Album Review: Chucho Valdes – Border Free

Posted in CD Reviews with tags , , on July 9, 2013 by curtjazz

The following review first appeared in the July 2013 issue of Eric Nemeyer’s Jazz Inside Magazine

Chucho Valdés and the Afro-Cuban Messengers

chucho valdes

BORDER-FREE – Jazz Village Records JV570016 http://worldvillagemusic.tumblr.com Congadanza; Caridad Amaro; Tabú; Bebo; Afro-Comanche; Pilar; Santa Cruz; Abdel

PERSONNEL: Chucho Valdés, piano; Reinaldo Melián Alvarez, trumpet; Dreiser Durruthy Bombalé, batás, lead vocals; Rodney Barreto Illarza, drums, vocals; Ángel Gastón Joya Perellada, double bass, vocals; Yaroldy Abreu Robles, percussion, vocals; Branford Marsalis, tenor sax, soprano sax

By Curtis Davenport

One of my biggest musical regrets is that I missed being able to experience the music of many great Cuban artists during some of their prime years, due solely to politics. One of those artists is Chucho Valdés. However, even though we’ll never get to really hear what Irakere was like in their prime, we can be thankful that Chucho is still very active at 71 and creating great music. His latest album, Border-Free (with a group that he calls The Afro-Cuban Messengers, in a nod to the jazz finishing school that was Art Blakey and the Jazz Messengers), is a deeply personal statement, filled with tributes to his family members and others who have influenced his musical direction. But you never forget that this is a Chucho Valdés album, so these tributes are carried out in the midst of killer Afro-Cuban rhythms and piano statements of astonishing brilliance.

Like Blakey’s Messengers, Valdés’ Messengers are comprised of impressive young musicians who are making a name for themselves, in this case in the Afro-Cuban jazz idiom. This is another reason that I hope that the climate between the U.S. and Cuba continues to thaw, so that we can hear more from these five brilliant Cuban youngsters. In addition, Valdés adds a “ringer”, as Branford Marsalis guest stars on three tracks.

The album’s title is a reference to the fact that Mr. Valdés made a conscious effort to make this more than just an Afro-Cuban album. The idea was to find rhythms that could be fused with those of Cuba to create something fresh and intriguing. One of the best examples of this effort led to the most impressive track on the album, “Afro-Comanche”. In the 19th century, a group of about 700 Comanche were taken prisoner during fighting with the Spanish Army, in what we now know as Texas. These Comanche were relocated to Mexico, then Spain and eventually Cuba. Many died from the conditions and the unfamiliar climate. Many of those who survived mixed with the Afro-Cubans and started families. Their children were known as “Afro-Comanches”. On this cut, Valdes begins with an opening on piano that employs traditional Native American musical elements. He then continues to state the theme, while Afro-Cuban rhythms are added. After a strong solo by bassist Ángel Gastón Joya Perellada, Valdés returns in 4/4 with a hard bop statement, raising the tension to the breaking point before he drops out, giving way a purely African drum solo by Dreiser Durruthy Bombalé on the batás, which leads to a call and response chant, wrapping up as Valdés blends in again to restate the theme. “Afro-Comanche” is twelve of the most exciting musical minutes that I’ve heard this year. I have to admit that I could not (and still cannot) stop listening to it.

“Tabú” is another standout. A tribute to Margarita Lecuona, the composer of “Babalú Ayé” and other Cuban classics, this mid-tempo track is notable for Marsalis’ cool tenor work and the impressive trumpet solo of Reinaldo Melián Alvarez. “Bebo”, in honor of Chucho’s late great father, who was also an outstanding pianist, has an insistent melody line that stuck in my head immediately. It also featured more excellent trumpet from Alvarez and tenor by Branford. What’s most impressive though is Valdés’ solo. On the spot, he decided to play a tumbao in his father’s style with his left hand, while soloing with his right hand in his own style, resulting in something that sounded a bit like Chucho and Bebo playing together. It was nicely done and very moving. “Pilar” was written by Valdés for his mother, who loved Bach’s preludes and fugues and Miles’ “Blue in Green”, so Chucho gives us a bit of both in this introspective piece, which kicks off with a striking bit of bowed bass work by Perellada and follows with Valdés reaching deep into his Bill Evans bag.

Border-Free is another triumph for Chucho Valdés, from concept to execution and all points in-between. Though it sounds clichéd, I can’t think of a better way to say it; Chucho just keeps getting better with age.

