Friday, April 18, 2014


Saxophonist Joshua Redman
The lineup for the 2014 Detroit Jazz Festival was revealed Wednesday at the Detroit Athletic Club. Like the past two years, the four day festival is packed with jazz legends and tributes. The great tenor saxophonist Pharoah Sanders will play the DJF for the first time.

Over the years, tribute concerts have become a staple of the DJF. This year, there are nods to Louis Armstrong, Dave Brubeck and Nat King Cole. Saxophonist Joshua Redman is the festival’s Artist in Residence. He will perform three sets, participate in master classes, and other DJF outreach programs.

Redman, 45, is a native of California and the son of the late free jazz saxophonist Dewey Redman. Redman has built a name in jazz, earning a number Grammy nods, and putting out 16 albums as a bandleader. 

Redman hit nationally in the early 90’s with a group of bloodthirsty jazz musicians such as Christian McBride, James Carter, Roy Hargrove, and Cyrus Chestnut. All are stars now.

Redman has a degree from Harvard University and passed on law school to become a jazz man. This year is his second time at the DJF. His debut was in 2013. Some of the stars booked are Ramsey Lewis, Barry Harris, Tom Harrell, Dr. Lonnie Smith, Phil Woods, Stanley Clarke and Lou Donaldson. The jazz festival runs August 29th to September 3rd

Saturday, April 5, 2014


McCoy Tyner
Jazz pianist McCoy Tyner’s concert at the Paradise Jazz Series Friday evening didn’t measure up to the concert he put on last year at the Detroit Jazz Festival where he damn near burned down the main stage. McCoy, the pianist who pushed saxophonist John Coltrane to great improvisational heights, is unfortunately an old man now, and in recent years has battled illnesses that have affected his playing.

That much was clear last night as Tyner struggled through a two-hour concert with his trio bassist Gerald Cannon and drummer Francisco Mela. The saving grace was trumpeter Terence Blanchard who sat in on a handful of numbers.

McCoy received an ovation as his son helped him to the piano. He was forgetful, introducing the band twice before he dug into the first number. After each number the trio played, Cannon whispered in Tyner’s ear what was next on the set list.  Tyner rose after the first number, bowed to the audience, and was set to walk off the stage as if the concert was over. It was heartbreaking watching senility screw with one of the jazz world's greatest percussive pianist of all times.

A big disappointment was Tyner did not play any of the music he played with Coltrane. Instead, he played cuts from a few of the albums he made for Milestone Records. The concert wasn’t completely disappointing. 

Cannon, who was the crowd favorite, played some choice cut solos, and Mela showed that he’s a drummer with enough horsepower to motor a cruise ship. Blanchard blowing was gorgeous, which wasn’t surprising.

Blanchard has been a key to the success of the 2013-2014 Paradise Jazz Series, putting on two fine concerts one a night of the music of Gil Evans and Miles Davis and another with his band, which played cuts from his excellent 2013 release Magnetic. Since he started booking acts for the jazz series, attendance has grown. Blanchard has done such a bang up job his contract was extended.

As for Tyner, there were flashes of his former self on a few numbers, and the solo number he ended the concert with was played so beautifully it could've made the devil's heart melt. Clearly, he isn’t up for touring regularly enough to keep his chops strong. So, it's worth questioning if it's time for Tyner to quit. 

Monday, March 31, 2014


Wynton Marsalis
The Jazz at Lincoln Center Orchestra’s Sunday afternoon show at Hill Auditorium was its 17th and continues to be one of the more highly anticipated of UMS Jazz Series. Arguably, the JLC is the top jazz orchestra working and their shows are full of swing, surprises, and of course Duke Ellington’s music. It wouldn’t be an authentic JLC show without Wynton Marsalis drawing from the Ellington songbooks.

This time out, Marsalis didn’t open with Ellington’s music. He opened with eight members of the orchestra tearing through a Buddy Bolden jumper and rolling through Jelly Roll Morton’s Smoke House Blues and Dead Man Blues. I attend the JLC shows when they play UMS Jazz Series.

This year was the first time the Marsalis was out front playing and soloing like mad. Normally, Marsalis is in the trumpet section calling tunes while the featured players manage most of the workload. Marsalis sounded fit and imaginative. It was exciting seeing him open up.

Marsalis remains one of the finest jazz trumpeters out there. That’s big because there’re talented and hungry trumpeters out there such as Jeremy Pelt, Terell Stafford and Sean Jones. Marsalis doesn’t get any love from critic polls these days. Besides being the top spokesperson of the music, Marsalis is a wonderful jazz educator.

He prefaced each song with a history lesson about the making and importance of the song. So you felt as if you’re attending a jazz concert and a course in jazz history. After the eight members worked up the audience, Marsalis brought out the other members. 

