SOME HIGHS AND LOWS ON THE CLAYTON BROTHER'S LATEST DISC 'THE GATHERING'

The Clayton Brothers, bassist John and alto saxophonist Jeff, last two albums “Brother to Brother,” and “The New Song and Dance” were examples of the roaring swing that’s been their business model since opening shop in 1980 with “It’s All in the Family”. It didn't take the brothers long to cement a brand that's equal to the Addlerly's, the Heath's and the Jones' brothers. 

The 6^th of November, the Clayton brothers released their eighth studio album “The Gathering,” and they have two of their friends--trombonist Wycliffe Gordon and vibraphonist Stefon Harris--over for drinks. To make Gordon and Harris feel at home, the Clayton’s custom built tunes for them such as “Stefon Fetchin’ It” and “Coupe De Cone”. On this album, the Clayton's have a mi casa, su casa mentality. And Gordon takes full advantage of  their hospitality.

Both Gordon and Harris are leading hell-raisers of their generation. But, on "The Gathering,” Gordon is lively, and Harris is a wallflower. It's not his fault. The Clayton's are the blame. On paper including Harris on the album is a good bet. Harris made some choice albums for Blue Note Records, and last year he teamed with saxophonist David Sanchez and trumpeter Christian Scott for the killer album “Ninety Miles”.

The Claytons are the blame because they fail to give Harris a meaty role on “The Gathering” despite their   best intentions. The core of the Clayton’s band pianist Gerald Clayton (John’s son), drummer Obed Calvaire and trumpeter Terell Stafford are solid throughout, particularly Stafford. His playing is lethal. Calvaire and Stafford aren’t blood but the Clayton brothers treat them like family.

The Clayton’s skills are in mint condition that's evident on the ballad “Don’t Explain,” which follows “This Ain’t Nothin’ But A Party,” the album’s best cut and the kind of high altitude swing the Claytons have a patent on. The cut  gets you high. Following it with a ballad is a buzz kill. "The Gathering" won't stick to your ribs like The Clayton Brother's last two albums.

CELEBRATING WOMEN IN JAZZ CONCERT WAS A HIT

Jazz pianist/educator Ellen Rowe

What would Detroit’s jazz scene be like without the involvement of female jazz musicians? That’s the question I pondered after leaving the Max M. Fisher Music Center Monday night. I caught the Celebrating Women in Jazz concert organized by the conductor of the Wayne State University Big Band and artistic director of the Detroit Jazz Festival Chris Collins. 

The concert featured drummer Gaylynn McKinney, piano player Ellen Rowe, bass player Marion Hayden, singers Joan Belgrave and Ursula Walker back my the outstanding WSU Big Band. The concert started with a short documentary film produced by trumpeter Sam Beaubien. For the film, he interviewed Ellen Rowe and Gaylynn McKinney about how they got their start in the music. 

McKinney talked about her dad piano player Harold McKinney, and the time she met iconic jazz drummer Max Roach when she was 10-years-old. Roach had a pair of red drumsticks she wanted, and Roach obliged. Years later when McKinney was a member of the jazz quintet Straight Ahead they opened for Roach at the State Theater (Its name has since been changed to the Fillmore). Surprisingly, Roached remembered McKinney. ”You’re the little girl who took my drumsticks,” Roach said.

The documentary ended with a clip of a live show by the all-female jazz band the Sweetheart’s of Rhythm. Then the house lights came on, and the WSU Big Band played jazz piano player Toshiko Akiyoshi’s “Yellow is Mellow,” after which Ellen Rowe, the evening’s first featured guest, breezed through “It Might as Well be Spring”. Joan Belgrave followed with “Excitable,” the title cut from her 2009 album.

Before Collins introduced Gaylynn McKinney, he said his band big were studying many compositions by female jazz composers as a gesture of sincere gratitude for their lasting contributions to the music. Collins never mentioned any war stories about the difficulties of making it as female musicians. I’m sure there’re plenty. Instead, Collins focused on how gifted the females were, and how important they were to the music.

McKinney stretched out on Neal Hefti's “Cute”. She’s a hellacious and a season drummer. Jazz is her cornerstone although she’s adept at smooth jazz and at funk music. Celebrating the Women of Jazz occasion  was the first time I witnessed McKinney flat out pimp her virtuosity, but she was a big part of a special occasion so showing off was OK.  

