[JPL] Still Another Jazz Show April 11

Dick Crockett bopndick at yahoo.com
Fri Apr 15 23:32:52 EDT 2005

Still Another Jazz Show    April 11

Kermit Ruffins  with the Rebirth Brass Band    “Make
Way For The Rebirth” 
“I Gotta Woman”      THROWBACK         Basin Street

Irvin Mayfield  with The New Orleans and The Dillard
University Choir 
“MOVEMENT 1:   “Opening Statements”    Basin Street

Abram Wilson     “You Should Know”   “Take It Forward”
JAZZ WARRIOR        Dune Records

Jason Moran     “Aubade”   “Fire Waltz”      SAME
MOTHER     Blue Note

Joe Gilman        “There Will Be No Tomorrow”    TIME
BRUBECK  REVISITED       Sunnyside Records

Eldar        “Point Of View”       ELDAR       Sony

Roger Kellaway    “Beyond The Sea”    ROGER KELLAWAY

Patricia Barber    “Gotcha”   “Dansons La Gigue!”   
IN FRANCE     Blue Note

Nina Simone     “Vous Etes Seuls, Mais Je Desire Etre
Avec Vous”   “Fodder On
My Wings”    FODDER ON MY WINGS      Sunnyside Records

Connie Evingson   “Nuages”    GYPSY IN MY SOUL    

Nels Cline Singers    “The Ballad Of Devin  Hoff”     
Cryptogramophone  Records  

Bruce a. Henry    “Equinox”    CONNECTIONS     BAHLOVE

Carolyn Leonhart     “No Moonlight”    NEW 8TH DAY  
Sunnyside Records 

Gary Burton   “Walkin In Music “  ”Fuga”   NEXT
GENERATION    Concord Jazz

el hombre trumpet player KERMIT RUFFINS begins with 
“Make Way For The Rebirth,” from his new CD,
THROWBACK.  Ruffins has assembled an old style New
Orleans brass band, the kind of band that sashayed
through the French Quarter a century ago  for parades,
funerals and holidays,  no doubt inspiration  for
Louis Armstrong as well as  other many prominent N.O.
musicians.  You know the rest.   It’s a jazz
There is no upright bass here. There’s a tuba player,
Philip Frazier, who pumps  up the bass figures in true
John Phillip Souza tradition  on this CD.     When 
Ruffins  sings as he does on the Ray Charles classic,
“I Got A Woman,” he sounds like Chris Rock!  Chris
Rock singing like Kermit Ruffins.  Rock sounding like
Ruffins.... Un....... believable!   If Rock could sing
he’d sound like Ruffins.      
IRVIN MAYFIELD  and the New Orleans Jazz Orchestra and
the Dillard University Choir.   Mayfield’s original
composition in nine movements,  STRANGE  FRUIT is
featured in this CD. This is remarkable in scope and 
how the Ellington influence is so pervasive in the
writing and performance of this piece- magnanimous in
swing , style and blending of narration, voices, moods
for this deals  with the beauty of love and
destructiveness of the blight of racism in the
twenties. Wendell Pierce lends depth, humor and a
sense of foreboding as the narrator. The Dillard
University choir adds a gospel-blues touch- a tragic
sense of catharsis to this story, the music, the
singing, the narration.  This is why it’s so powerful.
Today most of our entertainment is
melodramatic, choreographed and superficially grey! 
This is why such a powerful
STRANGE FRUIT shines... So bite into the real thing!  

