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WINNING SPINS BY GEORGE KANZLERAlbums by two alto saxophonists in their early 40s with strong bebop roots comprise this month's edition of Winning Spins. Vincent Herring spent almost a decade in the Cannonball Adderley chair of the late alto giant's brother Nat Adderley's quintet. Meanwhile, Jon Gordon, winner of the 1996 Thelonious Monk International Jazz Saxophone Competition, is a protégé of bebop master Phil Woods.
Ends and Means (High Note) finds Herring surrounded by members of his working bands: pianist Danny Grissett, bassist Essiet Essiet and drummer Joris Dudli, the latter two from Herring's "European" rhythm section. Joining the basic quartet on four of the eight tracks is trumpeter Jeremy Pelt.
The title track, written by former bandmate Renato Chicco, finds Herring engaging warmly on the catchy tune, fueled by an elastic vamp morphing into bright 4/4 in the bridge and subtly carried through in the solo sections by Essiet and Grissett. Herring's forthright, driving soloing here and elsewhere remind us that he had great lessons in engaging listeners in the 1980s, when he spent some time playing as a street (and subway station) musician in New York. Experience with such crowds might also explain his inclusion here of the Beatles' "Norwegian Wood," tricked out in a surging 6/8 rhythm, with Grissett adding appropriate McCoy Tyner-esque waves of block chords. Dudli's "Tom Tom," with its revved up funk backbeat and punchy, staccato alto and piano solos, is another highly populist offering. And for incendiary drive, the long "Caravan," eschewing the usual exotic near-east rhythmic feel for alternating vamp and rocking backbeat sections, simply can't be beat as a rousing finale.
The quartet adds a Latin tinge to Benny Golson's "Stablemates," Herring negotiating the extended form and shifting harmonies with aplomb. Along the way, trumpeter Pelt brings a refined lyricism to Grissett's shadow-dark take on "The Song Is Ended"; helps make Mulgrew Miller's "Wingspan" a crisp retro-bebop quintet track; and conjures up shades of Miles Davis with a Harmon mute on Dudli's politely funky "Thoughts."
Gordon's The Things You Are (ArtistShare) features two trios: one with Ben Monder's guitar and Billy Drummond's percussion work, the other with bassist Joe Martin and drummer Bill Campbell. By eliminating piano from the equation, Gordon has provided himself a more open, adventurous setting for his saxes - he switches to soprano saxophone on his two largely free to rubato originals here - giving him room to stretch harmonies, especially in tandem with Monder's spacey guitar chords.
Although familiar standards dominate (seven of the nine tracks), Gordon's approach is anything but standard. "I Should Care" borders on ethereal, with a haunting intro and wispy, trailing arpeggios adding to the wistful feel. "Alone Together," also with the guitar trio, really gallops along, becoming agitated after Monder's solo. "All the Things You Are" is yet another supple guitar trio variation, racing past standard interpretations with its springy rhythm; as is "Embraceable You," brushes and a hesitant tempo evoking a fragile tenderness in the song.
But while the guitar trio tracks are smart and creative, the trio with bass and drums reaches deeper emotionally. Martin's bass delves deep into the pocket, sustaining legato lines with plummy authority, and Campbell's drumming is full of sensual sway and exotic touches. Each of this trio's tracks introduces a different Afro-Latin rhythmic variation. "I Can't Give You Anything But Love" is taken at a slow lope, Gordon sailing over it with melodic bebop lines, then returning after solos by the others for an invigorating final coda and variations ending. After the verse of Billy Strayhorn's "Something to Live For," the trio settles into a sensuous, very Ellingtonian rhythm with toms and cymbal splashes for the captivatingly rich melody and solos, then Gordon adds harmonics to his extended coda. Best of all is this trio's aggressive rhythmic approach to "Invitation," treating this overdone standard to a needed adrenalin rush.
As for Within Worlds, Gordon's latest CD project (also on ArtistShare and due out later this month), it continues the trio theme on six of its nine tracks, but this time all the tunes are either Gordon compositions or, in two cases with the Monder-Drummond trio, free improvisations. Martin and Campbell are back on only one track, "Twilight Soul aka Outsider," a compellingly melodic ballad with Gordon at his lyrical best, cushioned by rich bass and, until the last out choruses, empathic brush work from Campbell.
There's also a new trio on one track and a quintet on three others. It's an organ trio with Gordon's alto sax joined by Gary Versace, B3, and Mark Ferber, drums. The tune is called "Sicily" but its down home soul jazz, with preachy alto and funky organ and drums. Monder's guitar and Martin's bass are joined in the quintet by Kevin Hays, piano, and Bill Stewart, drums. "Haven," a long-form tune with an intricate line in a bebop vein, evokes Gordon's most boppish solo of the album. "Within Worlds" finds him on soprano sax on one of those post-bop pieces that employs overlapping tempos and rhythms, the melody strolling along as cymbals race and bass mediates the two rhythmic extremes in an intricate dance. It's also one of the album's most intriguing and accomplished tracks.
