I’ve done a bunch of these birthday video tributes over the years but I somehow missed Birks. Well, let’s rectify that now.
People who know nothing about jazz know his name, his signature bent trumpet and his iconic “puffy cheeks” when blowing his trumpet. He influenced so many who came behind him. There would be no Miles, Hub, Morgan, Shaw, Wynton or Hargrove without Dizzy.
Born on October 21, 1917 in Cheraw, SC, today marks the 96th Anniversary of his birth.
But you didn’t come here for the history lesson, you came for the clips, so here are a few choice ones of the legend at various stages of his illustrious career.
WHY STOP NOW…UBUNTU – GroundBlue Records GB0001 www.michaelpedicin.comWhy Stop Now; Tunji; Downtown Found; Then I Saw You; Trane Stop; 27 Up; Newtown; Song of The Underground Railroad; Ubuntu
PERSONNEL: Michael Pedicin, tenor saxophone; Johnnie Valentino, guitar; Andy Lalasis, acoustic bass; Rick Germanson, acoustic piano, fender rhodes piano; Vic Stevens, drums
By Curtis Davenport
For every “star” that the jazz media gets excited about, there are ten cats like Michael Pedicin.
Guys who are strong technicians, who day in and day out can play just about anything, who make a living in the studios and on the big name tours but whose names are forgotten by the public as soon as they are mentioned by the star when/if they introduce the band. Michael Pedicin’s name was new to me when I received this disc for review but there was something naggingly familiar about it. I had heard of him before but I couldn’t recall where. Then I started doing a bit of research and it all came together. I cut my musical teeth on the albums in the ‘70’s that came out of Kenny Gamble and Leon Huff’s Philadelphia International Records. Geek that I was/am, I also read the liner notes of these albums voraciously. Michael Pedicin (or Michael Pedicin, Jr. as he was known then) appeared in the sax section of a countless number of these records. In addition to his time over at Sigma Sound Studios, Pedicin spent two years in Dave Brubeck’s group, founded Temple University’s jazz studies program and earned a doctorate in psychology. Now Michael Pedicin is finally playing the music that he wants to play. Why Stop Now…Ubuntuis the latest in a series of strong, personal musical statements that Pedicin has made over the last six years.
Pedicin freely admits to having two major musical influences, Michael Brecker and John Coltrane. The two covers on the album are Coltrane tunes. However even on the other selections, which were composed by Pedicin or members of his band, the spirit of the two mentors is quite strong. “Tunji”, a rarely covered tune from the 1962 Coltrane album, is majestic with a searching statement from Pedicin’s sax, which cascades through multiple choruses and a swinging 4/4 solo by pianist Rick Germanson. The doubling of the tenor and Johnnie Valentino’s guitar on the melody line adds a nice touch. “Song of the Underground Railroad”, fromThe Complete Africa/Brass Sessions, is given a quasi hip hop update, which works only because of Pedicin’s hard grooving solo.
Mr. Pedicin is also an outstanding interpreter of ballads, which is evidenced on “Then I Saw You”, written by Valentino, on which the tenorman lets his passion flow as he caresses each note, making an articulate, romantic statement before turning things over to Mr. Valentino for a tasty single line solo. “Newtown” is a heartbreaking tribute to the victims of the infamous mass murder at the Connecticut elementary school, also written by Valentino. Here Pedicin is more like Brecker than Trane as he conveys the despair that we all felt on that day last December, before changing tempo in the mid-section as he looks for hope in the midst of the bleakness. “Why Stop Now” crackles with energy as Pedcin alternates staccato and legato passages in front of Rick Germanson’s rolling piano and Valentino’s guitar. Valentino, a noted L.A. session cat, is a strong composer and has a bit of Grant Green in his guitar, which for me is never a bad thing. Milwaukee native Germanson is a veteran of many recordings, including four good records as a leader. His skittish solo on “Trane Stop” is a highlight.
For me, the difference between an “artist” and a “performer” is the finding of one’s voice. It can come at an early age, it can come late or it can never come. Michael Pedicin apparently found his sometime around age 60 and Why Stop Now…Ubuntu is one of the sweet fruits.