Then he called three Ellington favorites from different eras of his career. For example, Marsalis opened with a number Ellington wrote in the early 70’s. Then the orchestra worked their way south playing an Ellington song from the 30’s and one from the 40’s.

After playing Ellington’s music, the orchestra wolfed down Kenny Burrell’s Layresto like vegetarians fresh fruit. Surprisingly, giving all the New Orleans and Ellington music the orchestra played the best number the orchestra played was Its Not Easy Being Green, which Ali Jackson arranged.

Jackson is a longstanding member of the orchestra, and he holds down the drum chair, the most demanding spot in the orchestra. Jackson had the most kick-ass solo on Dead Man Blues that many audience members probably were still thinking about over breakfast this morning.

For two solid hours the JLC did what it does best that’s keeping Duke Ellington’s, Buddy Bolden’s and Jelly Roll Morton’s music young and in the public eye.

Friday, March 21, 2014


Pianist Orrin Evans
When jazz pianist Orrin Evans has played Detroit, he’s always been part of a popular jazz band. Evans played the Detroit Jazz Festival with trumpeter Sean Jones, and at a few local jazz clubs around Detroit with jazz drummer Ralph Peterson. At the 2013 Detroit jazz fest, Evans was a key member of drummer Karriem Riggins' band, which had one of the best sets.

At each concert, Evans showed he was a jazz pianist with a bottomless imagination. The New Jersey native was part of the same generation of star jazz pianists as Cyrus Chestnut and Jason Moran, but Evans is not a household name as they are.

That’s not a blow against Evans because he’s been putting in work. He’s earned two Grammy nods, and he’s made 20 albums. Two new releases are due this year.

At the Jazz CafĂ© Thursday night, Evans for the first time played Detroit, which he considers his adopted hometown, with his trio drummer Chris Beck and bassist Madison Rast. 

The trio fancy standards and the trio is OK with stretching them to where the standards are almost unrecognizable. The trio played extended and imaginative remixes of How High the Moon, All Blue, and I Want to be Happy, stripping each bare like kitchen cabinets then applying fresh coats of varnish.

Beck was the most high-strung member. He’s pushy like Elvin Jones was. Beck makes his band-mates work as if they have something to prove. At this stage of their careers, their reputations are bulletproof, and they don’t have anything to prove. But, neither Rast nor Evans seemed bothered by how hard Beck pushed them.

My favorite was how the trio stretched out on Beck’s original Hodgepodge. Flames rushed from the piano when Evans soloed. What’s neat about Evans is he plays the music as a life-long student, as if there’s always new discoveries. Each number the trio played qualified for  highlight reels. 

Monday, March 17, 2014


Saxophonist Dmitry Baevsky
Jazz concert promoters Andrew and Diane Rothman began the Detroit Groove Society home concert series 10 years ago. Many top jazz musicians such as Danilo Perez, Cedar Walton, and Geri Allen have played the series. There are several jazz series around Detroit that also book top national jazz musicians.The DGS series is different. You hear musicians in the quiet of the Rothman’s living room, and you can mingle with the musicians between sets. 

At the other series, the musicians are hard to get to. You have to stand in a long line to get an autograph. Not at the DGS series. Last year, the DGS took a break. The series averaged four concerts per year, and had been going strong 10 years. 

Sunday afternoon, the DGS restarted the series with an outstanding concert from Russian born alto saxophonist Dmitry Baevsky, featuring guitarist Randy Napoleon. Much of last week, the pair performed around Detroit with bassist Paul Keller and drummer Sean Dobbins. Not a bad pickup band. The band sounded as if they have toured together for years.

Baevsky moved to New York from Russia in 1995, and since he has made quite the name, putting out three good albums The Composers, Down With It, and Introducing Dmitry Baevsky. His style is like the great Art Pepper, particularly when Baevsky races through up-tempo bebop tunes. He called several Bud Powell numbers Sunday, which the band had a blast navigating.

The concert opened with a hard bop burner Circus straight from the Jazz Messenger’s songbook, followed by Benny Golson’s Fair Weather. The band stuck with bebop and hard bop tunes throughout. There were breathtaking takes of cuts by Dexter Gordon, Jimmy Heath and Tadd Dameron.

Baevsky told the crowd he wanted to team with Napoleon for years, and it finally happened recently. He did not let on if they plan to make an album. It would be criminal if they did not make at least one.

Napoleon’s style is a nice contrast to Baevsky’s way of working through chord changes. Although Napoleon has enough chops to fill up an auto supply warehouse, he carries on like an accompanist. 

Napoleon graduated from the University of Michigan, played with the Clayton-Hamilton Jazz Orchestra, and he has been Freddy Coles go to guy for seven years.

Baevsky and Napoleon were the headliners Sunday, but Keller and Dobbins were the crowd favorites. Their solos tickled and excited the crowd. They played throughout like kids happy to be home from school on a snow day.

