DID THE RON CARTER FOURSIGHT QUARTET PUT ON THE BEST CONCERT IN THE HISTORY OF THE PARADISE JAZZ SERIES?

Payton Crossley, Rene Rosnes, Ron Carter & Jimmy Greene

I wonder if anyone at jazz bassist Ron Carter's Foursight Quartet concert on Friday evening at the Paradise Jazz Series believes it was the best concert in the series history. The quartet, pianist Rene Rosnes, saxophonist Jimmy Greene, and drummer Payton Crossley put on a concert for the ages. They are the smoothest outfit I've seen. Their way of swinging is different. It has a certain dignity you do not get from other jazz bands. Before they started swinging, they walked out dressed in black tuxedos, locked arms and bowed. Carter sat on a stool next to the piano. The quartet played for an hour without coming up for air. Carter didn't call the first four songs. I had to go to his Facebook page for the setlist. They opened with "Bohemia After Dark" and slid into "Nefertiti" and "One Finger Snap." After they ended "Little Waltz," they finally came up for air, and Carter addressed the house. It was a joyful homecoming for Carter, and he was happy to play for a packed house at Orchestra Hall, his first time hitting there as a band leader. The quartet didn't pause between songs like they were performing a suite. The wondrous thing about this concert was that each moment could rank as the concert's high point, with Rosnes and Carter trading and Greene blowing brilliantly. Greene is a sax player with a lean, pleasing, everyday tone, like the late Harold Land. With so many highlights, my favorite was Crossley's solo, where he only hit the cymbals, which was like watching a hotshot artist painting on stage. Rosnes' playing stood out the most. She's an elegant piano player who plays like her fingers are made of diamonds. Carter shook up the house with a well-crafted bass solo. As a bass player, he waltzes with the bass instead of walking with it. His playing draws you in after playing notes. So, it's worth asking if the Foursight's set was the best in Paradise Jazz Series' history. 

 

TRUMPETER BENNY BENACK III LAUNCHES FIRST MIDWEST JAZZ COLLECTIVE CONCERT AT THE BLUE LLAMA

Trumpeter Benny Benack III

Benny Benack III, a jazz trumpeter from Pittsburgh, reminds me of the late Chet Baker with his trumpet and singing style. I don't know if he means to copy Baker, or if he looks up to him. Benack has played with stars like Christian McBride and Emmet Cohen and released two albums. When I heard Benack sing and blow Saturday night, I could not stop thinking of Baker during his heyday. However, Benack sings better than Baker did. Benack III performed with his band, including pianist Tyler Henderson, drummer Charles Goold, and bassist Caleb Tobocman. They were there to start a new concert series by the Midwest Jazz Collective, a group of jazz clubs and promoters in the Midwest that organize tours for leading jazz musicians. Benack III had performed at Blue Llama before and even recorded a live album there last year, set for release this summer. The band played standards and originals, starting with "Kiss the Good Life Goodbye" and then "The Sound of Music."  The band sounded best on songs from Benack's albums “Third Times The Charm,” “One of a Kind,” and “A Lot of Livin’ to Do.” Benack's singing was soothing, making you wish he would never stop. His pianist, Tyler Henderson, a Juilliard graduate, played perfectly behind him, demonstrating how selfless a pianist must be when supporting a singer. During the 90-minute performance, it was surprising to see that Benack, who has such a smooth singing voice, could also play the trumpet so powerfully. He showed this, especially on the song “Catching Drift,” which was a twist on “My Favorite Things.” Here, Goold and Tobocman really carried the heavy parts. Tobocman, only twenty-two, is already making a name for himself. Throughout the set, he strolled with his bass rather than walking it. Goold's drumming was powerfully beautiful, like his peers Nasheet Waits and Brian Blade. At the end of the set, Benack III invited a singer friend to join him for a restructured take of “Willow Weep for Me,” ending the show beautifully and marking a great start for the Midwest Jazz Collective's concert series.

 

WJZZ CELEBRATES ITS 66TH BIRTHDAY AT BAKER’S KEYBOARD LOUNGE

WJZZ's Rodger Penzabene Jr.

