Kahlil Childs is a 15-year-old multi-reedist from San Diego California. He is the leader of the Kahlil Childs Quartet and a member of the Rob Thorsen Quartet which features some of the finest professional musicians in San Diego. He plays alto, soprano, tenor, and baritone saxophones as well as bass clarinet. He currently studies with Charles McPherson -- one of the greatest living masters of the alto saxophone. He also studies with Grammy award winning musician & producer Kamau Kenyatta.
Kahlil is a featured player in the Young Lions Jazz Conservatory under the directorship of Gilbert Castellanos. He made his professional debut at the age of 13 as a member of Castellanos’s quintet at the Jazz on Tap Festival in San Diego. Kahlil was also recently named as a Young Artist Grant winner by the Jazz Excellence organization (JEXA) and received his award at a red-carpet gala in LA from the legendary Dionne Warwick.
*** for booking inquiries contact Dennis Childs: drchilds@ucsd.edu ***
Fan bdy fantastic!! Everyone involved here, especially loved the pianist and the last trumpet, not too many screaming notes( I do love screaming notes but in right place) thoroughly enjoyed this, listening from Worcester England, with my Sunday afternoon pint, obilalotory....thank-you
I’ve listened to this a number of times now…while driving and at home in the kitchen preparing food or just sitting. It gives me tears and goosebumps all at once…what magic. How is it that these young lions decided to dedicate so many hours of their lives to the pursuit of this knowledge…this expression…this freedom? And about this piece…to quote: Wilkins composed “Fugitive Ritual, Selah” as a hymn to Black spaces. He drew inspiration from the energy of places where Black people gather in celebration, praise and refuge, away from a pervading culture of surveillance. “Selah means pause - one definition is to give space for the Holy Spirit,” he says. “I was fascinated with the idea that generally there are no white people in Black churches. If you go to a Black church, there’s no white people there [laughs]. It’s not like they’re not welcome. But somehow, the Black church has proven to be a space where magical things can transpire, within the space, on a quantum level.” -- This is what Wilkins wanted to express and what these young spirits decided to embrace. If we all endeavored to embrace such empathy and compassion and depth of expression…wow…what magic that would be indeed. Way to lean into that intro melody Ethan and set it all off as the senior statesman here. Quincy and Khalil weaving their voices was wonderously collaborative…like fire and ice. :) … so aware of each other. And those brushes Henry…holding all that energy isn’t easy with just brushes to help the time but way to stir that pot young man…loved the seamless transition back to the sticks and clacks (rim shots). I could write pages about each of you but said simply, thanks for continuing to shout this thing from the mountain tops and whisper it to us in the valleys. Thanks for sharing…and keep going!! 🙏🏽✨🫶🏽
KCQ....You guys were amazing!!!.....So impressed with how you all are navigating through this harmonically and melodically angular piece. Well done. So looking forward to the future, musically, with you all in it!!!
I originally listened to this wonderful piece, briefly, a few days ago. Didn't have time to study it all due to a crazy busy week, but the opening orchestration sure stayed with me. Love the way the piano and bass set the mode, the percussion then building on that... all a perfect setup for sax to come and sail over all of it with great melodic counterpoint to the opening measures. Mozart would be proud, as would Coltrane! And now, a few days later, I've had a chance to dive into the center section with all the great riffing and solos. Bookended by that great intro and ending orchestration, this is some quality stuff; a mature and pleasing composition that also shows off nice solo work by everyone. And the video and audio quality is quite good too!
¡Ahora estamos hablando! In 1952, at age 4, I arrived to live in Mexico City along with my parents, and still remember traveling to Oaxaca once in a while. I loved it there. So to hear my favorite music, played by my favorite young musician (along with a talented friend of his on flugelhorn) in one of my favorite places on earth... wow. ¡Viva señor Coltrane en Oaxaca!