SWINGFULLY YOURS – Magenta Label Group LHM-CD-101 www.lostonharris.comKiss and Run; Nice Work If You Can Get It; I’m Old Fashioned; Hey You With The Crazy Eyes; How About You; I’ve Got The World On A String; 9:26 Special; The Lamp Is Low; You Can’t Love ‘Em All
PERSONNEL: Loston Harris, piano, vocals; Ian Hendrickson-Smith, tenor saxophone; Gianluca Renzi, bass; Carmen Intorre, Jr, drums
By Curtis Davenport
I was very pleased to see this CD from Loston Harris come across my desk. I had first enjoyed the work of this Virginia native in the late’90’s, when his Comes LoveCD was on the playlist of the radio station I was then working for. His recordings in the ensuing 15 years have been sporadic but always enjoyable. Swingfully Yours, his fifth disc, is no exception.
Many New Yorkers are already familiar with Mr. Harris from his decade as a headliner in Bemelmans Bar at the Carlyle Hotel, a role previously held by Bobby Short. Those in Los Angeles know him from his regular gigs at The Whisper. However on his recordings Harris has consistently shed his cabaret conventions in favor of a hard swinging, somewhat percussive piano style that betray his musical beginnings as a drummer. When you find out a little about Mr. Harris’ background, you understand his sound. He’s a protégé of Ellis Marsalis, who he met through Harry Connick, Jr. Harris also has studied with Geri Allen and the late Dr. Billy Taylor. With all those folks around him, how could Loston keep from swinging? And like his piano pal Connick, Harris also sings rather well.
On Swingfully Yours, Mr. Harris sticks to the formula that has worked so well for him in the past; well-known standards mixed with a few rarities from the great composers. Harris himself describes the album quite succinctly on the inside cover: “This recording is all about swing. No torch songs or ballads, just tunes with tempos that make you wanna tap your toes.” He is accompanied by his new working group, a simpatico trio of young New York based pros; bassist Gianluca Renzi, drummer Carmen Intorre, Jr. and Ian Hendrickson-Smith on tenor sax. They all get where the leader wants to go and they take him there in high style.
Harris’ early albums concentrated on instrumentals with a few vocals thrown in. Now, perhaps due to the expectations of his cabaret audience, that balance has reversed. Swingfully Yourshas only two instrumental tracks but both are choice. The disc springs to life with one of them, “Kiss and Run”, the minor classic, performed memorably in the past by Johnny Hartman and Bill Henderson, among others. Here Harris and company romp joyously through it as if opening their nightly set. You can hear one of Harris’ teachers, Dr. Taylor, all over Loston’s festive solo, as Renzi and Intorre keep perfect time. He is followed by Hendrickson-Smith, a very versatile and creative saxman who deserves much wider recognition and brief statements from Renzi and Intorre before the out chorus. It’s classy without sacrificing an ounce of swing. The other instrumental is “9:26 Special”, Harris’ arrangement of “9:20 Special” the swing chestnut by longtime Basie saxophonist Earle Warren. This arrangement was so infectious that I listened at least three times before moving on. Harris is not only a fine soloist but a good accompanist as well. I loved the intricate figures he was playing in support of Hendrickson-Smith on this track and throughout the album. Among the vocal tracks the most notable were “The Lamp is Low” taken at bop speed with a Petersonesque solo by the leader and the saxophonist matching him step for speedy step; “Nice Work if You Can Get It” has an inventive mid-tempo boogie rhythm with a real strong left hand from Harris and “How About You”, is taken at a mid-tempo burn that makes it the closest thing to a ballad on this set. Harris’ vocal put this old warhorse over in a delightful manner that says “I’ve sung this a hundred times and I’m still finding new things in it”. Because he does, we do too.
Swingfully Yours is another fine album from Loston Harris, who has grown by leaps and bounds as a pianist and as a singer over his two decade career. There was only a two-year gap between this album and its predecessor. That’s encouraging. Perhaps it’s a sign that those of us outside of NYC and LA will hear from Mr. Harris a bit more often.
THE VIGIL – Stretch Records CJA-34578-02 www.concordmusicgroup.com Galaxy 32 Star 4; Planet Chia; Portals to Forever; Royalty; Outside of Space; Pledge for Peace; Legacy
PERSONNEL: Chick Corea, piano, Motif XF8, Moog Voyager; Tim Garland, tenor saxophone, soprano saxophone, bass clarinet, flute; Charles Altura, electric guitar, acoustic guitar; Harien Feraud, bass; Marcus Gilmore, drums; Pernell Saturnino, percussion; Gayle Moran Corea, vocals; Stanley Clarke, bass; Ravi Coltrane, saxophone
At 72, an age when many are looking to take things a bit easier, Armando Anthony Corea is busier than ever. For the past decade, the 20 time Grammy Winner has been releasing new albums at the rate of a little over one per year. There have been trio dates, duos with Gary Burton and a couple of Return to Forever reunion tours. I think that those RTF reunions had an effect on Chick because his new album The Vigilhas a decidedly RTF flavor.