WJZZ celebrated its 66th birthday with an exclusive party Tuesday night at Baker's Keyboard Lounge in Detroit, MI, which included a guest list of notable Detroiters like fashion laureate Chuck Bennett, renowned photographer Monica Morgan, fashionista Fast Freddy Anderson, jazz vocalists Naima Shamborguer, Sky Covington, Joan Belgrave, celebrity journalist Greg Dunmore, and some elected city officials. The drummer and Kresge Fellow Aisha Ellis and her quartet provided the music. Before the quartet launched the two-hour performance with tracks from Ellis’s new album "Luck or Favor," WJZZ's president, Rodger Penazbene Jr., thanked his sponsors and team for organizing the celebration and shared insights into the station's history and its new direction. He then handed the stage back to Ellis's group, whose performance mixed funk and smooth jazz. This style of music, although different from what I usually write about here, aligns with WJZZ's shift from traditional acoustic jazz. The quartet included keyboardist Jame Shelton, bassist William Pope II, and flutist Deblon Jackson played most songs in the same key and at a lively pace, captivating the audience and even me at times. It has been a while since I last visited Baker's. I was a regular at the late pianist Teddy Harris Jr.'s weekly jam sessions years ago. It is surprising that Baker's no longer has a piano, especially since it is known as the world's oldest jazz club—a claim disputed by some jazz historians. During the celebration, I found myself—despite my allegiance to straight-ahead acoustic jazz—lost in the music along with everyone else. Ellis is a witty and exciting drummer, reminiscent of Gaylynn McKinney in her textured rim shots and self-assurance in the pocket, shouldering the bulk of the workload. Jackson, on the flute, was exceptional, though sadly unsung despite her long history of putting out good music. I only hear her play at her annual street performances during the Detroit Jazz Festival. Her talent is remarkable, and I wonder why the festival has not booked her or she has not been featured at any of the jazz clubs in Detroit. Shelton, the keyboardist, played energetically, though his rambunctious style made his bandmates labor harder than they should have at times. Halfway through the set, Ellis was sweating like a construction worker on a hot August day. Shelton might have forgotten he was not leading the quartet. Over the years, I have come to understand that smooth jazz keyboardists are prone to grandstanding. It is an unshakable part of their nature. Overall, the 66^th birthday bash was a perfect tribute to WJZZ, an important part of Detroit's cultural scene. There is good reason to cheer Rodger Penzabene Jr. for his dedication to revitalizing WJZZ.

 

YOU DON’T HAVE TO EXPERIENCE AN ENTIRE WILLIAM HILL III CONCERT TO KNOW HE’S THE REAL DEAL

Pianist William Hill III

I owe the young jazz pianist William Hill III a heartfelt apology for only staying for half his trio set Friday evening at the Friday Night Live concert series at the Christ Church Cranbrook. Hill’s trio includes drummer Samuel Melkonian and bassist Langston Kitchen. Hill is a Detroit School of the Arts graduate who now studies at the Manhattan School of Music and performs regularly around New York. I left midway through the set because my partner’s seasonal allergies flared up, causing her eyes to swell. Fortunately, the four compositions I heard convinced me that after hearing him for the first time as part of the Detroit Jazz Preservation concert series, my initial impression of him as a force to be taken seriously was accurate. His trio opened Friday night with his original “Keep It Moving,” showing he’s a gifted composer, and the trio is as polished as any professional trio currently working. They followed the opener with a hip take of Thelonious Monk’s classic “’ Round Midnight.” Pianistically, he runs lines with the sophistication and aplomb of a veteran sharpshooter like Cyrus Chestnut, and Hill possesses the piss-and-vinegar swagger of the late Jaki Byard, who could touch on the history of African American music in a single solo. Hill denies that Chestnut and Byard weren’t immediate influences. He attributes that to Wynton Kelly and Oscar Peterson. After the trio’s modernized rendering of the Monk classic, Hill cast the spotlight on bassist Langston Kitchen on the goose-bump-inducing “Alone Together.” Kitchen has a mean left hook and his soloing on the tune was awe-inspired. Melkonian drumming could’ve made the devil blush. Hill didn’t announce how long his trio had been together. The trio is professional from top to bottom. I appreciated that William required his bandmates to wear suits. He understands the significance of first impressions. So many of his peers don’t care how they look on stage, but not Hill. He treated the bandstand as if it were sacred ground. I hated that I couldn’t stay for the entire concert, but what I experienced was top-notch enough to convince me the sky is the limit regarding Hill’s future.

