WINNING SPINS BY GEORGE KANZLER
One thing that makes the Big Apple the top jazz city on
the globe is the bounty of resident bands and orchestras available to
listeners, many on a weekly basis. This month's Winning Spins are
offerings from two of them. One album comes from the band that started
the whole concept of the one-night-weekly big band 42 years ago as the
Monday night Thad Jones-Mel Lewis Jazz Orchestra - and continues today
as The Vanguard Jazz Orchestra. The other is an off-shoot of a more
recent weekly band, David Berger's Sultans of Swing, which appears on
Tuesdays at Birdland.
The VJO's new Monday Night Live at the Village Vanguard (Planet Arts)
was recorded at that storied club near the end of the band's eight-day
42nd anniversary gig there. Seven of the eleven tracks on the two discs
are Thad Jones charts from the band's first decade that are often still
heard on a typical Monday night. They are an affirmation of the primacy
of Jones' work to the legacy of this band, and a reminder that he was
one of jazz's greatest composer-arrangers. Rounding out the program are
two takes on classic jazz tunes by arranger Bob Brookmeyer; a Jerry
Dodgion setting of "Body and Soul" originally written to showcase Jones'
cornet, but here featuring baritone saxophonist Gary Smulyan; and a
piece by current composer-in-residence and pianist Jim McNeely.
"Mean What You Say," a Jones tune that often opens sets at the Vanguard,
kicks off the first CD with a piano solo - by super-sub Michael Weiss,
present on five tracks as part of a rhythm section that also includes
bassist Phil Palombi and drummer John Riley. It's the most Count
Basie-like chart by Jones, who was a pivotal member of Basie's so-called
"New Testament" big band in the Fifties, and is assembled from
directions Jones gave to the band - now written down through
transcriptions of earlier recordings - as it went along, much like the
famous "head" arrangements of Basie's "Old Testament" Thirties band.
It's pretty complex for a "head" arrangement, but not nearly as involved
as the other Jones charts here, all wonderful examples of how he could
balance the complexities of ensemble passages and voicings with the
freedom of individual voices in improvised solos.
Jones was a versatile arranger and his variety is showcased here in
pieces ranging from the soulfully yet Ellingtonian train-like "Mornin'
Reverend" (a robust feature for tenor saxophonist Ralph Lalama) and "The
Waltz You Swang for Me" (with its soprano sax versus saxophone section
contrasts) to a bouncy version of Stevie Wonder's "Don't You Worry 'Bout
a Thing" and the multiple woodwind and muted brass textures of "Little
Rascal on a Rock," with McNeely's piano solo suggesting the title role
in tricky breaks and interactions with the ensemble. Other highlights
include Brookmeyer's hauntingly diaphanous theme statements in his
suite-like take on "St. Louis Blues" and the polyphonous opening,
Spanish tinge and doubled soprano saxes of McNeely's "Los Cucarachas
Entran."
I Had the Craziest Dream: The Music of Harry Warren (Such Sweet Thunder)
is proof that you don't need a dozen or more musicians to create a
swinging big band vibe. Arranger Berger, whose full-scale Sultans of
Swing group specializes in Ellingtonia as well as his own
Ducally-inspired writings, shows here that he's also learned the lessons
of Ellington small groups that recorded under the nominal leadership of
the Duke's star sidemen in the 1930s. And he's applied those lessons to
the music of one of the less celebrated masters of the American Pop
Standard from that era, Harry Warren. But Berger is no atavist, frozen
in time in the Swing Era. His charts here evoke the little big band
ensemble feel of post-bop arrangers like Gil Evans and Ernie Wilkins, as
well as Ellington and Strayhorn.
The CD cover proclaims "featuring Harry Allen and Joe Temperley," and
those two saxophonists (tenor and baritone, respectively) get loads of
juicy solo space, much of it enticingly framed by Berger's charts like
the lickety-split "Jeepers Creepers" and a romping "I Had the Craziest
Dream." But since this is an octet, everyone gets ample room to have his
solo say. Among the standouts are pianist Isaac Ben Ayala on "On the
Atchison, Topeka, And the Sante Fe," alto saxophonist Matt Hong on
"September in the Rain," trumpeter Brian Pareschi on "Serenade in Blue"
and trombonist Marshall Gilkes on the impressionistic "Summer Night."
The Vanguard Jazz Orchestra continues to hold down the fort at the
Village Vanguard each Monday, while David Berger's ensemble is
Birdland's regular Tuesday evening attraction.
