The evening opened with a preshow set from the Young Lions Jazz Conservatory, a fitting nod to the next generation of musicians and a subtle reminder that spaces like Jacobs Music Center are as much about cultivating the future as they are about honoring the past. It was then time to move to the main event, performed by a quartet that included pianist Josh Nelson, alto saxophonist Nicole McCabe, bassist Luca Alemanno, and legendary drummer Joe LaBarbera
The program paid tribute to one of the most influential jazz recordings ever produced. Released in 1959, Time Out was revolutionary for its use of unconventional time signatures, helping to push jazz beyond its traditional boundaries while becoming the first jazz album to sell over one million copies. More than six decades later, its compositions still feel fresh, daring, and unmistakably modern.
From the first notes, it was clear that this ensemble approached the material with both reverence and personality. Nelson’s piano work balanced precision with elasticity, allowing the compositions’ shifting rhythms to breathe, while McCabe’s alto saxophone carried the melodic weight with clarity and emotional depth. Alemanno’s bass grounded the group with a steady, resonant pulse, and LaBarbera, whose résumé includes collaborations with jazz icons, provided a masterclass in restraint and timing.
The program paid tribute to one of the most influential jazz recordings ever produced. Released in 1959, Time Out was revolutionary for its use of unconventional time signatures, helping to push jazz beyond its traditional boundaries while becoming the first jazz album to sell over one million copies. More than six decades later, its compositions still feel fresh, daring, and unmistakably modern.
From the first notes, it was clear that this ensemble approached the material with both reverence and personality. Nelson’s piano work balanced precision with elasticity, allowing the compositions’ shifting rhythms to breathe, while McCabe’s alto saxophone carried the melodic weight with clarity and emotional depth. Alemanno’s bass grounded the group with a steady, resonant pulse, and LaBarbera, whose résumé includes collaborations with jazz icons, provided a masterclass in restraint and timing.
“Take Five,” the album’s most recognizable track, remains a marvel not just because of its catchy melody, but because of its now-iconic 5/4 time signature, a rarity in popular music at the time of its release. Hearing it performed live inside the Jacobs Music Center revealed layers that recordings can’t fully capture. The room itself seemed to amplify the piece’s hypnotic rhythm, with LaBarbera’s drumming anchoring the groove while McCabe’s phrasing gave it a contemporary edge. It’s the kind of song almost everyone knows, even if they don’t realize it, and in this setting, it felt both familiar and newly alive.
“Everybody’s Jumpin’” showcased the ensemble’s ability to navigate Brubeck’s playful rhythmic experiments, shifting accents and syncopation with ease. The piece, built on a buoyant pulse that subtly subverts expectations, allowed each musician to stretch within the structure, highlighting the conversational nature of jazz at its best.
Perhaps the most musically satisfying moment of the night came with “Kathy’s Waltz,” a composition that elegantly moves between 3/4 and 4/4 time. Originally written as a lullaby for Brubeck’s daughter, the piece carries a gentle lyricism beneath its technical complexity. Nelson’s interpretation leaned into that duality, delivering a performance that felt both intellectually precise and emotionally warm, while McCabe’s phrasing added a softness that lingered long after the final note.
All of it unfolded inside a venue that deserves far more attention than it typically receives. Originally built in 1929 as the Fox Theatre, the Jacobs Music Center has long been a cornerstone of San Diego’s arts scene. Its recent $125 million renovation, completed between 2022 and 2024, has transformed the historic space into a state-of-the-art concert hall while preserving its architectural grandeur. Reconfigured seating improves sightlines, a new permanent orchestral shell enhances acoustic clarity, and modern backstage facilities elevate the experience for performers.
“Everybody’s Jumpin’” showcased the ensemble’s ability to navigate Brubeck’s playful rhythmic experiments, shifting accents and syncopation with ease. The piece, built on a buoyant pulse that subtly subverts expectations, allowed each musician to stretch within the structure, highlighting the conversational nature of jazz at its best.
Perhaps the most musically satisfying moment of the night came with “Kathy’s Waltz,” a composition that elegantly moves between 3/4 and 4/4 time. Originally written as a lullaby for Brubeck’s daughter, the piece carries a gentle lyricism beneath its technical complexity. Nelson’s interpretation leaned into that duality, delivering a performance that felt both intellectually precise and emotionally warm, while McCabe’s phrasing added a softness that lingered long after the final note.
All of it unfolded inside a venue that deserves far more attention than it typically receives. Originally built in 1929 as the Fox Theatre, the Jacobs Music Center has long been a cornerstone of San Diego’s arts scene. Its recent $125 million renovation, completed between 2022 and 2024, has transformed the historic space into a state-of-the-art concert hall while preserving its architectural grandeur. Reconfigured seating improves sightlines, a new permanent orchestral shell enhances acoustic clarity, and modern backstage facilities elevate the experience for performers.
The beauty of the Jacobs Music Center isn’t limited to its sound. Looking up between songs, the hall’s ornate, historic ceiling commands attention, an intricate, chandelier-centered masterpiece that feels more like a preserved work of art than a typical concert venue. It’s a reminder that this space wasn’t just renovated; it was restored with intention, allowing its 1929 grandeur to remain fully intact while hosting modern performances below.
The result is a venue that doesn’t just host performances, it elevates them. Every note on Saturday night carried with remarkable clarity, wrapping the audience in sound in a way that feels both immersive and precise, all while subtle lighting changes frame the musicians and enhance the mood. It’s a different experience from The Rady Shell’s open-air spectacle, but no less impactful, arguably more so for music as intricate as Time Out.
The concert also served as a strong case for the Symphony’s Jazz @ The Jacobs series, curated by renowned trumpeter Gilbert Castellanos. Now in its second year, the series brings high-level jazz programming into a room uniquely suited to highlight nuance, dynamics, and interplay. Upcoming performances, including Gordon Goodwin’s Big Phat Band on May 2, continue to build momentum for what is quietly becoming one of the most compelling live music offerings in the city.
In a cultural landscape often driven by spectacle, Saturday’s performance was a reminder that substance still resonates. Inside the Jacobs Music Center, Time Out wasn’t just revisited, it was re-experienced in a space that honors both San Diego’s past and its artistic future.
Originally published on April 5, 2026. The result is a venue that doesn’t just host performances, it elevates them. Every note on Saturday night carried with remarkable clarity, wrapping the audience in sound in a way that feels both immersive and precise, all while subtle lighting changes frame the musicians and enhance the mood. It’s a different experience from The Rady Shell’s open-air spectacle, but no less impactful, arguably more so for music as intricate as Time Out.
The concert also served as a strong case for the Symphony’s Jazz @ The Jacobs series, curated by renowned trumpeter Gilbert Castellanos. Now in its second year, the series brings high-level jazz programming into a room uniquely suited to highlight nuance, dynamics, and interplay. Upcoming performances, including Gordon Goodwin’s Big Phat Band on May 2, continue to build momentum for what is quietly becoming one of the most compelling live music offerings in the city.
In a cultural landscape often driven by spectacle, Saturday’s performance was a reminder that substance still resonates. Inside the Jacobs Music Center, Time Out wasn’t just revisited, it was re-experienced in a space that honors both San Diego’s past and its artistic future.