Time games are also played on "Visit," with Monder and Drummond, as a moody tune builds momentum and the rhythms accelerate with Gordon's alto's growing intensity. The same trio bookends the three-part suite "Notes on Freedom" with two free improvisations notable for both intensity and the menacing rumblings of Monder's guitar, sounding more like a revving engine or a generator. "Witness," the central quintet piece of the suite, is a soprano sax lead reverie with ominous overtones, like dripping water (an allusion to waterboarding?), and an abrupt ending.
Vincent Herring leads a quartet at Smoke on Dec. 14-15. Jon Gordon participates in the Players Theater Arts Festival (see our Hot Flashes page) on Dec. 15; and plays at Bar Next Door on Dec. 21.
SPOTLIGHT BY PAUL BLAIR AND GEORGE KANzlerDAVE DOUGLAS
VILLAGE VANGUARD/DECEMBER 4-9
Since bursting onto the Big Apple scene in the early 90s, trumpeter Douglas has had a wider variety of recording and performing experiences (and led more groups) than most musicians who've been around far longer. His projects have ranged from Tiny Bells, a trio playing Balkan inspired jazz, to Parallel Worlds, which develops the confluence of jazz and contemporary classical music. This quintet's closer to jazz's post-bop mainstream. But instead of piano, Uri Caine plays Fender Rhodes. Rounding out the band are Donny McCaslin, (tenor), James Genus (bass) and Clarence Penn (drums). GKPETER ZAK
KITANO/DECEMBER 12
This comfortable Park Avenue lounge continues to showcase some of the most inventive pianists on the scene. Zak's among them. My Conception (his third CD for the Steeplechase label) is a solo effort containing a marvelous extra-slow treatment of "With a Song in My Heart" that he's reharmonized to delicious effect, as well as a rollicking version of Blue Mitchell's calypso "Fungii Mama" that generates considerable steam. We'd guess that both Bud Powell and Bill Evans are among his keyboard heroes. Although Zak obviously functions extremely well without a rhythm section, he'll enjoy the support at Kitano of bassist Paul Gill and drummer Quincy Davis. PBBILL FRISELL
BLUE NOTE/DECEMBER 4-9
How to account for guitarist Frisell's unique approach? An early interest in rock and country music surely played a part, as did fruitful relationships with Pat Metheny and Jim Hall (though he sounds like neither of them). While he makes skillful use of electronic effects like reverb and delay, he never overpowers. Instead, he'll sneak up on you with an economy and a lyricism that surprises and delights. Some of his very best sideman work appears on trio CDs under drummer Paul Motian's name. This time, it's Bill's own trio, with Ron Carter playing bass and Motion handling the deft coloration on cymbals and drumheads behind. Be there. PBRALPH ALESSI
JAZZ GALLERY/DECEMBER 14
Where does trumpeter Alessi belong on the jazz continuum? Best place him slightly left-of-center, somewhere over toward the cutting edge with frequent associates like Steve Coleman, Don Byron, Uri Caine and Ravi Coltrane, all of whom have been heard at the Gallery themselves. In fact, Ravi guests on four tracks on Alessi's most recent CD, Look (Between the Lines). No, it's certainly not background music. But much of what's played (no standards, all original compositions) is refreshingly peaceful and reflective, even witty. For this gig he'll interact with an equally adventuresome trio: pianist Jason Moran, bassist Scott Colley and drummer Nasheet Waits. PBJASON CAMPBELL
SHOWMAN'S/DECEMBER 14 AND 15
What TV really needs is a cooking show hosted by someone whose musical tastes surpass Emeril Lagasse's. Chef and guitarist Campbell's about to make that happen with the debut of his syndicated series, "Jazzy Cooking With J.C." An Australian born in Queensland, he's now inserted himself neatly into the NYC scene with a regular residency at the midtown no-cover Carnegie Club (upcoming: Dec. 13 and 17) plus Sunday nights with organist Seleno Clarke's combo at the American Legion Post on W. 132nd St. in Harlem. Or catch him at Bar Next Door on Dec. 7. His band? They're J.C. & the Jazzhoppers and they also cook. PBJASON CAMPBELL
SHOWMAN'S/DECEMBER 14 AND 15
What TV really needs is a cooking show hosted by someone whose musical tastes surpass Emeril Lagasse's. Chef and guitarist Campbell's about to make that happen with the debut of his syndicated series, "Jazzy Cooking With J.C." An Australian born in Queensland, he's now inserted himself neatly into the NYC scene with a regular residency at the midtown no-cover Carnegie Club (upcoming: Dec. 13 and 17) plus Sunday nights with organist Seleno Clarke's combo at the American Legion Post on W. 132nd St. in Harlem. Or catch him at Bar Next Door on Dec. 7. His band? They're J.C. & the Jazzhoppers and they also cook. PBMARK WEINSTEIN
CORNELIA STREET CAFÉ/DECEMBER 17