SPOTLIGHT BY PAUL
BLAIR AND
George Kanzler
GERI ALLEN
IRIDIUM/SEPTEMBER 18
One of the most distinctive and original of contemporary jazz
pianists, Geri Allen can assert her unique voice even when playing
with some of jazz's legendary figures, including Ornette Coleman and
Charles Lloyd. But she's also a perspicacious and historically
authentic interpreter of earlieWINNING SPINS BY GEORGE KANZLER
r pianists, as her tributes to Mary Lou Williams amply attest. Here,
her trio gets prominence on the first day of a tribute weekend called
"The Amazing Bud Powell" that promises to be illuminating. The
following three nights, trios led by Uri Caine, Greg Osby and Cedar
Walton will continue the Powell revelations. GK
MIKE MORENO
JAZZ STANDARD/SEPTEMBER 15
Moreno, a facile and thoughtful guitarist who plays both acoustic and
electric, will settle onto the Standard's bandstand three times this
month - as part of keyboardist Aaron Park's group on Sept. 10-11, then
and leading a new quartet of his own, one that includes vibraphonist
Warren Wolf, on Sept. 15. From time to time, you'll also catch him at
other local venues in support of the Strickland brothers, Jaleel Shaw,
Leonardo Cioglia or Gretchen Parlato. In preparation for these live
dates, check out a pair of recent Moreno albums: Between The Lines
(2007) and Third Wish (2008). There are performance tracks posted on
his website, too. PB
JON MAYER
KITANO/SEPTEMBER 26 AND 27
It'll be a birthday bash - his 70th - and a homecoming of sorts for
pianist Mayer, who grew up in Washington Heights and played with many
of the Apple's leading lights (e.g. McLean, Dorham, Coltrane) during
the 50s, 60s and 70s. After a few years off the scene and a move to
Southern California, he's become one of LA's leading jazz lights,
heading up superb threesomes and cutting some awfully fine CDs for the
label called Reservoir. Following these two Kitano evenings, he'll
take the same all-star trio (bassist Rufus Reid and drummer Roy
McCurdy, both heard on Jon's recent So Many Stars disc) into the
studio for yet another go-round. A happy prospect. PB
MITCH MARCUS
SMALLS/SEPTEMBER 6
"The best disc from a mostly unknown band that I've heard in months!"
enthuses one reviewer. "This is jazz at its thick, heavy best," says
another. They're writing about The Special, a first recording by the
quintet headed up by San Francisco-based tenor saxophonist Marcus,
who's bringing his crew (Sylvain Carlon, alto; Michael Abraham,
guitar; George Ban-Weiss, bass; and Ches Smith, drums) east for what
promises to be two grand nights - the first at Smalls and a second at
CoCo 66 in Greepoint on Sept. 9. Although you could term their output
freeform jazz, that might suggest that they don't really
swing. But
they do, unmercifully on some tracks. PB
DEE CASSELLA
METROPOLITAN ROOM/SEPTEMBER 6
Circumstances unrelated to music kept Ms. Cassella away from recording
studios for years. In fact, this exceptional vocalist didn't even
begin singing until well into adulthood. Thus, I'm Here Now, the title
of her rewarding new CD, serves as an emphatic proclamation. And she
has the goods needed for success, too: great taste in material, a
splendid vocal instrument, a talent for bringing fresh life to
lyrics
and boosters like Mark Murphy. Joining her at this 2:00 PM show
will be most of the players heard on the album: pianist Dena DeRose,
reedman Jed Levy, guitarist Gene Bertoncini, bassist Martin Wind and
drummer Matt Wilson. PB
JILL McMANUS
BRYANT PARK/SEPTEMBER 8-12
Although Ms. McManus cites Bill Evans as a "major influence," this
literate pianist (her degree in English from a Seven Sisters college
has served her in her second career as a writer/editor) also favors a
harder bop keybopard approach, one evident in her work with such
saxophonists as George Coleman and Pepper Adams. Her only album as a
leader, Symbols of Hopi, drawing from Native American sources, won her
a rare five-star Downbeat review awhile back. At this free midday
piano recital series she'll be showcasing her own compositions as well
as jazz standards. GK
NOAH PREMINGER
CORNELIA STREET CAFΙ/SEPTEMBER 29
The night on Cornelia Street and a gig at Smalls on Sept. 4 will
herald the release of Dry Bridge Road, a debut recording by Preminger
(along with trumpeter Russ Johnson, guitarist Ben Monder, pianist
Frank Kimbrough, bassist John Hebert and drummer Ted Poor) that's
already won an enthusiastic New York Times review, as well as
endorsements from the likes of Dave Liebman and Jerry Bergonzi.
