by Scott Yanow,
Pat Metheny, as was true of the late Chick Corea, should be seen every time he coayedo town. His music is always evolving and he excels in a wide variety of settings. A distinctive guitarist since the mid-1970s and one of the most popular performers in jazz during the past 50 years (being consistently creative yet also having an accessible sound), Metheny has long since created his own world of music.
At Disney Hall, he was featured at the head of his most recent group, Side Eye III+. While the first two versions of Side Eye were trios, the current band is a quintet. The Disney Hall performance included concise solos and intuitive accompaniment from pianist-keyboardist Chris Fishman, bassist Jermaine Paul, drummer Joe Dyson, and percussionist Leonard Patton. The latter’s voice was often utilized as part of the ensembles, and he was also featured as a solo singer quite effectively on one number.
The 2 1/2 hour set began with the band playing percussion (including a huge drum) as they entered the stage. The quintet performed “Bright Size Life” and “Don’t Look Down,” and then the trio (without Paul and Patton) dug into “Better Days Ahead” and Michael Brecker’s “Timeline”; the latter featured Fishman on organ. The full group played a country-tinged uptempo song (“Make A New World”), “So Far So Good,” and “First Circle”; on the latter the musicians clapped in 22/8 time. Other numbers played by the band included “Urban And Western,” “The Red One,” “Mas Alla” “Phase Dance” (a guitar-keyboard duet), the nearly free form “Trigonometry” which the guitarist had recorded with Ornette Coleman, and “174.” Several of the performances had an epic quality to them, building and building in unpredictable ways to a triumphant close. After one of several standing ovations, Metheny came back for three encores, a solo showcase for his baritone guitar, “Are You Going With Me,” and “Song For Bilbao.” Throughout the night, the 71-year old guitarist gave on the impression that he could play endlessly, and I have no doubt that he could have kept the marathon show going at the same high level for at least another hour.
CATINA DELUNA AND OTMARO RUIZ
Building upon the success of their recent recording Lado B. Brazilian Project 2, singer Catina DeLuna and her husband pianist Otmaro Ruiz performed at the Silver Lake Conservatory of Music (SCM) with a world class septet that also included Robert Kyle mostly on alto flute (also playing a bit of tenor and soprano), guitarists Roberto Montero and Larry Koonse, bassist Edwin Livingston, and drummer Marcelo Bucater. “Lado B” means “Side B” and symbolizes the fact that Catina DeLuna and her group mostly perform lesser-known Brazilian and bossa-nova songs.
Displaying a beautiful voice and a versatile style while singing in Portuguese, the vocalist interpreted such songs as Antonio Carlos Jobim’s “Passarim” (which featured her scatting in unison with the piano), a reharmonized version of Jobim’s well-known “Aguas de Marco” (“Waters Of March”), Milton Nascimento’s “Tristesse” (a melancholy ballad which also had Montero singing), and “Na Volta que o Mundo Da.” On “Cueca de Agua,” Ms. DeLuna switched to piano and sang a vocal duet with Montero. Catina also performed a vocal-drums duet with Ducater on “É Luxo Só,” and “Vatapá” as a duo with Ruiz.
The concert, which attracted an impressively large audience for a late Sunday afternoon show, also included the melancholy Ivan Lins piece “Choro das Águas,” “Aluvião” which was highlighted by a piano-guitar tradeoff, and the joyful samba “Requebre que eu Dou um Doce” which had some of the hottest solos of the night.
The music, which was full of happy spirits, expressive singing, and creative interplay by the musicians, was held at a particularly attractive venue. Hopefully the Silver Lake Conservatory of Music will be hosting many more jazz-oriented events in the future.
BOB BROOKMEYER
Bob Brookmeyer (1929-2011) had two different and occasionally overlapping careers. He was jazz’s finest valve trombone soloist, making his mark originally in the 1950s and ‘60s when he worked closely with Stan Getz, Gerry Mulligan, Jimmy Giuffre, Jim Hall, and Clark Terry. He was a fluent and witty soloist who could harmonize instantly with any of those leaders. Early on, he also showed talent as an arranger-composer, contributing charts to the Gerry Mulligan Concert Jazz Band and the Thad Jones/Mel Lewis Orchestra. After a period in which he maintained a low profile while conquering alcoholism, he returned to the scene in New York in the 1970s and developed into an outstanding and very modern arranger-composer who displayed the inspiration of modern classical music in his writing, at first for the Mel Lewis Orchestra and then spending time in Europe where he led the New Art Orchestra. He was also an inspiring teacher and mentor for several promising young writers, most notably Maria Schneider.
