[JPL] Still Another Jazz Show Aug 28

Dick Crockett bopndick at yahoo.com
Mon Sep 4 03:37:43 EDT 2006


Still Another Jazz Show  Aug 28

RICK WALD   16/NYC         “Coffee With Dolphy” 
“Castaneda's Dreams”
CASTANEDA'S DREAMS         Glow bow Records  

GERRY GIBBS THRASHER BIG BAND    “Playing The Field”  
“And That's Why They Call It The Blues”    LIVE AT
LUNA   Whaling City Sound

VANGUARD JAZZ ORCHESTRA      “Frame For The Blues”   
MUSIC OF SLIDE HAMPTON        Planet Arts Records

MAYNARD FERGUSON ORCHESTRA  1967    “Frame For The
Blues”   Just A Memory Records

INTRODUCING ROBIN McKELLE  “You Brought A New Kind Of
Love” “My Darling Daughter”   “Deep In A Dream”  
Cheap Lullaby Records

CARIBBEAN  JAZZ PROJECT      “Nardis”  “Portraits Of
Cuba”     MOSAIC
Concord Picante Records

ELIANE ELIAS         “Running”  “Jammin' “   AROUND
THE CITY     Blue Bird
Records

TANIA MARIA      “Aye”   INTIMIDADE     Blue Note
Records

REUBEN ROGERS   “Wala Wala”       THE THINGS I AM     
Renwick Entertainment 

SEAN JONES         “Roots”        ROOTS     Mack Ave.
Records

JAMIE DAVIS         “The Very Thought Of You”     IT'S
A GOOD THING
Unity Music

ERIN McDOUGALD     “I'm The Girl” MEETING PLACE  
Flapper Girl Records

There's a rare quality in RICK WALD's writing,
arranging and performing with this highly energized
and exceptional big band, 16/NYC in new CD CASTANEDA'S
DREAMS.  Wald conveys a sensibility of a Gary Mc
Farland, a slim hip reflective coolness, a cavalier,
breezy airy quality that Gerry Mulligan would project
in his work, as well. 
Here Wald has assembled a powerhouse 16 piece band.  
We played “Coffee With Dolphy” and Castaneda's
Dreams.”  Are these musings of a Yaki Indian? I doubt
it unless Castaneda  had his ear to the ground for
this highly experimental and soaring music. Rick Wald
certainly has, as this cd documents the soaring swing
of this highly original work.  The brass and reed
voicings have that quality that Gerald Wilson
exhibited years ago with “Viva Perada,” although Wald
is more dissonant. There ample room for some great
solo work here as well.
You get lost in the amazing texture of this album,
meaning after many listens you still can't get enough,
you 'jones' you... 
GERRY GIBBS and THE THRASHER BIG BAND  lights it up in
the new LIVE AT LUNA CD.  There's that same
spontaneity, high enthusiastic energy that's  on
display some forty years ago with the Terry Gibbs Big
Band recordings at the Sundowner in Los Angeles. 
You can never get enough of this infectious sound.
Terry Gibbs did it,  Buddy Rich  could  do it and
Gerry Gibbs certainly can!  We played “I'm Playing The
Field” with Joan Carrol,  a singer with almost perfect
pitch and a high register who's right in play with the
rest the band. Her singing here is...oh wow, Maynard!
This band is a monster on this Terry Gibbs original
“And That's Why They Call It The Blues.” 
In reference to MAYNARD  FERGUSON'S celebration of
life...
You have to admit it's a kick to play this music.  And
even more freeing when you, the musician, know you're
doing and everyone's  is in mesh with your thinking. 
My only very limited experience was in The Quinn Road 
Showbar outside Mt. Clemens.
The band consisted of a young piano player, a guitar
player from Selfridge Field, aka The Air Force , Bob
Allen, who looked like Maynard with no where near the
capacity on trumpet and my  Macomb community college
friend Bob McDonald who also looked like Maynard and
the drummer from Pensacola Florida who played with
Cannonball.
Don't ask names, it was too long ago on Quinn Road.
In fact we all looked like Maynard.
I'm getting to some thing here,  if you were Ofay and
played jazz you were a Maynard with short cropped
hair.  If you don't believe me, browse the used record
stores, look for THE BROOKS BROTHERS  with the
Mangione Brothers on Riverside. (It's outa print. 
What do you mean it's out of print!!!)
Good things die too easily in post modern Dos Passos
USA. Thank goodness we still have Studs Terkel.
But I digress ...
Back to the Quinn Road Show Bar and it's 1960 and
McDonald asks me to sit in on guitar. I took a few
lessons two years prior, so Bob asks, encourages and
possibly jests,
“Hey man come sit in with us, man.” I say, “No where
ready, man.” “It's cool man,” he says with utmost
reassurance. I thought they'd cover my mistakes. When
a solo for guitar came up ,ME!!! I flubbed around in a
C-7, G mode and looked up to see a few people at the
bar laughing! My career as a jazz guitarist ended 
that night and like most failures if you don't go on
