JAM SESSION MENTALITY

Dear James Frederick,

Two years have passed since I reviewed the Don Mayberry album release concert. My recollection of that evening is little foggy. I do, however, recall leaving the concert disappointed. Mayberry is one of my favorite jazz bassist. I've heard him perform on many occasions mostly as the late pianist Teddy Harris' right hand man.

Mayberry was always animated when he soloed. He closed his eyes, for example. Sweat beaded

on this forehead as he hummed the chord changes. He put his bass through a heavy workout. His bass was just as sweaty as the bassist's brow. After Mayberry soloed, his bass rested against his shoulder like its just completed its first day of boot camp.

That evening, however, his performance was unorganized, and I held the bassist accountable. It was a free-for-all. I bet I wasn't the only person there who felt that way. It was his special night.

It was his opportunity to introduce his new album "Kaleidoscope", a star studded two disc recording, to his many admirers who concern him one of the top jazz bassist on the planet. I recall writing Mayberry let us down. He could have done a better job.

Mr. Frederick, some Detroit jazz musicians have an unshakable jam session mentality. They treat every performance as if it’s that kind of session. That evening Mayberry it was obvious Mayberry winged it and the bassist did not rehearse with the musicians he assembled, which was unfortunate because there was some grade A jazz musicians in Mayberry's band. They seemed like amateurs and I thought it was necessary to point that out.

That was the first time I heard Kate Patterson sing. She was good I recall. However, it appeared Patterson tried to upstage vocalist Shahida Nurullah. I stand by that observation. In your email, you mentioned Patterson and Nurullah are friends. That night they behaved like rivals.

Mr. Frederick, I was unaware Patterson has been battling Leukemia. Her perseverance is commendable. It’s remarkable she's still able to perform. I apologize because I was unable to accept your invitation to hear Patterson at the Jazz Forum concert series, your yearly jazz series at the Grosse Pointe Unitarian Church, with her own band.

I received the invitation a few days after the fact. Next year, if Patterson is slated to closeout the series, and if your invite me again, I promise to attend. For what it’s worth, Mr. Frederick, save for Mayberry's album release party, I've thoroughly enjoyed every Jazz Forum concert I’ve attended.

Sincerely,
Charles L. Latimer

RISING STAR

Dear Grace,

My name is Charles Latimer. I’m a jazz journalist. I published this jazz blog. I live in Harper Woods, Mi, a small community east of Detroit. I discovered your music last year when Pazz Productions mailed me a copy of “Gracefullee”, the stellar album you made with your mentor alto saxophonist Lee Konitz. The album was one of my favorites of 2008. I was awed. I wondered how such a young person could emote with such depth and feeling.

With that released, you set the bar high. I told a friend it would probably take a decade or so before you could top that album. I was wrong. Last month, I received an advance copy of your new album “Mood Changes”. I’ve invested many man-hours listening and dissecting this album. It’s better than “Gracefullee.

“Mood Changes”, what an appropriated title because the album shows you in many incarnations. It shows you as a writer (four songs on the album you wrote). It shows you're damn good vocalist. I didn’t know you could sing. When I listened to “Comes Love” and “But Life Goes On”, I was shocked how mature you sound. If I wasn’t already hip to your record of accomplishments prior to listening to this album, no one could’ve convinced me you’re just a teenager.

-You have what mystics and spiritualists call an old soul. Grace, that simply means you’ve lived many lives. I don’t want to get too profound or scare you by talking like some nutcase. I ‘m trying to says you definitely have something specials. You’re just a young woman. Trumpeter Wynton Marsalis and pianist Hank Jones have endorsed you. That alone should be enough to motivate my readers to buy a copy of "Mood Changes".

On “Gracefullee”, you hired guitarist Russell Malone and bassist Rufus Reid. They are A-list players, and you sound just as seasoned as they did. After I listened to “Gracefullee”, I became a fan. You appear to be a serious young woman. Do you travel with a tutor like other child stars? It’s probably tough finding time to study when you’re so busy composing and touring. What kind of stuff do you enjoy when you have downtime?