Preminger, a New England Conservatory alum who's played in the past
with Dave Douglas, Dave Holland, Bob Moses and Joel Frahm, evinces a
curiously pleasing dryness to his work and we'll chart with interest
his development over coming months. PB
JIMMY GREENE
SMOKE/SEPTEMBER 25-27
In a town full of talented saxophonists, Greene has energed as a real
comer. Mentored by Jackie McLean and a product of the McLean-run Hartt
School in Hartford, he's already played with bandleaders as varied in
approach as Mario Pavone, Jason Lindner, Tom Harrell and Jeremy Pelt -
and cut four albums for the Dutch label Criss Cross, where the bebop
flame continues to burn bright. It's unclear at press time who'll
comprise his quartet at Smoke - but Xavier Davis will likely be seated
at the piano. By the way, Greene's latest recording, The Overcomer's
Suite, is available only as a download. See his website for details.
PB
EDDIE PALMIERI
YORK COLLEGE/SEPTEMBER 20
Pianist-keyboardist Palmieri's often called The Sun of Latin Music,
which also happens to be the title of his 1974 album that won the
first Latin Grammy. His latest such award, for Best Latin Jazz Album,
came for 2006's The Bryan Lynch/Eddie Palmieri Project: Simpatico
(released by Artistshare), a CD that provided the pianist with his
finest jazzy showcase in years. At his best, Palmieri is a whirling
dervish of a pianist, attacking the keyboard with, by turns, manic
gusto or lyric abandon. If Cecil Taylor ever played within a strong
Afro-Latin rhythm, he might sound a bit like Palmieri. GK
BILL STEWART
JAZZ GALLERY/SEPTEMBER 19 AND 20
We were first impressed with drummer Stewart, a talented grad of WPU's
jazz studies program, on a 1995 album called Snide Remarks. Among his
guests on that one, which still sounds adventuresome, were Joe Lovano
and Eddie Henderson. Stewart subsequently spend five years as a member
of John Scofield's hard-driving band. His most recent disc,
Incandescence (Pirouet) is also a winner, filled with non-standard
rhythms, judicious funk touches and a curious instrumental lineup that
includes keyboards and percussion only. Working with him will be
pianist Kevin Hays, who's a key player on the Pirouet CD, plus bassist
Doug Weiss and reedman Seamus Blake. PB
JAZZ IN JERSEY BY SHEILA ANDERSON
BERNARD PURDIE
SHANGHAI JAZZ/SEPTEMBER 12
Bernard "Pretty" Purdie is, without question, one of the most recorded
drummers alive. You've likely heard and felt his backbeat on
recordings by Joe Crocker, B.B. King, Lou Donaldson, George Benson and
numerous other headliners. The pulse so much a part of Aretha
Franklin's hit "Rock Steady"? That was Purdie at work. In fact, he was
Aretha's musical director at the time. Master of what colleagues and
critics term "the funkiest beat in the business," Purdie has been
eagerly sampled by today's hippest remixers. As a result, he can be
heard (anonymously, of course) on many of the age's best-selling acid
jazz releases. Jazz chops? He has those, too, having backed Dizzy
Gillespie, Gato Barbieri, Hank Crawford and even Louis Armstrong.
VICTOR JONES
CECIL'S/SEPTEMBER 19 AND 20
Newark native Jones is internationally recognized for his subtle,
stylish and utterly consistent drumming, both onstage and in the
studio. He never fails to bring excitement to any band he's part of.
An innovator unafraid of melding different styles and sounds, Jones
has contributed to hundreds of recordings, played hundreds of live
concerts and performed in clubs seemingly everywhere on earth, often
backing well-known artists like Michel Petruccini, Rhoda Scott,
Michael Wolff and Papo Vasquez. For the past five years Victor has
been performing with his own group, Culture-Versy, effortlessly
blending hip hop, urban soul and funk. His new CD, Living in A New
York Bubble, mixes acid jazz and some lovely ballads.
LASZLO GARDONY
TRUMPETS/SEPTEMBER 27
Gardony (whom one writer called "Bill Evans to the next level") just
released his fifth Sunnyside recording, Dig Deep. This classically
trained, Hungarian-born pianist, who began lessons at seven, early on
soaked up all kinds of music, from rock to blues. At Bela Bartok
Conservatory back home, Laszlo studied African music. A grad of
Berklee, he now teaches there. The new CD includes a reinvented
revised Gershwin standard ("Summertime"), a Lee Morgan tune
("Sidewinder") and a bunch of Laszlo's newly penned originals. "I find
a lot of joy in marrying odd-meters and changing time signatures to
the sound and groove of gospel, funk, jazz and rock," he asserts. His
trio with bassist Ron Mahdi and drummer Yoron Israel has been working
together for six years.