Michael Stephans not only played drums with Brookmeyer in a variety of settings but was a close friend during the last 25 years of the valve trombonist’s life. On The Way To The Sky – Remembering Bob Brookmeyer (available from University of North Texas Press, www.untpress.unt.edu) is a 260-page book that can easily be divided into three parts. First, Stephans relates the Bob Brookmeyer story and includes anecdotes about their friendship and experiences. Then there are three chapters in which the author reviews and describes Brookmeyer’s main recordings. That part can get a little dry at times since there are only so many ways to praise a record, but its summaries are valuable and can serve well as a reference guide. Then, in the last part, Stephans includes excerpts from interviews and articles in which other Brookmeyer associates tell stories about their interactions with him; many warm stories attest to his quirky personality and brilliance. A select discography plus a videography with 11 films that include Brookmeyer conclude the book.
On The Way To The Sky is a definitive work on Bob Brookmeyer, a brilliant player and an innovative writer whose often-unique contributions to jazz and music deserve to be fully explored.
NEW MUSIC FROM THREE GREATS
Three recent releases, all unearthed, compiled and produced by Zev Feldman, have appeared on three different labels. Each features a jazz giant in top form.
Michel Petrucciani (1962-99) was doomed from the start. He was born with osteogenesis imperfecta, a disease that causes brittle bones and a very short stature. Despite that, and knowing that he would not have a long life, he developed quickly into a brilliant jazz pianist. Petrucciani might have had to be physically carried to the piano but, once he sat down at the keyboard, he was quite a powerhouse.
The double-CD Kuumbwa was recorded at the Kuumbwa Jazz Center on May 11, 1987. Petrucciani is featured at the head of a short-lived trio that only came together for the one tour. Bassist Dave Holland was normally a bandleader at that time while drummer Eliot Zigmund was best-known for his stint with Bill Evans although he would spend five years with the pianist’s group.
Petrucciani plays with plenty of power, dazzling technique, and creativity on uptempo renditions of his “Mike P. Blues,” “Stella By Starlight” (taken at a racehorse tempo), “Autumn Leaves,” “All The Things You Are,” and Wayne Shorter’s “Limbo.” But he also plays quite pretty on his jazz waltz “Eugenia” and an emotional and dramatic “The Prayer.” Holland and Zigmund have their spots but Petrucciani is the main focus. While there have been quite a few posthumous Michel Petruccinani releases, Kuumbwa (available from www.elemental-music.com) is well worth acquiring.
The first truly exciting ten-minute solo that I ever saw live was by tenor-saxophonist Joe Henderson (1937-2001) at San Francisco’s Keystone Korner in 1975. Henderson, who always had an immediately recognizable sound and an explorative style that stretched the boundaries of hard bop, was very skilled at making lengthy statements that never lost one’s interest. The two-CD set Consonance (available from www.resonancerecords.org) features Henderson in Feb. 1978 at Chicago’s Jazz Showcase. Henderson and his quartet with pianist Joanne Brackeen, bassist Steve Rodby, and drummer Danny Spencer perform nine numbers, only three of which are less than 16-minutes in length; five exceed 22 minutes. While there are some bass and drum solos, the bulk of the improvisations are by Henderson and the equally talented Brackeen.
The opener, a rapid rendition of “Mr. P.C,” has Henderson soloing for over 12 1/2 minutes, never running out of ideas or energy. Brackeen follows it up by playing just as powerfully and creatively for six minutes. That performance sets the standard for the high-powered and lengthy versions of “Inner Urge,” “Invitation,” “Relaxin’ At Camarillo,” “Recorda Me,” “’Round Midnight,” “Good Morning Heartache,” “Softly, As In A Morning Sunrise,” and “Isotope.” With the consistently brilliant Brackeen sometimes hinting at McCoy Tyner, and Spencer displaying the influence of Elvin Jones, there are times when the group briefly sounds a bit like John Coltrane’s. But Joe Henderson’s very personal tone and ideas keep the music from ever sounding derivative or predictable. Even on “’Round Midnight” which is taken at a slower pace, the intensity of the playing never lets up.
Some casual listeners have described jazz as “relaxing” or “soothing.” Joe Henderson’s Consonance will make them rethink their definition!
Roy Hargrove (1969-2018) was such a vital part of the jazz scene that it is difficult to believe that he has now been gone for eight years. The trumpeter went through a few different phases in his career. At first, he was one of the “Young Lions,” recording with Super Blue and Bobby Watson in 1988 and then making his first album as a leader the following year. Originally inspired by Lee Morgan and the hard bop greats, he improved his range and ideas year-by-year, becoming a giant with his own sound and consistently exciting style. While his range shrunk during his later years due to his declining health, he was always an enthusiastic player who loved jam sessions and swinging jazz. Strangely enough after his passing, many observers spent a lot of time praising him for his occasional funk projects (most notably RH Factor) and his openness to hip hop. But in reality, his greatest musical accomplishment was revitalizing hard bop through his fiery playing and spirit.
