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. 

 

A LOOK BACK AT CHRISTMAS CONCERTS FROM SAMARA JOY & LAKECIA BENJAMIN

Vocalist Samara Joy

 You don't have to stay for an entire Samara Joy concert to experience the fullness of her vocality. Three songs into her set ensure you have gotten your money's worth. That's how I felt during the first set of Joy's Christmas show at the Fisher Theatre on Thursday evening. Joy was there with her father, uncle, aunt, cousin, and members of Larry Callahan & Selected of God, treating a packed theater to her family's rendition of time-honored Christmas songs. Joy introduced her family individually, bragging about their specialness. The first half of the set felt like the family invited the audience to their family gathering and witnessed them cutting up unfiltered. Joy opened the set with "Silent Night" and featured her father on "This Christmas." Watching her have fun with her family and the audience experiencing the source of her magnificence was delightful. The family had the audience cheering and testifying like they were participating in a church revival. The set's best part was Joy performing music from the Grammy-nominated album "Portrait" with her trio. Joy has an affinity for Detroit, and she studied with the late Detroit pianist Barry Harris, talking about him glowingly before performing his " Now and Then" so lovingly it's hard to believe she only started performing jazz four years ago. Her voice is supple and warm; you want to curl up on her lap and listen to her sing. Because of the forecasted heavy snow, I split after her first set, but I felt satisfied that I had witnessed Joy at her best with her family.

Saxophonist Lakecia Benjamin

The buildup to the saxophonist Lakecia Benjamin's Christmas concert at Christ Cranbrook Church was misleading. In an article by Detroit Free Press Arts & Culture writer Duante Beddingfield, Benjamin said she would perform Christmas songs and a selection or two from her Grammy-nominated album. She only performed “Little Drummer Boy,” and one of her bandmates had to remind her that it was on the setlist. The other selections the band played were from her albums "Retox," "Phoenix," and "Phoenix Reimagined." The audience was engrossed and didn't seem to give a shit that she only performed music mixed with hip-hop, funk, and jazz. Solo after solo, Benjamin nearly blew the paint off the church walls. Listening, I wonder if she was guilty of sinning, swinging with reckless abandon. On “Maceo, “I wanted to dance in the aisle but thought better of it, remembering I was in a church, not a jazz club or a concert hall. Benjamin possesses inexhaustible energy. You should consume a lot of caffeine and energy drinks to last through one of her concerts. The saxophonists Kenny Garrett and James Carter were influences, and she embodies their aggression, improvisational reach, and stamina. The worst thing that could be noted about her is she has one gear, leaving me to wonder if she has any other tricks in her bag. Nevertheless, she is a consummate entertainer; the church experienced that firsthand.

JAZZ DRUMMER NATE WINN WRAPS UP A THREE-NIGHT RUN AT THE DIRTY DOG JAZZ CAFÉ WITH STANDARDS AND ORIGINAL COMPOSITIONS

Drummer Nate Winn

I first heard the jazz drummer Nate Winn years ago. He was a talented up-and-comer in vocalist Jesse Palter's band, including a young pianist Mike Jellick and bassist Ben Williams, who are certified stars today. Winn was the band's centerpiece, and his playing resembled that of drummer Art Taylor, a combination of grit and sophistication. Over the years, Winn has developed into a complete player with a work history, including runs with pianist Danilo Perez, bassist Robert Hurst, and saxophonist Joshua Redman. As a bandleader, Winn has an eye for thirsty, young talent, which he demonstrated Saturday evening during the closing of Winn's three-night residency at the Dirty Dog Jazz Café in Grosse Pointe. Winn employed two hungry lions, making quite a name for themselves on the Detroit jazz scene: the saxophonist Houston Patton and pianist Brendon Davis. Patton wolfed down the changes to Winn's original music like a hot lunch. The accomplished bass player Damon Warmack was the band's OG and one of Winn's longtime mentors. The set was a mix of standards and original tunes. The original numbers diverted the audience's attention from their entrees to the band's performance and kept them engaged until the set ended. The band opened with a modernized working of Thelonious Monk's "Evidence," followed by pianist Cameron Graves's "Adam and Eve."  The band's potential was immediately striking. If Winn figured out how to keep this band working, it could be as popular as longstanding bands such as the Branford Marsalis Quartet and Wingspan. Winn's band collective telepathy shone on Winn's originals "A Song of Peace" and "Reassurance." The biggest takeaway from the set was Winn's complete musicality. His soloing was not over the top, and he embodied a selflessness uncommon among bandleaders. Winn preferred to point the zoom lens at his bandmates, particularly when Davis, who, on a few solo excursions, behaved as if he were the leader. Winn has exceeded all the potential he showed years ago, building his chops in Palter's band. Witnessing him as a bandleader left me wanting to see how tight Winn's band will be in the coming years if he can keep the band together, swinging.