DON CARTER
LIBERTY HOUSE/EVERY SUNDAY BRUNCH
For the last seven years, drummer Don Carter has been stirring things
up at this beautiful Jersey City restaurant, where jazz and cocktails
seem to go hand in hand. Carter is there to entertain with the sort of
music that he and others consider food for the ears - in other words,
music that deserves careful attention. His cohorts in this endeavor
are friends of long-standing: pianist Rob Siebert and bassist Stuart
Grant. Together, they constitute a most impressive little group that
adds an extra measure of class to an already-toney nightspot. Most
rewarding! What's more, Don won a host of brand new friends with his
late-July appearances at J. Owen Grundy Pier and Martin Luther King
Hub.
KENNY BURRELL: MASTER CHEF
OF SOUND by Ken Dryden
For jazz partisans, guitarist Kenny Burrell needs little introduction.
The 2005 NEA Jazz Master Award winner, who's appeared on around a
hundred recordings of his own, as well as on several hundred more as
sideman, has made important contributions as a performer, composer and
jazz educator during a career spanning over a half-century, while also
developing a distinctive musical style on his instrument.
Burrell's destiny was set in part by the influence of his family. "My
father played ukulele. My brother, who was eleven years older, played
guitar and was my first teacher. When I'd watch him, he'd give me
pointers. When I was around 12 years old, I got the bug to play music.
After a few years, the die was cast and I decided to become a
professional and practiced many hours a day. I was pretty successful
gigging with other people and leading my own band in Detroit. I went
to Wayne State University. At the end of my second year, I wasn't
quite so sure about making music my career, since the business was so
shaky. But I chose to stay with it. I had offers from Dizzy Gillespie,
Illinois Jacquet and others to go on the road, but my mother was very
insistent that I graduate, so I'd have something to fall back on.
Eventually, I did play with many of those guys. In fact, my first
record was with Dizzy.
"My record dates usually start with a vision of what the music is
about: certain songs, mood and flavor to the album. That tends to
bring certain players who excel in those areas to mind, so I target
them. It's the same when it comes to arrangers. When I envisioned my
Guitar Forms album of the mid-60s, I had ideas similar to what I'd
heard on Miles Davis' Sketches of Spain, so Gil Evans was my obvious
choice." It's no different for live dates. "It depends upon the budget
and size of the band. I Iike having fun when I'm working an
engagement. I think in terms of people I enjoy making music with and
being around. Louis Armstrong said, 'If you enjoy yourself, the people
will enjoy themselves, too.' Overall, I generally go by Duke
Ellington's philosophy, 'There are only two kinds of music, good and
the other kind.'"
Burrell composes in a variety of situations. "I might be in a car or
walking down the street or in the supermarket when an idea suddenly
comes. If I sense it's a good one, I'll try to jot it down or put it
on tape. Some of them flow out almost as complete pieces, while others
are motifs that still need to be worked upon. Even just a few notes or
bars are worth keeping, because I can develop them later. I had one
song that I actually dreamt. I woke up, wrote it down and recorded it
as "Romance Dance" with Grover Washington, Jr. [on the Blue Note album
Togethering]. I visualized people dancing - and this was the song they
were dancing to." The guitarist also works in a more conventional way.
"If I have a deadline to meet, I set aside a certain amount of time
each day, which would entail work on guitar and piano, as well as just
thinking about it."
The founder and director of UCLA's Jazz Studies Program, where he is a
professor of music and ethnomusicology, Burrell explains his
department's goals: "We to try to get them to compete in the jazz
world. One of our graduates, Gretchen Parlato, won the Thelonious Monk
competition a few years ago. We know what it takes, besides the notes,
to get prepared for this business. We tell them not to take rejection
personally, that you're not the only one who's going to run into
problems in the field of jazz. The music business isn't always kind to
jazz and jazz artists. We try to get them to be technically
accomplished in what they want to play. We try to help them understand
and experience the joy of making this music and improvising, not just
running scales and changes in a robotic way, but playing your inner
feelings. We also emphasize that each person is unique and that
somewhere inside of you is a style that is yours alone. You can find
it, though it's not always easy. You develop your own vocabulary and
musical voice, the problem is that most people don't do the kind of
work and have the introspection to be themselves and consistent."
