[JPL] Still Another Jazz Show June 11

Dick Crockett bopndick at yahoo.com
Thu Jun 14 20:26:54 EDT 2007


Still Another Jazz Show  June 11
JOHN FEDCHOCK & NEW YORK BIG BAND   “Moment's Notice” 
 UP AND RUNNING    Reservoir Music
MARTIN BEJERANO   “Cubano Arrepentido”   EVOLUTION
/REVOLUTION
TYPHANIE MONIQUE and NEAL ALGER  “Smile“ “Wonderful”
IN THIS ROOM    Tymoni Publishing/Zeneal Music 
KENNY CARR    “Ocean Avenue Groove” “Soho Strut”  TURN
THE PAGE           Zoozazz
BENNY WALLACE & HIS ORCHESTRA      “Disorder On The
Border” “Honeysuckle Rose” DISORDER ON THE
BORDER-MUSIC OF COLEMAN HAWKINS       Enja/Justin Time
Records
JOE LOVANO AND  HANK JONES     “Lady Luck” “Budo”  
“Oh, What A Beautiful Morning”   LIVE AT DIZZY'S, CLUB
COCA COLA   Blue Note
ROBERT IRVING III    “New Momentum”  “Havilah”   NEW
MOMENTUM                                              
                                                      
                                                      
                           
