Behind the Scenes with Lonnie Davis: Revolutionizing Jazz in Charlotte

Just two hours before the lights dim and the music begins at the Jazz Room, the Emmet Cohen Trio is immersed in a laid-back soundcheck. As Cohen tickles the ivories of a grand Steinway, he effortlessly flows from a classic tune from West Side Story into playful improvisations, with drummer Joe Farnsworth pausing momentarily to adjust his necktie. In the midst of this harmonious chaos, Lonnie Davis, the dynamic President and CEO of JazzArts, is a whirlwind of energy, checking in with staff and engaging with the young musicians who will open the night.

The Heart of JazzArts

Despite her casual attire of a tank top and glittery flip-flops, Davis exudes authority and warmth. “She does it all here,” Cohen remarks after wrapping up soundcheck, humorously lamenting the challenge of learning new songs each year due to Davis's knack for booking his trio repeatedly at the Jazz Room.

Lonnie’s Journey: From Passion to Purpose

In an insightful conversation post-show, Davis reflects on her journey of founding JazzArts 15 years ago, her aspirations for the future, and the unique challenges of fostering a jazz scene in a city that often seems oblivious to its existence.

My Musical Roots

Davis reminisces about picking up the flute in fifth grade, which she describes as her “identity.” From marching band to jamming along with cartoons, her passion for music was evident early on. “You could play jazz if you can play by ear like that,” a friend once told her, opening her eyes to the world of jazz she initially thought was exclusive to other instruments.

Education and Ambition

After auditioning for the jazz department at the New Orleans Center for Creative Arts, Davis found herself surrounded by peers destined for professional careers. Despite being a straight-A student, she chose to pursue jazz performance, eventually studying under the legendary Ellis Marsalis. “I left his office kind of confused,” she recalls, reflecting on his advice that led her to realize she didn’t have to pursue music professionally to contribute to its legacy.

Relocating and Redefining Jazz in Charlotte

Hurricane Katrina forced Davis and her family to leave New Orleans, ultimately leading them to Charlotte. “We were surprised to not find what we thought we would find,” she admits, noting the lack of a vibrant jazz scene where musicians were celebrated as cultural icons, unlike in New Orleans.

Challenges in Building an Audience

One of the biggest hurdles for JazzArts is changing the perception of jazz among Charlotte residents. "We’re trying to change the culture to make jazz part of the city’s identity," Davis explains, highlighting the rich jazz legacy that originates from the Carolinas.

The Evolution of JazzArts

Since its inception, JazzArts has evolved, focusing on both concerts and educational programs. "We teach kids to express themselves through improvisation,” Davis shares, revealing the depth of their educational initiatives, which include preschool jazz and youth ensembles.

Future Aspirations

Davis has big dreams for JazzArts, including reviving the Charlotte Jazz Festival and expanding their educational offerings. However, she acknowledges the struggle of being “the best-kept secret” in Charlotte. “We need money to pay for the ideas,” she adds, emphasizing the need for community support to realize their vision.

What’s Next for Charlotte’s Jazz Scene?

As Davis continues to push boundaries and redefine the jazz experience in Charlotte, she remains optimistic about the future. “After the pandemic, our audiences are more open to new things,” she notes, reflecting on the resilience and adaptability of the jazz community.

What Do You Think?

• Is jazz still relevant in modern music culture?
• Should cities invest more in preserving and promoting local music scenes?
• How can we better support artists in communities that undervalue their contributions?
• Is it possible for Charlotte to become a jazz capital like New Orleans?
• What role does music education play in fostering future generations of musicians?