Don’t misunderstand; The Vigilis not a Return to Forever album. Mr. Corea spends about half the time playing acoustic piano and he even drops a traditional 4/4 swing on a couple of tracks but after the last few projects with Burton, Eddie Gomez, the late Paul Motian, et al, I thought that perhaps Mr. Corea had said goodbye to his electric self after RTF played their last live sets in 2011. Thankfully, he had not. The album cover, with its decidedly L. Ron Hubbard-esque artwork, should tell you right away that the ‘Electric Chick’ is still with us.
This seven song set is Corea’s first album of all original tunes in over a decade. ‘Electric Chick’ throws the first punch on “Galaxy 32 Star 4”; a driving sharp-edged track with Chick burning up his synthesizers with glee and ample support from French bassist Hadrien Feraud and Marcus Gilmore, a world-class drummer whose work I’ve enjoyed for a while before finding out just today that he is the grandson of the legendary Roy Haynes (which explains a lot). Chick is shredding, Gilmore is throwing bombs and Feraud and percussionist Pernell Saturnino are setting a rock solid bottom. It’s a really powerful start. “Planet Chia” brings us ‘Acoustic Chick’ playing those rock infused Spanish rhythms that have been his trademark for decades. British saxophonist Tim Garland does some terrific work on soprano as Chick and Feraud egg him on. A Corea number like this would not be complete without a guitarist. Charles Altura, a name that is new to me does some impressive work here. “Portals to Forever” is an overt nod to RTF with Corea taking us on a 16 minute tour of the group’s signature styles both electric and acoustic. “Royalty” is a tribute to the great Mr. Haynes, Corea’s “hero, mentor and friend”, whom he met when they both played with Stan Getz in the mid 60’s. It’s a beautiful swinger in three with Corea setting down a relaxed line over which Garland blows a Getz-like tenor and Gilmore steps into his grandfather’s shoes; ably moving the tune forward while keeping impeccable time.
The album’s masterpiece however is “Pledge for Peace”; a seventeen minute tribute to the music and spirit of John Coltrane. This work unfurls in sections, like a symphonic movement. The dissonant intro gives way to an up-tempo mid section with Corea, Gilmore and special guest Stanley Clarke feeding off of each other as if they play together every night. After an epic bass solo by Clarke in the middle, it only seems natural to have a Coltrane tenor solo; and so we get one, from Ravi Coltrane, who seems to have fully come into his own over the last two or three years. His solo is one of his most impressive and fully realized that I’ve ever heard from him. There are still slight elements of his dad’s work in it but more than anything else I felt that this was his own style. Ravi may never be able to fully escape his father’s formidable shadow but he has finally carved out his own space. It’s an amazing track.
The core group that plays with Chick Corea on The Vigilis part of a new band that he has put together. That’s very good news. It’s also good news that he has written some very compelling music for this album. Because what it tells me is that we can expect a lot more great performances from a legend who is not going to be content to rest on his laurels.
UPPITY – Origin Records 82635 http://originarts.comLet’s Conversate; Dance Like No One is Watching; Three Gifts (from a Nigerian Mother to God); Across the Divide; Uppity; Ballad for Trayvon Martin
PERSONNEL: Ralph Bowen, tenor saxophone; Andy Hunter, trombone, keyboards; Eli Asher, trumpet, flugelhorn; Jim Ridl, piano, Fender Rhodes; Kenny Davis, acoustic bass, electric bass; Donald Edwards, drums; Charmaine Lee, vocals; Anthony Branker, composer, musical director
By Curtis Davenport
With a large percentage of jazz musicians being African-American, racial justice has long been a point of contention and frustration for them (us). This frustration has manifested itself in different ways. Many in the 50’s and 60’s aligned themselves with religious groups such as the Nation of Islam, which preached black self-reliance and encouraged members to discard their “slave names” in favor of names that they felt were closer to their original selves. Others left the U.S. altogether and moved to Europe, where they believed the sting of prejudice to be less prevalent. Others remained and turned their frustration into musical expression; albums such as Max Roach’s We Insist! were part of a subgenre that continued to thrive through the 60’s into the 70’s. Though individual compositions dealing with racism and social justice continued to crop up in certain situations (Branford Marsalis’ “Breakfast @ Denny’s” comes to mind), the jazz social protest album had become pretty much a thing of the past.
