By Craig Jolley
Long Beach January 9 - 12, 2002
The annual IAJE convention brings educators, music industry reps, media, fans, and musicians together to compare notes and discuss the past, present, and future of our music. With sixteen hours a day of concerts and workshops the 7000 attendees could not hope to cover all the bases. At one point I had to choose from among four concerts I definitely wanted to attend. There was also a huge exhibition hall in which music-related organizations (including All About Jazz) could meet clients, conduct business, and get the word out. Percy Heath, Frank Foster, McCoy Tyner, Quincy Jones, and Joe Zawinul received monetary awards for lifetime accomplishments in jazz. Even though the marquee musicians were established in older styles the musicians who played were often in touch with newer forms (There was little free music.), especially with multiculturalist approaches. The sound engineering was excellent, and the performers (They were not paid--it is an honor to be invited to play at IAJE.) were at their peaks.
Drummer Winard Harper's Sextet played an update on the hard swinging Jazz Messengers style. Trumpeter Patrick Wickman was featured on Bobby Timmons' "Moanin'"after which everybody hit something on a six-way percussion dialog. Vocalist Joshua Nelson sat in on some convincing and authentic spirituals, finishing with two choruses of way-back exhortations. Nelson is a premier singer.
web page: http://www.jazzcorner.com/winardharper
Saxophonist/pianist Gordon Goodwin's Big Phat Band includes many of the best local studio musicians including first-rate soloists Bob Summers (trumpet) and Andy Martin (trombone). As a unit they routinely nail demanding charts with little or no rehearsal, but their music is not easy to get next to. The arrangements are predictable and overloaded with notes. James Moody guested on a couple of tunes and sounded strong, notably on "Body and Soul" rendered in the classic tenor tradition.
web site: http://www.gordongoodwin.com
Altoist Christine Jensen's Sextet featuring her sister Ingrid Jensen (trumpet) zeroed in on the leader's compositions. Taking her cue from Wayne Shorter and other innovators of the 1960's her pieces included changes in tempo, stops and starts, shifting rhythmic accents, and modal harmonies. The soloists seemed reluctant to take chances, preferring to stay close to the spirit of the composed line.
web page: http://www.effendirecords.qc.ca/e/e-008.htm
Trumpeter Russell Gunn's Ethnomusicology (nine pieces) played hip-hop tunes from Gunn's new CD Ethnomusicology II. His music has evolved since the CD was cut, and the band sounds more alive and in your face in concert. They hit with a loping tango version of "Caravan" and didn't let up with the rhythm. The snares were tuned high, playing cross rhythms for a more insistent feel. Neil Armstrong (turntables) gave the background another layer of herky-jerky density. Gunn's blues-oriented Miles Davis roots (he plays hotter than Miles) were most apparent on a Moorish flavored piece. His wa-wa playing went in the direction of pure sound and rhythm (as opposed to logical theme and variations soloing). The saxophonists contrasted in style: the alto player came out of an older, bluesy feel while Kebbi Williams (tenor) played in a freer, more muscular rhythmic approach that bore some similarities to Sam Rivers.
Drummer Joe Chambers presented a workshop on the drummer as composer. He began with a history of jazz drums from New Orleans forward, playing examples of the major innovators. In particular he focused on Jo Jones who paved the way for bebop and who personally passed on some of his secrets to Chambers. He also discussed his own evolution as a drummer and admitted his technique was too weak to play the proper accents in Freddie Hubbard's band when he first came to New York--Chambers played a simplified style until he could get his chops up. He mentioned a number of Latin percussionists he has played with over the years. He has learned from them as well as from jazz orchestrators and composers. From here on he demonstrated his approach to composition. He would begin with a basic rhythmic pattern (in one case it was a New Orleans Tu-Way-Pock-E-Way) and turn it around a few times until he had something to work with. He'd move to the piano or vibes to work on melodic/harmonic content, often developing rhythmic ideas as he went. He'd play through his fully realized composition. Finally he'd finish with his recorded version performed with Mulgrew Miller, Ira Coleman, and others.
