Litchfield Snapshots

The sky was perfectly blue, the sun scorching hot on Saturday, August 3, day two of the annual Litchfield Jazz Festival in beautiful northwestern Connecticut. John Benitez opened the proceedings under the big tent, leading a quartet that featured Miguel Zenon on alto, Luis Perdomo on piano, and Dafnis Prieto on drums. The band tore down the house with its cutting-edge Latin concept. Prieto, as usual, was on fire, establishing a mood of boundless excitement. The sound inside and outside the tent was excellent. Hearing this life-affirming music outdoors, rather than in a dark club, was a rare pleasure. So was getting swept up in the unchecked enthusiasm of a non-NYC audience.

Bill Charlap followed with an exquisite trio set, backed by his regular cohorts Peter and Kenny Washington. The pianist's solo intros on "All Through the Night" and "The Nearness of You" were stupendous, albeit in entirely different ways; other highlights included Gigi Gryce's "Satellite," Rodgers & Hart's "Nobody's Heart," and one of Charlap's reliable showstoppers, "Slow Boat to China." The swing was capacious, and Charlap's harmonic wizardry - those chords between the chords that he spells out so skillfully - could be fully appreciated thanks to a remarkably attentive audience.

These were just about the toughest acts one could follow, but violinist Antoine Silverman did an excellent job, turning an inspired set of originals and standards with Ted Rosenthal on piano, Pat Bergeson on guitar, Jeff Carney on double bass, and Quincy Davis on drums. Once again, kudos to Litchfield's sound engineers - the violin is not easy to work with, especially without much of a soundcheck. Silverman's instrument sang smoothly in all registers, and he won the crowd's affection with his charged, focused playing. The busy New York session player turned heads last year with his engaging Blue Moods disc (Hillsboro); his Litchfield set ought to increase his momentum substantially.

Unfortunately we only caught part of Eric Reed's set with bassist Vicente Archer, drummer Willie Jones III, and of course vocalist extraordinaire Mary Stallings. Reed led off with a nimble "Stablemates" and Stallings came on board with a soulfully rendered "Sweet and Lovely." But back in NYC, the hour was approaching for a gig not to be missed.

Fo'tet Reunion

The Jazz Gallery hosted what promised to be - and was - a true event: the Ralph Peterson Fo'tet, reunited with its original horn player, Don Byron. Steve Wilson, Byron's successor, also took part, making the gig a double reunion. Together with Fo'tet regulars Bryan Carrott on vibes and Belden Bullock on bass, Peterson stirred up tidal waves of excitement, as well as moments of sublime, glistening calm. Beginning with the first tune from the first Fo'tet album - Carrott's burning "Urban Omen" - the drummer launched into a gripping, totally unpredictable dialogue with every member of the group. Monk's "Brilliant Corners" and Byron's "Homegoing," an homage to Lee Morgan, were among the set's other highlights. The clarinetist was eager to re-bond with Peterson, sending enthusiastic barrages back toward the drum kit; Bulloch smiled in amazement as he endeavored to keep pace with the leader's polyrhythmic attacks. And Wilson, when he wasn't contributing hard-swinging insights of his own, simply closed his eyes and shook his head, as if even he couldn't quite believe what was going down. Carrott's introductory set-up and captivating solo on the 3/4 ballad "Apple's Eye" were revelations, leaving little doubt that the vibist is the lifeblood of the Fo'tet, almost as much as Peterson himself. This was easily was one of the year's top five jazz shows, an indelible New York memory.

A week later, Peterson headed uptown to Smoke for a two-night stand with his Art of War quintet. Regular bassist Eric Revis was on hand, but Rick Germanson subbed for Orrin Evans, J.D. Allen for Jimmy Greene, and the remarkable trumpeter Sean Jones for Jeremy Pelt. Playing music from Peterson's first Criss Cross album and also from the forthcoming Subliminal Seduction (liner notes on the latter by yours truly), the group swung like mad. At least in terms of instrumentation, this band brings a more conventional approach to the table, but with Peterson relentlessly pushing these young soloists, there's never a dull moment. Sean Jones in particular, with his soulfulness and staggering technique, fit Peterson's style like a glove; together the two drew loud responses from the audience on more than one occasion.