Bern, a single disc released by Time Traveler Records, features Hargrove on May 4, 2000 when he was 30 and at the peak of his powers. The performance from the International Jazz Festival in Bern, Switzerland features what was arguably his finest working band, a quintet with altoist Sherman Irby, pianist Larry Willis, bassist Gerald Cannon, and drummer Willie Jones III. The first of the five lengthy selections, Frank Lacy’s “Stranded,” has some remarkably passionate solos by Hargrove and Irby played at a blazing tempo. Willis’ unaccompanied section is a surprise since he turns the song into a sophisticated ballad before the performance becomes uptempo again. On this song, and throughout the set, Hargrove’s wide range and high energy are quite impressive. Other highlights include his uptempo blues “Caryisms” (which utilizes some stop-time during the solos) and a heartfelt ballad rendition of “Never Let Me Go” but all five selections are memorable in their own way. Irby matches Hargrove’s passion and creativity throughout the set, the rhythm section of Willis, Cannon and Jones is unbeatable, and Bern (available from www.amazon.com) is essential for anyone who loves Roy Hargrove’s music.
EARLY LES MCCANN
Although Les McCann (1935-2023) won a singing contest while in the Navy in the mid-1950s that resulted in him making an appearance on the Ed Sullivan Show and he took occasional vocals in his early days, it was not until he performed and recorded a famous version of “Compared To What” at the 1969 Montreux Jazz Festival that he became known primarily as a singer. He would emphasize his vocalizing from then on.
However before then, McCann had gained fame as an influential soul jazz pianist whose funky playing was inspired by both church music and bebop. He led a trio that was based in Los Angeles and recorded regularly for the Pacific Jazz label.
The two-CD set Four Classic Albums put out by the Avid label is listed as being by Les McCann Ltd. & Lou Rawls. Reissued in full are two trio albums from 1960 (The Truth and The Shout) that showcase McCann with bassist Leroy Vinnegar and drummer Ron Jefferson, and two sets from 1962 that add either guitarist Joe Pass (On Time) or Lou Rawls (Stormy Monday). The three instrumental albums are definitive examples of McCann’s early playing. He performs a variety of standards (including “How High The Moon,” “A Foggy Day,” and “It Could Happen To You”) plus such originals as “A Little 3/4 For God & Co,” “Fish This Week,” “The Truth,” “The Shout,” “and “Fondue.” On these accessible performances, which are both swinging and soulful, McCann shows that he ranked with Bobby Timmons and Horace Silver as a pacesetter in funky jazz of the era. The Shout, which was recorded live, also has the bonus of McCann interacting verbally with the audience.
Stormy Monday is a classic and arguably Lou Rawls’ finest jazz album. Recorded before he switched to soul and pop music, Rawls (who always had a great voice) digs into a variety of bluesy material including “See See Rider,” “In The Evening,” “’Tain’t Nobody’s Biz-ness If I Do,” and “I’d Rather Drink Muddy Water,” showing that he could have easily had a viable career just sticking to blues. Stormy Monday is considered such a classic that, four decades later, Rawls and McCann had a reunion at the Monterey Jazz Festival, performing many of the songs from this album.
Four Classic Albums is available (along with many other rewarding twofers) from www.avidgroup.co.uk.
Every recording deserves informative liner notes (I have written 1,005) and every jazz musician needs a well-written press biography along with press releases that announce important events. I write all of these and more at reasonable rates. Please contact me at 661-678-3542 or at scottyanowjazz@yahoo.com for further information about my services. My latest book, Jazz Through The Eyes Of A Jazz Journalist (My Jazz Memoirs) is available at www.amazon.com.
My latest book, Jazz Through The Eyes Of A Jazz Journalist (My Jazz Memoirs) is available at www.amazon.com.
I have a new book that is available from amazon.com. Life Through The Eyes Of A Jazz Journalist. It is subtitled My Jazz Memoirs and is my 12th book and first in a few years. I discuss in an often-humorous fashion my early days and discovery of jazz, my period as the jazz editor of Record Review, the story behind my involvement with the All Music Guide, and I reminisce about some of my adventures as an amateur musician. Included are vintage interviews with Freddie Hubbard, Chick Corea, and Maynard Ferguson, encounters with Clint Eastwood, summaries of the Monterey and Playboy Jazz Festivals (including a full-length review of the 1985 Playboy Festival), memories of other events (such as the IAJE Conventions), and brief snapshots of many memorable club and concert performances. There is also background information about my other books, evaluations of the jazz critics who inspired me early on, and my thoughts on jazz criticism which includes advice to up-and-coming jazz journalists. Rounding out the book is a chapter on how the jazz writing business has changed over the past 50 years, and appendixes that include the jazz greats of the past, 86 jazz giants of today, 21 young performers to look for in the future, jazz books and DVDs that everyone should own, and a dozen enjoyable Hollywood jazz films.
Life Through The Eyes Of A Jazz Journalist, a paperback book, sells for $26 through Amazon.com Signed copies (which will take 2-3 weeks) are also available for $30 (which includes free postage) by sending the money via Pay Pal to scottyanowjazz@yahoo.com and by sending your mailing address to that E-mail.