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.

 

THE DETROIT JAZZ PRESERVATION CONCERT SERIES CELEBRATES THE MUSIC OF KAMAU KENYATTA

 

Kamau Kenyatta

No one at the Detroit Jazz Preservation Concert Series Sunday evening would have guessed the quintet trombonist Vincent Chandler assembled to perform the work of pianist Kamau Kenyatta had only been together for three hours. The quintet included pianist Brendon Davis, bassist Langton Kitchen, drummer Sean Perlmutter, saxophonist Alvin Paige, and Chandler steering the operation. They were tight and sound professionally polished, as any known jazz group I have heard, indicating the wealth of talent currently in Detroit's jazz scene. The only band member I knew other than Chandler was Davis, who the entire concert was comfortable as the centerpiece. Davis has quickly developed his piano skills and has been an excellent addition to many bands. His soloing has an intimacy that listeners could immediately embrace, like a beloved family member. He has an elder pianist command of his instrument. The Kenyatta celebration opened with his 2019 tune "Smoke," Paige wasted no time making his presence felt with a gutbucket lead solo. I could not pinpoint his tenor sax influences, but he owns a thick and mature sound for such a young blower, and his acumen for navigating chord changes belies his youth. He was the perfect frontline companion, blending seamlessly with Chandler. Kenyatta compositions are not complicated. They seem fueled by digestible melodies and allow room to flex and explore. After the quintet smoked on "Smoke," they performed "Peter Kobia," "Don't Forget Your Music," "The Outsider," Shahida," and other gems. Kenyatta's compositions are not standards or permanent features in any jazz band's repertoires, an issue that Chandler addressed before introducing "Watching and Waiting. "Chandler implored the members to include Kenyatta's music in their repertoires when they start bands. The performance overall stuck to your ribs like the tributes to Detroiters Betty Carter, Pepper Adams, and Donald Walden. Attendees will likely boast about the quintet's flawless performance as if they have been touring together for years.

WYNTON MARSALIS & JAZZ AT LINCOLN CENTER PERFORM NEW ARRANGEMENTS OF COOL AND HARD BOP CLASSICS AT THE UMS CONCERT SERIES

Trumpeter Wynton Marsalis

Trumpeter Wynton Marsalis and his Jazz at Lincoln Center Orchestra are best when performing the music of legendary jazz musicians like Duke Ellington, Miles Davis, Horace Silver, Wayne Shorter, and Lennie Tristano with crisp arrangements from orchestra members. Such was the case Saturday evening at Hill Auditorium on the campus of the University of Michigan. It was the orchestra's annual University Music Society concert, and it was more invigorated and youthful than I remember them being, which could rightly be attributed to the excellent soloing of new members, saxophonists Adbias Armenteros, Chris Lewis, Alexa Tarantino, and trombonist Micheal Dease. This time out, the orchestra performed music from the Cool and Hard bop genres, opening with Gerry Mulligan's arrangement of "Godchild" from Miles Davis's landmark album "Birth of the Cool." Marsalis played the changes with such vigor and sophistication God would've had chill bumps listening to him blow. After that opener, the orchestra exposed the heat sources of Horace Silver's "Senor Blues" and Lennie Tristano's "Wow." The orchestra performed new arrangements of well-known jazz standards during the set's second half. The jazz pianist Benny Green composed a song," For Duke Pearson, " honoring Duke Pearson." I prayed the night before the concert that Green would be a surprise special guest, but that didn't happen. Instead, the orchestra's longstanding pianist, Dan Nimmer, was featured, and his fingers danced and dashed across the keys as if their tips were on fire. Nimmer's style is akin to Pearson and Green, and he played the song as if Green composed the song in his honor instead of Pearson. There were more memorable features like the Gerry Mulligan and Chet Baker-inspired version of "Star Dust, " featuring trumpeter Ted Nash and baritone saxophonist Paul Nedzela playing counter melodies. Trumpeter Marcus Printup had the devil in tears during his remake of Benny Golson's "I Remember Clifford." The orchestra kept the audience belly full with picturesque offerings of Elmo Hope's "Minor Bertha" and Luther Allison's "Milk Route." The concert ended with Wayne Shorter's "Backstage Sally." The JLCO's presentation might've appeared all over the place to the untrained and unsophisticated ear. The orchestra is world-class and staffed with sophisticated swingers. There was an undeniable beauty to this cool school hard-bop performance.