Weinstein's been an important part of NYC's Latin jazz scene ever since he played trombone as a charter member of Eddie Palmieri's high-octane La Perfecta outfit. He did lots of writing and arranging, too, and appeared with Charlie Palmieri, Tito Puente, Herbie Mann. There was more mainstream work as well with Maynard Ferguson, Chick Corea, Lionel Hampton and Clark Terry. Now a Latin jazz flautist, he'll debut a new CD called Con Alma (Jazzheads Records) in company with the other four musicians who also appear on it: pianist Mischa Tsiganov, bassist Santi Debriano, percussionist Mauricio Herrera and conga drummer Chembo Corniel. PBSTEVE KROON
TRIBECA PAC/JANUARY 3
Percussionist Kroon will tell you that growing up in a Queens neighborhood that numerous musicians also called home shaped him mightily. So did his father's Latin LP collection. Latin rhythms predominate on In My Path, a recent CD under his own leadership. But he's also done loads of non-Latin playing with artists like Ron Carter, Fathead Newman, Stephen Scott and T.K. Blue. At this season's final Highlights in Jazz concert, Kroon will share the stage with other heavyweights (Sonny Fortune, Steve Turre, David Valentin, Bobby Sanabria and Arturo O'Farrill's trio) in a salute to the late Ray Barretto's rich musical legacy. PBBENNIE WALLACE
JAZZ STANDARD/DECEMBER 5-9
Here's yet another player you couldn't mistake for someone else, once you've heard him - a tenor saxophonist with a burly tone suggesting Ben Webster or Coleman Hawkins but whose wide intervallic jumps put you in mind of Eric Dolphy's soloing. After drawing a crowd at the Standard earlier this year, he returns with a nonet playing many of the same arrangements that enriched his Hawkins tribute CD entitled Disorder at the Border (Enja/JustinTime). Among especially distinguished participants this time out are alto vet Jerry Dodgian, trombonist Alan Ferber and extraordinary drummer Willie Jones III. Go to www.benniewallacemusic.com for audio preview. PBMARK TURNER with BILLY HART’S QRT
IRIDIUM/DECEMBER 20-23
Mention of tenor saxophonist Mark Turner's two biggest musical influences elicits a double take from most jazz fans. The high energy volatility of John Coltrane, most famous for his explosive quartet with McCoy Tyner and Elvin Jones, and the cerebral introspection of Warne Marsh, a leading member of the Lennie Tristano school of intellectual jazz, would seem to have little in common. Yet Turner (Ohio-born, California-reared and just 32) seems to draw from both, playing with an introspective intensity and advanced harmonic acuity. On this gig, Turner joins master drummer Billy Hart's quartet, which includes pianist Ethan Iverson and bassist Ben Street. GK
JAZZ IN JERSEY BY FRED McINTOSHWARREN VACHÉ
CORNERSTONE/DECEMBER 14
Count on Vaché for eloquence, lyricism, finesse and taste. A onetime student of Pee Wee Erwin, he's played trumpet on recordings by Scott Hamilton, Al Cohn, Dan Barrett and the notoriously demanding Benny Goodman. Listening to Vaché is almost like hearing a concise history of his instrument in jazz. His own Bunk-to-Monk favorites reflect highly varied tastes: Armstrong, Beiderbecke, Braff, Chet Baker and Blue Mitchell are among those influences he's cited. And for something quite different, do check out Warren's recent Arbors CD Don't Look Back, on which he's cushioned in a beguiling lushness provided by a string ensemble. A gem indeed.ROSSANO SPORTIELLO
SHANGHAI JAZZ/DECEMBER 27
Born near Milano, Sportiello's a real find: a pianist whose styles reflects admiration for masterful striders like Earl Hines, Teddy Wilson, Count Basie, Ralph Sutton and Dick Hyman, as well as for such as modernists as Barry Harris and Wynton Kelly. Like many of them, he needs no rhythm section behind him in order to swing; his 2006 solo effort called Heart and Soul (Arbors) proves it, with rumbling bass lines reminiscent of Dave McKenna's. But then consider an even more recent Arbors release called People Will Say We're in Love, on which his partner is bassist Nikki Parrott. She'll join him at this performance in Madison.ROBERT GLASPER
MCCARTER THEATRE/DECEMBER 14
Hailing (like fellow pianists Jason Moran and Helen Sung) from Houston, Glasper was signed to a Blue Note Records contract not long ago. Two subsequent CDs (Canvas in 2005 and then In My Element, cut last year) reveal him as someone with a distinctive touch and some fresh compositional ideas. He's also intrigued with what's going on in the hip-hop universe and has collaborated with rapper Mos Def. Though we're unsure at press time about who else might play at this Princeton concert, we can report that bassist Vicente Archer and percussionist Damion Reid have added considerably to those two Blue Note albums.TEDD FIRTH
OCEAN COUNTY COLLEGE/DECEMBER 12
Among the most sensitive of accompanists, Firth's pianistics will lovingly showcase the vocals of Marlene VerPlanck, that superlative conservator of the Great American Songbook, in a program of Irving Berlin songs. Firth admits to a fondness for the work of Oscar Peterson and Bill Evans, and he's listened carefully to others pianists highly valued by singers for their support: men like Ellis Larkins, Norman Simmons, Hank Jones and Tommy Flanagan. He's backed Margaret Whiting, Carol Sloane and Nancy Marano and also mixed it up with instrumentalists (e.g. Gene Bertoncini, Benny Golson, Houston Person). Once 2008 dawns, look for Tedd's new trio CD, provisionally titled Starting Now.