 

THE DETROIT JAZZ PRESERVATION CONCERT SERIES SHOWS ANOTHER SIDE OF JAZZ BASSIST RON CARTER

 

Ron Carter

Whenever jazz bassist Ron Carter comes up in conversation, it often centers on his numerous achievements, such as his contributions to over 2,000 recordings, his decades as a leading jazz educator, and his membership in Miles Davis’s second iconic quintet. However, fans and critics seldom discuss him as a composer. His compositions took center stage on Sunday evening at the Detroit Jazz Preservation Concert Series in Schaver Music Recital Hall. Trombonist Vincent Chandler, the series founder, chose nine of Carter’s compositions and assembled a cross-generational band that included pianist Gregory Burk, drummer Louis M. Jones III, bassist Michael Abbo, saxophonist Vincent Bowens, and percussionist Mahindi Masa. The evening began with Carter’s “Uptown Conversation." Although it’s an upbeat piece, the band didn’t allow its nuances to overwhelm the audience. The various bands Chandler has assembled for the DJPS seldom rehearse the music they present. That’s hard to tell and shows the elevated level of musicianship in Detroit that Chandler is helping cultivate. Next, the band performed one of Carter’s ballads, “3 More Days," with patience and warmth, and it’s doubtful that there was a dry eye in the hall when the band finished. In all the years I’ve followed Chandler, this was the first time I remember hearing him perform a ballad. It felt like a love letter to the audience. Chandler was in top form during the concert. As the leader, I’ve never seen him focus the spotlight solely on himself; he’s about laying the groundwork and encouraging his bandmates to build upon it. However, he did mention something that annoyed me while providing context about his touring stint with the Jazz at Lincoln Center Orchestra, implying he isn’t on the same level as trombonist Wycliffe Gordon, who Chandler subbed for in the JLCO. Of course, Chandler was being modest, but I know his chops and feel confident in asserting that he is in the same league as Gordon or any prominent jazz trombonist performing today. This time, his standout selection was the veteran saxophonist Vincent Bowens, who has the softest tone of any professional tenor player I’ve ever encountered. When Bowens soloed on “Aromatic” and “Fill in The Blanks,” I felt his tenor sax might float out of his hands at any moment. Bowens is neither average nor overly muscular as a saxophonist; sophistication is his trademark. The rest of the band was marvelous as well. Burk is a sophisticated pianist who follows the tradition of Kenny Barron. He doesn’t believe in taking out his aggression on the piano and has a light touch as if feathers are attached to his fingertips. Abbo was a crowd favorite, walking his bass like a prom date. When he performed on Carter’s “Little Waltz” and “117 Special,” I understood Chandler’s affinity for him. His style resembles bassist Josef Deas, who played with Chandler in the popular jazz ensemble Urban Transport. And for such a young drummer, Jones III displays a remarkable command of the kit. His solos are concise and impactful. Listening to his drumming, I wondered if his biggest inspirations were drummers Bert Merrick and Sean Dobbins. What stands out most about this incredible concert series is the respectful handling of the music presented.