The guitarist is excited about his upcoming gig at Dizzy's: "Pianist
Benny Green has recorded extensively as a leader and we're both
excited about playing together. Peter Washington is a wonderful
bassist. He also plays guitar, so it gives him even more insights into
what I do. Clayton Cameron, who's from L.A., spent a half-dozen years
with Tony Bennett, and is one of the best all-around drummers I've
ever met." There will be one newcomer on the bandstand, too. "Tivon
Pennicott recently graduated from the University of Miami. I met him
through a mutual friend at UCLA and was very impressed when I heard
him for the first time. He plays all of the saxophones, plus clarinet
and flute. But this will be his first time working in New York."
Kenny Burrell leads a quintet at Dizzy's Club Coca-Cola on the evening
of September 3-8.
ON THE LINE WITH SIR JOHN (DANKWORTH)
by Paul Blair
By dint of their outstanding musicianship and their keen sense of
programming, combined with healthy doses of both wit and enthusiasm,
saxophonist-composer-bandleader John Dankworth and singer Cleo Laine,
his wife of fifty years, have long reigned as the First Couple of
British Jazz. As the result of certain royal degrees, they may also
now be properly addressed as Sir John and Dame Cleo. At the outset of
a month-long tour of the U.S, set to culminate with four nights at the
Blue Note, Sir John confirmed by phone from California that they're
still eager to work with fresh musical material.
"Last year, in honor of our joint eightieth birthdays, I wrote a long
suite for Cleo called 'The Blues Ain't.' I've long had a bee in my
bonnet about the blues since everyone except jazz people seems to
think that the blues are only about misery and fallen women. That's
because they don't know about the metric form which characterizes the
blues - or the fact that blues can also be quite upbeat in nature. So
I challenged myself to write six songs that really are blues, strictly
speaking, yet don't sound as if they are. You may hear one of two of
them at the club."
The landmark birthdays also occasioned the release of a deluxe
four-disc boxed set containing best-loved Dankworth-Laine performances
from the past six decades, along with a 65-page comemmorative booklet.
"I had a hand in choosing which original numbers to include," says
Dankworth," but now feel that a few could well have been omitted. Take
the very first track, for instance, one dating from 1944. It was my
very first appearance on Decca, a number entitled 'Good Old Wagon
Blues' with a band called Freddy Mirfield & his Garbage Men. I was
only sixteen at the time, nervous as hell, and my clarinet solo
certainly wasn't up to snuff. But that's ancient history, right?"
Dankworth is certainly no stranger to New York. He and his wife have
often performed here. But for him, his initial visit was particularly
memorable. "After the war, jazz was definitely changing and our little
gang of enthusiasts back home was wildly curious to hear more of the
new stuff. When we learned that the Queen Mary, which had been serving
as a troop carrier, was about to be reconverted for passenger use, we
put together a little band, passed an audition and were soon sailing
to New York as onboard entertainers. I'll never forget the drama of
our first few days in Manhattan.
"The Queen Mary docked at the Cunard pier on the West Side, where 52nd
St. meets Twelfth Ave. It was a hot July evening in 1947. We dashed
off the ship and headed east toward that famous Swing Street block on
52nd where all the little jazz clubs were situated. Some English chap
we met enroute told us that Dizzy Gillespie's big band was playing
that very night at the Downbeat. We were, of course, floored by what
we heard once we entered - and even got to meet Diz himself. There was
great music at every turn. Charlie Parker was appearing at another
club right next door. Maybe it was the Three Deuces, I can't remember.
Miles Davis was part of his quintet then. Billy Taylor's trio was
right around the corner at the Hickory House. Georgie Auld was leading
his own group nearby. And I had my first - and, unfortunately, only -
chance to hear Billie Holiday in person.
"We'd go into some of those 52nd St. clubs at three in the morning and
there'd be more musicians on the bandstand than actual paying
customers. They were probably hoping we'd all leave so they could go
home themselves. But what excitement in the air! Sure, we'd already
heard Bird playing 'Donna Lee' on a record. But by the time we got to
see him live, he seemed to be doing it at nearly twice the original
tempo!"
There are two talented Dankworth offspring. Son Alec Dankworth is a
bassist of note, while daughter Jacqui is a singer who's built quite a
following.