Marion Hayden performance was the standout. She showed two promising student bass players the sweet science of walking the bass on Paul Chamber’s “Tale of the Fingers”. Hayden didn’t take it easy on the students, and they surpassed her wildest expectations; especially Gwendolyn MacPhee who walked her bass like a cop walks a beat.

Ursula Walker sang John Lennon and Paul McCartney’s number “Norwegian” and Tadd Dameron’s “If You Could See Me Now”. Walker has 50 plus years of performance experience, and her voice is still as nourishing as seasonal fruit.

The Celebrating Women in Jazz concert was a smash with only one questionable omission the inclusion of more tunes by female jazz composers, which I thought was odd. Anyway, the music was hotter than hell in August, and the WSU Big Band’s was serious as any university big band I’ve heard. The big band backed professionals, and they didn’t choke.   

If I had my way, Celebrating Women in Jazz would be an annual concert, still featuring Detroiters, but ultimately flying in internationally renowned female jazz musicians such as Maria Schneider, Toshiko Akiyoshi,  and Nancy Wilson.

There’re a lot of female jazz musicians particularly singers who’ve blessed the Detroit’s jazz scene, and they deserve the kind of hero worship Collins lavished on them. What shape would Detroit’s jazz scene be without McKinney, Rowe, Belgrave, Hayden and Walker's involvement? Surely, the scene wouldn’t be as hip.

JAZZ PIANIST KENN COX CELEBRATED

The late jazz pianist Kenn Cox

It’s been awhile since I last wrote you, Kenn. I know I promised to keep you updated on what's happening on the Detroit jazz scene. If you have the time, I’ll bring you up to speed. Then I want to tell you about a celebration Thursday night at the Jazz Café. During the Labor Day weekend, Chris Collins, the new artistic director of the Detroit Jazz Festival, put on the finest jazz fest in recent memory. 

I don’t have the space to explain how unbelievable special the fest was. This time around, there were more Detroit jazz musicians booked. Something you always pushed for. Under Collins it’s come to pass. In September the Societie for the Culturally Concerned honored Yusef Lateef.

Last month, jazz singer Cassandra Wilson opened the 2012-2013 Paradise Jazz Series. Last weekend, Edge Fest in Ann Arbor wrapped up. Jazz Singer Freddy Cole has a four night run at the Dirty Dog, and the Dave Holland Big Band is on deck to play at the Michigan Theatre next Saturday.

Detroiters Marion Hayden, Rodney Whitaker, Geri Allen and Shahida Nurullah are turning out some exciting up-and-coming jazz musicians. Tuesday night, I caught tenor sax player Marcus Elliot’s set at Cliff Bell’s. He’s one of Whitaker’s former students. Kenn, Donald Walden would love Elliot. Mark my word, Elliot is going to be big. Pianist Charles Boles plays Tuesday nights at the Dirty Dog. Detroit’s jazz scene is healthy.

Kenn, I’ve been thinking about you a lot lately. A week ago, I bought “Kenn Cox and Donald Walden Duet at Kerrytown”.  I enjoyed every bit of it, but that’s not the real reason I’m writing you. I wanted to share with you some highlights from the tribute concert and birthday bash your wife, Barbara Cox, threw for you Thursday evening at the Jazz Café.

I overheard a woman say your spirit was present. I can’t vouch for that. The rumor mill has you busy up there in heaven giving God piano lessons, and schooling his angels—who’re jazz nuts—about Detroit’s vast jazz history.

Anyway, Kenn, the Jazz Cafe was jammed with many of your friends and fans of Melba Joyce Boyd’s poetry. Poet M.L. Liebler was the master of ceremony. Barbara invited Melba to participate by using the occasion to launch her new book of poetry “Death Dance of a Butterfly”. Barbara spoke twice. 

Barbara told the crowd what a do-it-yourself jazz genius and wonderful man you were. She talked some about you forming Strata Concert Gallery, which housed the record label the put out your band the Contemporary Jazz Quintet music. Barbara also touched on your other endeavors, which she was a big part of. She noted you left behind 1,000 unrecorded tunes, but she didn’t say what she plans to do with them.

