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.