BOBBY WATSON: HOMETOWN HERO by Ken Dryden
Alto saxophonist Bobby Watson still exhibits the enthusiasm instilled in him during his days working with Art Blakey. A Kansas City native, Watson discovered jazz in a somewhat unusual manner. "My dad was in aviation, but he played saxophone in church. Although I started on clarinet, I always liked to add notes whenever I heard something, and my dad was always improvising around the house. So I sort of backed into it, and around high school age, I discovered I was a jazz musician. I couldn't play anything straight. My history teacher took the second semester and turned it into a jazz history class. Then I discovered 'my people' ? Charlie Parker, Cannonball Adderley, John Coltrane, Jackie McLean. I didn't have a jazz background, but I had an improvisational upbringing hearing ad lib music in church. We didn't even have records in the house until I bought a record player. All in all, I just felt playing jazz was something I was meant to do."
Watson recently discussed the period following his departure from Blakey's band: "I started doing gigs on my own, Curtis Lundy and I were partners. We did a lot of playing in New Jersey for Daryl and Doug Jeffries, a set of identical twins who told us our band needed a name and suggested Horizon. Initially, the band included Curtis and myself, along with Steve Nelson, Peter Washington, Mulgrew Miller and Marvin "Smitty" Smith. Then Victor Lewis showed up at my apartment and asked to join. John Hicks, Melton Mustafa, Carroll Dashiell, Benny Green, Stephen Scott and Joey Calderazzo all worked with us later. The current edition, with Ed Simon, Terell Stafford, Essiet Essiet and Victor, has been together for fifteen years."
Since he became the Director of Jazz Studies at the University of Missouri/Kansas City's Conservatory of Music in 2000, touring with Horizon has been a challenge for Watson. "But it's not all my fault," he jokes. "Terell and Victor are so busy that there've been gigs I could make but they couldn't." Another problem is properly promoting the group's CDs. "We couldn't get together to do a sustained tour to support our last CD, Horizon Reassembled, when it was released. We do sell a lot of CDs on gigs, but with the disappearance of music stores, our job is harder."
Watson is prepared to compose at a moment's notice. "I go through periods when I hear songs in the night, so I keep a notebook with staff paper by the bed. I used to think I could wake, hum it a few times and then go back to sleep, but that didn't work. Still, I keep a pad with me and sometimes hum into a dictaphone for transcription later. Often, the whole song comes. Other times, just fragments. There are songs I've been fiddling with for years but still feel aren't finished. I mainly use the computer for orchestrating. Melody comes first, harmony second. There are so many choices if you have a strong enough melody. It's nice to have a prodigious output, but re-examining what you've already done is OK, too. You can easily fall into a rut when you write songs by utilizing the same harmonic tendencies."
Running a university jazz education program poses many challenges for Watson: "It's been a very steep learning curve, pushing the right buttons in academia to raise necessary funds. I've been going out in the community talking with people who believe in the program, which pays for scholarships and travel. I took a band to Paris, Montreux and the North Sea Jazz Festival in 2006, after we raised over $100,000 to make it happen. Dealing with students over four years is very different from doing one-day master classes. But some of the people I've worked with are now playing in New York."
Watson's wife Pamela, also a Kansas City native, is an accomplished composer and vocalist who occasionally contributes songs to Horizon. "She's doing a lot of choral writing at the moment," notes Watson, "and still working on our opera based on Langston Hughes' short story 'Mother and Child.' In addition, this player apparently has numerous other irons in the fire. "There'll soon be a Palmetto CD entitled From the Heart with a new band I'm calling Live & Learn. I'm also taking a sabbatical for the spring semester and working on 'The Gates Barbecue Suite,' named for a famous local restaurant chain because its owner, Ali Gates, is a big jazz fan. I'm even writing a book: reflections on my life, how to eat, travel, road etiquette, dealing with crowds and fans and so on. My working title is All About the Hug. People are often there for the recognition and attention. I learned that from Art."
Bobby Watson & Horizon play at Dizzy's Club Coca-Cola on December 11-16.
THE CHILLING GEORGE COLEMAN by Paul Blair
When a genuine jazz heavy- weight decides to retire, faithful listeners tend to take notice. Saxist George Coleman, now 72, made that sort of decision about five years ago. Happily, though, he's still a vital force on the scene and quite ready for an extended quartet engagement at Birdland later this month.
