Blue Note Ghost Note

The Blue Note Los Angeles, the newest extension of the storied jazz brand, was filled with pure musical force as Ghost-Note took the stage. The intimate and elegant venue that promises world-class music got an absolute hurricane of funk on this particular night.

*Ghost-Note taking over the stage at the legendary Blue Note Los Angeles! That deep-pocket funk energy is absolutely undeniable*

The Blue Note Presents Ghost-Note

Ghost-Note proved that rhythm can be both a language and a force of nature. Co-led by drum maestro Robert “Sput” Searight, the ensemble exists to explore the micro-spaces between the beat. These “ghostnotes” give funk its pulse. Searight and his formidable crew turned those subtleties into a full-blown, joyous celebration of groove and imagination. If you weren’t moving, you were probably medically incapable.

The night began with a trio—sax, drums, and keys—vamping through a slow-burn introduction that drew the packed crowd closer, almost like a siren call. As the rest of the ensemble joined in, the room erupted into “Be Somebody,” a new tune that fused elastic funk rhythms with horn-driven swagger. Trombonist Danny Wytannis tore through a commanding solo, setting a bar so high that the rest of the band probably needed a ladder.

Blue Note Ghost-Note — *Danny Wytannis delivering a dazzling trombone solo and setting the bar sky-high!*

Vocalist and host MacKenzie emerged as a magnetic presence, steering the show with contagious charisma and just enough Sly Stone-style mischief to keep the vibe loose. He basically acted as the band’s charismatic captain, ensuring this funk train didn’t derail from too much awesomeness.

The setlist spanned Ghost-Note’s wide stylistic range without losing focus. Their take on The Headhunters’ “God Made Me Funky” brought out keyboardist Dominique Xavier Taplin’s soulful lead vocals and dexterous phrasing—a friendly reminder that every member of this crew can step forward when the moment calls.

The band played like a single, groove-obsessed organism, shifting effortlessly from jazz to hip-hop bounce, from gospel uplift to psychedelic funk. It was a workout for both the musicians and the audience’s neck muscles.

The Holy Ghost-Note Singers Arrive

A special surprise came with the arrival of the “Holy Ghost-Note Singers”: Ahrel Lumzy and Treena Ferebee. Lumzy, is known for his work with D’Angelo and The Vanguard. He led a high-energy, spirit-soaked rendition of the gospel classic “Rise Up and Walk.” His smooth tenor glided effortlessly over Searight’s driving drums.

Ferebee is a powerhouse vocalist whose credits include Stevie Wonder as well as Chaka Khan. She followed up with a transcendent take on Stevie’s “Have a Talk with God.” Her voice—equal parts velvet and voltage—commanded the room with effortless authority and emotional warmth, earning one of the night’s loudest ovations.

Ghost-Note Delivers

Momentum surged again with “Bad Knees,” a standout from their 2024 album Mustardn’ Onions. Jonathan Mones lit up the tune with a fiery alto sax solo that must have required an extra lung. Bassist Justin “Jay McK” McKinney delivered a nimble, melodic turn that drove the crowd into synchronized movement.

MacKenzie led a playful, final chant – “It’s the funk that you want; it’s the funk that you need.” This refrain could just as easily serve as Ghost-Note’s mission statement. They closed with “Phatbacc,” a grease-soaked funk musical workout. It brought every horn line, rhythm accent, and vocal ad-lib into glorious alignment. Echoes of James Brown, Sly The Family Stone, and Tower of Power were present. However, Ghost-Note’s vision is distinctly their own—global, fearless, and irresistibly alive.

At the Blue Note, Ghost-Note didn’t just perform; they embodied the future of funk—bold, communal, and built on the subtle power of the notes you almost don’t hear.