December 1998
New York Beat
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Jazz Talk
By Nick Catalano
One of the best features of Jazz at Lincoln Center's programming is a series dubbed "Jazz Talk." Following two season opening concerts celebrating the 80th birthday of pianist Hank Jones, Mulgrew Miller initiated the '98 "Jazz Talk" series by interviewing Jones at the Stanley Kaplan Playhouse. The drummer gave the legendary pianist the opportunity to review his long career, analyze his many influences (Art Tatum, Bud Powell), and answer audience questions. Many of the questions came from people who had seen the season opening concerts and were anxious to discuss their impressions with the pianist in person. "Jazz Talk" has evolved through the last few years in this manner, giving audiences the opportunity to be entertained at the major concerts and educated in the small "talk" forums. In this opening program Hank Jones' music received scrutiny heretofore unavailable in the New York jazz environment. His place in jazz history has now become deservedly fortified - another coup for the producers of Jazz at Lincoln Center.
Birdland initiated its fall season by presenting saxophonist James Moody for a three-night stint. Long a major force in the bebop tradition, Moody unveiled a new side man for the gig - pianist, David Hazeltine who joined drummer Adam Nussbaum and bassist Todd Coolman - players Moody has worked with for years. At age 70, Moody is a marvel. His classical approach to the reeds (he plays alto, tenor, soprano and flute in all appearances) is the stuff of legends. Perched almost motionless on the bandstand, Moody works furiously through the scales, utilizing complex breathing techniques and constructing astounding improvisational designs. In a performance of Sonny Stitt's "Eternal Triangle," Moody wove a thread of countless choruses into a classical tapestry allowing no "incorrect" notes to intrude into his creation. The addition of Hazeltine in the group presages new conquests for Moody's career, which already sits atop the list of the very best reed men in jazz.
New fall CD's have hit the stores and there are pleasant surprises. The latest incarnation of the Count Basie band, this time under the direction of Grover Mitchell, is featured on "Count Plays Duke" on the Mama label. The band swings brilliantly with a cohesiveness not heard in recent years. Frank Wess is the special guest in a session with arrangements by Allyn Ferguson. A must for Basie fans.
The producers at Blue Note records have finally found a solid vehicle for guitarist Pat Martino who signed on with the label about a year ago. After some murky emanations, the new CD "Stone Blue" unveils new Martino compositions in an elaborate electronic setting. With saxophonist Eric Alexander, keyboardist Delmar Brown, bassist James Genus, and drummer Kenwood Dennard, the legendary guitarist scores well in a session reminiscent of his brilliant recordings of the 70's. "Uptown Down" is the opening cut and it soars along the lines of "Along Came Betty" which ushered Martino into guitar immortality 20 years ago.
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