ABRAM WILSON concludes our segment on N.O.  trumpet
players with a modern edge.   Wilson reminds one so
much of Chet Baker and his proclivity to play some
cool lines and sing loike a mellow lark. Fifty years
will concur a divergence of style, of course as Wilson
sounds like the lead singer of Earth Wind and Fire,
proving timing is everything.   We played “You
Wouldn’t Know,” a very fine tune that demonstrates
this young man’s affinity for the right dynamic  as
Wayne Plummer’s acoustic guitar, accentuates to soft
infinity...perchance to dream.  “Take It Forward” is
next with a Rod Temperton sounding refrain with Wilson
playing some nice N.O. ‘smack.’  So we have an
interesting blend here on “Take It Forward.”  No
wonder Abram lives in England, he’s up on that  Rod
Temperton  mystique. The subtle difference is
dynamics- acoustics and modern  hieroglyphics.   
Abram Wilson is about to put a stamp on new
contemporary jazz religion.  ABRAM WILSON and RUSSELL
GUNN are today’s of the  most radical new modern 
players in an ever changing new modern jazz .  This is
new blood, way ahead, like Miles and the Mississippi
connects their birthright.
NOTE: Today, on my trip from Placveville, I order an
Iced  Half Caf  Venti -Americano, because I needed
some espresso fix.  I’m looking at the Miles CD on the
counter at Starbucks. It's all fifties Miles. The
young man who takes my order says; “I dig Miles.”  “Do
you know sixties Miles,” I ask?  He says.” No.’ “A
young band, Herbie Hancock, Tony Williams....in their
early twenties,” I say, picking up the Venti off  the
counter. I decide  not to go through the  Miles
history, although I was tempted.  But, there’s a
threshold of too much information, like Carl Rove
showing off at a STAR WARS convention. 
As I walk outside I realized that I was about fifteen 
when I started listening to  jazz and Miles Davis and
Chet Baker. Same music different generation fifty
years later,  therefore, early Miles is a good thing,
whatever the packaging. Obviously,  this young man is
impressed.  As Martha says, this is a good thing.
JASON MORAN begins the next segment with his newest,
SAME MOTHER CD.   We played the beautiful, fragile
ballad  “Aubade,” a duo with Marvin Sewell on acoustic
guitar and Moran on piano. Performed with grace,
delicacy and texture.  Then the Mal Waldron classic
“Fire Waltz,” which Moran opens with a traditional 
classical approach then the time change into anything
but a waltz.  Moran’s interpretation layered, tempered
with signature subtlety. There is so much going on
here with Monk phrasing and Waldron exploration.  At
times, Moran will blend Debussy romaticism with
Sewell’s  slide guitar  blues continuum. A most
fascinating interesting interpretation. This Moran is
most willing to take chances,  his left brain moving 
sideways with much success. Mal Waldron’s original
appeared on the 1961, THE QUEST on Prestige with two
of my favorites,  Eric Dolphy and ‘my man’ Booker
Ervin- performing in Monk 3/4 lock step. Moran’s
version accentuates and shine from the original. A
Utopian Waldron modern premise surrounded b black and
white Truffeaut new French realism. Remember this was
the very hip neo modern sixties with Karoac, Mailer,
Burroughs, Playboy sensibiltiy, where jazz was
considered true, real and hip. You were cool, if you
were hip! Chet Baker was a part of that realism and 
“Status Seeking.”is a precursor of modern technology. 
JOE GILMAN follows from his new Sunnyside release,
played “There Will Be No Tomorrow,” a Brubeck original
as Gilman adds Spanish hyperbole, a traditional flair
to this robust very romantic dirge.  Joe Gilman
perpetuates Brubeck musicale to Hyperion classic. No
one has drawn so much out of Brubeck’s music as Joe
18 year old pianist, phenom,   ELDAR is next with his
debut on Sony Classical.   When listening to his ‘fast
brain’ version of “Sweet Georgia Brown.” This young
man can control  the keyboards.   He has all the
dynamic licence to excoriate a lesser known entity
called pop, as he  soars on this new CD.    We played
“Point Of View ” with saxophonist  Michael Brecker.
And concluded this segment on the PIANO as  ROGER
wonderful solo work by Kellaway.   
PATRICIA BARBER and her most recent CD,   LIVE: A
FORTNIGHT IN FRANCE begin the second hour of SAJS with
“Gotcha,” a hypochondriac foil for high anxiety. 
Watch it for the foibles of the New Society. Next is a
Parisian  refrain, “Dansons La Gigue,”  for this is a
salute to the  French torch songs of lost loves,
battered relations and illicit affairs, adieu, adieu,
NINA SIMONE is heralded next with a remastered 
release of a 1982 classic, FODDER ON MY WINGS.  We
played the heady French, “Vous Etes Seuls, Mais Je
Desires, Etre Avec Vous,” by Nina Simone’s ,
incomparable way  before her own time.   Simone was a
remarkable  talent, embraced by the world. She was an
integral part of my time to be programmed on jazz as
well as underground radio.  Free, open and majestic,
this CD is so poignant, the aegis of her career! 
with Le Hot Club music. This’ ll broil within musty
Parisian cabarets along the Seine, especially with
Django Reinhardt’s “Nuages.” and  gloomy French
cinema.  Evingson’s deep throaty excoriations will bid
adieu to the flesh, to love, to life affirming energy.
 The Clearwater Hot Club is commended  on this
selection .   
A more modern guitar form in the NELS CLINE SINGERS
begins the  last segment with “The Ballad Of Devin
Hoff” from the progressive Cryptogramophone release
THE GIANT PIN. Devin Hoff,  the bass player on this
CD.   Scott Amendola , drummer, also plays an immanent
part, on this song, evidential in it;s scope and
magnatude. This is not just regular proforma, this is
Jimi Hendrix on a free ride, for the ghosts of Miles
and Jimi are with Mr Cline. 
BRUCE A.  HENRY is next with a Gil Scot Heron/John
Coltrane tune, “Equinox.”  Henry sound like Donny
Hathaway, which got my attention. Different singer,
more progressive and salutary in the material
presented on this CD, Freddi Hubvbard, Langston
Hughes, Mongo and some originals, bruce  a. henry has
got it down with an urbane sophisticated soulful
CAROLYN  LEONHART is next with her release, NEW 8TH
DAY on Sunnyside Records and an original “No
Moonlight.”Leonhart has a delicacy and along with very
hip arranging by husband, arranger and saxophone
player Wayne Escoffery makes this a very groovy post
modern CD. It has that ‘one on one’ intimacy, as if
you’re sitting in on this performance and it’s
apparent on “Whisper Not,” a delicate, yet  soulful
arrangement.    And Strayhorn’s “Daydream” is special.
 Finally, GARY BURTON and this very young, talented,
newly assembled ensemble of Julian Lage, Vadim
Naselovskyi, James Williams and Lugues Curtis
concludes this segment with  the hip smooth “Walkin To
The Music” and a repose to “Fuga.” with Burton on full
four mallet throttle, some sort of Spanish baroque 
Bye for now.

Dick Crockett
“The Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca. 95819-4743

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