By Craig Jolley
This year's Festival continued the Monterey tradition of presenting both established and relatively unknown musicians in favorable circumstances. The sound was a plus, and the musicians generally performed at or near their peaks. Playing at Monterey is more than a gig--audiences hear music that is evolving instead of recycled programs. The featured performer this year, saxophonist Branford Marsalis, played in at least three different formats during the three days. Wynton Marsalis, Roy Hargrove, Gary Smulyan, and others also appeared with more than one band.
Chris Potter Quartet (especially Potter) is more convincing in person than on the records I've heard. A slowdown "Shadow" (for Joe Henderson) came off more as a mood than composition with pianist Kevin Hays taking an understated, brooding solo and tenorist Potter hinting at Henderson's breathy sound during his more extroverted outing. "High Noon" began with a long, post-romantic piano introduction before Potter shifted into a funky Eddie Harris feel, quoting "Last Tango" along the way. For his solo Hays retreated to the feel of his intro, adding a hint of Keith Jarrett gospel before drifting into a staggering slow-down/speed-up.
George Young Quartet from San Francisco featured bassist Jeff Chambers. Chambers lifted the band with his brilliant solos, accompanying lines, and accents. Like Richard Davis he naturally assumed some of the in-performance bandleading.
Joe Lovano Nonet performed Tadd Dameron-flavored little big band arrangements updated for the new millennium. Drummer Lewis Nash and pianist John Hicks, who often felt like another drummer, drove the band to its breaking point. The four saxes, Lovano (tenor), Steve Slagle (alto), Ralph Lalama (tenor), and Gary Smulyan (baritone) took one smoking solo after another--a stand-out performance.
Branford Marsalis/Billy Childs Duo was mostly intimate conversations. Marsalis occasionally changed the mood but generally kept it low-key, reinforcing the feel with a legit sound on soprano. Childs, a master of this idiom, consistently rose to the occasion with on-time, in-context statements. The last two numbers were played in homage to John Coltrane, Miles Davis, and maybe to Ahmad Jamal and John Lewis. An unusually relaxed "Giant Steps" was built over Jamal's classic "Poinciana" backdrop. "Milestones" (the earlier, legato tune) included an interpolation of Bach's "Jesu, Joy of Man's Desiring" and some counterpoint Lewis would have smiled at.
Dave Holland Quintet has it together. It is tempting to call the outrageous drummer Billy Kilson the key to this band. Actually it has quite a bit to do with what the soloists play in response to him. As much as his unparalleled bass playing Holland's leadership abilities (Likely he picked up some cues from Miles.) allow this band to be what it is. The soloists (Robin Eubanks - trombone, Chris Potter - tenor & soprano, and Steve Nelson - vibes) each took features (usually on their own compositions), allowing them to really get it going.
Kenny Barron/Regina Carter Duo have been touring, and it shows. They alternate accompanying each other, sharing the lead, playing in counterpoint, and playing alone. They anticipate each other, but they do not sound contrived. Carter brings variety to her accompaniment for Barron through untraditional plucking and strumming methods. A long, free associative piano solo merged into "What If," a Barron composition with a Monkish rhythmic flavor. Stephane Grappelli of the 1930's came to mind during a lighthearted "Lady Be Good."
Wynton Marsalis/Lincoln Center Jazz Orchestra featured Ellington arrangements from his 1960's suites (Virgin Islands for one) and Thelonious Monk orchestrations by Hall Overton (Thelonious Monk at Town Hall, 1959 Fantasy). Everybody in the band soloed with authority. Members of the orchestra alternated in a small band, performing music of John Coltrane and Miles Davis in honor of their birthdays. The Coltrane portion didn't really work. Ted Nash, Walter Blanding, and Ryan Kisor took logical, concise solos on Dahomey Dance and Miles' Mode, but those pieces depend on gradual, continual build-up that would have required going beyond the available time. Marsalis and Marcus Printup shared the trumpet solos in the Miles Davis set. Marsalis' hottest playing came on the encore, a spontaneous up-tempo blues with a Clark Terry-inspired rococo statement through harmon mute.
Claudia Acuna sang "My Romance," "My Man's Gone Now," and a few originals over Latin vamps. The originals seemed more inspired, but there was a sense of sameness. Pianist Jason Lindner verged on taking flight a couple of times but cut his solos short.
Danilo Perez Quintet recalled an early version of Chick Corea's Return to Forever with Luciana Souza singing as an ensemble instrument a la Flora Purim. Perez and saxophonist Donny McCaslin blended their solos into the ensemble.
Rachel Z Trio has been reconstituted with Kim Clarke, bass (unfortunately stick bass) and La Frae Olivia Sci, drums. The Wayne Shorter book (including a high energy "Speak No Evil") remained the backbone of her repertoire, but Rachel also included some of her own evolved compositions including a percussive, minor key "Ship of Tears" in memory of the WTC attack.
Web site: http://www.montereyjazzfestival.org