AT THE PARADISE JAZZ SERIES, THE SFJAZZ COLLECTIVE PRESENTS AN ORIGINAL SUITE IN SEVEN MOVEMENTS

The SFJAZZ Collective

 

The SFJAZZ Collective, an all-star ensemble, commemorated 20 years of music on Saturday night at the Paradise Jazz Series with a commissioned suite in seven movements. Since its inception in 2004, the collective has featured renowned jazz musicians, including Joshua Redman, Sean Jones, Rene Rosnes, and Bobby Hutcherson. The collective has showcased music from the great American songbook, pop songs, and original works by various members. For the Paradise Jazz Series presentation, the group performed a suite in which vibist Warren Wolfe, saxophonists David Sanchez and Chris Potter, pianist Edward Simon, trumpeter Mike Rodriguez, bassist Matt Brewer, and drummer Kendrick Scott contributed individual movements. The suite could have felt disjointed with so many hands in the pot, with one or two movements overshadowing the others. However, that wasn’t the case here. All seven movements were equally captivating, featuring standout solos by Wolfe and Potter. The 90-minute concert was my first time hearing Potter live. I’m familiar with his studio recordings, but there’s nothing like witnessing the gunslinger perform live with similarly skilled musicians. Potter embodies a massive tone on the tenor saxophone, drawing you in just a few choruses into one of his gorgeous solos. On Saturday night, he was the crowd favorite. This was the first live concert I attended, where every moment felt like it could make the highlight reel. This performance was undeniably better than the last time the group performed at the Paradise Jazz Series, where they played music by Michael Jackson. That was my least favorite jazz concert of all time. The reason being, there’s nothing sadder than a group of jazz musicians playing pop music—that’s more than my jazz purist heart can bear. This time, the collective was masterful in presenting the seven-movement suite, making it a fitting way to celebrate 20 years of swinging at the highest level.

THE BRANFORD MARSALIS QUARTET DEBUTS AT THE UMS CONCERT SERIES

Branford Marsalis, Justin Faulkner, Eric Revis & Joey Calderazzo

On Wednesday night at the Michigan Theatre in Ann Arbor, MI, the Branford Marsalis Quartet debuted in the University Music Society concert series. As I enjoyed one of the best jazz bands around, I couldn’t help but wonder why it took the UMS organizers so long to bring Marsalis, pianist Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner to town. The quartet performed hits from past recordings and their upcoming Blue Note Records debut, “Spiral Dance," as if being part of the series was a top priority on the quartet’s vision board. Unfortunately, Marsalis did not discuss the new recording. The quartet has been together for about 30 years, with just one personnel change: Justin Faulkner took over for Jeff “Tain” Watts in 2009. Faulkner quickly emerged as the guiding light of the quartet. His drumming on Wednesday was soul-stirring. The quartet began the 90-minute set with Calderazzo’s burner “The Mighty Sword.” Right from the start, one could sense the band’s cohesion and their ability to comfortably explore the nooks and corners of each other’s musical psyches. Marsalis is the pilot, but by the time the quartet powered through Keith Jarrett’s “Long as You Know You’re Living Yours” and Paul Whiteman’s “There Ain’t No Sweet Man Worth the Salt of My Tears,” it became clear that Calderazzo and Faulkner are more than just the band’s copilots. Their chemistry is unmatched. Often, they get so fired up that one might easily mistake their back-and-forth trading for showboating. In reality, it’s simply two professional swingers doing what swingers do: satisfying the cravings of an audience eager for great jazz. Rest assured, no one left with an empty belly after the quartet finished performing. It’s easy to become entranced watching Calderazzo’s hands race across the piano keys and his feet flop like a fish out of water. The individual play on Revis’s “Love/Stranger,” which Marsalis jokingly called Revis’s take on a modern love song, was the highlight of the set. Each member soloed as if it were the last solo they would ever play. Revis writes eccentric songs, and Marsalis often playfully teases him about them. At a Paradise Jazz Series concert several years ago, Marsalis described one of Revis’s abstract songs, telling the audience that this is the kind of music you play when you don’t want to get paid. What’s interesting about Revis’s songs is their complexity, which allows musicians to expand their virtuosity. Marsalis paraded the breadth of his chops on this number with a controlled intelligence he has cultivated over time. Marsalis’s quartet delivered an outstanding debut, which is no surprise. The UMS organizers should consider bringing the quartet back to the series at least every other year.