"Jacqui is a very fine vocalist," opines the senior Dankworth, 'and
I'm not saying that just because I'm her dad. But the funny thing is
that people think they're giving her a big compliment when they say, 'Oooh,
you sound just like your mum." The truth is that Jacqui has never been
a Cleo clone. She loves her mother's work, of course, but she also
admires Norma Winstone, a singer with a completely different approach.
"Meanwhile, Alec is extremely busy in London these days, doing lots of
sessions. He has his own band and occasionally puts out a CD or two.
Sometimes we even work together. In fact, we just did a duet record, a
first for us. He recently recorded an album in Spain, where he and his
family have a holiday home, and used some very good local musicians.
This probably surprised a lot of people who had no idea there was even
a jazz scene there.
"You know, just as Britain gave golf and cricket to the world, America
gets credit for the original gift of jazz. But there's no longer any
national monopoly. We hear immensely talented jazz musicians in just
about every country we visit. No apologies necessary. And the
universality of the music today reminds me of one of the nicest
comments anyone has ever made about my talented wife. At a Town Hall
event in 1997, in honor of her 70th birthday, Dr. Billy Taylor said,
'Cleo Laine is special because she took something of ours, carried it
away, and then brought it back to us in far better shape than ever.'"
So what ever happpened to "Johnny Dankworth," the name under which Sir
John first achieved international renown?
"Well, I got into the film-scoring business and eventually wrote music
for four movies directed by Joseph Losey, most of them rather serious
in tone. At one point, he said to me, 'You're no longer a teenager.
Isn't it about time that you adopted an adult name?' So that's how
'Johnny' became 'John." At this juncture in life, I guess it's too
late to go back."
Accompanying Cleo Laine and John Dankworth at the Blue Note on Sept.
25-28 will be pianist Tommy James, bassist Dave Dunaway and drummer
Jim Zimmerman. Reservations well in advance are recommended.
JAZZWOMEN! BY ELZY KOLB
Let it be
Vocalist Nnenna Freelon always has a lot of irons in the
fire. Recently she toured Europe for a month with Brazilian icon Ivan
Lins, and appeared with the Basie band, as well as with Sherrie
Maricle's DIVA Jazz Orchestra. "Doing a lot of special guest spots has
been wonderful and refreshing," Nnenna says. "I've always loved
Brazilian music and may record with Ivan in Brazil. Dates with the
Basie band are always a swinging marathon, and DIVA is another
swinging ensemble." Nnenna has also been "writing and working in my
mind on my next recording project, which is still germinating,
Dreaming the Duke." She's been performing the music of Duke Ellington
with classical vocalist Harolyn Blackwell, plus a string quartet and
jazz trio. "There's a real Birth of the Cool vibe to it," Nnenna says.
"It's exciting to explore across boundaries that are supposed to be
hard and fast, working with a singer who's supposed to be so, so
different. We need more opportunities to just 'be,' not be in a box,
but just 'be'." Words to live by. Nnenna will perform "tunes written
by women and associated with women" at Dizzy's Diet Coke Women in Jazz
Festival on Sept. 24-28. Her sets will include music by "Billie
Holiday and other female icons. I'm looking at tunes I wrote, as well
as material by Nina Simone, Billie and Marian McPartland. It'll be a
real love fest!"
Evolution theory
Flutist Jamie Baum enjoys playing sidewoman gigs, since she
doesn't have to worry about things like the set list, solo order,
bandmates showing up late, or dealing with club owners. "On someone
else's gig, I'm just thinking of playing - that other stuff is the
leader's problem," she says with a laugh. "But there's nothing like
the opportunity to play my own music with great musicians who
understand what I'm trying to do and bring it to life." Jamie will do
that with her septet on Sept. 23, when she celebrates the release of
her new CD, Solace (Sunnyside), at the Jazz Standard. "The septet is
an ideal vehicle for me to express myself and my ideas." The group
toured and played the music from Solace for several years before going
into the studio. "It helps for the band to have played it a lot before
recording," Jamie says. "I may shape things differently, the music
becomes more clear as I hear it - it evolves. The more you get to play
it, the interaction with the musicians, the dynamics between the
people, I get a sense of how the piece gets to breathe or move."
Temple of talent
Singer Nicole Pasternak is the Shirley Temple of jazz,
according to her hubby, saxophonist Ralph Lalama. That's OK by Nicole:
"Shirley Temple was one of my early idols," she says. "I memorized all
of her tunes when I was 3 or 4 years old." She points out that the
little curly-haired cutie sang some pretty complex stuff: there was
nothing babyish about the melodies, even if the lyrics were strictly
G-rated. Plus, "I loved her energy, enthusiasm and zest for life.