In the past, the DGS has favored jazz pianist. Andrew is a pretty good closet jazz pianist, so his strong like for pianists is understandable. The series was set to restart with a solo set from pianist Fred Hersch, but that didn’t work out. Booking Baevsky was a damn good plan B to ge the DGS running again.

Sunday, March 2, 2014


Terence Blanchard
The Paradise Jazz Series at Orchestra Hall draws a conservative crowd. No one understands that better than the jazz trumpeter Terence Blanchard does. He helped book two strong seasons. The Paradise Jazz crowd can be disinterested if the music isn’t straight ahead acoustic jazz or some form of bop. Jazz singer Gretchen Parlato received a cold reception when she performed neo-soul tinged jazz at the series two years ago.

Blanchard played the fourth concert of the 2013-2014 series Saturday night with his young band drummer Justin Brown, pianist Fabian Almazan, bassist Joshua Crumbly, and saxophonist Brice Winton. Blanchard’s special guests were saxophonist Ravi Coltrane and guitarist and vocalist Lionel Loueke.

Last year, Blanchard cut a wonderful jazz fusion album Magnetic. His band performed cuts from the album. When Blanchard said his band would play cuts from the album, I was worried the music would be too experimental and hip for the conservative audience. I was wrong.

Blanchard played many of the album’s lighter cuts and a few standards. The wildest the band got was Hallucinations, a jazz fusion cut evocative of Miles Davis's fusion era work. I thought the cut would frighten the audience, but the audience took to it like a newborn to breast milk. 

Blanchard has a young band, and he isn’t the kind of boss who expects the youngsters to do all the manual labor. He got his hands and work boots dirty, too. It was exhilarating the things he did on the trumpet. 

The concert’s downer was Ravi Coltrane playing was difficult to hear. In 2012, he put out his debut for Blue Note Records Spirit Fiction. Many jazz critics agreed the album was Coltrane's best. Sadly, last night Coltrane was little more than a stage prop. In all the years I’ve supported the Paradise Jazz Series, malfunctioning microphones have never been an issue.  

Blanchard never allowed things to get out of hand musically. Pet Step Sitter’s Theme Song, which closed the concert and pianist Fabian Almazan wrote, was the concert’s best moment. Blanchard could’ve pushed the band and himself to let their hair down more. 

Blanchard understands the Paradise Jazz audience and it seemed he opted to keep things clean and respectable. The concert wasn’t the best of this series. So far, the Branford Marsalis concert was, and pianist McCoy Tyner’s and Eddie Palmieri’s concerts are upcoming.

Monday, February 17, 2014


Jason Moran
The last time jazz pianist Jason Moran’s trio, The Bandwagon, hit Detroit was 2011. The trio was set to headline a Saturday afternoon concert at the Detroit Jazz Festival. The show was rained out, and no makeup date was promised. Many festivalgoers were pissed because Moran doesn’t perform in Detroit often with The Bandwagon. In recent years, he’s come through Detroit with Joe Lovano, Charles Lloyd and Greg Osby.

At the Fillmore Detroit Sunday afternoon, Moran, a native of Houston and a Blue Note Records recording artist returned to Detroit as the centerpiece of the project Jazz Speaks for Life sponsored by the Detroit Jazz Festival Community Series. The concert was presented in two-parts.

The Bandwagon played the first half, sort of an opening act for an ambitious reworking of the late jazz pianist Dave Brubeck's spiritual work The Gates of Justice. Moran opened the project with a unique take of the hymn Lift Every Voice and Sing, known as the African-American national anthem. Moran, drummer Eric McPherson and bassist Tarus Mateen blued up the hymn, taking it through a smorgasbord of tempo changes.

The Bandwagon followed the hymn with Moran’s original RFK In The Land Of Apartheid. Then the trio dovetailed into pianist Jaki Byard’s Out Front. Moran likes using special effects. On one of his albums, he improvised to two women talking on the telephone, and on another cut, he tickled the ivories while someone scribbled on a notepad.

To close the first half of the concert, Moran played a cut of Billie Holiday singing. The Bandwagon played along as if a part of Holiday’s band. Moran warmed the audience up for the second half of the concert, which included Detroit the Brass and Percussion Ensemble, the Wayne State University Concert Choral Choir, the Detroit Choral Society, and the Bandwagon. Norah Duncan IV was the conductor, and Cantor Alberto Mizrahi and Emery Stephens were featured soloists.

That’s a lot of action on one stage. I was concerned if all the parts would mesh. The music Gods were smiling down because this reworking of Gates of Justice was exciting as if three mini-concerts were going on at once. Moran was the right hire to pull off this project. He isn’t afraid to take risk.

Like Brubeck had, Moran has a unique way of playing the piano. When Moran soloed on Lord, Lord and How Glorious is Thy Name, it seemed as if Brubeck's spirit was sitting next to Moran whispering instructions into his ear. And Moran obliged.