Barbara tickled the crowd when she said: “Kenn and I never swam close to shore,” meaning you guys took chances. Barbara also read passages from your journal nothing too personal just some musings about your work.  

There was a misprint in the Detroit Free Press and the Metrotimes newspapers regarding the reason for the event. They incorrectly wrote your album “Clap Clap: A Joyful Noise” would be available. And I suppose many of the people at the bash was disappointed the album wasn’t there. I know for sure I was.

Barbara explained the album will be released by 180 Proof Records sometime next year. Then Barbara played a cut from the album, which readied the crowd’s ears for Vincent Bowen’s band with Mick Jellick on piano, Jaribu Shahid on bass, and Djallo Keita Djakate on drums. The band was tighter than a fitness trainer’s butt. The band played some of your tunes “Samba De Romance” and “Mandela’s Muse”. When the band played the latter the crowd was hyped. Mike take of the ballad “Emily” calmed them.

Vincent is unsung. His flute preached. His soprano sang, and his tenor wailed. For some crazy reason, the local press has ignored Vincent, but he appears unfazed by that. The local press has also ignored Djallo, an ego-free jazz drummer who has blessed every band he’s been a member of. 

Jaribu is such as a freakishly gifted bass player he could play the upright bass beautifully with his toes. Kenn, the band’s rending of your music would’ve made you blush.  After the live music ended, Barbara showed rare video footage that included still photos of you performing with the late Detroit great jazz musicians Donald Walden, Don Mayberry, Teddy Harris, and Bert Myrick. The footage was touching. Photographer Clyde Stringer produced the video. Melba’s took the stage after the video presentation.

Jazz bass player Marion Hayden accompanied Melba. She opened the reading with an ode to Marion followed by “Working It Out” inspired by you which segued nicely into “A Mingus Among Us and a Walden Within Us,” dedicated to Donald Walden. The poem’s title was a play on the title of Donald’s second album “A Monk and A Mingus Among Us”? 

Melba read a few poems inspired by some members of her family. The reading ended with a semi-militant poem titled “We Want Our City Back” that got the crowd worked up again. It took Melba a minute to find her rhythm. The stage lights were messing with her vision. But once she hit her stride it was on.

Kenn, the celebration was a full-night of reflections, music, and poetry, a fitting tribute from your lady-love, Barbara. Honestly, Kenn, I thought at some point Barbara was going to break down, talking about what a good man you were, but she was elated and humorous. I guess she’s confident you’re up there in heaven safe, happy and having a ball with your Detroit running-buddies.

FREDDY COLE SEDUCED AUDIENCE AT DIRTY DOG JAZZ CAFE

Freddy Cole

Jazz singer Freddy Cole’s Wednesday night set at the Dirty Dog Jazz Café in suburban Detroit started 30 minutes late with no explanation. The audience was forgiven once Cole and his band—drummer Curtis Boyd, bass player Elias Bailey and guitar player Randy Napoleon—began playing. 

Cole played a soul numbing set of love songs from the American songbook. So far, it was the greatest set of music I’ve experienced this year by a renowned headliner. It surpassed Charles Lloyd’s, Aaron Diehl’s, Cassandra Wilson’s, and Wynton Marsalis’ shows. All memorable shows I would pay to see again. Romantic and debonair jazz singers are hard to come by these days. 

At 81, Cole’s voice is still in good shape. After the fourth selection, I wondered if he was lip-syncing because his voice was that lucid and distinct. Cole is an old-school balladeer and a storyteller. When he sang “I Was Telling Her About You,” “Talk to Me,” and “My First Impression of You,” 

Cole came across as if reciting prominent  works of literature. And his piano playing was sensual as if his fingers made love to the piano keys. Cole didn’t rush through any of the songs he sang. Instead he wrapped his hand around their waist and escorted them around the club. 

Over the years, I’ve caught many jazz shows at the Dirty Dog. Cole’s show was the first I’ve attended where the audience gave the performers their undivided attention. Cole and Napoleon had the audience smitten. 

Napoleon dished out one elegant solo after the next. For five years, Napoleon has been Cole’s leading man. Throughout the set, Napoleon grinned as if he was the luckiest jazz guitar player on earth, lucky to be in Cole’s band. 

Cole’s other band-mates were on point. Coles relied on Bailey to keep the band on course. On ever number, Bailey kept the time and the melody in plain sight. Boyd’s drumming was a case study in tastefulness. 