"I'll have Harold Mabern playing piano, John Webber on bass and Joe Farnsworth on drums. They're solid guys I can count on. We've worked together at Smoke and elsewhere. And yes, I really am retired, at least by my definition. Just chilling, mostly at home. Someone recently asked me to fly to South Africa to play, but that's a really punishing trip by plane so I turned them down. Even Europe is too far for me these days. One exception I made not long ago was to show up in California for a tribute to Horace Silver, who's not doing so well now. It was my chance to rendezvous with guys who'd also worked with Horace back in the day: Randy Brecker, Charles Tolliver, Bennie Maupin and others of that caliber. That was fun and Horace really deserves that kind of recognition. I remember playing with him years ago at the old Blue Coronet in Bed-Stuy. You know, once it was possible to go into clubs around the country and do entire weeks at a time. No more, though, and I really feel for the younger guys who must scuffle to find work, then deal with travel, baggage, security and so on."
George Coleman's a man who's built a most impressive resume over the decades: writing arrangement at eighteen for Ray Charles, membership in B.B. King's touring band and then with a Max Roach group that included, at various times, Kenny Dorham and Booker Little; gigs with Gene Ammons, Johnny Griffin, Ira Sullivan, Walter Perkins and John Gilmore after relocating to Chicago in 1956; a lengthy stint alongside Freddie Hubbard with a well-remembered Slide Hampton octet; and subsequent musical associations with Mingus, Lionel Hampton, Chet Baker, Elvin Jones, Cedar Walton, Charles McPherson, Betty Carter, Lee Morgan, Shirley Scott, Ahmad Jamal, Wild Bill Davis and (most famously) Miles Davis, post-Coltrane and pre-Wayne Shorter. Coleman says that he left Miles' employ at a time when the trumpeter was in such poor health that he often didn't show up for performances and left his saxophonist in charge. "Sometimes people who came into clubs to see this famous hornman saw me leading the group and assumed I was Miles! Eventually, the strain got to be too much and I just backed away."
Incidentally, Coleman has also made appearances in films starring Dick Gregory, Mick Jagger, Anthony Hopkins, Denzil Washington and Whitney Houston; taken part in photo shoots involving (among other) Madonna; been seen on both "The Guiding Light" and "Captain Kangaroo"; done fashion modeling for Ebony; and taught students at NYU, Mannes, Long Island University and the New School.
And speaking of education, you have to wonder what was so special about the music program at one Memphis secondary school - Manassas High - in the early 50s that helped produce such a flock of outstanding young musicians. In addition to Coleman, its grads included Little, Mabern, Charles Lloyd and Hank Crawford and Frank Strozier. Coleman says that he actually taught himself to play alto saxophone, inspired by the Charlie Parker records he'd heard, and didn't make the switch to tenor until summoned by B.B. in 1955. Tenor's now his horn of choice, though he also played both alto and soprano on at least one recent recording. He's also guested on albums issued under the leadership of Hilton Ruiz, Richie Beirach and Tete Montoliu.
So what high-powered Coleman is readily available on disc these days? There's Four Generations of Miles (Chesky), also featuring Jimmy Cobb, Ron Carter and Mike Stern, released in 2002 to general acclaim; the oddly titled Authorized Bootleg (Concord), on which he guests with organist Joey DeFrancesco's trio; an octet recording called Danger, High Voltage! (Two & Four Recordings); and Telarc's 1998 I Could Write a Book, full of splendid improvisation on Richard Rodgers tunes. Any self-respecting jazz collection would also have to include Herbie Hancock's landmark Maiden Voyage, one of the 60s' very best recordings; and the four Miles Davis outings on which Coleman is heard to great effect: Seven Steps to Heaven, My Funny Valentine, Four & More and Miles Davis in Europe. On each, he exhibits a tenor saxophone sound that is, by turn, muscular and lyrical. His admirers expect nothing less from him.
George Coleman's quartet headlines at Birdland on December 26-29.
JAZZWOMEN! BY ELZY KOLBPersonal take
Each song on Amy London's new CD, When I Look in Your Eyes (Motema), has a special meaning for the vocalist. She became familiar with Cy Coleman's "With Every Breath I Take" when she appeared on Broadway in his show City of Angels. "The call to audition for the show came out of the blue. They were looking for jazz singers, not Broadway singers. All the stars lined up for me and I got the part." Other touchstone tunes include "Ohio," which reminds Amy of her move from that state to New York and of "the passages we make in life, getting out of our parents' house, out on our own;" compositions by Elmo Hope for which she wrote lyrics; to "Lazy Susan" by Laura Nyro: "She was my idol, I wanted to be her when I grew up," and to "There's a Boat That's Leaving Soon," which brings to mind her sister's talk of also moving here someday. Throughout her career, Amy has mined Broadway for good songs. "The great shows offer a treasure trove of material," she says. She's pleased that her students in the New School's vocal music program share her enthusiasm. "They love the Great American Songbook," she says. "I'm thrilled to see young people who want to carry this music on. It's exciting to work with them and help nourish that love. Jazz has to be considered America's classical music, and as a teacher I'm on a mission to spread the word." Amy and her little big band celebrate the release of When I Look In Your Eyes at Dizzy's on Dec. 17. In addition, three groups of students from the New School's Vocal Rhythm Section will appear at the New School's Performance Space on Dec. 5, 11 and 13.