I wonder if you frequent the shopping malls with friends. You’re probably too busy touring to hang out with your friends. Before I started writing this letter, I took a gander at your website. You’re booked solid for the remainder of 2009. It would be a treat if you stopped by Detroit. Have you every played the Motor City? Detroit is a jazz Mecca. Many renowned jazz musicians got their start here. You’d like playing in Detroit. We have our big jazz fest coming up in three months. You’d have a ball playing Orchestra Hall or Hill Auditorium in Ann Arbor, Michigan. The jazz fans there are hip. They’d appreciate good jazz music.

Reading your website, I discovered you released your first album as a leader when you’re 12-year-old. I wondered if that’s a world record. Grace, I apologize for rambling. I want you to know how much I love “Mood Changes”. It’s a perfect jazz album from start to finish. I liked your originals “Happy Theme Song”, “Tender Madness” and “But Life Goes On”.

Your blowing is on par with some of the great alto saxophonists such Jackie McLean, Julian “Cannonball” Adderly, and of course Lee Konitz. I implore my readers to buy “Mood Changes”, and if they enjoy it encourage their friends buy the album.

Grace, I’m amazed you play with such facility and emotion. I’m definitely looking forward to watching you grow as a composer, a vocalist, and a saxophonist. You have to stop by Detroit someday. The jazz folks here are welcoming. They would treat you like royalty.

Continue to swing,
Charles

1959 WAS A VERY GOOD YEAR

Dear Mr. Mingus,

Thursday evening the Mingus Dynasty performed at Orchestra Hall in Detroit Michigan. I’m writing you to let you know how things turned out. I had a good time. My neck is still sore from bobbing. The septet, which included trombonist Frank Lacy, trumpeter Alex Sipiagin, tenor saxophonist Seamus Blake, drummer Donald Edwards, alto saxophonist Vincent Herring, pianist David Kikoski, and bassist Boris Kozlov played compositions you wrote in 1959, a prolific year for you.

For the most part, they stayed to the original way you composed the music. Of course, they tinkled with some of the composition. They adjusted some chord structure here and there, and slowed down the tempo on several of your signature pieces. You’re a brilliant composer and you weren’t afraid to speak your mind through your compositions.

Honestly, Mr. Mingus, I felt bad for the septet. I audience at Orchestra Hall wasn’t into the performance at all. Most of the people that attend the jazz series there have conservative ears. Your brand of jazz was too hip, which may explain the lousy turnout. A handful of folks appeared to be interested, but most seemed lost.

I figured the audience would perk up a bit when bassist Boris Kozlov called your gospel-inspired number “Wednesday Night Prayer Meeting”, which was the opening track on your landmark album “Blues & Roots”. At the part of the composition where the musicians stopped playing, clapped and encouraged audience participation the crowd was flat and could not keep up with the tempo. The audience seemed to be made of concrete, and the holy spirit of your composition couldn’t penetrate them.

Mr. Mingus, tenor saxophonist Seamus Blake and alto saxophonist Vincent Herring stole the show. I wondered if any Blake critics have compared to tenor saxophonist Booker Ervin who was the saxophonist on “Blues & Roots”. You would've recruited Blake. Like Ervin, Blake had a fat tone. Herring channeled the spirit of two of your ex-employees alto saxophonists Jackie McLean and John Handy.

I’ve been an admirer of your since I read the book co-authored by Janet Coleman and Al Young titled “Mingus Mingus Two Memoirs”. They wrote about their encounters with you. I knew about your reputation, but I only owned a few of your albums. I got a kick out of the solo piano album you made in 1963 titled “Mingus Plays Piano”. The other album was “Mingus Ah Um”. The Mingus Dynasty played several selections from that album “Fables of Faubus”, “Jelly Roll” and “Open Letter to Duke”. Your odes to Jelly Roll Morton and Duke Ellington were by top two compositions the octet performed Thursday.

You capture their personalities. It seemed as though you knew Ellington and Morton (Even saxophonist Lester Young) better than they knew themselves. You had a reputation of a brute and bully.

I heard about how you’d berate a crowd it they talked while your band performed. Mr. Mingus, I would’ve done the same thing. I also heard you punched out your employees when they didn’t play a part just as you had composed it. That bothered me. I concluded you’re a big bully. Did any of those employees ever fight back? You hand a gentle streak too.

Miles Davis told a funny story about you in his autobiography. Miles said drummer Max Roach had purchase a new Cadillac and he loan it to you. You damaged it. You smashed the car into a tree to avoid running over a squirrel. I got a kick from that story, and
I wondered if Roach berated you, punched you out, or insisted you pay for the damages. Miles didn’t say. Nothing could sully the fact you’re a great American composer. Did you feel you’d received all the accolades you deserved? You were just as good as Duke Ellington and the Gershwins.