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Album Review: J.D. Allen – Grace

Posted in CD Reviews with tags , , , on July 8, 2013 by curtjazz

The following review first appeared in the July 2013 issue of Eric Nemeyer’s Jazz Inside Magazine.

J.D. Allen

j.d. allen

GRACE – Savant Records SCD 2130 www.jazzdepot.com  Mass; Load Star; Chagall; Luke Sky Walker; Grace; Detroit; Cross Damon; Pole Star; Papillion 1973; Selah (My Refuge); The Little Dipper

PERSONNEL: JD Allen, tenor saxophone; Eldar Djangirov, piano; Dezron Douglas, bass; Jonathan Barber, drums

By Curtis Davenport

On Grace, his seventh album as a leader, saxophonist J.D. Allen has made a few changes. He has a new bassist and drummer with Dezron Douglas and Jonathan Barber replacing longtime cohorts Gregg August and Rudy Royston. He also has expanded the group from a trio to a quartet with the addition of the celebrated young Russian-born pianist Eldar Djangirov. What thankfully, has not happened is a change in the quality and style of the music. Douglas and Barber have fallen right into place as if they had been playing alongside Allen for years. And Djangirov has done something that many pianists cannot, that is, blended with the group’s musical style rather than alter it.

Allen has been recording without a pianist since 2008. His output over that time period has been consistently good; marked by his inventive bursts on the tenor on tunes that averaged about 3 ½ minutes. His discs were high energy affairs that stretched the boundaries of tradition to their breaking point without bursting them. I find him to be the best sax player in the trio format since Sonny Rollins. But if you’ve got to add a pianist, young Mr. Djangirov proves to be the one for the job. I had my doubts since in his own recordings, Djangirov has so far shown a proclivity for playing long albeit technically impressive solos designed to display his speed and dexterity. Fortunately, he has brought those tendencies under control here. He gets where Allen is going and he then enhances what is happening. Djangirov solos are relatively brief and pointed but no less striking than those in his solo work. The pianist appreciates that less is often more and when he is not soloing, he is as likely to lay out as he is to comp behind Allen. The result is an exciting young group with a sound that recalls the Classic Coltrane Quartet circa 1965, just before their breakup. Allen, like Trane, is at times almost begging to go “out”. Djangirov, like Tyner, is helping to keep the saxman grounded and Douglas and Barber create incredible rhythms. The result is exhilarating for the listener, with very little excess. Tracks still clock in at an average of 5:30. There has been a little expansion for the additional instrument but Allen and company still manage to avoid the self-absorbed meandering that plagues many of today’s recordings.

The selections, all Allen originals, are divided into two “acts”, as if a play or musical. Though the liner notes explain the significance of each composition to the overall “narrative”, I never got the feeling that this “story” was essential to the performance or the subsequent enjoyment of the music. Grace is a fine piece of modern jazz, whatever the back story.

I did have a number of favorite tracks; “Chagall”, a piece which moves around skittishly as if it is one of its namesake’s paintings come to life. I love Djangirov’s comping here, which recalls McCoy behind Coltrane on “My Favorite Things”. “Luke Sky Walker” featuring some energetic playing from Allen as he is being “chased” by Djangirov is also strong.  “Cross Damon” which with its mournful beginning, suggests Coltrane’s “Alabama”, before Barber kicks it into high gear and Allen joyfully follows his lead; as if to say “the time for mourning is over, let’s celebrate”. Barber is a terrific young drummer. I had never heard him before this album but I will pay attention from now on. “Papillion 1973” is a favorite for two reasons: Djangirov’s solo which is one of his strongest on the album and also that it evoked memories of one of Steve McQueen’s finest performance on film. Finally, “Selah (My Refuge)”, is the most traditional piece on the album. Allen’s tenor is bluesy is gorgeous and Djangirov provides appropriately understated counterpoint. It’s a calming place to come and reflect after being taken on an exhilarating ride.

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Four “Under The Radar” Tenor Saxophonists

Posted in Under The Radar, Unsung Saxophone Masters, Who's New in Jazz with tags , , , , , on June 19, 2013 by curtjazz

elias haslangerAs we said last week, there are a lot of fine, living saxophonists out there who are not getting their due. Last week we dropped a few alto players on you. This week we have four tenors. Again, there are others, these are just four that I’m listening to now. Each paragraph includes a link to the artist’s website, if any, and a link to a place to buy some of their music.