from there, you've missed really something. 
Maybe if I could have spent some time with Tal
Farlow...
All this started with the MAYNARD FERGUSON tribute and
what a remembrance
In those days all the white musicians looked liked
Maynard, except Chet Baker. He looked like Elvis. The
look of the hip was not everything. But Mal Waldron,
Sonny Rollins, Kenny Burrell, Miles, Gerry Mulligan,
that was the jazz posture in those days. Check out
those classic jazz calenders, if  you don't agree then
get back to me and we'll talk. For sure, babe!
And for those , if you were Maynard-ites, you were
considered hip,  even if you weren't a musician.
Everyone was named Maynard. a.k.a. “I Am Sparticus!!!”
(If you were cool, you were Maynard.)
Remember Maynard G Krebs?
If 'I Am Spartacus' is cool then 'I am Maynard' is
also.
I've said this before...Or maybe this is the first
time.
THIS MUSIC WILL MAKE YOU CRAZY DRIPPING PLEASURE OFF
YOUR LIPS!
We played the hippest Maynard big band selection that
many jazz dj's of the late night would use as their
opening theme, “Frame For The Blues” from THE VANGUARD
JAZZ ORCHESTRA, MUSIC OF SLIDE HAMPTON.
Slide Hampton and Ernie Wilkins were major arrangers
of much of the Maynard Ferguson Big Band in early
sixties on Roullette Records, some of the best big
band recordings  made to that date. Slide Hampton sits
in on this cut with a great trombone solo for Slide is
a consummate musician as he joins in with Jason
Jackson as they trade some gorgeous licks.  There's so
 much Kenton here, especially the dynamics.
We then went ASAP to the same tune from the MAYNARD
FERGUSON ORCHESTRA 1967 on Just A Memory Records  of
Justin Time Records.
And to me this is the anthem of the big band sixties.
And when you hear the  soaring Maynard Ferguson 
interstellar high C about C range,  it'll give you
goosebumps!
This was the way it was, friends and it took the
Maynards, The Counts and The Dukes to  take us there
to those vibrant Newport and Monterey wild and crazy
summers on both coasts! For the sun shone with bright
oranges, yellows and browns of  burnice.
(Ok,  it was the angle of the sun in those heady
Indian summers.)
With this recording of “Frame For The Blues,” you hear
all the swagger, blush of this  Canadian aggregation,
Ferguson's reunion with mates from his Montreal, where
this was recorded in '67' at Societe Radio -Canada. 
It's only fitting to play this, because this is the
real Maynard, it's all here, that unquestionable
Maynard distinction of soaring 'nobody can touch me on
this'  technique. He had the CHOPS to cast a very big
shadow in the evolving jazz story.   
And I'm listening to “At The Sound Of The Trumpet” and
Maynard  is hitting the high notes every time.
INTRODUCING  ROBIN McKELLE  with a brand new CD of the
same name. She has inxcredible range, tone and
phrasing that'll  give you  a Keely Smith swash and  a
Ella Fitzgerald hue as a friend from Cairo said, “I
thought Ella drank from the Fountain of Youth.” Robin
has the same ebullience, brilliance, high quality and 
with Willie Murillo's guidance and arrangements, think
of  Keely, Sinatra, Clooney and Dinah Shore and throw
in Ella for good measure.. We played “You Brought A
New Kind Of Love,” a duet with Robbie Wycoff.  Then a
Dinah Shore hit in the forties, “My Darling Daughter”
performed with a full blown jitterbug arrangement
right out of that era. 
You 'll be snapping your fingers as sooner as later.
For me it brings early memories of my parents parties
when they played those great old  :78's on the record
player. This arrangement is ready for the same
choreography,  a skinny Sinatra and Gene Kelly on
SHIPS AHOY!     And then “Deep In A Dream” is arranged
in that great old fashioned way where the band opens
with an extended fox trot and the girl singer sitting
next to the guitar player walks over the big metal
microphone and sings the lyric, just like it used to
be. And this new CD, INTRODUCING ROBIN McKELLE
certainly packs  the punch  with great old standards
dressed up in hip elegance.
CARIBBEAN JAZZ PROJECT  begins the  second hour of
SAJS with a new cd, MOSAIC.  We played the Miles
classic, “Nardis” with an Afro Cuban arrangement.
Organist Alain Mallet plays rhythm and with Dave
Samuels on vibes in fascinating slow evolving
counterpoint/harmony. Then Paquito D'Rivera's
“Portraits Of Cuba” with Paquito on alto and Andy
Narell on steel pans and Samuels on vibes-you get the
picture. The tune is pulsating rhythmic- dynamic.
There's something addictive about this music. Certain
musicians do that to you, Jamal, Davis, there's a
