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February 2005

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To a sold-out house at the 55 Bar (Jan. 7th), tenorist Chris Potter showcased his new band Underground, featuring Craig Taborn on Rhodes, Nate Smith on drums and, in a rare sideman role, Wayne Krantz on guitar. In this room, where Krantz is a weekly draw, Potter's music seemed decidedly Krantzian - raw and groove-oriented, harmonically unobvious, structured to a point but wide open for soloists. At times, Krantz and Taborn took turns covering the low end, but there was no pressure to mimic the bass function - in fact, the group seemed to argue for a new kind of spaciousness in edgy, groove-based improvisation. As Potter blew, Krantz and Taborn would engage in tag-team staccato riffing as taut as an archer's bow, creating staggering intensity at a fairly low volume. Other times they'd play nothing, allowing Potter and Smith to spar in another direction. (Cecil Taylor, at the end of the bar, seemed impressed by Taborn's solos.) With his stomp boxes, Krantz called forth a metallic, percussive sound that he's used in his own music, but that also recalled the semi-electronic tweaking Kevin Hays dished out on Potter's 2004 live release Lift. Underground may be a departure for Potter, but there are certain continuities with the past.

For the wheelchair-bound Shirley Horn, two weeks at Le Jazz Au Bar had to have been a Herculean effort (Verve recorded the second week for a May release). After losing a foot to diabetes she is back to playing piano, with a custom-enlarged sustain pedal. Despite being a bit scattered on January 8 (flubbing lyrics, needing a mid-set break), Horn was able to transcend her infirmity and show why her name is often preceded by the words "the legendary." Bassist Ed Howard and drummer Steve Williams stuck with her patiently, illuminating her trademark slow tempos on tunes like "Lush Life" and "For All We Know," swinging with her heartily on "A Foggy Day" and "End of a Beautiful Friendship." Horn can convey a world of emotion with an offhanded chuckle, hinting at lighthearted self-mockery on a love song or marveling at a serendipitous phrase during a piano solo. Although there were problems in execution, the intent behind her segue from "Nobody Knows the Trouble I've Seen" into "What a Wonderful World" was astounding. Au Bar can feel remarkably cramped (and they tack on 20 percent for service that's worth about 10), but seeing Horn in close quarters is actually the way to go.

~ David Adler


The second week of January was one of phenomenal piano trios. Within two-night's time were pianists Harold Mabern (Smith's) and Joe Sample (mid-residency at Blue Note), as well as Randy Weston (Jazz Standard) and Borah Bergman (Tonic) each performing in rare trio outings. However, Frank Kimbrough's (with bassist Ben Allison and drummer Matt Wilson) - one of the most subtle and challenging while swinging and accessible working threesomes - stole the spotlight for their single-night at Sweet Rhythm (Jan. 12th). The three top-notch improvisers moved as one for two sets, from their off-beat yet rhythmic take on Herbie Nichols' "Wildflower" and the "Money Jungle"-like Kimbrough-penned Gil Evans tribute "Svengali", to the title track of their most recent recording, Lullabluebye (Palmetto). Their triangular interplay was telepathic throughout the second set, from each tune's thematic development to their explorations, especially within the nicely selected standard material. Jerome Kern's "Long Ago and Far Way" and Thelonious Monk's "Coming on the Hudson" ceaselessly morphed and grew to new melodic, harmonic and rhythmic heights. Never a monotonous moment, they embellished without hesitation, thrusting momentum forward with occasional collective pauses allowing for single notes or beats to breathe just long enough to add an ever-elastic tension upon release. Creativity: noticeably at the heart of this ever-musical, dynamic, and underrated trio.

Pianist and philosopher Vijay Iyer played Merkin Hall (Jan.27) as part of the its "Zoom: Composers Close-up" series, revealing that not even "jazz" is broad enough terminology to classify his modern music. "My music is a form of [forum for] creative inquiry", he mentioned in an onstage interview. Iyer's "Ghost Time" (for piano and computer) opened the diverse program, with the pianist playing amidst a forest of beats, rhythms, and snapping sound effects. Slightly off-putting, these effects deserved not only interaction which Iyer provided, but -had they come from a musician versus laptop technology - could have been able to return the favor in the creative process. Regardless, after a few focused minutes, Iyer left no doubt of his absolute virtuosity as a player and composer, a fact which - regardless of his evident connection to the samples in performance - actually would have stood on its own without the not-quite-distracting but seemingly unnecessary effects. The lengthier "Mutations (1-10)", another world premiere, featured piano, computer/electronics, and the string quartet ETHEL. Iyer mentioned that the sampling was from the quartet he took into the studio months ago, a fact that made the exploitation of the technology disturbing and baffling as there were moments where strings (and piano) were heard with no musician playing. There were times that a second string quartet obviously would be needed without the sampling in the denseness of the composition, but it was the final movement which stood on its own merit as what seemed the single section that used the least effects and, consequently, was the most successful. Members of ETHEL scraped and tapped their instruments percussively without bowing, creating a world of sounds far more lively (literally) and fulfilling than the electronic samples (which, mind you, could easily have been created/re-created by such singular sound scientists as Cooper-Moore, Warren Smith or Cyro Baptista) that unfortunately took over the extended piece. This said, Iyer's compositional sense certainly offers a thought-provoking listen and is unquestionably a major accomplishment. The highlight of the evening was Iyer's absolutely phenomenal medley of Leonard Bernstein's "Somewhere" and John Lennon's "Imagine", which I was admittedly skeptical when noticing it listed in the program. His genius repetitive and circular left-hand bass patterns borrowed from each melody without resorting to saccharine interpretation and segued with seamless transition.