Elias Haslanger

When I’m looking for someplace to hear a great tenor saxophonist, I normally don’t head to Austin, TX. After hearing Elias Haslanger, I may have to add another stop to my itinerary. Elias has been on the scene for about 25 years. A Texas native, he attended the Manhattan School of Music and has played and recorded with Maynard Ferguson, Ellis Marsalis, Bob Dorough and even Bruce Springsteen. After paying his New York dues for many years, Haslanger decided to return home to Austin, where he has set up SRO shop at the famed Continental Club on Monday nights. Haslanger has named Stanley Turrentine as one of his major influences and you can hear traces of Mr. T all over Elias’ big soulful Texas Tenor sound. His latest album Church on Monday is a stone groove in the Turrentine/Shirley Scott mode, with Dr. James Polk, Ray Charles’s longtime musical director, on the B3.

Erica Lindsay

I first became aware of Erica Lindsay via her work with one of my favorite “Under The Radar” pianists, Sumi Tonooka. Born in San Francisco, Ms. Lindsay spent much of her formative years in Europe with her parents who had moved there during the sixties. This exposed her at an early age to the jazz of other American expatriates, such as Dexter Gordon, Benny Bailey and Mal Waldron.  Ms. Lindsay returned to the U.S. to stay in 1980, settling in New York and becoming part of the jazz scene, the performance art scene and writing music for television and dance.  On tenor, her sound is robust and powerful. The Coltrane influence is strong but you can also hear a bit of Gordon in there as well. Ms. Lindsay’s  discography is limited but quite good; the most highly recommended being Dreamer, her 1992 debut and Initiation, her 2008 collaboration with Ms. Tonooka.

Dayna Stephens

Like many fine musicians, you’ll see Dayna Stephens’ name in the credits of many of the better jazz albums of the last few years but his  discography as a leader is small. You can easily why others track this cat down. His tenor sound is a big, warm and clear, out of the Joe Henderson/Wayne Shorter school. Nevertheless, I would not call him a clone of either of these two giants as he has his own sound that is growing more distinctive. Those who he has played with include Gerald Clayton, Gretchen Parlato and Taylor Eigsti, who have all returned the favor on Stephens’ recordings. You can check out any one of his three albums but a great place to start is his most recent one, this year’s That Nepenthetic Place on Sunnyside Records.

I would be remiss if I didn’t mention that though Dayna Stephens is still active, he has been facing some very serious health problems. He suffers from a congenital kidney ailment, undergoes daily dialysis and is awaiting a transplant. His medical expenses, needless to say are tremendous. If you would like more information on how to help, you can go to HelpDaynaStephens.org.

Brandon Wright

The great James Brown trombonist Fred Wesley said that “Brandon Wright is a young White cat who sounds like an old Black man.” Well, I’ll leave the judgements concerning Melanin count to Fred.  I will say that Brandon Wright can play his butt off. A New Jersey native, Wright, who is now in his early thirties, is a veteran of the Mingus Big Band, Chico O’Farrill’s Big Band and an apprenticeship with Mr. Wesley. His two albums on Posi-tone, Boiling Point and Journeyman are impressive pieces of post-bop, in which Wright acquits himself quite well while surrounded by a veteran group of sidemen. Wright says that one of his earliest inspirations to play the saxophone came from seeing Lisa Simpson of the animated Simpsons, play her sax. Lisa has had a very successful run, let’s hope the same for Mr. Wright.

As always I hope that there’s a new discovery for you in at least one of these artists. If you like their work support them by seeing them live, buying their CDs or legally downloading their music. That’s the only way that we will keep jazz alive.

More “Under The Radar” living jazz artists next week. Until then, “The Jazz Continues…”

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A Rich Jazz Jam at Poor Richard’s

Posted in Jazz in Charlotte, Who's New in Jazz with tags , , , , , , on June 14, 2013 by curtjazz
Tim Scott, Jr.

Tim Scott, Jr.

“While we don’t want to come here and play a bunch of instrumental R&B, we also don’t want to be trapped in the traditions…” – Tim Scott, Jr.

When I conceived the idea of writing this post, it was supposed to be about the start of something big. As it turns out, we end up writing about a brief, shining moment.