 

TRUMPETER ETIENNE CHARLES BRINGS ‘EARTH TONES’ TO THE LYDIA MENDELSSOHN THEATRE

 

Trumpeter Etienne Charles

Listening to "Earth Tones," an ambitious statement on climate change by trumpeter and composer Etienne Charles, Friday evening at the Lydia Mendelssohn Theatre on the campus of the University of Michigan, I wondered how unique and unforgettable this project would be if Charles's group had performed it over an extended period. He told the near-capacity audience he's only performed it twice live. Unfortunately, that was apparent, given the presentation's blandness and lack of cohesion. Instead of being a tight unit that such a considerable work mandates, the octet came off like a collection of jam session musicians, which was a shame given all the stars Charles assembled, like saxophonist Marcus Strickland, bassist Jonathon Muir-Cotton, and vibist Warren Wolf. It seems impossible to go wrong, including such capable shooters. Anyway, the hour-plus mix-media presentation embodied all the potential of one of pianist Jason Moran's mix-media offerings. The video footage that Charles played in the background showed the impact of climate change in places like Houston, Louisiana, and Puerto Rico. The footage was disheartening, but the music that followed didn't do anything to boost my spirits. For the record, Charles is a terrific trumpeter and composer with an impressive work history and growing discography—his blowing is warm and pristine, ala Little Johnny Cole and Art Farmer. However, Charles's presentation, as well-intended as it was, was bland and could've benefited from a dash of salt and a pinch of swing here and there. The individual soloing was worth reporting, particularly Wolf, who played vibes, keyboard, Marimba, and piano. Charles spent the concert switching from trumpet to percussion. No, the presentation wasn't a bust. However, to pull off such an ambitious work as "Earth Tones," an ensemble must be as tight as the seat of a fat man's dress slacks. For those who agree with my review, please don't give up on this work. The project is worth revisiting after Charles patches all the surface cracks and tours for at least a year. Friday's offering was, at best, a competent dry run.

THE PEPPER ADAMS TRIBUTE WAS AMONG THE BEST OF THE DETROIT JAZZ PRESERVATION CONCERT SERIES

Baritone Saxophonist Pepper Adams

Listening to the baritone saxophonist Pepper Adams tribute Sunday afternoon at the Detroit Jazz Preservation Concert Series, I wondered if three baritone saxophonists on the frontline of a jazz ensemble were the first time such a formation has happened in Detroit, or better yet, in the history of jazz. Research must be done to answer that. Anyway, what transpired at Schaver Music Recital Hall Sunday during Adams's tribute was brilliant in its execution. Alex Harding, Joshua James, and Garrett Gaina were the high-tier baritone saxophonists the series' founder, trombonist Vincent Chandler, picked to perform Adams's compositions such as "Philson," "Binary, Ephemera, ""Freddie Froo," and "Muezzin'." The saxophonists opened the set full throttle with "Jirge" and "A Witches' Pit" and didn't let up even during a lineup shift when Chandler and trumpeter Ingrid Racine joined in. Racine is in a league of her own, accustomed to blowing sweetly and with an architect's adherence to detail. Harding, James, and Gaina were admirers of Adams's wit and meticulousness, particularly James. Fortunately, however, neither saxophonist tried to copy Adams's grassroots style during the concert. Their styles were sufficient to play Adam's music pleasingly. Staying true to the styles they have labored to establish, I've noticed, is the collective behavior of the musicians who participate in the DJPCS. Never have they emulated the styles of the legends the series has honored. Harding was the crowd-favorite of the three saxophonists, bulldozing through the chord changes like a union operator. Harding can be a ham when feeling the music, but his showboating is done tastefully. Of course, the three baritone players were star attractions. The ensemble's centerpiece, however, was pianist William Hill III, who ran up and down the keys with self-assurance and the swing-driven consciousness of the great pianist Jaki Byard. When introducing the rhythm section, which included the world-class bassist Marion Hayden and Detroit's most significant living jazz drummer Gayelynn McKinney, Chandler gave Hill III a heartfelt compliment, pointing out that like saxophonist James Carter—who attended the concert—Hill III has a journeyman's understanding of the music, and he never has to be taught. There are talented young and hungry jazz pianists in Detroit. The difference between them and Hill III is that they have G league chops, and Hill III has a command of his instrument that defies his age and a high improvisational IQ. Unsurprisingly, he's a product of the Detroit Civic Jazz program, where aspiring jazz musicians were exposed to professionals like Chandler, Kris Johnson, Sean Dobbins, Rayse Biggs, Marcus Elliot, and Rodney Whitaker. Will III has fashioned a name for himself, touring with award-winning vocalist Jazzmeia Horn. His soloing throughout the concert made the hair on the devil's neck stand up. He played rhythmic lines with verve, sophistication, and care. When Hayden soloed, his comping was comparable to pianist Jason Moran. Who would've imagined that a young musician could make Hayden sound more otherworldly than she always does? So far, the Pepper Adams tribute was the best Detroit Jazz Preservation concert I've experienced. And history might have been made with three baritone saxophonists occupying the frontline.