Mr. Mingus, as I listened to the Mingus Dynasty Thursday night I wish I was at the Atlantic Studio in New York in 1959 when “Blues & Roots” was born. I would a hawked my soul to have witnessed you swinging with Booker Ervin Jackie McLean, Jimmy Knepper and Mal Waldron the name some of the jazz luminaries who blessed that album. I wasn’t lucky enough to have been a young adult in 1959. The constellation is when you passed away you left a wealth of great music, and the musicians in the Mingus Dynasty have dedicated themselves to preserving your genius.


Sincerely,

Charles L. Latimer

TAG TEAM

Carl and Rodney-

I have to be frank. The first time I heard your new album “Work To Do” I disliked it. It seemed as if you and Rodney couldn’t decide if you wanted to make a smooth jazz album or a straight ahead acoustic date. Because I respect the work both of you have done over the years as sidemen and bandleaders, I decided to spend for time with “Work to Do”, and maybe my initial feelings about “Work to Do” were wrong.

The album grew on me. Normally I listen to an album repeatedly before I comment about it. I rarely rely on my first impression. When I heard to “What’s Going On”, which featured smooth jazz saxophonist Kirk Whalum, I figured you and Rodney had double-crossed your fan base by joining the ranks of smooth jazz musicians. It was beneath you guys to dabble with smooth jazz.

Surprisingly, “What Going On” and “With You I’m Born Again were the tracks I replayed the most. With this album, you and Rodney showed you could dabble with smooth jazz without sullying your reputations as superb jazz traditionalists. As for whalum, the guy proved he could play with jazz musicians that have sound bop pedigrees, and he could thrive outside of his smooth jazz comfort zone. The tenor saxophonist was aggressive throughout. For this album, Whalum checked his pretty boy playing style at home.

You and Rodney run a tight ship. There was no grandstanding. Each player was respectful. My favorite moments were trombonist Vincent Chandler solo on “For Garrison (Both)”. Chandler channeled JJ Johnson spirit. Pianist George Colligan played at a high level of sophistication from start to finish. Whitaker, a hardnosed bop bassist, showed he has an angelic side on the Beatles classic “Eleanor Rigby”.

Throughout the album, Carl, your licks were like drummer Philly Joe Jones' licks. You tactfully make your presence known. You served pointed solos. You’re never self-indulgent. You’re an easygoing drummer. As leaders, You and Rodney delegated the bulk of the workload to your sidemen and they excelled.

Alto saxophonist Vincent Herring stood out the most. You and Rodney egged him on. In fact, both of you were like enthusiastic college cheerleaders, giving each musician support. You're unselfish co-leader. You and Rodney make a formidable duo, indeed.

You guys are wonderful bass and drum tag team in the tradition of duo such as Jimmie Garrison and Elvin Jones and Ron Carter and Tony Williams. That's not over praise but proven fact.

I’ve listened to “Work To Do” six times today. "Work To Do" is a fantastic date that mixed straight ahead acoustic swing with smooth jazz. I implore my readers to buy a copy Tuesday May 5th, the official release date. I don’t make guarantees, but If for some reason; my readers don’t share my enthusiasm after listening to "Work To Do” I’ll reimburse them.

Continue to swing

Charles

ENDANGERED SPECIES

Ken-

Thanks for the recommendations you gave me Friday evening at Border's Books and Music. I copped alto saxophonist and composer Oliver Nelson's 1964 big band date “Fantabulous”. The album was 50%, a bargain. I wonder if the executives at Border’s know what jewels they’ve literally giving away. I also I copped “Out of the Cool” by Gil Evans. You said I should add that album to my collection. I’ve only listened to the album twice, but I plan to spend more time with it soon.

Evans was, indeed, an imposing composer. I have to be in a sure certain frame of mind to comprehend the many nuances in his arrangements. He wasn’t a chump by no means, which explains why Miles Davis adored him. I’m not implying Nelson’s arrangements were easy. He was more swing oriented.