whole list. Dycipher the language spiritually not
technically. It's about feeling-emotion. What to feel?
How do you see? What magic lies with the voices.  This
is all about the overall joy, nostalgia of Havana.
Remember the magic of Cal Tjader? There's another now,
the Caribbean Jazz Project.
The new ELIANE ELIAS and AROUND THE CITY is next with
an original “Running.” Bossa is infective as you note
in her version of Bob Marley's “Jammin.”
I don't think I've quite a Reggae quite like this one
for Elias really does turn it into a JAM.  Randy
Brecker coping some licks here as well. And Elias
sounding like Les McAnn on here.   This is a bringin'
down the house tribute. Eliane Elias takes to a
similar phase that Sergio Mendes and Brazil 66 took us
a time and place ago.
TANIA MARIA concludes this segment from her newest
INTIMIDADE. We played one my favorites by her, “Aye.”
As a musician in love with her music her piano
performance is equal to her vocalizing as she plays
off of each ij a rhythmic fashion that's especially
magnetic in person.  She  brings joy to your heart.  
REUBEN ROGERS begins the last segment of SAJS with his
new self titled CD.
We played “Wala-Wala.” There are some heavy weights on
this CD, Ron Blake, Joshua Redman, Nicholas Payton,
Mark Whitfield, David Gilmore, Aaron Goldberg, Gregory
Hutchinson.  Like other bass players, Dave Holland,
Charles Mingus,  young modern Ben Allison, who front
their own group at times, this new Reuben Rogers
follows suit with a highly identifiable post modern
bop mainstream sound with exciting arrangements.
SEAN JONES is next with his new ROOTS CD.  We played
the title tune. This is an  interesting band.  There's
a little Lee Morgan in Sean Jones. More laid back
maybe but still there when the dynamics take an upward
turn as here when Sean 'jakes' to Tia Fuller's soprano
and let's not forget the young very talented piano of
Orrin Evans. I've like this young man  from the start,
very minimal, very true to the melody. Orrin doesn't
over-exaggerate the song, embellishing with modern
fashion-ism. And yet when necessary a profound
presence. What is the magnetism that some players are
able to evoke in a yoke of individuality.    When
somebody asks whose the piano player? You know who
because you listen and know. A great tune on this cd 
is “Divine Inspiration” written by another talented
pianist from Chicago, Tim Green. The real measure of
the man is on the tune, “Come Sunday.” Again the band
with Jones is exceptional.   Orrin Evans solo here is
really all you need to know about this  young man as
he lets Sean Jones climb up and down the ladder of
dynamics with exceptional technique. 
The majestic voice of JAMIE DAVIS graces our musical
palette,(now there's a cliché') Franklyn J McCormick 
of Chicago late night 'How Do I Love Thee' fame would
be proud. Face it Jamie Davis will be the newly
inaugurated big Voice From Mansville(Not Tommy
Mansville). It's only a matter of time when enough of
us are exposed to this great talent. He's got that
Jerry Butler charm, Sarthur Prysock tonality and Joe
Williams swing and that 'South side of Chicago' Lou
Rawls growl. We played “The Very Thought Of You” with
that dynamic Billy Eckstine big band intro and then
the Arthur Prysock whiskey night voice and a
declarative arrangement exposing all those brassy
parts that give us goosebumps.   This is a true
closing foxtrot, so you better be dancing to somebody
you know or want to know better. 
I can only think of those  summer evenings on the Bob
Lo boat cruising on the Detroit river back from the
island to the foot  of Woodward Avenue. And the
orchestra is playing “The Very Thought Of You” as the
hazy breezes from ship to shore and occasional horn
blasts alert lazy oncoming freighters hauling their
iron ore to ports of call on lake Erie. Or it could be
a last dance at a  Fantasy Ballroom near you.  
ERIN McDOUGALD, the young talented singer from Chicago
concludes SAJS with a fifties musical  selection “I'm
The Girl” from her new MEETING PLACE CD. Erin has a
great expressive range and you'll hear it here with
the Dan Cray Trio, another young talented band from,
Chicago. There's lots of nice open space with the
singer and the band on this CD giving each a  time for
 full expression. “Oh Let Them Play...Let Them Play!
And that's the way we bid adieu.

Dick Crockett
STILL ANOTHER JAZZ SHOW
MONDAYS, 10am & 10 pm, Pacific
THE VOICE, 88.7 FM
4623 T Street,  Suite A
Sacramento, Ca . 95819-4743
audio streaming on Live 365
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