Several of the classic love songs Cole played are on his album “Talk To Me,” released last year. After an hour of seducing the audience with love songs, Cole played an unsolicited encore Bill Wither’s “Lovely Day,” which may have been Cole's way of making up for starting the set late. 

TENOR SAXOPHONIST MARCUS ELLIOT HAS A PROMISING JAZZ TRIO

Saxophonist Marcus Elliot (Photo by Lukas Hagen)

I heard a promising jazz trio Tuesday evening at the jazz club Cliff Bell’s in downtown Detroit. The trio was run by 22-year-old tenor sax player Marcus Elliot. His given name was Marcus Miller. Because he was constantly mistaken for the famous smooth jazz guitar player Marcus Miller, Elliot changed his surname. Last year, he graduated from Michigan State University, and he released his first album “Looking Forward”. 

Elliot's dad, a lifelong jazz fan, turned him on to the music. When his dad caught a show at Bert’s Marketplace—one of Detroit’s well-known jazz club—Elliot accompanied him. As a pre-teen Elliot heard and met some top Detroit jazz musicians James Carter, Larry Smith and Marcus Belgrave. (Elliot has worked off and on with Belgrave since October.)

Elliots reputation as a tenor player is growing. When renowned bass player Robert Hurst returned to Michigan and assembled a new band, he hired Elliot. Since then, he has added performances with Jimmy Cobb and Bennie Maupin to his resume’.

Tuesday, evening was the first time I heard Elliot’s trio. In 2010, I saw him with Hurst at the Vigil Carr Center. Elliot was 18, and Hurst’s band played originals from his albums “Bob Ya Head,” and “Unrehurst Volume Two”. Elliot was comfortable on stage with vet jazz musicians twice his age.

For two months, Elliot has performed Tuesday’s with drummer Julian Allen and bass player Ben Rolston. They’ve played together for two years, and they’re serious up-and-comers. Each Tuesday the trio test drive new tunes. That’s how Elliot designed the trio.

The standout tunes were Elliot’s “Mister Allen,” and Rolston’s “Branches and Bark,” which had a variety of tempo and mood changes. There was a catchy reworking of “Mercy, Mercy, Mercy,” and I rather lifeless take of Roberta Flack’s slow jam “Feel Like Makin’ Love”. Their music is modern, but not too way out, and the trio sound happier playing originals.

Elliot has a clean cut and grown up sound, and clearly he spent considerable man-hours examining tenor sax player Mark Turner’s style. Elliot isn’t into grandstanding. Someday the major focal point of his career is going to be composing. 

For now, Elliot is still in the chops-building-stage of his career. In a good three years, he will be ready to take on New York. Rolston’s is the most exciting, and his style resembles the late jazz bass wunderkind Scott LaFaro. While I listened to Rolston soloing, I wondered if the trio could survive if he wasn’t around to navigate. 

Allen is the trio’s workaholic perfectly content overseeing the manual chores. And he's not a drummer who's  unnecessarily bombastic, or who's prone to selfishness. The trio has it together. I wish they’d stay together for the years to come, but that’s unlikely. Better paying gigs and chances to work for big named jazz musicians are destine.

LOOKING BACK AT THE DE'SEAN JONES QUINTET FIRST NIGHT AT THE DIRTY DOG JAZZ CAFE

Saxophonist De'Sean Jones

I met the jazz saxophone player De’Sean Jones in 2004. Back then, Jones was 14, and a new member of the Detroit Symphony Orchestra’s Civic jazz program. I was assigned to interview the program's director bass player Rodney Whitaker for a story in the weekly newspaper the Metrotimes. Whitaker was running late for the interview. To kill time, I waited in a rehearsal room as his students prepared for their weekly session.

Jones struck up a conversation with me, talking excitedly about being a member of Civic Jazz, and listing all the jazz tenor sax players his dad had turned him on to. For a teen, Jones was scary smart. I liked him immediately. I laughed when Jones said if he has kids, he was going to make sure they're jazz musicians. I never seen a teen that idealistic and focused. After Whitaker finally arrived and the weekly session began, I was awed by how mature Jones sounded on the tenor.