Recent well publicized events have begun to awaken the sleeping giant; from decisions by the Supreme Court, to controversial decisions by juries in high-profile racially charged cases. President Obama even recently commented on his experiences with being profiled. Jazz musicians do not live in a vacuum. Many are all too personally and painfully aware of the scourge of racism and they express their feelings about it, musically. Dr. Anthony Branker, chairman of the Jazz department at Princeton University has recently created a beautiful and eloquent musical statement about his frustrations, titled Uppity.
Dr. Branker began his career as a trumpeter, including a stint with the Spirit of Life Ensemble, which enjoyed a lengthy stint as the Monday night band at the legendary NYC jazz club, Sweet Basil. His interest in jazz education led Branker to Hunter College and subsequently to Princeton, where he helped to build the ivy-league school’s moribund jazz program. Around 1999, medical problems stemming from a brain aneurysm led him to put down his trumpet and concentrate on composing, arranging and conducting. Dr. Branker has founded two collectives at Princeton, one called Ascent and the other Word Play, each of which has made several previous recordings. It is Word Play that joins him on Uppity, featuring a few well-known NYC jazz musicians such as Ralph Bowen on tenor, Jim Ridl on piano and Donald Edwards on drums. Dr. Branker chose the album title as an acknowledgement of the word that is often used to describe blacks who “don’t know their place” in society as some view it. He cites several high-profile cases where recently young black men who were thought by others not to belong in certain places, paid with their lives for other’s assumptions. And each of the album’s six compositions has something to do with some of these circumstances.
This is not to say that Uppity is a totally dark or angry album. There are joyous moments as well, such as “Let’s Conversate”, a piece of jazz infused with a bit of funk, all riding on Ridl’s skittishly joyous Fender Rhodes, Kenny Davis’ popping electric bass and a sax/’bone duel between Bowen and Andy Hunter. “Dance Like No One is Watching” is in that same vein. “Three Gifts (from a Nigerian Mother to God)” is based on the heartbreaking story of a mother who lost her three children as they returned home from school during a 2005 plane crash. It’s stunningly beautiful music, with a mournful flugelhorn solo by Eli Asher with counterpoint by Bowen and a softly mournful vocal line by Charmaine Lee going on underneath. You will feel the tug at your heartstrings. “Across the Divide” is a plea for us all to take the first step in bridging the gap of understanding. The African rhythms that drive the piece give it a “world music” tinge. The title track, is the most dissonant number on the album, announcing itself with the horns wailing and Edwards bashing out his frustration on the drums. You can almost hear the epithets being hurled. Things settle down a bit in the middle as if there’s an attempt to reach détente with Ridl’s piano acting as mediator. The “peace talks” fall apart and we return to the shouting horns at the end, now joined by Ridl as the frustrated mediator. “Ballad for Trayvon Martin”, written obviously in honor of the Florida teen who went out for snacks last year and somehow ended up dead, closes the album. It is lushly orchestrated with two lengthy and beautiful tenor solos by Mr. Bowen telling the story, in some of his finest recorded work. These solos are broken up by Mr. Ridl’s piano statement which is also quite good.
Anthony Branker’s Uppityis thought-provoking jazz that is still quite accessible for most listeners. I pray that one day it won’t be necessary for artists to write music about such situations but as long as they do, I also hope that they continue to express themselves so powerfully.
CREOLE SOUL – Culture Shock Music EC004 www.etiennecharles.comCreole (intro); Creole; The Folks; You Don’t Love Me; Roots; Memories; Green Chimneys; Turn Your Lights Down Low; Midnight; Close Your Eyes; Doin’ The Thing
PERSONNEL: Etienne Charles, trumpet, flugelhorn, percussion; Brian Hogans, alto saxophone; Obed Calvaire, drums; Jacques Schwarz-Bart, tenor saxophone; Kris Bowers, piano, fender rhodes; Ben Williams, bass; Erol Josué, vocals; Daniel Sadownick, percussion, vocals; D’Achee, percussion, vocals; Alex Wintz, guitar
By Curtis Davenport
One of the reasons that jazz is struggling with the public lately, is a lack of fresh voices. Whether it’s intentional or not, so many artists have a sound that is extremely derivative of someone who came before them. We who write about the music often aren’t much help as we rush to crown “the next Miles”, “the next Hubbard”, “the next Wynton”. So when I hear someone who doesn’t sound like everyone else, I sit up and take notice. Etienne Charles, a 30 year-old trumpet player, originally from Trinidad, has caught my attention.