Sonic Portraits
DEVIN PHILLIPS   “Cape Verde”  WADE IN THE WATER 
Devin Phillips Music
JOEY CALDERAZZO  “Tonay”  “Amanecer,”w Claudia Acuna 
AMANECER  Rounder Records
HENRI SALVADOR   “Mourir A honfluer”  REVERENCE  
Circular Moves/Sunnyside Records
SUSAN PEREIRA AND SABPR BRAZIL   “West End P.A.”  TUDO
AZUL
Riony Records
JOHN FEDCHOCK & NEW YORK BIG BAND begin this edition
of SAJS with his newest UP & RUNNING cd. We played the
Coltrane hard bop classic “Moment's Notice,” with a
smooth Latin artrangement, drawing still another
“characterization “ out of this tune with
reflectiveness on the original theme.   The trombone
element of this cd especially on the title tune is
especially nostalgic of the sixties Maynard Ferguson
big band with notable arrangements by Slide Hampton.
Pianist MARTIN BEJERANO is next with his latest,
EVOLUTION/REVOLUTION.
This young fast paced Cuban American is quite a
player! We aired “Cuban Arrepentido,” endearing for
'Cuban light,' a chiding from the elder more
traditionalists, implying 'you're not Cuban enough.'
Bejerano is not a Latin traditionalist. He's more post
modernist with Latin leanings.
He reminds me of a young Chick Corea with his time,
pace and articulation. He represents the newer
thinking of Robert Glasper, Eldar and Taylor Eigsti,
lots of energy and controlled pandamonium.
TYPHANIE MONIQUE & NEAL ALGER are next with their new
cd, IN THIS ROOM.  The relaxed intimate approach with
Typhanie's vocalization and Neal Alger's very
progressive utilization of electric guitar wah-wah
technique and harmony in “Caravan,” to an acoustic
accompaniment with Paulinho Garcia and voice with
Alger and Monique.   
Typhanie Monique and Neal Alger  project  this
carefree casualness to the audience on stage and this
is the  'ambience' of this cd with added attractions
of   The subtle difference of the interpretation and
you'll recognize it, the unique interpretation of each
song as if you're sitting there in  late night coffee
house karma, loose, cordial and introspective 
depending on the mood. We played “Smile,” a very
mysterious,  intimate modality as Typhanie lyrics play
off Neal Alger's thrust rock guitar composure. We
conclude this segment with a ballad,
“Wonderful,”endemic of their duet- live performances.
Theirs is the most intimate of 'live' club duets.
Guitarist, KENNY CARR, originally from Santa Cruz, now
a NYC sessions man releases this gem of post rock-bop
modern, a thoroughly exciting TURN THE PAGE cd.
There's more to this than pop antics. Kenny Carr is an
accomplished guitarist, who utilizes modern rock
thematics in his music as in “Tee Time,” “Going Home'
and “Lost Tuesday.”  Metheny also projects that sense
of notalgia in his music. Carr is more dogmatic,
blending post modern Cuban with flaminco attitude and
contemporary visions of pop/jazz voxx.   You may think
you're listening to one thing, but you' re really
listening to another total original thing,
representative of others and yet unique. “Lost
Tuesday,” “Cadiz Sunset” are in a trio setting with
“Bleeker Street” in a nice be-bop frame with Donnie
McCaslin on saxophone. We played “Ocean Avenue Groove”
with John Dryden on organ and Donny McCaslin on
saxophone. In the summer, it's always sunny when you
drive on Ocean Avenue and Carr project that feel, for
it 's always so funky and groovy there. Then it's time
for “Soho Strut,” a different sort of funk, a more
straight ahead 'Saturday Night' groove with McCaslin
playing counterpoint against himself. Or maybe it's an
illusion.  Very tasty with Carr, McCaslin and Dryden
playing off each other.
Saxophonist BENNIE WALLACE tribute to Coleman Hawkins
concludes this segment with a whale of a jam recorded
live in November 2004 at the Jazzfest Berlin. It's
called DISORDER AT THE BORDER, BENNIE WALLACE & HIS
ORCHESTRA, THE MUSIC OF COLEMAN HAWKINS.  There's so
much fun going here with some of today's best jazz
musicians, Terell Stafford, altoist Jesse Davis, Ray
Anderson, trombone, Adam Schroeder on baritone, and
misty low end tone of the Bennie Ewallace tenor
saxophone. We played “Disorder At The Border” and Fats
Waller's “Honeysuckle Rose.” So, be ready for a
special treat, because is probably the most swinging
big band around, this year, so please instruct the
chef at the Fourth Of July barbeque to “cook em slow
with lots of sauce!” 
Believe me, everybody will be smiling with Benny
Wallace on the stereo.
JOE LOVANO and HANK JONES begin this second hour of
SAJS with their latest, KIDS -LIVE AT DIZZY'S, CLUB
COCA COLA. There is something revitalizing about these
legendary players performing in this special
performance. The verve and spontineity is really
exceptional. As the liner notes attest, Hank Jones was
playing jazz piano when Jelly Roll Morton was
recording his memories at the Library Of Congress in
1938. 
You hear that same stride influence in the first
song,a Hank Jones original, “Lady Luck” with Joe
Lovano stuttin his stuff on tenor. Here's whole jazz
history right here, reaffirmation of jazz noir. Then a
