Hot House Jazz Guide, New York's Most Current Jazz Events

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alVnRPIq

Wycliffe Gordon

Wycliffe Gordon’s Vocal Warmup By Stephanie Jones

Perhaps best known as a trombonist, Wycliffe Gordon spends his time in the company of others: other like-minded artists, other inquiry-driven educators and, of course, other instruments. In addition to trombone, the composer and bandleader plays 22 instruments, including didgeridoo. Humanness in his phrasing and an evolving technical mastery have garnered the Georgia native a number of accolades in recent years. A DownBeat Critics Poll favorite, Wycliffe has received an International Trombone Association award, and the Louis Armstrong House Museum’s Louie Award for his commitment to preserving the legacy of Louis Armstrong.

An artist who always has had a profound connection to phrasing, Wycliffe found that when he began integrating singing into his big band rehearsals, and later into his performances, something unnamable began to resonate. “A lot of times we rely on markings in the music for everything from dynamics to how we articulate. You can mark it down, but when you sing something, you connect to it a certain way,” he explains.

A full-time faculty member at Augusta University and artist in residence at Johns Hopkins’ Peabody Institute in Baltimore, Wycliffe has honed a number of strategies for effective band leading, with singing often emerging as the magic bullet. “If I’m working with a trombone, trumpet or saxophone section, to get them to play a phrase, if you want them to learn how to play it almost immediately, get them to sing it. And then say: When you play it, just play it like you sing it. Almost immediately, it will come together,” he explains.

At a recent Peabody master class, Wycliffe observed his trombone students readying themselves to play an orchestral excerpt. He cites how singing immediately connected them to the music that was in their ears—or, at least, on the page—a method that benefits their playing, their phrasing and their listening. “They had to get their minds ready,” he notes. “It’s just simple. If you sing, you don’t even think about it.”

According to Wycliffe, singing phrases before playing them, particularly when rehearsing a big band, is one of the most effective ways for every player to work out similar phrasing so they can move together as a unit. He adopted this technique for his own bandleader’s tool kit after a fateful rehearsal with the Jazz at Lincoln Center Orchestra in its early days. He recalls that the legendary trombonist and big band mainstay Britt Woodman played a part that had been written on the chart as a Charleston rhythm.

“But there was a way that he played it,” Wycliffe recalls. “I said, ‘Mr. Woodman, can you do that again?’ And it was just the way that he phrased it—and we haven’t yet figured out a way to mark that [articulation]. Hearing that one phrase, I thought, Wow. This is how some of the bands develop their sounds. You can’t really mark it—you can put dynamics, you can put marcato, staccato, legato, and even though we have things like turns or the appoggiatura, you have to hear it. It’s not on the horn. It’s something that’s completely human, and the best way to get to that is to sing.”

Another of Wycliffe’s missions as an artistic leader and a global mentor is to inspire institutions’ to continue evolving their understanding of American music. He and his fellow practitioner-educators work tirelessly with universities to instill values of historical exploration and forward thinking within their music programs through initiatives like the jazz masters series Wycliffe has started in Augusta.

“Several colleges like University of North Texas and Miami, they know it’s important to get the Euro-centric music that was prominent in the States, but [they also know] that a new music was being created out of America and it’s important to expose our students, as well as themselves, to that music, because it is right here—jazz being the biggest contributor, but there have been other forms or styles that have come after that.”

Big band culture and a commitment to enhancing higher education programs represent only part of Wycliffe’s artistic narrative. Over the course of his career he has released 29 recordings as a leader and co-leader, and worked with countless era-defining artists from Lionel Hampton to Wynton Marsalis to Shirley Horn. In recent years, he’s worked through many small ensemble compositions and arrangements for his International All-Stars, which includes pianist Ehud Asherie, saxophonist Adrian Cunningham, drummer Alvin Atkinson, and bass players Yasushi Nakamura and Corcoran Holt. Wycliffe’s upcoming performance reprises the ensemble’s multiple appearances at PJS Jazz Society and, as is always the case with his All-Stars, he looks forward to the hit. “It’ll be a pretty good showing,” he says with a laugh. Wycliffe also appears as a soloist with the Salvation Army Band at the Westside Presbyterian Church in Ridgewood, New Jersey, on April 13.

Wycliffe Gordon’s International All-Stars play PJS Jazz Society at First Presbyterian Church in Mount Vernon, New York, on April 14.

John di Martino

Another Reason To Celebrate By Elzy Kolb

Here, there, everywhere

Throughout his decades in music, pianist John di Martino has played with his share of jazz royalty including David Fathead Newman, Jon Hendricks, Billy Eckstein and Sheila Jordan, to name a few. This month, however, he’ll turn his attention to royalty of a different kind in a concert focusing on music written by one of the longest-reigning monarchs of the modern era, the late Bhumibol Adulyadej Rama IX, who ruled Thailand from 1946 till 2016.

The concert, scheduled for April 13 at Flushing Town Hall, is a celebration of Songkran, the Thai New Year festival. A Thai jazz player, Koh Mr. Saxman, will join John and his trio mates, bassist Yoshi Waki and drummer Vince Cherico, on stage; Koh is traveling to the Big Apple for the occasion. “Koh is an excellent musician, he has a very soulful, David Sanborn kind of sound. He reminds me of a Hank Crawford-style player,” John says. “Koh is a big star in Thailand and throughout Asia. His band Sound of Siam blends traditional Thai music with a pop-fusion aesthetic.”