On April 8th a group of young Charlotte based musicians had arranged to come together a Poor Richard’s Book Shoppe a local bookstore, for what was to be an every Monday night Jazz Jam Session. They were led by Tim Scott, Jr. a fine young drummer (no relation to the SC Senator, to my knowledge)  and his group “Fat Snacks”. They wanted to recreate the spirit of the old jams of the 40’s, 50’s and 60’s, which birthed some of jazz’s greatest stars and innovations. To do something like this in a place like Charlotte which is not (yet) known for its jazz scene was, to me, very exciting indeed.

It took me a while to find Poor Richard’s but once I did, I got chills from what I saw. The jam had already started and on the stage was a quintet of musicians, all from my estimation in their early to mid twenties and very talented. They were exploring the boundaries of jazz and what it meant to them. It was clear that they all had some knowledge of jazz traditions but they were not chained to conventions that were over half a century old. These young cats were all born in the late 20th century and came of age in the 21st. Their common language is not Tin Pan Alley, Jump Blues or even Motown but it is the hip-hop, R&B and rock artists of today.

Though many of my generation and older scoff at younger players for just this reason, I for one find it very exciting. It gives me hope for growth in the music I love and a sense that maybe jazz has a chance to get out of the museums and into the consciousness of some millennials.

There was an enthusiastic crowd of about two dozen people of all races, ages, sexes and sizes, jammed into the intimate Poor Richard’s space. People grabbed chairs, sofas and floor wherever they could and the mood was very relaxed.

The ten or so musicians who dropped into and off of the makeshift stage were generally excellent. Scott, Jr. took on the defacto role of leader, making announcements and introductions but also driving the band from behind his drum kit with shouts of encouragement and most importantly, a steady, driving beat. Jonny Fung on guitar has absorbed the lessons of the jazz and rock guitar greats into a cohesive sound that is fascinating. Tim Singh on bass is already a pro’s pro at his young age, commanding the rhythm and soloing with ease. Henry Cummings (you’ll see him in a green t-shirt in the videos) plays some cool melodies on his alto sax.

There was one musician who caught my attention above all others; Marcus Jones on alto sax. Looking relaxed in his backward baseball cap as he waited his turn, he was as unassuming as could be. But when he began to blow it was with the fire, precision and unrelenting creativity of a Cannonball Adderley. I had never heard Mr. Jones’ name before that night. I will not forget it from now on. Check out the accompanying video clips, for evidence of what I’m saying. Watch out for Marcus Jones, I expect that we will hear a lot from him outside of the Charlotte area.

It seemed as if the jam was an idea whose time had come. Attendance was good the first few sessions and word of mouth had created a bit of buzz behind it. But unfortunately fate intervened in an unkind way.  Poor Richard’s was unexpectedly forced to vacate its location on May 17. The Monday Night Jazz Jam had its final performance on Monday, May 13, a scant five weeks after it had begun.  We are left with the hope that either the bookstore will find another home that will welcome the music or that some venue in the area will champion the idea of a jazz jam and start the ball rolling again. Until then, we have a lot of hope and a few lasting memories. In spite of it all, jazz is alive in Charlotte, NC.

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Four “Under The Radar” Alto Saxophonists

Posted in Under The Radar, Unsung Saxophone Masters, Video Vault, Who's New in Jazz with tags , , , , , , on June 11, 2013 by curtjazz

tk blue - latin birdYou know what y’all? There are a lot of good saxophonists playing under the radar these days. As I set out to write this piece, I planned to scribble a few names down, pare it down to four and get it done. But a strange thing happened, as I scribbled the list just kept growing and growing. Long story short, there were so many that we’re splitting this first go around into alto and tenor saxophonists. Alto this week and tenor next.

So here in alpha order are four fine alto saxophonists who should get a wider hearing:

T.K. Blue

I first heard T.K. Blue (aka Talib Kibwe or Eugene Rhynie) several years ago when he was playing on a session by a drummer whose name I now forget. As I now recall, Mr. Blue was the only redeeming thing about that session. I’ve kept up with his work from that point on and he has continued to impress me both as a sideman and on his own releases. Like many alto saxophonists, Mr. Blue has been strongly influenced by Charlie Parker but his Caribbean roots add another layer to his sound that makes him unique. I strongly recommend his two most recent projects: Follow The North Star, a fascinating musical retelling of the story of Solomon Northup and his book Twelve Years a Slave and Latin Bird, which as you may have guessed is a Latin and Caribbean tinged romp through the music of Charlie Parker.