Hearing her when I was really young, I absorbed the idea of singing as
a happy thing." When Nicole was growing up, every family event ended
up with everyone singing around the piano. She describes herself as "a
blue-collar singer: have gig, will travel. I didn't have a particular
career plan, but I like to connect to people through music. Music only
happens if you have a composer, performer and listener. Music is
everywhere, in weddings, parties, anniversaries and funerals. If music
wants to come to this place, I'm there. I'll do it." Catch Nicole on
the late set at Dizzy's on Sept. 12-13, with Ralph's trio consisting
of sax, bass and drums. "Bringing forth music with a chordless trio is
a challenge for me, and the Women in Jazz festival is the right place
to do it," she says.
Gigs, etc.
Pianist Eri Yamamoto's trio has a new CD, Redwoods (AUM); catch
them at Arthur's Tavern every Thursday through Saturday
Alto
saxophonist Sharel Cassity plays Small's on Sept. 3 and 10, and Sweet
Rhythm on Sept. 22; congrats to Sharel on her engagement to trombonist
Michael Dease
The ICP Orchestra, with Mary Oliver on viola and
violin, plays the Abrons Art Center on Sept. 6; the band has a new CD,
ICP Live at the Bimhuis (ICP)
Pianist Lenore Raphael is recording
live at Steinway Hall on Sept. 7; seating is limited, so make a
reservation at swinginfox@swinginfox.com
Head for the Sugar Bar at 4
p.m. and/or Creole at 8 p.m. for the annual Heart of Jazz Concert, in
remembrance of September 11; this year's lineup includes Amy London,
Claire Daly, Melissa Hamilton, Francesca Tanksley, and many others
It's a month of good deeds for saxophonist Virginia Mayhew: Besides
playing the Sept. 11 concert, she's participating in a three-day walk
to support breast cancer research - get more info and offer support
http://08.the3day.org/site/TR?px=2209261&fr_id=1188&pg=personal; you
can also catch Virginia at Trumpets on Sept. 12
Tessa Souter, fresh
from the recording studio and a West Coast tour, sings at 55 Bar on
Sept. 12
Pianist/vocalist Patricia Barber celebrates the release of
The Cole Porter Mix (Blue Note) at the Jazz Standard on Sept. 18-21
Pianist Judy Carmichael plays a fundraiser for "Jazz Inspired" at the
American Hotel in Sag Harbor on Sept. 21; she's also playing
Bargemusic on Sept. 25
Shaynee Rainbolt sings with Russell Garcia's
four-trombone band at the Highline Ballroom on Sept. 23, celebrating
the release of Shaynee Rainbolt Sings Russell Garcia (33)
Congrats
to pianist Leslie Pintchik as her trio celebrates its tenth
anniversary at Kitano on Sept. 24
Pianist Helen Sung plays with the
Wolfgang Schalk Trio at Iridium on Sept. 24, marking the release of
Wanted (Frame Up)
Pianist Diane Moser presents fellow pianist (and
Fellow MacDowell fellow) Sueyoung Yoo at Trumpets on Sept. 27; they'll
be playing new compositions that Diane terms a "this-is-what-
we-did-on-our-summer-vacation gig."
Listen up
Vocalists Barb Junger and Marilyn Maye trade sets at the
Metropolitan Room throughout September
Vocalist Carrie Jackson is at
Trumpets on Sept. 5; she's also part of the great lineup at the OSPAC
Festival at the Oskar Schindler Performing Arts Center on Sept. 6-7
Vocalist Michelle Walker does Zinc Bar on Sept. 15, as well as the
North Square's brunch on Sept. 21
Vocalist Keely Smith is at the
Tribeca Performing Arts Center on Sept. 18, part of the Highlights in
Jazz series
Stellar drummer Cindy Blackman is at the Rubin Museum on
Sept. 19
Mala Waldron sings with Joseph Diamond's trio at the Fall
Equinox Festival at Pier 84 on Sept. 21
Catch Roz Corral's Quartet
at Enzo's on Sept. 19
Andrea Wolper sings at the Bar Next Door on
Sept. 22
Trumpeter Ingrid Jensen takes part in the Festival of New
Trumpet Music at the Jazz Standard on Sept. 25
Dame Cleo Laine sings
at the Blue Note on Sept. 25-28.
