Kurt Elling at The Additon

GRAMMY®-winning jazz vocalist
"The standout male vocalist of our time."
-The New York Times

Saturday-Sunday, Mar 22-23

Sat, Mar 22

8pm $28
10pm $24
Sun, Mar 23

7pm $28
9pm $24

With his new album, Kurt Elling – the outstanding male vocalist in jazz today – celebrates a legendary legacy outside the jazz world. 1619 Broadway – The Brill Building Project honors a locale that the London Telegraph called “the most important generator of popular songs in the Western world.” Even for the ceaselessly inventive GRAMMY®-winning singer-lyricist, it’s a hugely unexpected step, and one guaranteed to further solidify his reputation for bold innovation and superb craftsmanship....

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GRAMMY®-winning jazz vocalist
"The standout male vocalist of our time."
-The New York Times

Saturday-Sunday, Mar 22-23

Sat, Mar 22

8pm $28
10pm $24
Sun, Mar 23

7pm $28
9pm $24

With his new album, Kurt Elling – the outstanding male vocalist in jazz today – celebrates a legendary legacy outside the jazz world. 1619 Broadway – The Brill Building Project honors a locale that the London Telegraph called “the most important generator of popular songs in the Western world.” Even for the ceaselessly inventive GRAMMY®-winning singer-lyricist, it’s a hugely unexpected step, and one guaranteed to further solidify his reputation for bold innovation and superb craftsmanship.

“Having done so many projects about my love for Chicago,” Elling says, “I wanted to make something that spoke of my love for New York.” The two cities define his career. Elling developed his craft in Chicago, and recorded several of his early albums there – including his debut, Close Your Eyes, which catapulted him onto the national stage and earned the first of his many GRAMMY® nominations. (All told, every one of Elling’s ten albums has been nominated for at least one jazz GRAMMY® – a streak unequalled in GRAMMY® history.)

But in fact, Elling and his family have lived in Manhattan since 2008, and 1619 Broadway – The Brill Building Project is his response to that experience.

“I didn’t want to cover any of the New York songwriters jazz people usually go to: the Gershwins, Rodgers and Hart, Cole Porter, all of whom I love; I wanted to reach out for something different. The vast collection of songs coming out of The Brill Building seemed like a gold mine.”

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