What differentiates Mr. Charles from some of his contemporaries is his use of rhythm. This is not something that has happened overnight, at least on his recordings. This is Charles fourth album. In the same way that Robert Glasper has evolved into what is now his signature sound; Mr. Charles developed what we hear on Creole Soulover the course of his previous discs. A graduate of Julliard and of Florida State University where he was mentored by pianist Marcus Roberts, Mr. Charles not surprisingly, evinced no small amount of Marsalis family influence in his early work. That is, much of it was rooted in the hard-driving post bop of the ‘60’s. The music was well-played and demonstrated Mr. Charles considerable prowess on his instrument but it did get lost in the straight-ahead shuffle. But there were always these moments on Culture Shock, Folklore and Kaiso, where Charles would delve deeply into the music of his Caribbean roots. I found those to be the most interesting tracks on those albums. On this new album Etienne Charles takes the next step and he has created a sound that while still firmly rooted in jazz, is also deeply infused with the music of Trinidad, Martinique, New Orleans and a few other stops in between.
You know that you’re in for something different from the opening track “Creole”, which features a brief introduction by voodoo priest Erol Josué delivering a chant in the Haitian Creole language, Kweyol. The main part of track then jumps off, riding on Alex Wintz’s guitar lines and a driving kongo groove. Charles then joins in with a trumpet statement that is equal parts rhythmic and majestic. Brian Hogans picks up the same line on the alto sax and takes it to the next level. Then Kris Bowers’ Fender Rhodes settles the proceedings just enough to keep them from boiling over too quickly. All the while Josué’s vocals, Wintz’s guitar and the beat keep are making the song captivating and refreshingly different. “The Folks”, is a soulful groove, mellower than the opener but still memorable, due again to Mr. Charles’ trumpet, Jacques Schwarz-Bart’s tenor and Bowers’ burbling Rhodes, which quietly sets the background throughout much of the album. Then there’s “You Don’t Love Me (No, No, No), a Bo Diddley tune that became a rocksteady hit in the ‘60’s. Charles keeps the infectious beat, adds a full horn line and gives this tune perhaps its third life. I could easily see a hip club DJ throwing it in the mix, even though it is still very much a jazz tune. Mr. Charles also has roots in Martinique, which he pays tribute to on “Roots” an up-tempo jazz tune with a touch of the bel-air beat that Martinique is known for and a vocal chant break in the middle. Also among the cover tunes is Monk’s “Green Chimneys” imagined here with a very subtle calypso beat which sounds very interesting against Bowers dancing piano chords. And Bob Marley’s “Turn Your Lights Down Low” interpreted as reggae-jazz, with Charles soothing flugelhorn leading the way.
Creole Soulis a rousing success because Etienne Charles doesn’t try to force the marriage of jazz and other musical genres. He lets it happen naturally, employing other young musicians who are completely on board with his vision. They have created something that is different and exciting. Creole Soulis jazz that takes the two words of its title seriously and that’s what makes it distinctive.
I’ve written posts here before about Dr. Martin Luther King, Jr. and how he and his life and work meant so much directly to my parents and indirectly to me as I was not quite eight years old when he was assassinated. I’ve studied him at length over the years and I’ve grown to admire him greatly.
I recall that a few weeks after Dr. King’s murder, my parents bought the album that you see pictured here, which included Dr. King and many other speakers from the day, including Roy Wilkins, A. Phillip Randolph and John Lewis. The liner notes by the way, were written by the great jazz writer and 1st amendment advocate Nat Hentoff.
That album was on heavy rotation in my home for at least a year, maybe more. In that time I became extremely familiar with Dr. King’s words from that day and the majesty of his oratory. In addition, I was exposed to the stentorian tones of Mr. Randolph and the youthful passion of Mr. Lewis both of which have stuck with me to this day.
As I got older and did a little acting, I was asked on many occasions to recreate Dr. King’s word from that day in 1963. As I took on the daunting task of memorizing the entire 16 minute plus speech, the words grew in meaning for me exponentially. I always felt that the public was cheated each year during January and February when television would truncate everything down to the words “I have a dream” and “Free at last, Free at last…”. To me it was if you had reduced the entire Holy Bible to “Jesus Wept” (John 11:35).
In most cases, I was asked in performance to “skip to the good part”, beginning with “I say to you today my friends, so even though we face the difficulties of today and tomorrow, I still have a dream…”. (This is the first mention of the immortal words, which occurs about 11 minutes in, when King decided to abandon his prepared text and decided to “preach”, using words he first had used in a speech in Detroit two months earlier.) As a performer, I understood why folks asked me to do this. There’s still a little over five minutes left in the speech and all of it is highly memorable.