HOT FLASHES BY PAUL BLAIR
FINE NEW CDS
Material from John Pizzarelli's thoroughly invigorating With A
Song In My Heart (Telarc), filled with Richard Rodgers songs, will
probably constitute a major share of his sets at the Carlyle Hotel
(Sept. 9 through Oct. 4). Or hear John in considerably less formal
surroundings at the Hackensack Street Fair on Oct. 4
Tracks from
keyboardist Aaron Parks' new Blue Note release, Invisible Cinema, get
an airing at the Jazz Standard on Sept. 10-11
Those already
energized by hearing tracks from pianist Mike LeDonne's Five Live
(Savant) on the radio will want to catch the same quintet (with Jeremy
Pelt, Eric Alexander, John Webber and Joe Farnsworth) when it plays
the Jazz Standard on Sept. 16-17
Quebec-born pianist Chantale
Gagnι's Silent Strength (with Peter Washington and Lewis Nash
completing her trio) does 11:00 PM sets at Dizzy's on Sept. 16-17, but
apparently with different rhythm mates
Saxist Donny McCaslin's
Recommended Tools (also highlighting the work of bassist Hans
Glawischnig and drummer Jonathan Blake) gets an airing at the Jazz
Standard on September 30.
BOTTOM-FEEDING
Ensembles led by bassists can be particularly intriguing.
Consider, for instance, those put together by Mario Pavone, William
Parker and Drew Gress. Bill Moring's group (with Jack Walrath,
trumpet; Tim Armacost, reeds; Steve Allee, piano; and Steve John,
drums) is equally adventuresome, as a just-issued Owl CD entitled
Spaces In Time reveals. This foursome will play at Smalls on Sept. 10
- and again at the Puffin Cultural Forum in Teaneck three nights later
Also worthy of your attention is Michael Bates, whose new Outside
Sources CD has just been issued by Dave Douglas' Greenleaf Music
label. Michael bring his pianoless quartet into Cornelia Street on
Sept. 13
PARTICULAR FAVES
Guitarist John Abercrombie brings a superb quartet filled with old
cronies (violinist Mark Feldman, bassist Marc Johnson and drummer Joey
Baron) into Birdland on Sept. 3-6
Remember Laurel Masse, one of
Manhattan Transfer's founding members, who possesses one of the most
compelling voices around? She'll perform at Birdland at 7:00 PM on
Sept. 15 as part of that club's ongoing "Broadway At Birdland" series
And tenor-flute specialist Jed Levy, who's part of the new Dee
Cassella CD we've Spotlighted, also leads a quartet (with Bill Mays
playing piano) at Kitano on Sept. 18, then duets with guitarist Peter
Leitch at Walker's on Sept. 28.
ELSEWHERE
One of those East Village community gardens - the one situated at
626 E. 11th St. between Ave. B and Ave. C - is now hosting occasional
jazz events at which non-EVers are welcome. For example, a quartet
headed by saxophonist Steve Wirts will play on Sept. 6, beginning at
3:00 PM, and on Sept. 13, starting at 4:30 PM
The late Chicago-born
tenor great Johnny Griffin, who died in France two months ago, will be
fondly remembered by colleagues and admirers at Saint Peter's Church
at 7:00 PM on Sept. 14. No doubt that many of the talented Griffins
friends who drop by to reminisce will also be persuaded to play a
chorus or two, with expert backing provided by Griff's longtime rhythm
section: pianist Michael Weiss, bassist John Webber and drummer Kenny
Washington
At least sixty jazz musicians have already pledged their
participation in two free Sept. 11 events organized by the September
Concert Foundation, which will again commemorate the city's losses on
that same date seven years ago. The first is an afternoon (4:00-7:00
PM) program at the Sugar Bar on W. 72nd St. This will be followed
(8:00 PM-midnight) by another set of performances at Creole on Third
Ave. at E. 118th St. For more on who will be perfoming, check
www.SeptemberConcert.org
New Israeli jazz traditions (and that's a
non-sequitur, right?) take centerstage at Merkin Hall on the evening
of Sept. 18 with a double bill: trumpeter Frank London's Klezmer Brass
All-Stars plus young pianist Omer Klein. Details are posted on
Merkin's website
Note, too, that jazz, Latin, Caribbean and Afrobeat
rhythms are being showcased each Sunday (from 6:00 PM onward) at a
restaurant called Tamboril, 527 Myrtle Ave. in Brooklyn's Clinton Hill
neighborhood. For more on these no-cover Afro-Jazz Sundays, visit
www.tamborilnyc.com or phone 718-622-5130 ... And for word on
pace-setting jazz being played in Brooklyn this month by a bunch of
great groups you haven't yet heard, visit myspace.com//295douglas.
Satisfaction guaranteed.
