Artist Features
New Album From New York Guitarist Tony Davis
JGT’s Joe Barth talks to one of the busiest guitarists on the New York scene about his new album, Jessamine.
Tony’s music is described as “seamlessly blending elements of various Afro-Latin traditions, folk, rock, and classical music into his deep roots in jazz and blues, contributing a unique and compelling voice to contemporary music.” His newest album is Jessamine which was released in November 2025.
JB: Growing up in Hartford, Connecticut, what inspired you to play jazz guitar?
TD: Jazz music has always been integral to my life. Both of my parents are jazz musicians, so the house always had great music in the air. I was exposed to a lot of sounds and brilliant artists from an early age. Additionally, Hartford has a deep legacy in jazz, largely in part to the great Jackie McLean’s influence. My father played in his band when I was a child. Despite my upbringing, the true inspiration to pursue guitar happened at age 14. After trying several instruments, I discovered the world of Jimi Hendrix, and everything changed. I primarily played blues and rock until I was about 18 or 19. Then I started re-listening to the jazz records I heard as a kid. People like John Coltrane, Bud Powell, McCoy Tyner, Lee Morgan etc… This inspired me to start practicing diligently, learning to read, building a repertoire, and reacquainting myself with the language of jazz.
JB: Did you study music in college, and if so, what did you appreciate most about that era of your development?
TD: Initially I studied psychology and journalism in Rhode Island. After one year I realized how important music was to me and transferred to the Jackie McLean Institute of Jazz in Hartford. This was the time I decided to devote my life to music. It was a full circle moment and very exciting. Technically, I felt very behind a lot of my colleagues, so I immersed myself in music as much as possible. It was a great period of growth and devotional practice. I cherished the open terrain to explore my own sounds whilst getting the real tradition of jazz from mentors I’m very proud to continue playing with like Nat Reeves, Rene McLean, Eric McPherson, Abraham Burton, Zaccai Curtis and the list goes on…
JB: To you, in shaping your sound and approach, what are three of the most influential jazz guitar albums and why?
TD: When I think of music that has most shaped my sound and approach, I’m not sure those would be jazz guitar albums, however three very inspiring records that come to mind are:
- Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery. This was the first record that got me excited about guitar in a jazz context. The phrasing, melodicism, swing feel, chordal and octave playing, tone, virtuosic lines, dynamics… The essence of jazz was all there, and it blew me away.
- Kurt Rosenwinkle – The Next Step. Kurt’s sound was a game changer for me. His approach to songwriting brings out a certain dark beauty I absolutely love. Similar to how I feel about Brad Mehldau’s music. I felt a wonderful blend of modernism, still rooted deeply in the tradition of jazz.
- Baden Powell – Tristeza On Guitar. This one of my first exposures to the rich and deep legacy of Brazilian guitar music. The music brought out all the vibrant chords, intricacies, colors and textures that jazz gave me, but with an overwhelming sense of joy and rhythm I hadn’t experienced before. Life changing stuff.
JB: Talk about your experiences of performing with Brazilian singer, Jamile Ayres.
TD: Jamile and I first met at the graduate program at City College of New York, directed by the great saxophonist Steve Wilson at the time. During the pandemic we started a series of collaborative duo videos. This persisted until restaurants and venues started to slowly open up. We landed a steady duo gig in Brooklyn and our repertoire really started to grow. After a certain point, making a record together became inevitable. We documented that period with the album Daring Two Be, which also features Steve Wilson. Something I’ve always appreciated about Jamile is her dedication to growth and persistent search for newness. She exposed me to a lot of beautiful music, especially some songs from her homeland of Brazil. Playing with her has always been a natural and flowing exchange. I grew a lot as a player through accompanying her.
JB: What do you find most rewarding and challenging about working in a trio with bass and drums?
TD: The trio format offers the potential to simultaneously explore space, dynamic range, conversationalism, and experimentation, with harmonic and rhythmic groundedness, which allows for incredible versatility. Striking the balance between all that is the challenge! The guitar, being a limited chordal instrument compared to the piano, can create a unique duality of harmonic clarity with a sense of airiness. I also particularly love how the textural qualities and nuances of each instrument can really thrive in this setting.
JB: Tell us about your newest CD, Jessamine.
TD: Jessamine is the name of the street I grew up on, and this album is a symbolic return to that origin point—a musical homecoming. It’s about reconnecting with the seeds that were planted early on and viewing them through the lens of all I’ve lived and learned since. The music blends elements of various Afro-Latin traditions, folk, rock, and classical music into my deep roots in jazz and blues. The album presents mostly original compositions alongside arrangements of touchstone songs. It features some of my dear friends and long-time collaborators: Chris McCarthy on piano, Matt Dwonszyk on bass, Jonathan Barber on drums, Daniel Prim on drums/percussion on “Cumbia De Dos Caras” and Matt Knoegel on tenor saxophone on “Trinkets from Mars”
JB: Tell me about two of your most memorable performance or recording experiences.
TD: The first is a 3 for 1. I must credit the great bassist Dezron Douglas for always supporting me and giving me unforgettable opportunities. Dezron hired me for my first gig ever in NYC at Minton’s in Harlem. A few years later, he played on my first album, Golden Year. Finally, two years ago Dezron invited me to play with his band at the legendary Village Vanguard, my first time performing on that stage… a moment no jazz musician takes lightly! Another memorable recording experience is the making of my singer-songwriter album Cloud Nova. This took me way out of my comfort zone and forced me to dive inward and rethink my whole relationship with music. I reconnected with my joy of songwriting and got out of the academic mindset that I think students of jazz are often vulnerable to.
JB: What do you appreciate most about the guitar that you use?
My Collings Eastside and Pablo Valle Custom Tele are the guitars that cover most of the musical terrain I’m currently navigating. The Collings maintains an organic, acoustic quality in all types of settings. It sounds great with effects and is very versatile, but the beautiful woody tone of the instrument is never compromised. The custom tele was a dream come true. Pablo Valle used to live in NYC and was the guy guitarists like Peter Bernstein, Ed Cherry, Lage Lund and countless others brought their instruments to. He became a phenomenal luthier and after years of back and forth hammering out the specs, he created this masterpiece of an instrument. His guitar carries all the qualities so special and unique to telecasters but can play like a real jazz box.
JB: New York is a town with hundreds of good guitarists. You’ve been in the greater NYC area all your life, so what’s the best piece of advice you’d give younger guitarists for building a career in music?
TD: I always come back to a mantra that I heard from the great Roy Hargrove and Larry Willis: “Take care of the music, and the music will take care of you.” I have the utmost faith in this concept. I think the modern age of social media, rapidly improving technology and AI are undeniably opening doors to opportunities in unprecedented ways. But I don’t think there are ever shortcuts, and focusing on being pure, honest and dedicated to the music first and foremost will always yield success. That to me cultivates the type of depth that is lasting and effective in building a fulfilling career for yourself.
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