The New Face of Rhythm

Mark Shim's quintet gig at the Gallery featured Jacob Sacks on piano, David Gilmore on guitar, Drew Gress on bass, and Tyshawn Sorey on drums. Shim was dropped from Blue Note after two extraordinary albums and a slot in Greg Osby's New Directions group. He continues to labor in obscurity, but those who've heard him know there's no mistaking his devastating, low-register tone and his highly developed approach to rhythm. His second set began with "Scorpio" from Turbulent Flow and ended with his New Directions arrangement of Joe Henderson's "Recordame." The band tore these apart, pushing them well beyond the confines of the recorded versions. Two new untitled pieces revealed what's been on Shim's mind more recently. To use the technical term, it's some heavy shit. The players had to work through these dense rhythmic forms with their eyes pretty much glued to the charts - except for Shim, of course, but also Sorey, who wasn't reading anything and seemed to be having a grand time. There's absolutely no stopping that young man.

Fieldwork's gig in the Knit Main Space was perhaps even more rhythmically advanced. Pianist Vijay Iyer, tenor saxophonist Aaron Stewart, and drummer Elliot Humberto Kavee have developed a daunting metric grammar, and the absence of a bassist greatly heightens the challenge it presents to the listener. The churning, cyclical patterns and kinetic lines can take on a fast, funky lilt at times, while the calmer pieces get inside the body, acting upon it in imperceptible ways, like the moon affects the tides. One doesn't get enough chances to hear Stewart, whose playing is intellectually elevated but remarkably expressive. Look for Fieldwork's Your Life Flashes in October, on Pi Recordings, the label that brought you great new albums by Henry Threadgill and Roscoe Mitchell.

The School for Improvisational Music is a fledgling alternative, low-cost jazz education initiative, with some of the most groundbreaking artists of our time serving as teachers and guest clinicians. The Knitting Factory played host to SIM's two-week workshop this year, and on two consecutive Wednesdays, presented SIM faculty concerts in the Main Space. Trumpeter Ralph Alessi was at the helm on both occasions, the first of which also featured Peter Epstein, Jason Moran, Drew Gress, Brad Shepik, and Nasheet Waits. The second week found Alessi, Ravi Coltrane, Matana Roberts, Vijay Iyer, Mark Helias, David Gilmore, and Mark Ferber sharing the stage and playing the heck out of each other's music. Iyer's reworking of Hendrix's "Hey Joe" started off the set (see July's column), followed by searingly raw renditions of Helias's "One Time Only," Gilmore's "Reality Check," and even Duke Ellington's "Portrait of Mahalia Jackson," the harmonic rhythm of which at times oddly resembles "Hey Joe" (I don't think it's just me). No doubt, the group was winging it to some extent, but by doing so they illustrated the very principles that SIM is endeavoring to pass on.

The following night, David Gilmore played the Gallery with his fierce Ritualism quartet (pianist George Colligan, bassist Brad Jones, drummer Rodney Holmes). There was some promising new music to be heard, along with tunes from the album like "Elementary" and "Event Horizon." Hip-hop poet Sharrif Simmons dropped by to contribute his amazing spoken-word on "Musical Revolutions," which found Gilmore switching to acoustic guitar. Since his early days as an original member of the M-Base Collective, Gilmore has taken off as a composer, a versatile sideman, and a shredder of the highest order.

Wynton Goes Clubbing

Wait, we'll get to Wynton in a minute. First, pianist Aaron Goldberg played two nights at Fat Cat with bassist Omer Avital and drummer Ali Jackson. (Several months ago it was Al Foster in the drum chair.) Talk about burning. Goldberg's chops and rhythmic imagination are tremendous, and Avital is simply one of the music's greatest assets right now. Jackson stirs the pot like crazy, locking in with these two tightly bonded powerhouses and adding unexpected turns - like the drum-n-bass coda on Goldberg's "Unstablemates," a marvelous reworking of Benny Golson's evergreen jam-session favorite. Other highlights included Joe Henderson's "Tetragon" and Monk's "I Mean You," along with the new Goldberg originals "Oud for Omer" and "Taurus," Avital's "Giant Steps"-offspring "Flow," and a strong piece by Jackson called "For Kenny." I've come to believe that Fat Cat has one of the better-sounding pianos in the borough, and a good PA system, too. Nothing fancy, but crisp and clear, even in the back of the room. That's all you need. Goldberg and Avital, with drummer Marc Miralta, just released their second OAM Trio disc, titled Flow (Fresh Sound/New Talent).