bebop rememberance, “Charlie Chan,” by Joe Lovano a
reference to the great Charlie Parker. Of course, to
keep it all rebop, we also played “Budo” a memorial to
the great Bud Powell, written by Powell and Miles
Davis. “Kids,” like yesterday, will stir up so many
vivid memories of this great music and it's lasting
effect on all us avid afficionados. This is for those
real hard core jones of Jones and Lovano admirers.
Then a solo rendition by Jones  of “Oh What A
Beautiful Morning “ will knock you on your collective
full bodied Asimov. For this collaboration by Hank
Jones and Joe Lovano is everlasting, resting on the
mantel of your top fifty of all time. 
It's only fitting and proper that we follow up and
conclude this segement with the brand new cd by ROBERT
IRVING III, NEW MOMENTUM. We played two Robert Irving
originals, “New Momentum” and “Havilah.” As you know, 
Irving was a Miles disciple and played with the man
during his electrified period. Be that as it may,
Irving is still his own man and has created a unique
style, influenced somewhat by Miles. As I said before
Irving reminds one of Ahmad Jamal for pure originality
and bravura. “Havilah” has a pop reference to it and
like “Pionciana” in the late fifties, will play on my
juke box of all time favorites...anytime!
Young saxophonist DEVIN PHILLIPS, originally from New
Orleans and settled in Portland, Oregon, because of
Hurricane Katrina and well right a boon for the
Portland locals, stimulating a young progressive jazz
scene, plays....on this new cd WADE IN THE WATER.  
This here is schoolin for us West Coasters. As
bopndick would say:” I got big eye balls for this
cat!”   Right in the center, you hear the Sonny
Rollins influence, intended or not, “My Woman's
Blues,” “Cape Verde,” “Destiny's Dream.” Before I lose
my sense of the real, let me say,  Devin Phillips is
the next best new....It reminds me of the fifties when
Sonny Rollins was releasing “Tenor Madness” and
'Saxophone Colossis.” 
Talk about being strung out and taken a back!!!
Pianist, JOEY CALDERAZZO is next with his brand on
music. Calderazzo is a great sessions player with long
gigs with Michael Brecker and Branford Marsalis.
Frankly, I've always had a soft spot for his playing
and would say, 'why doesn't someone feature this 
young talent? Fortunately, Rounder Records and
Branford Marsalis ear came to the rescue.  He is more
important as a post bop innovator, a soloist with Monk
sensibilitity as in 'Midnight Voyage,' an original
with roiling punditry, an accompanist to Claudia Acuna
on the title song, “Amanecer”as readily demonstrated.
A beautiful song.  Both Joey Calderazzo and Caludia
Acuna cater to my sweet spot, a similar feeling as
hitting  your driver, 300 yards, straight down the
middle.. I know it's a poor example, but this music
(jazz) should hit that spot for you and Joey
Calderazzo's new cd will say as much with guitarist
Romero Lubambo, one of the best the world to engender
a love affair as provided in “The Lonely Swan.” Joey
Calderazzo generates intimacy, theater, precociousness
warming to thew ghosts of jazz future past. 
The whole mood and jua'de'vive of the moment, the
blush, the sound of  the great romantic HENRI SALVADOR
has overtaken me. Could it be a nostalgic reference to
youth and Yves Montand. When I saw  Simone Signoret in
“Room At The Top,” I was in love. In those days, you
didn't have to be 'cultured' to be exposed to new
things.  Constant media pressure wasn't as pervasive
to do, to act, to be... to imitate whomever is the
dejur of the moment. The rote cliché.
Leyt me say  with Salvador's interpretation of the 
love song, “Mourir A Honfleur,” I was hopelessly in
love. I don't understand to French lyrics, but to be
in love with the passionate Edith Piaf, the beauty,
the panache is overwhelming. There's a film to be
released on the life of Edith Piaf, due out this
summer. And as I walk back through the hallway, I
glanced, slightly tilting, against the picture of my
Irish  grandmother, Olive Glennie, and I smiled, for
she IS the eternal jokester and like Henri, 
understands the overwhelming power of love and  music.
SUSAN PERIERA AND SABOR BRASIL conclude SAJS with her
new TUDO AZUL. We played “West End P.A.” and asked Al
Shusterman, whose up next with “Backroads Bluegrass”
originally from Philadelphia, if he heard of it.
He said no, he hadn't heard of it.
We had a West End on Detroit's near west side,  an
after hours coffee house, eons ago when it was cool to
go see French films like Jean-Paul Belmondo and Jean
Seberg in “Breathless.”
In the background, Susan Pereira scat sings. She plays
marvelous piano. This new cd also features Claudio
Roditti, Luis Bonilla and Hendrick Meurkens. The real
one to start with is  Milton Nascimiento's “Nada Sera
Como Antes.”
But I digress...
Next time.
Dick Crockett
STILL ANOTHER JAZZ SHOW
MONDAYS 10 AM & 10PM PACIFIC
“The Voice” 88.7fm 
4623 T Street, Suite A
Sacramento, Ca 95819-4743
audio streaming
Access Sacramento.org





 
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