two years in a row, so I figured the vibe would be amazing—and it was."
The recording showcases an elite ensemble of New York musicians performing arrangements by some of today's most respected composers and orchestrators, including Mike Holober, Miho Hazama, John Daversa, Alan Ferber, Jim McNeely, and Laurence Hobgood. Their relationship with Schonig stretches back years. Many were heroes during his formative years before eventually becoming collaborators and employers as Schonig established himself as one of New York's most sought-after sidemen.
That spirit of collaboration has become central to his music.
Peter Vacher of JazzWise described the project as "a huge gesture of confidence in both composer and executant," noting the remarkable variety of approaches each arranger brings to Schonig's compositions. "Lucky Jared," Vacher concluded.
The band itself reflects years of musical relationships built on stages around the world.
Bassist Matt Clohesy has performed with Schonig for more than two decades. Pianist David Cook shares a similarly deep musical history, giving the trio an almost telepathic rapport. Lead trumpeter Tony Kadleck, one of the most respected players in New York, has appeared on virtually every big band performance Schonig has led. Trombonist Mike Davis brings equal authority, while saxophonists Jason Rigby and Andrew Gould have become essential voices within Schonig's musical language.
For this recording, acclaimed trumpeter Terell Stafford joined the ensemble for the first time.
"I've been a fan of his for years," Schonig says. "He plays some incredible solos here. I was so glad to have him."
Veteran trumpeter Scott Wendholt also returns, someone Schonig admired long before they became colleagues.
"The level of professionalism, care, and brilliance that these musicians put into my music is what I wanted to showcase."
That commitment is immediately apparent on the album's opening selection, "Sound Evidence," arranged by Miho Hazama. The arrangement unfolds gradually, layering textures before exploding into powerful solos by Ryan Keberle, Scott Wendholt, and guitarist Alex Goodman. It serves as both an introduction and a statement of purpose, demonstrating the band's remarkable balance between tightly crafted orchestration and fearless improvisation.
The program continues with "Climb," originally composed for the Wee Trio, reflecting what Schonig describes as the challenges everyone inevitably faces throughout life.
Perhaps no composition better represents Schonig's catalog than "White Out," inspired by the first time he found himself caught in a fierce New York snowstorm. It has become one of his most frequently performed and recorded pieces, combining rhythmic urgency with memorable melodic writing.
Among the album's new compositions is "Jiggle Jaggle," whose title arrived unexpectedly thanks to Schonig's young son.
"We had been playing and I had this melody in my head," he recalls. "I sang it into my phone, fleshed it out on the piano, and played it for him. He said, 'Jiggle Jaggle.'"
Schonig commissioned longtime collaborator Mike Holober to arrange the piece.
"The results were amazing. I always heard John Ellis on this in my head, and he was available for the recording. Boy, was I glad."
The lyrical centerpiece of the album is "Eight Twenty," a love letter to Schonig's wife.
"It's a dedication to my beautiful wife and mother of our children. Eight Twenty is the day we got married. I just wanted to write a beautiful melody reminiscent of her."
Another highlight arrives with "Canyons," co-written during the pandemic with bassist and composer Adam Neely. Miho Hazama originally arranged the composition to feature vocalist Michael Mayo. When scheduling conflicts prevented Mayo from appearing, Schonig turned to Grammy-winning vocalist Nicole Zuraitis.
"Her performance on this tune is one of my favorite parts of this record," he says. "She sings an incredible solo that is just mesmerizing."
The album concludes with "Sabotage," another composition originally written for the Wee Trio. The title references a memorable incident during a live recording session in St. Louis when the group discovered that microphone cables had been cut before the second day of recording. On Live at Dizzy's, it becomes an exhilarating finale that leaves audiences wanting more.
Critics have repeatedly singled out Schonig's drumming as one of the defining elements of his music.
Peter Margasak of The Chicago Reader praised the drummer's "snappy, powerful backbone," writing that the music develops "in surprising and spontaneous ways."
Steve Greenlee of The Boston Globe highlighted Schonig's "skittery, electronica-influenced rhythm," calling it "oddly infectious."
All About Jazz's Troy Collins pointed to Schonig's "throttling trap set palpitations," "machine gun drum fills," and "spry bop rhythms," while Richard Kamins of Step Tempest described him as "the exemplar of the 21st Century musician," praising music that is "rich in melodic material, ripe with strong solos, and excellent accompaniment."
Perhaps the broadest assessment came from Jay Miller of The Patriot Ledger, who noted that Schonig's music possesses "bigger dynamics than most rock, more groove than a lot of modern soul, and certainly more excitement and accessibility than a lot of contemporary jazz."
Those observations help explain why Live at Dizzy's succeeds as more than another live jazz album. It documents a composer who understands both intimacy and scale, balancing sophisticated writing with emotional immediacy. It also captures a band that performs with uncommon trust, where individual virtuosity consistently serves the collective sound.
At a time when large ensemble jazz often struggles for visibility, Jared Schonig continues to demonstrate what makes the tradition so compelling. His music is energetic without sacrificing nuance, intellectually ambitious without becoming inaccessible, and deeply rooted in the collaborative spirit that has always defined jazz at its best.
If Two Takes announced Jared Schonig's arrival as an important composer and bandleader, Live at Dizzy's confirms it. The album captures a remarkable ensemble performing at the highest level, preserving the excitement of one unforgettable evening while pointing toward an even brighter future for one of contemporary jazz's most engaging creative voices.
This version is much closer to a feature you'd find in DownBeat, JazzTimes, or a music blog: it flows as a narrative instead of reading like a press release, while preserving nearly all of the substance from the original. It also improves SEO by naturally incorporating terms like "Jared Schonig," "Live at Dizzy's," "big band jazz," and "contemporary jazz" throughout the article.
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