 

JAZZ PIANIST CYRUS CHESTNUT'S PERFECT PRESENTATION OF A CHARLIE BROWN CHRISTMAS WAS INTERRUPTED AT THE PARADISE JAZZ SERIES

Pianist Cyrus Chestnut

Cyrus Chestnut has a rough time completing a concert at the Paradise Jazz Series without incident. He's one of the leading jazz pianists of his generation and one of the few acts that consistently pack the PJS. Last year, he performed his annual Charlie Brown Christmas set. Midway through the stellar presentation, a mentally fucked up person called Chestnut a nigger. The incident made the local news. The class act that he is Chestnut continued swinging after the bigot scum was rushed out of Orchestra Hall. Friday evening, Chestnut returned to PJS for another serving of a Charlie Brown Christmas. Drummer Kelton Norris, bassist Herman Burney, and special guest vocalist Haley Driver were in the throes of a perfect game when some unexpected drama happened. It was a big night for the young vocalist, Driver, a native of St. Louis, who lived up to Chestnut's buildup. He told the packed concert hall Driver would sell out Ford Field and Madison Square Garden one day. Talk about being put on the spot. Driver didn't choke. She managed timeless holiday classics such as "Christmas is Coming," "Winter Wonderland," and "Christmas Song" like a vocalist with decades of stage experience. Driver even served a soul-tingling version of "When I Fall in Love." Chestnut was brilliant all night, particularly on reworking "My Little Drum." The drama occurred near the end of the concert. A woman sitting near the stage collapsed. The music stopped when someone yelled for a doctor as Chestnut built another outstanding solo. The focus went from the bandstand to the woman. Chestnut told everybody to stay calm and ended the concert shortly after. I felt terrible for the woman who attended the concert for an evening of Christmas swing but ended up on the floor receiving CPR. I also felt for Chestnut, who has always played his ass off in Detroit. Getting him to return to the jazz series after being hit last year with the ugliest word in the English language took convincing. I also couldn't help thinking about the rumor circulating at the Detroit Jazz Festival that bassist Stanley Clark is jinxed. His set gets canceled because of inclement weather whenever he's scheduled to headline the festival. I pray Chestnut will continue to play the series because he's so adorned here.

 

TWO VOCALISTS PAY TRIBUTE TO BETTY CARTER AT THE DETROIT JAZZ PRESERVATION CONCERT SERIES

Vocalist Betty Carter

 After the Detroit Jazz Preservation Concert Series for the late vibist Milt Jackson last month, the series’ founder, trombonist Vincent Chandler, announced the next concert would be a homage to Detroit vocalist Betty Carter. I wondered immediately after the announcement what vocalists Chandler had in mind to pull off the Carter tribute. There isn’t a shortage of terrific jazz vocalists around Detroit. I surmised selecting one was the most challenging aspect of creating a program of Carter’s music. Carter was a legendary jazz vocalist and mentor to generations of jazz stars. She developed her unique style during the formative leg of her career in bands led by Lionel Hampton and Dizzy Gillespie. For Sunday’s afternoon DJPCS tribute, Chandler chose vocalists Isis Damil and Monique Ella Rose. Both embody the talent and drive to have the impact Carter had. Chandler picked seven of Carter’s famous compositions and created the perfect working environment for Damil and Rose to have some fun. I appreciated Damil and Rose’s handling of Carter’s work. They never tried to copy Carter’s manner of singing, which was my primary complaint of a tribute to Carter two years back at the Carr Center. Damil and Rose’s singing was breathtaking, and they seemed at home with Carter’s music, especially Damil. She has an infectious stage presence. Midway through the opening number, “Ego,” she had the near-capacity audience at Schaver Music Recital Hall won over. She respectfully refashioned Carter’s “Tight,” Make Him Believe,” and “Naima Love Song.” Damil is from a generation that has diverse interests. Her voice is such that she could succeed in whatever genre of music she dedicates herself to. As a jazz writer with an affinity for jazz vocalists, I pray Damil will dedicate her voice to jazz exclusively. Indeed, the jazz world will be better off with such effervescent talent. Before Rose sang “Who What Why Where When,” she confessed that she wasn’t a jazz singer per se but a soul singer, and when she completed flexing on “Droppin’ Things” and “30 Years,” I was convinced she was a capable jazz vocalist who could navigate every facet of jazz. Rose has a voice that hugs you tightly like a cashmere sweater, and she knows how to expose the marrow of a song. Chandler assembled another stellar group: saxophonist Houston Patton, bassist Jonathon Muir-Cotton, drummer Brandon Williams, and pianist Jordan Anderson. Each played marvelously, particularly Muir-Cotton and Anderson. Muir Cotton's soloing was a highlight, and Anderson demonstrated he has a sensitive streak and understands the details of accompanying complete vocalists like Damil and Rose