A couple of nights later, the Jazz Gallery took the highly unusual step of opening on a Monday and Tuesday in order to present Ali Jackson's "Horns from the Hood," a band with four tenors, bass, and drums. Recording mics and Pro Tools were up and running; expect a live record at some point. Joining Jackson and bass giant Bob Hurst was a formidable horn section: Ravi Coltrane, Craig Handy, Tim Armacost, and Wayne Escoffery, with Handy doubling on bass clarinet and Armacost on soprano. (This lineup - multiple reeds plus rhythm - happens to be the form that Omer Avital's music takes on the incredible Think With Your Heart.) The first set began with a cool blues-with-a-bridge by Handy and ended with Escoffery's "Intuition," a faster blues with a dizzying eighth-note loop for a head. In between, Jackson presented ambitious original music to a packed house. His suite-excerpt "Rhythm's Love," which featured Armacost on soprano, was one of the more intriguing numbers, despite some iffy spots in the score. Who won the tenor battle, you ask? Wayne Escoffery.

OK, here we go. Ali Jackson returned to Fat Cat on the weekend, leading a band with Hurst, Aaron Goldberg, and none other than Wynton Marsalis on trumpet. The place was full, but no fuller than usual for a Saturday; Wynton's presence was a fairly well-kept secret. Wynton can be full of hot air, to be sure, but so can many of his detractors. The fact is that when he shows up to play, the politics are all but irrelevant. Burning like crazy from the gate, the band embarked on its final set: "Green Chimneys," "Stablemates" (this time without Goldberg's prefix), "Embraceable You," "Giant Steps" (with "Flow" snippets nailed by Goldberg and Jackson together), an insanely fast "Lover," Wayne's "The Big Push," and a cooking blues. Wynton's chops were off the charts; his ideas were knotty and gruff, and he delivered them with the kind of elan that holds an audience's attention from the first note to the last. It remains the case that damn few trumpeters can touch him.

Charlie Haden Duets

Charlie Haden's week at the Blue Note featured two- and three-night runs with pianists Gonzalo Rubalcaba and Brad Mehldau, but only one night - the first - with the enigmatic Paul Bley. After a late entrance, Bley offered a solo rundown of "Confirmation" before being joined by Haden on a loping, meditative "I Can't Get Started." Haden, staying out of the way, got off to a somewhat halting start by attempting to play roots under Bley's entirely unpredictable harmonic flow. (Bley is the ultimate moving target, even if his playing doesn't strike one as terribly busy.) But when Haden improvised there was magic in the air. And the magic only increased when he and Bley embarked on the Ornette Coleman portion of the set with a spirited "When Will the Blues Leave." Then came another indelible New York memory, as Haden struck up "Lonely Woman," playing the melody unaccompanied in an altered tuning that allowed him to drone a hypnotic low D.

What none of us knew was that this was to be Bley's last public performance At least that's what he told one AAJer after the set; who knows if it'll stick.

Ahmad Jamal at Iridium

James Cammack has one of the most specialized bass roles in jazz as a member of the Ahmad Jamal Trio. Quite simply, it falls to Cammack to become Jamal's left hand. What Haden was trying to do behind Bley, Cammack can do behind Jamal with uncanny ease. It's hard to imagine a trio more dynamically responsive than this. With a sideways glance or a nearly imperceptible raised finger, Jamal leads Cammack and the super-funky Idris Muhammad through delightful peaks and valleys of sound. Jamal, of course, is the farthest thing from a lick player, but still his solo flights are replete with bop references - a little "Salt Peanuts" here, a little "Moose the Mooche" there, always unobtrusive and impeccably musical. The trio played mainly originals (some so new as to be untitled), but also a conjoined "Blame It On My Youth" into "My Foolish Heart" that probably added a couple of years to this writer's life. "Poinciana," Jamal's signature tune, closed the set.