Sharel Cassity

This Oklahoma City native got her big break when she sat in at a New Year’s 2008 jam session in NYC. She followed Roy Hargrove and Antonio Hart’s solos on “Be-Bop”. She acquitted herself so well that Hargrove and Jimmy Heath, who was in attendance, both asked Ms. Cassity to join their big bands on the spot. In addition to stints with both of those bands, this graduate of The New School and Julliard has appeared with the Diva Big Band, Nicholas Payton, Christian McBride, Mark Whitfield and many others. Her greatest triumph though has been Relentless, her critically acclaimed 2009 disc. We expect to hear much more from Ms. Cassity in the future.

Tim Green

Like this writer, Tim Green was “raised in the church”; like me, he also was influenced by all kinds of music, secular and Christian.  The Baltimore native, who finished 2nd in the 2008 Monk Saxophone Competition, has played and recorded with a wide range of artists from Kirk Franklin to Kenny Burrell to Donnie McClurkin and Hubert Laws. His work on the alto  has been lauded by musicians of all stripes and Jazz Times has called Green ” a player to watch”. His most recent release Songs From This Season, has been heralded by the critics and will likely end up on a number of this year’s “Best Of” lists. Mr. Green is not likely to be under the radar for long, be the first on your block to ‘discover’ him.

Sherman Irby

A melodic alto player out of the Cannonball Adderley school, Mr. Irby has been around for the better part of 15 years; as a solo artist as well as a sideman for Wynton Marsalis, Roy Hargrove, Marcus Roberts and others. He released a couple of strong albums for Blue Note in the late ’90’s, Full Circle and Big Mama’s Biscuits but they got lost in the glut of “New Young Lions” releases of that era. Of late, Irby has been a member of Wynton’s Jazz At Lincoln Center Orchestra and produced some very strong work on his own Black Warrior record label, of which two albums, Black Warrior from 2006 and 2011’s Live at the Otto Club, are standouts.

Be sure to use the links throughout this post to get more info about the artists whose music you enjoy and most importantly, support them by attending their concerts if they come to your area and buying their CDs or legally downloading their music.

Next week we’ll cover some tenor sax players.

Until the next time, the jazz continues…

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Fred Wesley and Two Saxophonists to Watch

Posted in Jazz in Charlotte, Under The Radar, Unsung Saxophone Masters, Unsung Women of Jazz, Video Vault, Who's New in Jazz with tags , , , , on June 9, 2013 by curtjazz

susanne altIt’s funny sometimes how a search for one thing can lead to another. During the May edition of THE JAZZ ROOM here in Charlotte, I was introduced to the talents of tenor saxophonist Phillip Whack, who was playing with Mark Rapp during the Miles Davis tribute. Mr. Whack turned in an impressive performance that night that arguably stole the show.

I spoke to Phillip after the show and found out a little about his background. He is a Carolinas native, that unfortunately he does not have any available recordings at this time and that he has spent a bit of time touring with Fred Wesley, the legendary trombonist of the J.B.’s; James Brown’s backup band.

Phillip Whack

Phillip Whack

I was inspired then to go to YouTube in search of some footage of Whack and Wesley. I found a good bit of it but I also made another discovery; on the bandstand during several of the performances was a young woman next to Whack, playing alto sax. The fact that she is fairly easy on the eyes is immediately apparent. The next thing you notice is that she is a very good saxophonist and her presence on the stand is by no means a novelty. Her name is Susanne Alt.

This led me to widen my search for more information concerning Ms. Alt. She was born in Germany and is now based in Amsterdam. She has released five albums as a leader, which range in styles from post bop to house to J.B.’s style funk. She has her own YouTube Channel, Venustunes where you can view and hear copious evidence of her musical talents. I can recommend a trio of her albums – Nocturne, her straightahead 2004 recording debut; On Track a funk steeped 2009 release that features Mr. Wesley and Live at Bimhuis from 2011, which covers all facets of her musical personality.

So here you have two gifted saxophonists that you’ve probably heard not a lot about, Phillip Whack and Susanne Alt. The two-part video clip included here features a dynamite performance of “Chameleon” from a Fred Wesley and the New J.B.’s club date at JazzClub Minden in Minden, Germany, that was featured on Venustunes. This was the set opener so everybody gets a turn. Alt starts at about 5:25 of Part 1 and takes it to the end. Whack opens Part 2 and shows that he will not be outdone.