Life's a classroom
When drummer Cindy Blackman moved to the Big Apple a quarter-century ago, "I was more than a kid in a candy store, I was an ecstatic person in a Ferrari shop!" She pours out her memories in a voice crackling with excitement, recalling catching Philly Joe Jones playing Red Garland's last gig; a birthday celebration for Art Blakey at Barry Harris'; a clinic Wayne Shorter conducted at William Paterson; and seeing a trenchcoat-clad Max Roach heading for the music stores on 48th Street on a steamy summer day. "Where else are you going to see something as magnificent as that, someone like Max Roach just walking down the street?" Cindy caught Tony Williams playing "every single time he was anywhere: in town, out of town, on the moon." Cindy was practically on the moon herself when Art Blakey sat next to her at one of Tony's gigs and began tapping a rhythm on her shoulder. "I got to hear exactly where Tony felt the pulse and where Art felt the pulse: both the same time, each with different feeling." Cindy has played with her share of the greats, including Don Pullen, Pharoah Sanders, Joe Henderson and dozens of others. "Each person I've played with, I can happily say I came out of the situation with something new to add to my arsenal. I was really blessed to come to New York when the innovators were alive and well, and kicking and playing." Catch Cindy at Iridium on Dec. 5-9, when she plays Shades of Coltrane with Joe Lovano, Tom Harrell and Barron Brown.
Solar power
Singer Linda Ciofalo says the sun-related theme of her new CD Sun Set (Lucky Jazz), "sort of formed itself" when her list of possible songs included the likes of "Oh, What a Beautiful Morning" and "Midnight Sun." As far as the CD title, "Sunset is my favorite, favorite, favorite time of day," Linda says. "I like the idea of the concept, how it paints a picture for you, all of the different colors. It's a quiet kind of album. Not sleepy, more like winding down at the end of the day." The final tune, "The Last Day of Summer," was written by longtime friend Howlett Smith. "He really pushed me to become a jazz vocalist, to give up the pop stuff," she recalls. Linda's parents had advised her against trying to make a career of singing. "It's pretty obvious why," Linda says, laughingly acknowledging the image of the starving artist. Though they hoped she'd get the urge to sing out of her system, "My mom is amazed now at what's going on," with Linda learning the business side of music, and many radio stations adding Sun Set to their playlists. "I keep getting more and more ideas," Linda says, who already has plans for a couple of new recording projects in the works. "The fire is lit and it's not going out." Hear for yourself at the Sun Set CD release party for at Kitano on Dec. 6.
Night life
Singer Abigail Riccards celebrates the release of When the Night is New (Jazz Excursion) at the Jazz Standard on Dec. 3 … Singer Kendra Ross has a release party scheduled for New Voice (Lola's Child) at the Blue Note on Dec. 3 … Guitarist Leni Stern plays the 55 Bar on Dec. 5 … Catch Sheryl Bailey in a special program called Jazz Guitars Meet Hendrix at the Blue Note on Dec. 7 … Bassist/singer Esperanza Spalding shares the bill with vocalist Gretchen Parlato at Cachaca on Dec. 7-8; besides fronting their own bands, they'll play together for part of the evening … Singer Jeanne O'Connor marks the release of Something's Coming at Smoke on Dec. 9 … Vocalist Alexis Cole spreads holiday cheer at Sweet Rhythm on Dec. 11, a benefit for World Bicycle Relief, an organization that provides two-wheeled transportation to volunteer workers and the needy in disaster areas and developing nations around the globe; or catch Alexis on the late shift at Dizzy's on Dec. 18-22 … Melissa Stylianou sings at Smoke on Dec. 16 … Anne Phillips always gets great musicians together for Bending Towards the Light: A Jazz Nativity; catch them at Riverspace in Nyack on Dec. 21, or at Birdland on Dec. 23-25 … Percussionist Annette Aguilar and the Stringbeans appear at Smoke on Dec. 26 … The same day Baritone saxophonist Claire Daly and singer Nicole Nelson appear with the J.C. Hopkins Biggish Band at the Jazz Standard … Pianist Peggy Stern leads a trio at Kitano on Dec. 29; keep an ear out for Peggy's new CD, Blood & Treasure (Estrella).
yultide jazz joys by George kanzler
There's never a shortage of holi-day-themed jazz albums released around this time each year, along with reissues of classic big band performances and iconic singers like Ella Fitzgerald and Mel Torme. More than a few are worth hearing - and maybe even worth giving. Two new ones and two reissues caught these ears in particular.