Kenny Wheeler Goes Clubbing

Tenor saxophonist Andrew Rathbun has been collaborating with trumpet/fluegelhorn great Kenny Wheeler for some time. Rathbun's new Fresh Sound/New Talent disc, Sculptures, showcases Wheeler with a small band, playing an exhilarating song cycle of Rathbun's creation. In late August, a four-night run at Birdland, billed under the Kenny Wheeler Large Ensemble, found Rathbun leading the saxophone section and conducting the band. On the program were both Wheeler's half-hour-long "Sweet Ruby Suite" and Rathbun's Margaret Atwood-inspired "Power Politics Suite." The rhythm section included Frank Carlberg on piano, Ben Monder on guitar, John Hebert on bass, and Jeff Hirshfield on drums. Luciana Souza sang poetic stanzas and wordless melodies, often in unison with Wheeler's horn. And the five saxes, four trombones, and four trumpets provided huge harmonic swells and perfectly executed rhythmic punctuation. Following the "Power Politics Suite" the band carried on with Wheeler's "Kayak" and "Gentle Piece." It was the mother of all jazz hangs - just about everyone you could name was there, soaking it in. That could easily be the case again when Rathbun and Wheeler co-lead a quintet at Cornelia Street on September 7 & 8 (same rhythm players, sans Monder).

Dianne Reeves Goes Clubbing

August offered a rare chance to hear superstar vocalist Dianne Reeves in the intimate setting of the Village Vanguard, with Peter Martin on piano, Reuben Rogers on bass, and Greg Hutchinson on drums. The gifted Ms. Reeves is remarkably at ease on stage, conveying every lyric with conviction and authority. She's also technically dazzling, and soulful, and eclectic - few jazz vocalists have come close to what she achieves with Leonard Cohen's "Suzanne," for instance. Aside from the closing "Endangered Species" and one or two others, most of the tunes heard during Sunday's first set were standards - among them "Lullaby of Birdland," "Misty," "Comes Love," and "I'm All Smiles." All were enlivened not only by intriguing vocal twists and turns, but also by the polished reharmonizations and rhythmic intricacies laid down by her dynamic band. There was a distinctly church-like vibe toward the back of the room, as audience members loudly voiced their pleasure.

Snapshots

Jason Lindner's quintet at the Gallery featured Avi Leibovich, Duane Eubanks, Omer Avital, and Greg Hutchinson. The expansive harmonic palette and multicultural reach of Lindner's music never cease to amaze. This band was half-electric, with Avital playing Fender bass exclusively and Lindner doubling on a particularly well-programmed synth. Basya Schechter, the talented singer and multi-instrumentalist from Pharaoh's Daughter, played oud on the first tune, and vocalist Chiara Civello came on board for a beautiful performance of one of her songs. Civello returned for the finale, a piece co-written by her and Lindner; the uplifting, off-the-cuff coda inspired Schechter to rejoin in harmony. Lindner, too, began to sing a counterline as the spirit of the song carried the band, and the whole house, into the clouds.

Guitarist Jonathan Kreisberg led a quintet at Cornelia Street, with Scott Wendholt on trumpet, David Berkman on Rhodes, Matt Penman on bass, and Anthony Pinciotti on drums. Armed with ridiculous chops and a singing, straightahead tone, Kreisberg tore through a batch of tremendous original music, matching wits with the other monster soloists on the bandstand. The writing was highly advanced, accessible, and deeply in the pocket. Lately Kreisberg has been helping Yosvany Terry break down musical barriers at the Jazz Gallery, and he plays a regular standards gig on Wednesdays at La Lanterna, on MacDougal Street. He's truly one of New York's undiscovered treasures.

Anat Fort played a stirring trio set in the Alterknit room, backed by her regular cohorts Gary Wang on bass and Roland Schneider on drums. The Israeli pianist has a terrific unreleased recording of this group, and she played several of the tunes found there: the brisk, eighth-notey "Free," the evocative "Something 'bout Camels," the epic "Not the Perfect Storm." A couple of promising new originals rounded out the set. The trio is remarkably compatible and tight, highlighting Fort's advanced harmonic sense, which stems from her in-depth study of modern classical composition.