The evening’s first set will be dedicated to the Thai monarch, often referred to as Rama IX, who was an accomplished jazz saxophonist. Besides composing dozens of tunes and recording a couple of jazz albums, the Thai king played with the King of Swing, Benny Goodman, as well as Stan Getz, Lionel Hampton, Benny Carter, and others.

The second set will likely include some standards and “great straight-ahead jazz.”

It will be a reunion for John and Koh, who have played together in Thailand. The two plan to record while Koh is in town. “I want to put him with some great New York musicians where he can realize his full jazz potential,” John notes. “We’ll probably do part traditional Thai music and part Great American Songbook.”

If proof is needed that John di Martino is a versatile musician, his busy April lineup should settle the matter. Perhaps the icing on the cake this month is John’s solo piano gig at 75 Club, where he’ll celebrate a milestone birthday on April 2. He’s hoping to have plenty of help in blowing out the candles: “Singers have been showing up like crazy at 75 Club when I’m there, so I’d love to see this date turn into a real vocal fest. Everyone is invited to sit in,” he declares.

John’s affinity with singers is natural: His first exposure to jazz was through his mom, an amateur vocalist. “My mother was always feeding me singers’ records. Later I played with Gloria Lynne and she did ‘The Folks That Live on the Hill.’ I was so thrilled, I remembered being 12 years old and listening to her sing it on a record from my mom.”

When he began playing professionally at age 15, his mother would point out hip tunes he needed to learn in the Fake Book. “That’s how I started to develop my repertoire,” John recalls. He loves working as accompanist. “It’s about surrendering, listening and supporting—then you get to take a solo!”

He’ll appear with vocalist Cynthia Scott at Smoke Jazz & Supper Club on April 21 and 28, and at Mezzrow with vibes player Chuck Redd on April 22. The pianist is also set to appear with singer Nicholas King at the Beach Café on April 27, and with guitarist Ed Cherry’s trio at Zinc Bar April 29.

John is also looking forward to an upcoming studio date with clarinetist Paquito D’Rivera to record Billy Strayhorn classics, and to his ongoing involvement with the monthly Vocal Mania series at Zinc Bar.

Post press time update: The Flushing Town Hall concert has been cancelled.

João Bosco

The Latin Side of Hot House by Raul Da Gama

João Bosco: Quintessential Brasileiro

Like all things mysterious, miraculous, magical and Brazilian, João Bosco seems to distill aspects of his music and life into Buddhist-like aphorisms or koans. With each one he brings a little more clarity to what it means to be quintessentially Brazilian. The singer/songwriter explains just how life-changing he finds the bacchanalian Carnaval celebration of samba and African culture that explodes in Rio, and what it really means musically: “Samba is a black feeling, street wise, full of curses, full of syncopation. The great secret of samba is the syncopation; the time isn’t in the samba itself, but in the head and foot of each person.”

This, of course is what lies at the heart of João’s music, a completely new vocalese dialect, with a mixture of African and Portuguese words connected by a series of percussive sounds made by clicking tongue to palate and providing a vocal line for samba. Prodded to explain he deepens the mystery: “Who was born first? This beautiful trickery or samba? I think samba owns the body.” Using a Brazilian analogy, he explains, “Popular music and football have affinities. I think that the dribble, characteristic of the Brazilian player, has an affinity with musical syncopation. They disguise tempo in music and the dodging of the football.”

João’s music employs elements of fascinating lyrical and rhythmic purity, yet he is modest to the point of being self-effacing about it. And mysterious too: “I’m an intuitive musician,” he says, explaining somewhat enigmatically, “I always picked up the musical signals in the air. The song presents itself as a mysterious bird. Ever since I’ve been listening to music, I’ve always found the rhythm of melody and harmony inseparable. Remembering also that the music contains color, form, words... You grind it all together into a mistura fina to organize what the musical idea asks for.”

He remembers one childhood Christmas when he asked for a couple of revolvers, but his dad bought him a monkey with a drum around his waist. His mother spent all night winding the monkey and trying to convince him that it was the best Christmas gift. The experience found its way into a song, “Falso Brilhante,” which he and long-time lyricist Aldir Blanc created: “Love is a fake shiny ring on the debutante's finger / love is nonsense / in the trunk of the peddler / a monkey’s drum...”

Over the years João has shared much with Aldir, an association blessed by their lifelong mentor Vinicius de Moraes. But João has also shared his many gifts and musicianship with scores of others from Sergio Mendes to Cesar Camargo Mariano, Milton Nascimento, Chico Buarque, Gilberto Gil, Hamilton de Holanda, Yamandú Costa, Guinga and Kiko Freitas.

When asked how much more there is to be done in music, his reply is another enigmatic aphorism, “As long as there is bamboo there is an arrow. Or as I say, as long as there is desire there is music, and a new DVD is coming soon.”

Bossabrasil presents João Bosco at Birdland on April 16-20.

Miho Hazama

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Creative dance