It’s great funk from some master musicians and a chance to make a few new discoveries. Enjoy!

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Jazz Under the Radar – Four Trumpets That You Should Hear

Posted in Video Vault, Who's New in Jazz with tags , , , , , , , on June 5, 2013 by curtjazz

Keyon HarroldIf you’re familiar with my Twitter Feed, you know that on Mondays (#MusicMonday as it’s known in the Twitterverse), I usually at some point during the day will ask followers to check out the music of a living, working musician that they are unfamiliar with.

I do that because as much as I love the jazz classics, I realize that if this music is to have any hope of a future it will come not at the hands of Miles, Monk and Diz but with the musicians who are out there today, working and creating music that is influenced not only by the past masters but by what is happening out there now. So if by dropping that little reminder each Monday, I can get someone to dig and then support ($) someone new, maybe I will have done a little something.

As I’ve done this, I’ve had people reply with the request that I give them a few suggestions of artists to familiarize themselves with. Those who are playing  and recording great music but have managed to miss the general attention of much of the jazz public.

So even though this is a Wednesday, I’m going to start what I hope to make a Monday tradition – “Jazz Under the Radar”; in which I’ll suggest a few artists who might have missed your attention but are definitely worth checking out.

We’ll start with a few trumpet players and we’ll switch the categories up each week. There will be a video clip and a link to the artist’s website, if any, and to an album or two that you can currently purchase. Here are four, in alphabetical order:

Rebecca Coupe Franks

A protegé of the late tenor giant Joe Henderson, Ms. Franks (or “Coupe” as she is often called) has been on the scene for over 20 years, logging credits with Henderson, Kenny Barron and Herb Ellis among others. She first caught my ear on My Appreciation, a 1991 studio jam session that was released under Bill Cosby’s name. She has released a number of albums over the years, including Suit of Armor, her solid 1992 debut as a leader, which featured Henderson and her most recent, Two Oceans a two disc set on which she is backed by Luis Perdomo, Mimi Green and Rodney Green.

Check out the clip below and “Coupe” might just catch your ear, too.

Keyon Harrold

When have been sought by artists from Jay-Z to Fred Hammond to Maxwell to Charles Tolliver, to perform on their projects, you know that you’ve got it going on.  And Mr. Harrold certainly does. He counts Eddie Henderson and Jimmy Owens as teachers and Wynton Marsalis and Tolliver as mentors, so his knowledge of jazz traditions is excellent but since he’s in his early 30’s hip-hop has also had a strong pull. His technique is very strong, with the power of Morgan and the  swagger of Hubbard. Harrold has one album to his credit as of today, 2009’s Introducing Keyon Harrold on Criss Cross. Rest assured, you will hear more from him.

Melvin Jones

The 2011 Atlanta Jazz Festival had just begun. Vocalist Audrey Shakir was about 15 minutes into her set, when her trumpet player stepped forward to deliver a killer solo on the song that they were playing and then another on the next tune. I had never seen this young man before and his name wasn’t immediately announced so I put out an APB into the Twitterworld: “who is the young cat playing trumpet with Audrey Shakir? He is the real deal!” A few minutes later the answer came – Melvin Jones. At about the same time, Ms. Shakir disappeared from the stage for the rest of the set. We later found out that she had wilted under the blazing Memorial Day weekend sun. Mr. Jones and the band picked up the ball and ran with it. Most of the audience barely noticed the singer’s absence.

Melvin Jones returned with his own set for the 2012 AJF. As you will hear in this clip that I recorded then, the previous year was not a fluke. The Atlanta-based Memphis native has one album out. The title is Pivot. It is worth checking out.

By the way, the saxophonist in the clip is Mace Hibbard, another very good musician who’s under the radar.

Jason Parker

This Seattle-based cat is like Ms. Franks,  a 20+ year veteran of the jazz wars. He’s a fine soloist with a buttery middle tone and an easygoing swing. He writes memorable compositions that tend to stick with you after hearing them just once. He’s also a compelling writer, having written extensively about his musical life in his blog “One Working Musician”.  His recorded work reflects the indie spirit of Mr. Parker’s hometown and it’s refreshingly unconventional. I suggest that you start with the most recent two: No More, No Less, which was a Curt’s Cafe Best of 2009 selection and Five Leaves Left a distinctive Nick Drake tribute from 2011.