Guitarist Jeff Ray has put in time gigging with R&B and organ groups around town; he distinguished himself with an appearance on Reoccuring Dream, a fine record by The Onus, a clarinet-fronted group from Philly. The Strat-wielding Ray now leads his own electric quartet, with Aaron Swinnerton on keyboards, Darryl Hall on bass, and Victor Wise on drums. At the Triad up on West 72nd Street, Ray led the band through music from his forthcoming album on the HiPNOTIC label (full disclosure: liner notes, again, by yours truly). Leaning heavily toward a funk and R&B aesthetic, Ray gets a crisp tone whether he's rocking out or playing over pretty chords. Swinnerton is quite the monster, getting dirty organ and Rhodes sounds from his Kurzweil. And let it be known that Darryl Hall is one of the funkiest and most creative electric players there is. Wise, too, is a juggernaut, always in the pocket and driving the band forward. This was originally supposed to be a quintet, but unforeseen conflicts convinced Ray to drop alto sax from the lineup and step to the front. The challenge will benefit his music.

Vinicius Cantuaria kicked off a world-music month at the Jazz Standard, bringing along Paul Socolow on bass, Michael Leonhart on trumpet and miscellaneous instruments, Nani Assis on percussion, and the fabulous Paolo Braga on drums. Cantuaria's voice is as understated and atmospheric as his guitar, a fat Gretsch with a Bigsby tremolo - not what you'd expect for Brazilian music. One could call Cantuaria's sound electric bossa nova; when the band gets going, they tap into a danceable, rock-like energy. Leonhart supplies just the right flavors on muted and open trumpet, ocarina, guica, and more. Braga's drumming is rock-steady and butter-smooth, giving backbone to Cantuaria's ethereal, chorus-tinged guitar textures.

Singer/songwriter Jen Chapin recently released a beautiful duo album, Open Wide, with her husband, double bassist Stephan Crump. Joe's Pub hosted Chapin's first full-band show last month, featuring Crump and a heavy lineup of jazzers: Pete Rende on Wurlitzer, Jamie Fox on guitar, Chris Cheek on saxes, and Dan Rieser on drums. Chapin delivers probing lyrics in a strong, endearing voice; on stage she's remarkably at ease - perhaps being the daughter of the late Harry Chapin has something to do with that. The songs are simple, with absorbing frameworks that shine a light on the masterful subtlety of each player. A full-band CD is in the works, and they're taking the time on the recording, so the result promises to be as smooth as silk.

And last but not least, Mat Maneri played music from a new quintet disc called Unveiled. He was joined at the Old Office by Dave Ballou on cornet, Matt Moran on vibes, Mark Dresser on bass, and Randy Peterson on drums. Between Maneri's five-string electric, Ballou's plunger, Moran's violin-bow technique (for a glass-harmonica effect), and Dresser's two-handed fingerboard hammering and signal processing, the timbres were plenty diverse. There was some written material involved, but the bulk of the performances were freely improvised; the ebb and flow of unaccompanied passages highlighted the substantial give-and-take among the soloists.

CD picks 5/02:

• Rez Abbasi, Out of Body (Feroza Music)
• Susanne Abbuehl, April (ECM Records)
• Dick Oatts, South Paw (SteepleChase)
• Metta Quintet, Going to Meet the Man (Koch)
• Maroon, Migratory (Head Fulla Brains)
• Gerald Cleaver, Adjust (Fresh Sound/New Talent)

CD picks 6/02:

• Scott Colley, Initial Wisdom (Palmetto)
• David Murray, Yonn-Dé (Justin Time)
• Achim Kaufmann, Gueledeloup (Red Toucan)
• Sylvain Luc, Trio Sud (Dreyfus)
• Marlon Browden, Marlon Browden Trio (Fresh Sound/New Talent)
• David Kikoski, Comfortable Strange (DIW)

CD picks 7/02:

• Mario Pavone, Mythos (Playscape)
• Uri Caine, Bedrock3 (Winter & Winter)
• Michael Musillami/Peter Madsen, Part Pitbull (Playscape)
• Tom Harrell, Live at the Village Vanguard (RCA)
• Fernando Huergo, Jazz Argentino (Fresh Sound/World Jazz)
• Garland/Keezer/Locke, Storms/Nocturnes (Sirocco)

CD picks 8/02:

• Jacob Fred Jazz Odyssey, All Is One: Live in New York City (Knitting Factory)
• Adam Rogers, Art of the Invisible (Criss Cross)
• Bill Frisell, The Willies (Nonesuch)
• DJ Spooky, Optometry (Thirsty Ear)
• Avram Fefer w. Bobby Few and Wilber Morris, Few and Far Between (Boxholder)
• Matt Munisteri, Love Story (Old Cow)