“Fantabulous” was an easy read. It grabbed my attention faster than Evans’ album. Evans was sort of a jazz intellectual. He wanted his listeners to think. That’s fine because some music enthusiasts want the music they buy to challenge them. Nelson on the other hand, wanted his listeners to have a ball. I had a grand time with Nelson’s recording. I have “Fantabulous” on right now, in fact. Nelson’s gang just finished running through “Hobo Flats”.

Now flutist Kenny Soderblom is in the middle of his solo on “Post No Bills”. Nelson just segued in. His tone and the way he shuffled through the changes makes me think about alto saxophonists Charlie Parker and Sonny Criss. They probably were his chief influences.

Ken, “Fantabulous” was the first big band date I ever had a dream about. I never dream about music. In my dream, Nelson’s orchestra played in my backyard, and my neighbors gathered. I sat near the orchestra in a lotus position. The music made me sway back and forth, as if I was in a tennis match.

On the ballad “Take Me with You,” some of my neighbors slow dragged. Even the squirrels that inhabit antic enjoyed the music. They twirled as the band wailed on “Daylies’s Double”. During the first chorus, one of the squirrels yelled: “That’s my Jam”! I haven’t enlisted an exterminator to rid my antic of the critters. They have good taste in music. It was a surreal dream. I wanted it to go on an on.

I’m glad we met. Right away, I knew you’re a serious jazz enthusiast. When I saw you with all the albums tucked under your arm, I thought you'd need a grocery cart to haul all your fines to the cash register. We talked nearly an hour. Nowadays, I rarely meet fellow jazz mavens. I used to encounter them often. People download music now, and record stores suffer.

Mom and Pop record stores are atop the endangered species list. Unfortunately, the next generations of music enthusiasts won’t know record stores ever existed, and how important those stores were.

I recall when I could go to a neighborhood record store and chat for hours with some kindred stranger who was passionate about jazz as well. I would leave the record stores feeling as if I had spent hours in church listening to an uplifting sermon. Ken that’s how I felt after talking with you.

I can’t recall the last time I conversed about jazz with a stranger. Driving home, I told my wife about you. She asked if we exchanged telephone numbers. I wish I had. I’m confident we’ll meet again. Did you enjoy the Lee Morgan and John Coltrane dates I recommended? When you listened to Morgan’s album keep, your eyes opened for baritone saxophonist Pepper Adam’s solos. I guarantee they will floor you. If either album leaves you unsatisfied, I’ll reimburse you.

How many of the albums you purchased that evening have you listened to? I bet you don’t have any regrets. Ken, I appreciate your recommendations “Fantabulous” and “Out of the Cool. Maybe before Border’s liquidate their entire stock of jazz albums, we will meet again.

Continue to swing

Charles

BACK IN STYLE

Lately, Hilary, various jazz record labels and publicists have bombarded me with new albums by female jazz vocalists that I’ve never heard of. Are female jazz vocalists the latest trend? Ten years, ago Max Jazz put out a series of good albums by female singers, but I haven’t from much about the record label since. I hate being unaware of new trends. Save for “Haunted Heart,” your new album, most of the offerings I’ve received were dull at best. I won’t diva hate by saying names. Their recordings were overwrought. One vocalist, for example, used an orchestra. The orchestra drowned her. She had a wonderful voice. The songs she chose fit her voice, but the album needed heavy editing. That wasn’t the case at all with “Haunted Heart”.

After I listened to “Haunted Heart”, I rummaged through my album collection for vocalist Sheila Jordan’s albums, especially her debut recording for Blue Note Records “A Portrait of Sheila,” which remains my all time favorite album by a jazz vocalist. Blue Note released it four decades ago. It was her only record for Blue Note.

I’m not lying, Hilary. I still get goose bumps jazz when I think about Jordan’s album. I’m not kidding. Did Jordan influence you? Your conversational phrasing is akin to Jordan. I mean as a compliment, Hilary. Some jazz musicians hate comparisons. I don't like to pit one musician against and other. I couldn’t help myself.

“Haunted Heart” was the first time I heard you. I’ve played the album often since your publicist sent it to me. Every morning last week, for example, I awoke with your whisper sweet voice humming in my ears. In the grocery store, at the gas station, and at the bank I caught myself humming the chorus of “What’ll I Do” and “Deed I Do”, two memorable standards on your album.