But it was still frustrating as even five minutes was too much for some. I remember the youth pastor of a church that I was attending, begging me to come out to Jones Beach one Sunday evening to deliver “the good part” at a summertime concert. He asked me to come in full suit and tie, which made me feel ridiculous while everyone else, this pastor included, was in t-shirt and shorts. He then took a few minutes to apologize to the audience before I came on, because I was going to deliver “the whole speech” as he called this 5 minute segment and he then begged them not to leave while I performed.
Having been set up for failure, I nevertheless went on, in spite of being now mocked by some drunks who felt empowered by this man’s apology. The final insult came when this youth pastor returned as I finish to literally hold me in place on the stage while he told people “you see, that wasn’t so bad, was it?” While a loud, bad Christian rock band played behind us and he screamed about “Freedom” and “Brotherhood”, while hoisting my hand in the air with his. I’d never been a theatrical hostage before. It was a new experience. And I left feeling totally used and extremely angry.
Anyway I told that story because I had to finally get it off my chest after twenty years. I can now put it to rest. The main reason I write today is to post this video of the entire 16 minutes of Dr. Martin Luther King’s “I Have a Dream” speech, which was once titled “A Cancelled Check” during earlier drafts. If you watch this you may figure out why. I’ve also included a clip of Dr. Billy Taylor’s beautiful King tribute “His Name Was Martin” featuring Dr. Taylor on the piano and the wonderful Ingrid Jensen on trumpet. And a fascinating piece by the great Max Roach, featuring his drum solo against some of the famous quotations from the speech. I hope that you’ll enjoy that as well.
Until the next time, the struggle (and the jazz) continues…
WHAT’S UP? – OKeh Records 88883703992 http://www.okeh-records.com What’s Up?; A Place in Time; Take Five; Sandra’s Serenade; Island Beat; Alone Together; Paprika; Love For Sale; Chan Chan; On Fire; At Dawn
PERSONNEL: Michel Camilo, piano
By Curtis Davenport
The biggest surprise to me when I began researching to review this disc was that I discovered that this is only Michel Camilo’s second solo piano album. I had assumed that someone with Mr. Camilo’s technical prowess would have gone solo a few more times over the course of his 25-plus year career. But in fact, What’s Up? is number two, the other being 2005’s appropriately titled, Solo. Solo, though technically striking, was perhaps overly reverential and introspective; so much so that parts of the album took on a certain sameness. The same cannot be said of What’s Up? which crackles with percussive energy and invention from beginning to end.
The Dominican pianist is determined to show all sides of his musical personality on this album from Latin to Bop to Classical with many stops in between. Though he is known mostly for his trio work, he seems a bit freer in this setting. The fact that there is no bassist to clash with has loosed him to do more creative things with his left hand and much of it is very impressive.
The album kicks off with a bit of a surprise – the title track, a lively boogie-woogie/stride tune written by Mr. Camilo. His left is rock solid, the melody is infectious and he sounds right at home in this idiom. Equally exciting is his version of Paul Desmond’s “Take Five”, which he plays straight and very impressively, keeping that timeless 5/4 rhythm while flowing with loads of creative ideas from his right hand. The quasi-classical “A Place in Time” is just begging to be scored for strings, I can hear in my mind an orchestra caressing the quiet passages and exploding on the crescendos. As beautiful as that composition is, the best moments on the album come when Mr. Camilo gets to show off his rhythmic prowess, whether it’s an original or a cover. “Island Beat” is more Cuba than Jamaica with Camilo managing to make us feel the missing timbales. “Alone Together” manages to be grandiose and intimately bluesy all at once. “Paprika” is a powerful joy with rumbling left hand voicings that virtually leap from the piano. He takes “Love for Sale” to places that it has probably never been, with knotty, shifting time signatures and once again, stunning left hand work.
Then there’s “Chan Chan”, originally composed and performed by the incomparable Cuban guitarist/vocalist Compay Segundo and made famous by its appearance in the film Buena Vista Social Club. It’s a stunningly beautiful song to begin with and Camilo treats it with the grandeur that it deserves, starting subtly and letting the performance grow in power, chorus after chorus, while pulling jazz elements that the song didn’t have before, in with his right hand improvisations. It’s a towering performance that improves on an already great composition. The album comes to a fitting conclusion with the evocative “At Dawn”, which features Camilo at his most lyrical.
I’m usually not a fan of solo piano but Michel Camilo’s work on What’s Up? has made me reconsider. As much as I enjoy his duo and trio work, I would relish hearing more solo piano from him if it continues to be of this caliber.