The Buselli-Wallarab Jazz Orchestra's Carol of the Bells CD is a real surprise. Who knew Indianapolis had a top notch jazz big band? For the curious, Mark Buselli is a trumpet player, Brent Wallarab plays trombone, and they both write arrangements that can fondly recall charts played by the Basie, Ellington, Woody Herman and Thad Jones outfits. "Joy to the World" is given a Basie treatment, while "Silent Night" is drenched in Ray Charles gospel-soul. And some of the instrumentals have the sophistication of Sauter-Finnegan or Gil Evans. Adding immeasurably to the spirit of the album is the voice of underrated baritone singer Everett Greene, who's very much in the vocal tradition of Billy Eckstine and Arthur Prysock. Find out more on this one at www.OwlStudios.com.
Trio West Plays Holiday Songs is perfect as a year-end background soundtrack, but it's also hip holiday music with a decided jazz vibe. Drummer Tobias T. Gebb, pianist Eldad Zvulun and bassist Neal Miner (or Miles Brown on some tracks) mix carols and Yuletide pop standards, doing them all as if they were still back in the middle of the 20th Century, influenced by the likes of Red Garland and Ramsey Lewis. Check www.triowestmusic.com for details.
Snowfall: The Tony Bennett Christmas Album (Columbia/Legacy), is really Snowfall, Bennett's 1968 Christmas album, plus some extras, including a five-song DVD from the television special entitled "Tony Bennett: A Family Christmas." Mr. Bennett does both secular pop holiday songs, backed by a Basie-ish big band, and carols, accompanied by chorus and orchestra. Everything's done with Tony's usual personable authority and conviction.
Finally, consider the Staple Singers' The 25th Day of Christmas (Concord), the reissue of a 1962 LP originally heard on the Riverside label. Gospel fervor meets Christmas spirit as this vocal quartet sings carols, both traditional and black church, as well as a pair of Pops Staples originals and gospel anthems like "Go Tell It On the Mountain" and "Wasn't That A Mighty Day?" It's also a real treat to hear the supple voice of a young Mavis Staples.
HOT FLASHES BY PAUL BLAIRNOTEWORTHY GIGS
Paquito d'Rivera with Wynton Marsalis and the Lincoln Center Jazz Orchestra at Rose Hall on Nov. 30 and Dec. 1 for a program called "Beyond the Spanish Tinge" … on those same two evenings, guitarist Freddy Bryant's quartet with Ben Riley doing the drumming at Sweet Rhythm … another Dec. 1 gig: Christian McBride's quartet at Columbia University's Miller Theatre … the Westchester Jazz Orchestra at Irvington Town Hall on Dec. 1 with a program of tunes associated with Sonny Rollins and Cannonball Adderley … also upstate, trumpeter Mark Morganelli's group with guitarist Vic Juris at the Turning Point Café in Piermont on Dec. 3 … drummer Lewis Nash's quintet (with Jeremy Pelt, Jimmy Greene, Renee Rosnes and Peter Washington) kicking off a five-night stint at Dizzy's on Dec. 4 … singer Alexis Cole, winner of this year's Jazzmobile vocalist competition, does a benefit for World Bicycle Relief at Sweet Rhythm on Dec. 11, with guests to include saxist Donnie McCaslin … bassist Ron McClure's quartet (with Rich Perry, George Colligan and Billy Drummond) at Cornelia Street on Dec. 12; they'll record for Steeplechase the very next day … the Sunny Jain Collective at Joe's Pub on Dec. 13 … pianists Onaje Allan Gumbs and Hotep Idris Galeta present a program of duets at Shutter's Café on Dec. 13, then welcome some interesting guests on the following two evenings … Mark Murphy singing at the Metropolitan Room Dec. 13-14 … trumpeter Shunzo Ohno, an Art Blakey discovery, at the Blue Note for two afternoon shows on Dec. 16 … also on Dec. 16, Alan Ferber's outstanding nonet plus ten string players at the Brooklyn Lyceum … the Crescent Boogaloo Ensemble (that'd be Nicholas Payton, Donald Harrison, Peter Bernstein and Dr. Lonnie Smith) at the Jazz Standard for a six-night run beginning Dec. 18 … a promising Jed Levy quartet at Kitano on Dec. 28 … and Roy Hargrove's organ quintet at the Jazz Gallery on Dec. 29-30.
DECEMBER SPECIALS
Again this year, top Thelonious Monk International Jazz Competition finishers (trumpeters all) are being heard at Tribeca Performing Arts Center. Second place awardee Jean Caze, a native of Haiti, had the spotlight on Nov. 26 - and still to be heard are Nigerian-born Ambrose Akinmusire, the first-place finisher (on Dec. 10) and third-place honoree Michael Rodriguez, whose work we've enjoyed with Charlie Haden's Liberation Music Orchestra (on Dec. 17) … This month's guests at the Jazz Museum in Harlem's ongoing seminar series include master trumpeter Eddie Henderson (on Dec. 13) and singer Andy Bey (Dec. 27). Visit www.jazzmuseuminharlem.org for news of two other JMiH series: "Jazz For Curious Listeners" and "Jazz For Curious Readers." - all worthwhile and all free … And here's a jazz film already garnering great reviews: "'Tis Autumn: The Search For Jackie Paris," opening Dec. 7 at Cinema Village on E. 12th St. It's a documentary about one of our best-ever vocal stylists and how he went from sensation to historical footnote in just a couple of decades. If you loved Jackie's work, or want to discover his gifts for the first time, see this one.
