Judy Night is living her second life. A practicing pediatrician in her former adult life, Judy realized that she had to make a transition—-that of taking the path of her true passions. This path carried her back to her lifelong pursuit of music composition and playing the piano, and ultimately becoming a partner at and directing the music program of Chicago’s fastest growing new nightclub/venue, 210 Live. So it is to this dual profession that Judy currently devotes her heart and soul.
Judy started playing the piano at the age of 7. She was in the top jazz bands at both New Trier HS as well as Harvard University, where she played alongside Joshua Redman amongst many other talented musicians.
At Harvard Judy had the unique opportunity to play with visiting artists including Gerry Mulligan, Wynton and Ellis Marsalis, Clark Terry, Illinois Jacquet, Carla Bley and Harry Connick, Jr. Judy did two non-degree semesters at Berklee School of Music, but ultimately pursued medicine as a profession, certain at the time that smoky bars and late nights were not in her nature. Now she knows that late nights in bars—-minus the smoke-—are where she fits in best, and embraces the lifestyle and camaraderie of local and touring musicians.
Judy Night in her own words - Sliding On Glass
“Jackson, Justin, Brian and TC make wonderful musical statements throughout this album. Rather than enumerating each, I’ll remark on a subset and allow you to make your own discoveries. The marvel of the modern age is that you, the listener, can post your own thoughts online, and we can share a dialogue.
We lost John Abercrombie just last year, but what a gift he gave to us in his music. The band has been playing “Timeless” since its inception, and the composition never fails to move me. Brian and Jackson’s work on this piece inspires me at each listening. Justin’s snare technique at the beginning of Brian’s solo is a highlight of the album.
I’m delighted with how our harmonization of “Scarborough Fair” has evolved. I first heard the song on Simon and Garfunkel albums as a youth but later in many other contexts--a beautiful piece and fun to play with. “Do You Hear What I Hear,” originally written as a call for peace during the Cuban missile crisis as well as a Christmas carol, vies with “Timeless” as my favorite song on the album. Note the moving solos by TC and Brian—Brian’s brings me near tears even with multiple listenings.
I have had a handful of female musician buddies, and I am grateful for this small sisterhood, including Barb who in high school turned me on to the greatness of King Crimson. “Moonchild” is my arrangement of this beautiful melody from “In the Court of the Crimson King,” one of my favorite albums of all time.
I’ve been seeking other songs with the anthemic feeling generated by Christmas songs so that I wouldn’t have to wait until December to revisit these grooves and melodies. In playing “Do You Hear” I heard a strain of Paul Simon’s “Cecilia” and that’s what led me to bring it into our playlist. “Lonely Woman,” the last cut on the B side of Horace Silver’s Song for My Father, has always spoken to me, and I am honored to play it with little alteration. TC introduced “Wichita Lineman” to the band when he joined us a year ago and sings it masterfully on pedal steel lead. “Sliding on Glass” is the sole original composition on the album. I love the simplicity of it, and TC and Brian have beautiful things to say in it. Enjoy.” Judy Night, October 16, 2018