Drummer Rich Thompson, accompanied by Bill Dobbins (piano) and Jeff Campbell (bass), led a discussion of Ahmad Jamal's late 50's trio. They had individually transcribed their parts from some of Jamal's records. After some general observations (brief individual bios of Jamal's trio, the sense of equal participation) they talked about the trio's subtleties and played excerpts demonstrating its artistry: unexpected dynamics (decreases/increases in volume); use of implied notes which caused its audience to hear notes expected but not actually played; the quiet, New Orleans-flavored brushes of drummer Vernell Fournier; the melodic quality of Israel Crosby's bass lines--occasionally Jamal would suddenly drop out to shift the focus on Crosby for a few bars. After discussing a piece they played it through.
Cal State Fullerton Big Band specializes in rhythmically complicated pieces cleanly played with emphasis on band sound. Pianist James Williams guested with the band on a couple of numbers. Williams also led an authoritative trio (standards mixed with on-the-move Williams tunes like "Alter Ego") across the street at the Westin Hotel with Richard Reed (bass) and Roy McCurdy (drums). Bobby Watson (alto) sat in on a couple of tunes.
Richie Cole's Alto Madness Orchestra (nine pieces) played a variety of music but sounded most creative with some high-energy boppish solos by Cole (alto), Bill Watrous (trombone), and Pete Christlieb (tenor). Vocalist Janis Siegel sat in on an old-time novelty song done tongue-in-cheek.
Pianist JoAnne Brackeen is at her best unaccompanied which is how she was presented here. For this occasion she played with overt reference to the piano tradition. "If I Were a Bell" began with some Willie "The Lion" Smith stride that was quickly replaced by an abstract feel. "Body and Soul," a tune widely played at IAJE since it had served as the point of discussion in a workshop, was pure melody, Brackeen style. Brackeen's "Pink Elephant" had a programmatic feel, possibly hinting at circus music and certainly with a sense of mirth. "Knickerbocker Blues" also by Brackeen partly came out of boogie-woogie, but her rhythmic accents were far from predictable. Creamy Bill Evans harmonies flavored "Some Day My Prince Will Come." She finished with "From This Moment On," launching into her improv with ferocious Bud Powell energy for one scintillating chorus after another. A brilliant performance.
web page: http://www.jazzcorner.com/joannebrackeen
The WDR Big Band from Germany played two concerts. The first, conducted by Bill Dobbins, had a traditional feel with plenty of extroverted reeds vs. brass riffing and drum fills. All five members of the trumpet section soloed on one piece. Dobbins took the piano solo on "Elegy" a bright/sad waltz dedicated to Bill Evans and reminiscent of the waltzes written for Evans by Earl Zinders. Vince Mendoza arranged and conducted the second concert which featured the compositions of honoree Joe Zawinul. Most of the music was originally written for fusion bands: Weather Report and the one led by Miles Davis c. 1970. To give the rhythm section a more authentic flavor ex-Weather Report rhythm players Victor Bailey (bass), Peter Erskine(drums), and Alex Acuna (percussion) were added. Mendoza wrote textured chords and rhythms for the horns and included synth in the ensemble on "Boogie Woogie Waltz" and "In a Silent Way." Tenorist Don Menza was featured on "Dream Clock."
web page: http://dr.de/radioorchester/bigband
Tenorist Don Braden presented his Contemporary Standards Ensemble (sextet) to play music from his new CD. Braden's approach is to treat hit tunes from the last thirty years (rather than the usual show tunes from the 30's and 40's) as the basis of his repertoire, a concept similar to Herbie Hancock's The New Standard (Verve). "The Closer I Get to You," played as a straight ballad, never really took off because of the triviality of the tune. He took some liberties with Stevie Wonder's "Overjoyed" and moved into action with drummer Ralph Peterson energizing the piece. Braden and pianist Xavier Davis played a duet on a funky Grover Washington tune that did no more than approximate the passive sound of the original. Braden's approach has validity, but his tune selection and conservative arrangements hold him back.
web page: http://www.jazzcorner.com/donbraden
Pianist Jason Moran and altoist Greg Osby combined forces. Young as he is Moran is a surprisingly versatile and deep (thorough) player. He played a French Impressionist piece (Ravel I think), first as written (solo piano), then as a vehicle for trio improvisation with a percussive ending. He later played a stride piano piece, but with splashes of free mixed in--something like Jaki Byard but with Moran's more advanced accents. Osby joined the trio for a themeless piece on which Moran and Osby continually soloed together. Osby was also featured on Moran's "Gangsterism on a River", a slow minor feel number that was more mood than composition. Lee Morgan's "The Sidewinder" retained its funkiness and catchiness but its rhythms were updated to what's going on now. Drummer Nasheet Waits worked hand-in-glove with Moran throughout. One of the best concerts of the convention.
