07/11/2025
Jazz Comes Home: Burlington’s Mississippi Legacy, Bart Howard, and the Sound That Keeps Moving Forward
By Emma Reynolds
When I moved to Burlington last August, I had no idea I was stepping into the heart of an American jazz story.
I’m a vocalist, educator, and lifelong student of music. I grew up in Northern California and spent years in Los Angeles, steeped in the bouncy, rowdy and rhythmic sound of early 1900s jazz. But it wasn’t until I stood beside the Mississippi River that I began to understand where that sound really came from.
Jazz, like the river, moves. It winds, it bends, it carries with it stories, people, cultures. It builds community. It refuses to sit still.
The Roots of a River Town
Long before Burlington had a jazz festival, it had jazz. By the late 1800s, music was drifting north from New Orleans—riverboats filled with brass bands, ragtime pianists, and blues singers spreading a sound that would soon be called jazz. Burlington, perched on the Mississippi, was a natural stop. The music arrived by water, and Burlington listened.
“I remember one of the early riverboat cruises,” recalls Burlington native and historian Bob McCannon. “I remember that calliope—the sound of the calliope. I loved that—the idea that here I am on the Mississippi River, right where all of that started.”
It was contagious. By the 1920s and ’30s, ballrooms, clubs, and steamboats filled with touring jazz bands. In 1963, the city launched the Steamboat Days Festival with a Dixieland jazz focus. The legendary Louis Armstrong even played Burlington in 1964.
Bart Howard: Burlington’s Own Standard
Born in Burlington in 1915, Bart Howard studied piano at the Martin Bruhl School of Musical Art—then one of the largest conservatories between Chicago and the Pacific Coast. Though trained classically, jazz soon found him. At 16, he left to tour the vaudeville circuit. Then came Hollywood, then New York. By 22, he was working at New York City’s famed Rainbow Room, and in 1938, he became musical director of the Blue Angel, an exclusive Manhattan supper club and cabaret, launching a genre-defining career with Mabel Mercer.
Then in 1954, he wrote a song you probably know. "Fly Me to the Moon."
“It was written from the heart. I wrote it for Bud,” Bart shared in 1990, referring to his partner of 58 years, Thomas Fowler. Originally titled In Other Words, the song became a standard. Sinatra’s 1964 recording—paired with Count Basie and arranged by Quincy Jones—launched the tune into orbit, literally and figuratively. But Bart wasn’t a one-hit wonder. He wrote hundreds of songs, and his cabaret-driven, lyric-forward style influenced singers from Johnny Mathis to Peggy Lee.
Bart’s friend, Bob McCannon remembers him well: “He was very kind, extremely kind, sophisticated as hell… I thought, ‘This is the kind of guy that wishes to wear a tuxedo at home.’ But he was very humble. There was a common thread, a Midwest thread, woven into his being.”
KT Sullivan, one of Bart’s protégés, put it best: “When I heard Bart’s songs, they just leapt out and shook my memory bank… but I’d never heard them expressed quite like that.”
Why Jazz Still Matters
Jazz isn’t just music—it’s a movement. It breaks boundaries. It listens. It evolves. Jazz is a living conversation between past and present, tradition and innovation. It’s built on community, creativity, and improvisation.
That’s what makes jazz timeless. Old styles are still studied and celebrated. New forms are born every day. And jazz never stops moving forward. It cannot be contained in a place or on a screen. To experience jazz, all you need is a little curiosity and the courage to listen deeply.
The Festival: A New Chapter
If you’ve caught the jazz bug—or want to know what the fuss is about—join us Monday, July 14 from 7–9pm at the Art Center of Burlington for a special fundraiser for the Burlington Jazz Festival.
You’ll hear the voice of Bart Howard. You’ll hear our stories. You’ll see where jazz is going—and how it’s alive here and now. I’ll be joined by my musical and life partner Matt Landon, plus Blake Shaw and Michael D’Angelo, fellow jazz educators and performers. You can also team up for four short rounds of jazz trivia! It’s free, and all donations support more access to jazz education and performances here in Burlington. RSVP at btownjazzfest.com.
Then, on July 25–26, jazz comes home.
The Burlington Jazz Festival will feature over 75 musicians across nine acts at beloved venues like The Capitol Theater, The Washington, the Art Center, Burlington Riverfront Entertainment, and Heritage Garden Event Center.
We’re putting Burlington back on the jazz map—with swing, soul, groove, and joy.
There’ll be jam sessions, a Bart Howard-inspired Cabaret Cocktail Competition, and a big 3rd Street Block Party featuring local food, vintage vendors, youth performances, and more.
And yes—it’s all free.
A River. A Town. A Heartbeat.
Jazz is for everyone. It always has been.
It began as an expression of Black American life—of struggle, joy, resistance and resilience. It has always moved forward. Whether in a nightclub or a church basement, on a concert stage or a riverboat, jazz shouts: we’re still here, and our story is worth telling.
In Other Words… be part of something real this summer. Come hear Burlington’s story. Come hear your own story reflected back.
Come to the Burlington Jazz Festival.