RE-KNITTED
Jazz makes a welcome return to the Knitting Factory on Dec. 11 with the first installment of a series called "Search and Restore" that's now monthly but could become more frequent. Music will be played in the Tap Bar, itself a congenial spot, and two ensembles will be featured beginning at 8:00 PM: the Dan Weiss-Miles Ozakazi Duo and a trio named Shank (Ralph Alessi, Tim Berne and Shane Endsley). The cover charge? It's $13 (but $10 for students) and there's a no-drink minimum.
A VILLAGE FEST
Altoist Jon Gordon (see this month's Spins column) had a prominent role in organizing the First Annual Players Theater Arts Festival, taking place on Dec. 15 in the loft space at the NW corner of Macdougal St. and Minetta Lane. After Jon's 9:00 PM set, there'll be music by Alan Ferber's nonet. Appearing the following day on the same stage: violist Judith Insell (4:00 PM), Jameel Shaw (6:00 PM), the redoubtable Scott Robinson (7:00 PM), Mike Moreno (8:00 PM), Kendrick Scott (9:00 PM) and Sean Nowell (10:00 PM). This sounds like a good one. Consult jongordon.artistshare.com for details.
YULETIDE JAZZ
Jazz at Lincoln Center hosts their Red Hot Holiday Stomp for four concerts promising loads of cheer Crescent City-style (with a fond glance at Jelly Roll Morton's immense legacy) on the evenings of Dec. 6-8, with shows at 8:00 PM each day, plus a 2:00 PM performance on the Saturday. Featured will be Wynton Marsalis, Wess Anderson, Victor Goines, Wycliffe Gordon, Dan Nimmer, Joe Temperley, Herlin Riley, Don Vappie and Reginald Veal … And you certainly wouldn't want to miss Jazz Nativity 2007, aka "Bending Toward the Light," being presented three times this season: at Riverspace up in Nyack on Dec. 21 and at Birdland on Dec. 23- 25. Among those involved this time - with slightly different casts at each performance - are Benny Powell, Frank Wess, Warren Vaché, Ingrid Jensen, Lew Soloff, Steve Wilson, Bob Kindred, Hillary Cole, Brenda Feliciano, Anne Phillips, Michael Philip Mossman, Candido, selected boy sopranos and some of the best tap dancers around. For more info (plus splendid historical video), visit www.jazznativity.com.
AND ON NEW YEAR'S EVE
Who's performing where? Here's a sampling (with reservations recommended in most cases): Chick Corea Elektric Band at the Blue Note, Joe Locke at Kitano, Kenny Barron plus Trio Da Paz at the Jazz Standard, Hilary Kole with Chico O’Farrill Jazz Orchestra at Birdland, Dr. Michael White's Original Liberty Jazz Band at the Vanguard, Les Paul at Iridium, Roy Hargrove at the Jazz Gallery, Louis Hayes & Cannonball Legacy Band at Sweet Rhythm, Delmar Brown's World Pop Experience at Zinc, Vince Giordano's Nighthawks at the Algonquin, David White's quintet at the Garage, Brian Horton's trio at Bar Next Door, Valerie Capers at the Knickerbocker, Ted Curson and Enrico Granafei at Trumpets, Cecil Brooks III & CBIII Band at Cecil’s and The Resolutions Bill Goodwin Quartet at the Deer Head In in Delaware Water Gap PA. Alternatively, if you're staying home by the fireplace, catch the Danilo Perez Big Band on NPR.
jazz anecdote by bill crowBill Crow's books "Jazz Anecdotes" and "From Birdland to Broadway" can be found at your favorite bookstore, and at www.billcrowbass.com along with many interesting photos and links.
Ron Vincent was explaining the families of musical instruments to a group of young school children. To make sure they got the idea, he asked questions: "What family does the violin belong to? The trumpet?" The kids were doing well with the answers until he asked, "And my drums belong to what family?" A young boy quickly raised his hand. "I know! They belong to the persecution family!"
Percussionist Howard Hirsch has developed a reputation that has nothing to do with the excellence of his playing. He told me, "I worked with Danny Kaye for three years, and he died. I worked with Judy Garland for ten years, and she died. I worked with Richard Burton for two years, and he died. I worked for Dean Martin for two years, and he died. I worked with Sammy Davis Jr. for two years, and he died. When I worked for Sinatra, he said, 'Hello Howard. I heard about you. Stand over there. '"