web site: http://www.jasonmoran.com
web site: http://www.gregosby.com
Composer Terry Vosbein , Washington and Lee University, discussed the New Concepts of Bill Russo. Concentrating on two pieces Russo wrote for the early 1950's Kenton Orchestra Vosbein went through some of Russo's innovations. For example he would shift the lead around, sometimes assigning it to a "gazelle" (a band within the band--alto, 2 tenors, and trombone) to be played in unison for a "thickened" sound.
web page: http://www.vosbein.com/russo.htm
University of North Florida Jazz Combo was a fine all-around band with worthy ensemble playing, soloing, arrangements, and swing. They played with a modern rhythmic sensibility. In particular the drummer brought in a street feel in the area of Billy Kilson.
The New Jazz Composers Octet led by trumpeter David Weiss featured adventurous original music by Weiss and Xavier Davis who premiered an extended composition. The band featured three strong soloists in Jimmy Greene (tenor), Myron Walden (alto), and Davis (piano). The balance between the written and the improvised helped give the music a natural feel. Drummer Nasheet Waits was smoking as always. (Freddie Hubbard was scheduled to appear with this band but was not able to play due to a serious illness.)
Pianist Marc Cary led a percussive-sounding trio with Camille Gainer (drums) and John Armand (bass). Room acoustics were less than optimal, and Gainer did not adjust so--she occasionally drowned out the other players. Even so it was a wonderful concert with several rhythmic Cary originals thoroughly explored. Piano and drums carried on a continual dialog. Cary rendered Ellington's "Wig Wise" with Duke's piano sound in mind, varying the descending run throughout the piece.
Pianist Lynne Arriale, tellingly accompanied by Jay Anderson (bass) and Steve Davis (drums) played an intelligent program of beauty, variety, and swing: "America" by Bernstein, something like a mambo but with a subversive feel; "A House is not a Home"by Bacharach, movingly played mostly in single-note lines; "Feeling Good" by Leslie Bricusse as a gospel slow burn; "Tones for Joan's Bones" by Chick Corea, beginning slightly faster than the original, but varying the tempo throughout; "Blackbird" by the Beatles over a shuffle rhythm; and "It Don't Mean a Thing" by Ellington as a slow reggae.
web page: http://www.jazzcorner.com/lynnearriale
Vocalist Mark Murphy also sang at the Westin and was sympathetically accompanied by pianist Tom Garvin's trio. Although he seemed momentarily distracted a few times (He missed some notes/lyrics, and one of his between-tune raps rambled on.) he sang with invention, swing, emotion, and artistry. He offered a moving/hilarious version of "I Can't Get Started" (alternate lyric: "The Prince of Wales has borrowed my DAT"). Oliver Nelson's "Stolen Moments" with lyrics by Murphy provided a starting point for extended scat. He also introduced his own haunting "I Know You from Somewhere" inspired by his devastation over 9/11.
web site: http://www.markmurphy.com
Pianist Dave Brubeck returned to his classic quartet sound but with a difference. Like Paul Desmond altoist Bobby Militello takes Lester Young's lyricism and swing as his inspiration, and he plays with a sense of Desmond's sweetness. But Militello fills up the spaces, generally playing more aggressively. By contrast Brubeck's piano playing has evolved as more melodic, thoughtful, and understated and less percussive. The best moments were his extended solo piano introductions. Bassist Michael Moore bowed a strong solo on "Crossings", a new Brubeck composition.
web page: http://www.duke.edu/~smt3/brubeck.htm
The Gary Burton/Makoto Ozone Duo (vibes and piano) played a concert of overwhelming virtuosity. The first half was tunes from Burton's recent CD For Hamp, Red, Bags, and Cal (Concord)--takes on classic records by older vibraphonists such as "Opus 1/2" which originally featured Lionel Hampton. Their hard-hitting approach worked on everything but the blues "Bags' Groove." (By now Burton has evolved into a worthy blues player. Ozone is not nearly there yet.) The second half was devoted to classical pieces arranged by Ozone for the duet. Unlike many such projects Burton and Ozone actually did improvise authoritatively on elusive, abstract themes by Samuel Barber and Ravel. They played a Brazilian tango ("Milonga" by Cordoso) with heavier syncopation and a more European feel than the typical Argentine variety. They finished with the Third Movement of Gershwin's "Concerto in F" featuring Ozone in all his brilliance.