LATIN JAZZ – JAZZ LATIN – Patois Records PRCD014 www.patoisrecords.com¡A Ti Te Gusta!; Things Ain’t What They Used to Be; ¡Estamos Aqui!; Giant Steps; La Habana; I Mean You; Prelude to a Kiss; Melambo; Puertas y Caminos; Pasando El Tiempo
PERSONNEL: Wayne Wallace, trombone; Murray Low, piano; David Belove, bass; Colin Douglas, trap drums; Michael Spiro, percussion; John Worley, trumpet; Masura Koga, tenor saxophone; Mary Fettig, flute; Elena Pinderhughes, flute; Jeremy Cohen, violin; Tregar Otton, violin; Mads Tolling, violin; Pete Escovedo, timbales; John Santos, vocals; Orlando Torriente, vocals; Jesus Díaz, vocals; Mike Mixtacki, vocals
By Curtis Davenport
“Latin Jazz” is a term that has become extremely overused. You’ll find it slapped on virtually every style of instrumental music that employs even a hint of Latin Rhythms, which makes for a great deal of marketplace confusion. It’s no wonder that Mario Bauzá, the celebrated Cuban composer and bandleader would bristle when the term was applied to his art, insisting that it be called “Afro-Cuban Music” instead.
In my opinion, there are a scant few musicians working today who are able to fuse great jazz improvisation with great Afro-Cuban/Latin Rhythms the way that Bauzá, Machito, Puente, Tjader and Dizzy did. Those who can do it successfully are the ones who have earned the right to have their music called “Latin Jazz” or “Afro-Cuban Music”. San Francisco based trombonist Wayne Wallace had the cojones to call his latest album Latin Jazz – Jazz Latin. That’s okay, because Wallace has the musical talent to back it up.
Though he is relatively unknown in the East, Wallace is one of the most important names in Latin Jazz in the Bay Area. He has released a string of Latin Jazz discs over the last few years that have been consistently first-rate, including To Hear From There, ¡Bien Bien!, and Infinity. What sets his work apart from many of his contemporaries is that there is always something new and fresh in Wallace’s arrangements, making each disc a kind of concept album.
On Latin Jazz-Jazz Latin, Wallace makes liberal use of a trio of violinists, not just as background “sweeteners” but as frontline part of the arrangement usually doubling a pair of flutes. The resulting sound caught my ear immediately on the album opener “¡A Ti Te Gusta!” a terrific descarga that leaves plenty of solo room for violinist Mads Tolling, flutist Elena Pinderhughes and Mr. Wallace. When was the last time you heard a “horn section” of flute, violin and trombone? They manage to pull it off quite effectively, as pianist Murray Low keeps the clave rolling under them. “¡Estamos Aqui!” a songo that features counterpoint between the string trio and a trombone choir is another winner; it will stimulate your feet as well as your mind, especially when vocalists Mike Mixtacki and Jesus Diaz join in. Speaking of the trombone choir, they really get a chance to shine on “La Habana” a cool mid-tempo cha-cha/danzon that also features a guest spot from Pete Escovedo on timbales. There are shades of the great Barry Rogers all over this piece and Murray Low once again has a brief but memorable solo. Mr. Low is new to me but I have to point out that he is marvelous throughout this disc.
The four cover tunes are all effective, which is a feat in itself. Often when Latin artists cover a jazz tune, the results end up a bit messy as the rhythm clashes with any attempt to maintain the integrity of the original music. I never felt that strain in this session; a tribute to the creative arranging. Best of these is “I Mean You”, the Monk tune which is turned into a very effective bomba, with Wallace showing off his trombone prowess to great effect. “Giant Steps”, which I’ve heard some well-known Latin groups fall flat on, thrives in a mix of merengue and Afro-Cuban beats in 12/8 time. There are nice solo spots by Wallace and trumpeter John Worley but who really steals the show here is Masaru Koga, who sets an already hot performance on fire with his gritty tenor sax solo. I’d never heard Mr. Koga before this performance. I’ve got some homework to do.
Latin Jazz-Jazz Latin is another strong album from Wayne Wallace. I think that Mario Bauzá would be pleased.