But don’t take my word for it, just listen to “Bashert”.  Then try to get that subtly beautiful melody out of your head afterwards.

Well, those are four but there are many more. If you’re familiar with all of them, then count yourself fortunate and look for others. If one of these names is new to you, check them out. Support the music of living, working musicians.

Next week, we’ll feature saxophonists.

Until then, the jazz continues…

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Mulgrew Miller – A Video Memorial

Posted in In Memoriam, Video Vault with tags , , , on June 1, 2013 by curtjazz

mulgrew millerAs most jazz fans know by now, Mulgrew Miller passed away on May 29 at 57, due to complications from a massive stroke he had suffered a few days before.

Though casual jazz fans may not have known his name, he was considered by many (myself included) to be one of the outstanding pianists of his generation.

Much has been written in the last few days about the man and his art by those far more knowledgeable than I, so I will let their words suffice as many of those who have written knew “Grew” personally.

Instead I would like to pay tribute by posting three of the many fine performances that he delivered over the years and a few sage words of wisdom from the man himself, that he shared with some young musicians. I’ve also listed a few of his best recordings as a leader, for those with some catching up to do.

Rest in Peace, Brother Mulgrew. The musical world that was so enhanced by your presence is diminished incalculably by your departure.

Recommended Recordings

Work (Landmark) – One of his earliest dates as a leader with Charnett Moffett on bass and Terri Lyne Carrington on drums. Out of Print and expensive. Grab it if you see a reasonably priced copy.

Hand in Hand (Novus) – My personal favorite. Eddie and Joe Henderson, Steve Nelson on vibes, Lewis Nash on drums, a young Christian McBride and Mulgrew’s compositions and amazing solos. One of the best jazz albums of the ’90’s. Also Out of Print.

The Sequel (MaxJazz) – This was a 2002 revival of Wingspan, a formidable quintet that Miller had originally formed in 1987. This time around they were a sextet with the addition of Duane Eubanks on trumpet. Though the membership is mostly different, they hadn’t skipped a beat in 15 years, due mostly to Mr. Miller’s strong guiding hand. CD is OOP but it’s currently available on mp3 at a very reasonable price.

Live at Yoshi’s – Volume Two (MaxJazz) – This was the second of two excellent volumes that Miller and his trio recorded at the famed Bay Area jazz club in a 2003 session. The reason that I give this set the nod over number one is simple; Volume Two is still available on mp3 for those who want it.

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2013 Atlanta Jazz Festival – Hate To Miss It but We’ll Be Back

Posted in Atlanta Jazz Festival 2013 with tags , , , , , on May 24, 2013 by curtjazz
Layers by Charly Palmer - signature artwork of the 2013 Atlanta Jazz Festival

Layers by Charly Palmer – signature artwork of the 2013 Atlanta Jazz Festival

It’s funny how something can become a part of you so quickly.

I had never attended the Atlanta Jazz Festival before 2011. But after having been at the last two, it had already become something that just felt right on Memorial Day Weekend –  the crowds, the atmosphere, spending quality time with my family and of course, the great music. As 2012 gave way to 2013, the 36th AJF was definitely marked on my calendar.

Then, as many of you know, I faced some unexpected health problems earlier this year. I am recovering quite well, thanks to God and my doctors but my initial recuperation made for some challenges of the kind we didn’t expect, in the area of time off from our “real jobs” to be in Atlanta all weekend.

So my wife and I talked it over and we very reluctantly decided to take this year off from the AJF. It’s scheduled to start tomorrow and man, it feels weird not to be packing a bag and prepping to head to Atlanta in a few hours. It has also felt a little odd to not write my series of festival preview articles for this blog over the last couple of weeks.

So here’s the schedule for the weekend. Kudos to those who program the AJF because the schedule gets stronger and more relevant each year. If you’re a jazz fan and in the ATL this weekend you have to go. And as usual, the AJF events at Piedmont Park are free.

Save me a spot on the lawn and in the hospitality tent because CurtJazz and the crew will be back at Piedmont Park in 2014!