Two years, after we met, I saw Jones at the Detroit Jazz Festival with his tenor in tow. Jones wasn’t scheduled to perform, but  that didn't deter him from playing. He walked through the crowd playing like he was a featured act at the festival. The following year, Jones was at the fest playing in the Gerald Wilson Big Band. Backstage minutes before Jones hit the stage, I pulled Jones aside. I assured him in the coming years he’d a big success. 

Jones is 25 now with a wife and a baby boy. He’s toured with Stevie Wonder, and he performed overseas with the jazz and techno group Underground Resistance. When Jones was on leave from that group, he toured and recorded with his septet.

It’s been a few years since I’ve heard Jones live. I attended the opening night of his four night engagement at the Dirty Dog Jazz Cafe in suburban Detroit. I heard Jones was heavily into experimental forms of music. That didn’t surprise me. Many jazz musicians of Jones’ generation are experimenting.

The Dirty Dog caters to a conservative crowd. So, I wondered if Jones brand of jazz would appeal to  such  a crowd. It was the first time Jones led a band at the Dirty Dog. A few years ago, he played there in Marcus Belgrave’s band. 

Wednesday night, was the opening of Jones’ four night run, and the first televised game of World Series Tigers vs. the Giants, which could be a reason for the small turn out at the Dirty Dog. That didn't mess with Jones’ head. Jones treated the gig as though it was a blessing. Instead of his usual septet, Jones gave his regular’s guitar player Conrad Reeves, vibe player Chase Jackson, and piano player Shea Pierre some time off.

Mike Jellick, a first-call piano player and arranger in Detroit subbed for Pierre. Jones played his tunes and one standard “April in Paris”. His tunes “Invocation,” “Lost-N-You,” and “Solomon Da’Wise” was borderline free-jazz and danceable. 

Because of the small turn out, it’s unknown if the Dirty Dog regulars would've cottoned  to Jones' free-jazz friendly and boogie driven music. Nevertheless, his quintet was on point, especially trumpeter Aaron Janik  and drummer Zaire Darden. Janik's trumpeting was earthshaking, and Darden's drumming called to mind Detroiter Karriem Riggins. 

A lot of tenor players of Jones' generation influences are obvious. But it's nearly impossible to tell which tenor sax players Jones idolized, but if I had to make an educated guess I’d say James Carter and the late  Donald Walden were Jones' idols. 

Jones’ quintet was commanding, but sadly only a handful of people were there to experience it, but there's no need to fret. There's a silver lining. Jones’ quintet will perform again at the Dirty Dog Thursday, Friday, and Saturday.

NEW SESSIONS FROM MARKUS BURGER AND THE TENOR SAX DUO HARRY ALLEN AND SCOTT HAMILTON

In the past, tenor sax players Harry Allen and Scott Hamilton have co-led two albums “Just You Just Me” and “Heavy Juice,” establishing Allen and Hamilton as a serious tenor sax duo like Eddie “Lock Jaw” Davis and Johnny Griffin. “’Round Midnight” is the current joint venture from Allen and Hamilton. Obviously, they never wanted “’Round Midnight to be a meaningless blowing session, or a shameless cutting contest. Neither sax player has anything to prove at this point of their careers. As “’Round Midnight shows,”  both are vet swingers with splendid tones like the cool Zoot Simms. “’Round Midnight” comes across as longtime buddies out to have a blast, playing mostly standards such as Monk’s ‘Round Midnight and Eddie “Lock Jaw” Davis “Hey Lock!”.

There was a time when jazz trio albums were plentiful. But over time, the supply and quality of those albums seemed to dwindle, but every so often, an unbelievably good trio jazz album such as the recently released “Accidental Tourists The L.A. Sessions” surfaces, warranting a conversation.“Accidental Tourist” is the creation of jazz piano player Markus Burger. The album will immediately remind you of the string of banner trio albums the late Bill Evans masterminded. Burger is not an Evans emulator, but his serious piano playing begs comparison to Evans. On “Accidental Tourist,” Burger tosses you the keys to the album and encourages you to take it out for a test drive. The album has some easy to spot standards, but Burger and his staff—drummer Joe Labarbera and bass player Bob Magnusson—sound their liveliest on Burger’s originals “Air Canada,” “Black Sea Pearl,” and “Rodeo Drive Hustler”.