LIVE TODAY – Blue Note Records B 001847702 www.bluenote.comThe Real; Table Jawn; Message of Hope; Boro March; Live Today; Dances With Ancestors; Anthem in 7; Still The One; Holding Onto You; Solitude; Rubberband; Gritty Folk; Doxology (I Remember)
PERSONNEL: Derrick Hodge, acoustic and electric bass, keyboards, percussion, table beats, synthesizers, lead bass distortion, fretless bass, synth bass, vocals; Common, vocals; Chris Dave, drums, percussion, table beats; James Poyser, keyboards; Travis Sayles, synthesizers, keyboards, Hammond B3 Organ; Jahi Sundance, turntables; Keyon Harrold, trumpets, flugelhorn; Marcus Strickland, tenor saxophone, soprano saxophone; Corey King, trombone; Robert Glasper, keyboards, acoustic piano, Fender Rhodes, table beats; Mark Colenburg, drums, percussion, snare drums, quads; Aaron Parks, acoustic piano, Fender Rhodes; Casey Benjamin, vocoder; Alan Hampton, vocals, acoustic guitar; Martha Caplin, violin; Sophia Kessinger, violin; Sarah Adams, viola; Mark Shuman, cello;
By Curtis Davenport
If jazz has a future, then this is it.
Though many of my generation and older may not like to hear that and some will even almost fight to the death to deny it, let’s face facts. Young cats like Robert Glasper, Marcus Strickland, Derrick Hodge, Keyon Harrold and their contemporaries are playing music today that is influenced as much by hip-hop as it is by bebop; which is not a bad thing. They didn’t grow up with the Great American Songbook in their ears so why do so many “jazz people” get apoplectic when these young guys play to their influences? Granted, early marriages of jazz and hip-hop were often clumsy and downright awful, but these guys and others have learned from the earlier mistakes and refined these stylistic mergers into something that is new, fresh and respectful of all of their musical influences. And most important, it works. The sound is compelling and exciting. Hip young people are beginning to listen and even a few “old heads” such as this writer have come around. This is the sound of “Real Jazz” in the 21st Century.
Bassist Derrick Hodge is known mostly for his work as a member of Robert Glasper’s forward-looking group. He was a major contributor to Glasper’s 2012 breakthrough album Black Radio. However, he has worked across multiple genres over the last decade supporting a wide range of artists from Gretchen Parlato and Mulgrew Miller to rapper Common and gospel singer Marvin Sapp. Live Today is his debut as a leader. Though it is cut from much of the same cloth as Glasper’s album, Hodge doesn’t have as many big name guest stars and he eschews cover versions of familiar pop tunes. What he does have are songs and arrangements that are complex, challenging and fresh.
The direction of this album is announced right away on “The Real”, a busy amalgam of horn blasts, synthesizers, turntable scratches and sampled voices making statements all held together by Hodges powerful bassline. It’s as close as I’ve heard to nailing the essence what those seeking the hip-hop jazz fusion have probably been looking for. Things really kick into high gear a few songs later on the title track. Glasper opens it by sounding a subtle “alarm” with a repeated piano figure. He is then joined by guest star Common, whose tone here summoned memories of the late Gil Scott-Heron in his prime. The track is spare, only Glasper, Hodge and drummer Chris Dave back Common; yet it feels remarkably dense, as Common coolly brings forth rhyme after rhyme. I could easily listen to a whole album of these cats flowing like that. The great vibe continues with the next track “Dances with Ancestors”, which features Harrold’s muted trumpet and Hodge on both acoustic and electric bass, while Aaron Parks on piano and Travis Sayles on the B3 play off of each other as they improvise the background. It’s mysteriously beautiful. “Anthem in 7” allows the leader to come to the forefront and remind us that he is one of the best young bassists around as he riffs over the complex time signature. On “Solitude” Parks and Hodge trade intricate solo statements, backed by a lush string quartet; the presence of Parks and Glasper throughout the album helps Hodge to put all aspects of his musical personality on display. The disc closes with a nice bow to Mr. Hodge’s upbringing in the church, “Doxology (I Remember)”, anyone with a similar background (such as this writer) will feel a smile of homecoming creep over their face as Hodge bows the familiar theme (“Praise God From Whom All Blessings Flow…”) followed by Sayles organ. It’s a fitting end to this fine effort.
According to Hodge’s recent statements, he did not enter the studio with intricate parts written out for each musician. The compositions were purposefully left in a basic sketch state so that arrangements would occur organically; thus the title of the album. Miles Davis famously employed a similar strategy over fifty years ago on the sessions that created Kind of Blue. We all know now the influence that that album had on jazz. I’m not saying that Live Todaywill be as memorable in the long run but it’s certainly bold enough to inspire other young musicians who will follow.
I’ve done a bunch of these birthday video tributes over the years but I somehow missed Birks. Well, let’s rectify that now.
Curt's Jazz Cafe 