web site: http://www.garyburton.com
web site: http://www.mokotoozone.com
Percussionist Airto encouraged his audience to design and build their own percussion instruments to achieve unique sound combinations and create energy. He demonstrated several he had invented himself including a welded metal tree with assorted bells and rods that resembled (and maybe doubled as) pop art. He also played ordinary objects (He hit an old pair of shoes together.), combining his playing with vocalisms.
web site: http://www.airto.com
Panist Laszlo Gardony's Trio was notable for an advanced, varied rhythmic sensibility. An untypical, medium tempo "Round Midnight" came out in bursts of notes over a pedal point. "Come with Me", based on "Show Me the Way to Go Home," was new millenium gospel. An extended, mostly minor key piece, "March of 1848," was derived from Hungarian folk melodies and included a duet with drummer Jamey Haddad. The trio played with unity and creativity.
web site: http://www.lgjazz.com
North Texas University Big Band recreated the 1965 record Manne - That's a Gershwin (Capitol) with arrangements by John Williams. The music was originally performed by a big band built around Shelly Manne's quintet of the time. Drummer Steve Houghton assembled a quintet of NTU alumni to take the solo parts and play the tunes arranged for quintet or trio. Stefan Karlsson (piano) was featured on a brief "Love Is Here to Stay." I prefer trumpeter Clay Jenkins' yearning solo to the original on "My Man's Gone Now" which Williams arranged with a nod to the Gil Evans version. An abbreviated "Concerto in F" was Williams' most ambitious score with ideas flying past almost before they could be heard. The assembled musicians recently recorded and issued a CD of this music to help fund a Shelly Manne scholarship program at NTU.
Trombonist Bill Watrous attracted every other trombone player at the convention. (For this concert there was no worry about beepers going off.) Playing from a repertoire of bebop standards and show tunes his virtuosity naturally revealed itself, particularly on ballads where his nuances were especially delicious. He sang Dave Frishberg's humorous/nostalgic "Dear Bix" as a change of pace. Watrous is not really a singer, but he got the meaning of the lyrics across and didn't go out of tune. (Speaking of singing trombonists, am I the only fan of Frank Rosolino's vocals?) Pianist Shelly Berg who would rarely be described as sedate apologized for appearing even more nervous than usual due to the impending birth of his grandchild. Still, his playing was loaded with swing and ideas, and he successfully channeled his energy to serve the music.
Pianist Bill Cunliffe led a local all-star sextet--Bob Sheppard (tenor), Bruce Paulsen (trombone), Clay Jenkins (trumpet), Jeff DeAngelo (bass), Joe La Barbera (drums)--through some happening Cunliffe compositions. The horns each had a feature tune. "Kingston" (Yo Bill, think about hipper title.) over a reggae feel was especially musical. The only standard, "Crepuscule with Nellie," came off as a piano concerto a la Monk's "Smoke Gets in Your Eyes" arrangement.
web site: http://www.billcunliffe.com
Vocalist Kate McGarry relocated from L.A. to New York a few years ago. She has added extra layers of depth and intensity since her move. Maintaining strong ties locally she performed with her regular L.A. band--Karen Hammack (piano), Chris Symer (bass), and Paul Kreibich (drums)--who are particularly in touch with her music. The quartet performed tunes from her new CD Show Me including an intimate, Betty Carter-inspired "This Is Always," Alec Wilder's "Moon and Sand" with an evolved Brazilian rhythmic feel, and a groovy "Gypsy in My Soul" over a modern back beat.
web site: http://www.katemcgarry.com
Guitarist Al Di Meola's World Sinfonia (six pieces) presented Alejandro Santos (flute) and Mario Parmisano (piano and synth), both from Buenos Aires, in their premier performances with the band. Santos did not solo much, but there was no sense of uncertainty as the band whipped through one piece after another. Di Meola alternated between nylon-string and and metal-string guitars. The music carried a heavy electronic/percussive flavor, but there was a sense of variety through varying rhythms, tempos and sound levels. A tango and a flamenco number were the most fully realized and successful pieces. Percussionists Gumbi Ortiz and Ernie Adams, who paid attention to dynamics, each other, and the other musicians, lifted the music.
web site: http://www.aldimeola.com
IAJE website: http://www.iaje.org