36th Atlanta Jazz Festival – Piedmont Park May 25 – 27, 2013

Saturday, May 25

Main Stage

  • 1pm – Stephenson High School Jazz Ensemble
  • 3pm – Aaron Diehl Quartet
  • 5pm – Alexandra Jackson
  • 7pm – Meshell Ndegeocello
  • 9pm – Ambrose Akinmusire Quintet

International Stage

  • 2pm – Tri-Cities High School Jazz Band
  • 3:30pm – Aruán Ortiz Quartet
  • 5:00pm – Rio Negro
  • 6:30pm – Cécile McLorin Salvant

Sunday, May 26

Main Stage

  • 1pm – North Atlanta Center for The Arts Jazz Band
  • 3pm – Rialto Jazz for Kids All Star Jazz Band
  • 5pm – Jacob Deaton and the Tribulaton Band
  • 7pm – Gretchen Parlato
  • 9pm – Tia Fuller

International Stage

  • 3:30pm – J. C. Young Middle School Jazz Ensemble
  • 5:00pm – Ginou Oriol
  • 6:30pm – Rudresh Mahanthappa’s Gamak

Monday, May 27

Main Stage

  • 1pm – Benjamin Mays High School Jazz Orchestra
  • 3pm – Rialto Youth Jazz Orchestra
  • 5pm – Julie Dexter
  • 7pm – The Dominick Farinacci Group
  • 9pm – José James

International Stage

  • 3:30pm – The Westlake High School Jazz Ensemble
  • 5:00pm – Uri Gurvich Quartet
  • 6:30pm – The Miguel Zenón Quartet

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A Room of Our Own in Charlotte

Posted in Jazz in Charlotte, The Jazz Continues... with tags , , , , , , , on May 19, 2013 by curtjazz

The Jazz Room - Spring 13In the dozen or so years that I’ve called Charlotte home, the city’s relationship with the music I love has been at best, tenuous. Big name artists will come to town occasionally for a night, on their way to somewhere else. There have been several clubs that have used the word “jazz” in their name but how much actual jazz was performed in them was often limited. I think that those involved liked the idea of being a “jazz club” and the aura of coolness that went with the moniker but most of the time what you got when you walked through the doors was rehashed instrumental funk and loud, second-rate R&B groups.

Meanwhile most of us lovers of traditional jazz were left to either wait for the headliners to pass through or support these local so-called jazz clubs, hoping to be thrown an occaisonal bone for our patience. All the while wishing to have a room of our own, where we could hear the jazz of Miles, Diz, Monk and Newk.

Thanks to Lonnie Davis and the great people of the Jazz Arts Initiative (JAI) of Charlotte, our patience has been rewarded.

Last month the JAI premiered “THE JAZZ ROOM”, which for now is occurring on the 3rd Tuesday of every month at the Stage Door Theater; a black box space in the Blumenthal Performing Arts Center in Charlotte’s Uptown business district. Through the magic of stagecraft, the space is transformed into an elegant jazz club, complete with candlelit tables in the front of the room and general admission seating toward the rear. The concerts begin at 6 pm, allowing those who are getting off from work in the area to come in after a hard day, have a drink and hear some great jazz played by some of the finest musicians that this region has to offer. Tickets for each event are currently a very reasonable $10.

The Jazz Room - Spring 13

The series got off to a great start in April with pianist Chad Lawson paying an outstanding tribute to the music of Bill Evans before a sold out and very enthusiastic audience. The series continues on May 21 with trumpeter Mark Rapp leading a quintet, playing the music of Miles Davis. This performance is already nearly sold out. The next two dates have also been announced with trombonist Tyrone Jefferson in a tribute to Slide Hampton on June 18 and saxophonist Tim Gordon honoring Dexter Gordon (no relation) on July 16th.

Jazz Room 3

Would we like for THE JAZZ ROOM to be open more than once a month? Of course; but let’s face it, you’ve got to crawl before you walk or run. Any kind of jazz series, contemporary or traditional, is a tough sell in this economy so building an audience incrementally is a wise business model. Right now it seems as if Ms. Davis and the JAI may be onto something which will work in the long run and we Charlotteans who love jazz are very, very grateful. Kudos to Lonnie, Ocie, Glyn and all of those in the leadership of the JAI.

By the way the onstage MC at THE JAZZ ROOM is a grizzled veteran jazz radio DJ/magazine columnist/blogger named Curtis Davenport. Please try to forgive his corny jokes; he writes his own material.

For more information on the JAI and THE JAZZ ROOM, visit the JAI Website. To purchase tickets for any of the upcoming JAZZ ROOM events, go to Carolina Tix.

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