Hilary, your album was perfect. You made smart choices. You did overload “Haunted Heart” with tricky arrangements and unnecessary instrumentations. You rhythm section was not rambunctious at all. They sound as if their parents reared to accompany vocalists.
Hilary, I could spend hours listing what I liked about “Haunted Heart”, but that would monopolize too much of your time so I’ll end by stating this: On “It’s Love” and “Like a Lover,” I wanted to jump inside the album and slow dance with you.

Like a secret, I wanted to keep “Haunted House” all to myself. However, like a hot piece of gossip, I’ve told my friends about the album. I even spread the word to my friends that dislike vocal jazz albums. I guaranteed if they gave your album a shot your singing would change their negative views of jazz singers. I’m elated you made this album. I’ll ask around if in fact, female jazz vocalists are trendy again.

THE MOST VALUABLE SWINGER

Drummer Brian Blade
Dear Miles Davis-

I planned to write you last week. I couldn’t find the time. I had to revise an article I wrote about a local musician who has an orchestra much like Gil Evans'. The revision took longer than I hoped. Then I had to attend a concert I forgot I had tickets to. I should've stayed home. The concert was a waste. Anyway, Mr. Davis, I want to share with you the experience I had last Saturday in Ann Arbor, Mi. Did you ever play in that college town? The jazz aficionados there are hipper than the ones from Detroit.

I know you played in Detroit at Baker’s Keyboard Lounge, and the Minor Key. I wasn’t born when you performed at those clubs, but I heard some interesting stories. I won’t share them with you now. You’re probably busy painting or working on some new music. Last Saturday, pianist Chick Corea, and guitarist John McLaughlin performed--jazz musicians you had on your payroll--Hill Auditorium. They’re still going strong.

Corea and McLaughlin talked about meeting during the birth of “In a Silent Way,” your first fusion albums. Then they played a selection from that album. Corea said the name of the composition. I didn’t catch it. The audience was noisy all night. They’re grateful to spend two hour listening to accomplished jazz musicians playing their asses off.

I forgot to mention earlier, Mr. Davis, saxophonist Kenny Garrett, bassist Christian McBride and drummer Brian Blade were in the band. I’ve been a jazz journalist awhile. I’ve attended many jazz concerts. Most were memorable other not so. The show Corea and McLaughlin put on was astounding. When they walked on the bandstand, the audience went nuts. That happened for the band played a single note. The audience even gave Garrett an ovation midway when he soloed on “The Disguise”. I never witnessed that before.

Mr. Davis, I understand why you adored Garrett. The man locks himself into his solos. His discography is hit or miss. The saxophonist has made some bad albums, and some praiseworthy ones. To appreciate what a consummate swinger Garrett is, he should be experienced live setting. Most of applauds was for Brian Blade. The drummer was the Most Valuable Swinger of the band.

Mr. Davis, you would have put Blade on the payroll. The man is uninhibited. I heard Blade play for the first time last year at Hill Auditorium with tenor saxophonist Wayne Shorter. It was the weirdest concert I’ve attended. Shorter’s group walked on the bandstand. They had for over an hour. Then they left the stage. Shorter never acknowledged the audience, announced the material they played, or introduced his band-mates. I felt dismissed. I avowed never to attend a Wayne Shorter concert again. Mr. Davis, I digressed.

Blade had an almost obscene way of playing the drums. When he soloed, Blade made me blush. The man is short and thin, but he played with the power of three drummers. I detected bits and pieces of drummers Sonny Murray, Art Blakey, and Elvin Jones in Blade soloing.

Bassist Christian McBride received the least amount of solo time. When the opportunity surfaced, McBride walked the bassist through Hill Auditorium onto State street, grabbed a latte’ at Star Bucks on the way back. Then he returned to the bandstand in enough time for the band to close out the tune. Mr. Davis, all that didn’t occur. I apologize. I got carried away. That was my way of expressing how wonderful McBride is. McBride isn’t a greedy bass player. He always complements the bands he plays in.

Corea and McLaughlin spent a lot of time fawning over each other. I sensed their affection was genuine. They’re harmonious during both sets. The Concert was marvelous. Corea and McLaughlin are eligible for Social Security soon. Both are still evolving as composers, musicians, and bandleaders.

Mr. Davis, how often do you visit Corea and McLaughlin dreams to thank them for keeping the spirit of your music going? I’ve consumed enough of your time. I will stay in touch with you. If that’ okay with you. I want to share with you the impact you had on me when I was a rookie writer.

Charles