~ Laurence Donohue-Greene


In the annals of jazz drumming, Han Bennink may be the most complete entry. Straight or out, full kit or just a snare or chair, Bennink is perfectly rhythmic and thoroughly musical. Some may consider his eccentricities just a shtick, but schtick gets old whereas seeing Bennink is always a refreshing experience. At the Han Bennink and Friends show at Tonic (Jan. 8th) the only concern was balancing the many egos on stage: Bennink, pianist Uri Caine, ICP violinist Mary Olsen, bassist Mark Helias and trumpeter Dave Douglas. Though the mainly improvised set had its expectant avant-garde portions (particularly the opening chamber trio of Caine, Olsen and Helias), the quintet seemed to find its comfort zone in several pieces of swinging hard bop. For those who don't know this side of Bennink (or any of the other musicians for that matter), the results were effective and sincere. Bennink especially can swing along with anyone and seems to have endless fun playing straight firm rhythms. Douglas, perhaps the oddest participant given the rest of the cast, was at his best during the trad portions, playing with a mellifluous tone missing during the more out segments. Even though this was a previously ungathered group, the 50 minutes were an unexpected treat.

One might question seeing saxophonist Kalaparush Maurice McIntyre in a club when he so often appears in subway stations. There though he is another hornman playing standards to make money; In a club, in this case the new Williamsburg haunt Zebulon, he demonstrates the vision of his earlier Delmark efforts. His group, The Light, is responsible for his transformation. Oftentimes, younger cats bring out the best in the older generation. Drummer Ravish Momin and tuba player Jesse Dulman are wonderful tines to the The Light fork, keeping Kalaparush focused yet pushing him to be himself. At Zebulon, reflecting the recent album on CIMP, The Light became brighter with the addition of bassist Adam Lane, one of the more compelling upright players and composers working. The one problem is that with Lane providing the bass, Dulman was holding back for most of the set, not contributing until his solo and occasionally on some heads. He had the air of a designated hitter not really involved in the flow of the game. When he did gel with McIntyre's earthy alto, supported by Momin's manic drumming and Lane's murky bass, the music was fresh and wowed the hip Brooklyn crowd. When the tunes didn't allow for this interaction, everyone kept drinking anyway.

~ Andrey Henkin


Jack DeJohnette brought his new quartet into Birdland for a rare weeklong New York engagement. Introducing the group - pianist Danilo Perez, bassist John Patitucci and guitarist Jerome Harris - for the second set (Jan. 12th), the great drummer enthused, "We're having so much fun. And it's only the second night." The unit surely sounded like it had been together much longer, due in no small part to the incredible empathy Perez and Patitucci have developed through their years with Roy Haynes and Wayne Shorter. The performance began with the bassist's pleasantly swinging "Circular", on which each member soloed impressively and more importantly accompanied intuitively. The group's half hour improvised interpretation of Herbie Hancock's "One Finger Snap" was a daring excursion that barely hinted at the popular melody as they created compelling new music-in-the-moment on which the leader's drumming gradually grew in intensity to a level that had Perez screaming with excitement. DeJohnette's prayerful "Song For World Forgiveness" featured a beautifully bowed bass introduction played over malleted cymbals, impressionistic piano and ethereal guitar. The Indian influenced song featured a stirring wordless vocal by Harris and the composer's mesmerizing resonating bells. Perez' "African Waves" was an around-the-world tour de force incorporating Cuban, Brazilian and West Indian rhythms. The set ended with a romp through Ornette Coleman's "Invisible".

Jazz at Lincoln Center's Afro-Latin Jazz Orchestra made its long awaited debut in its new home's Rose Theater on January 28, with A Celebration of the Great Latin Jazz Vocalists. The star-studded big band, under the direction of pianist Arturo O'Farrill, opened up the concert with the instrumental "Havana Special," written by the father of Latin Jazz orchestral music, his father, Chico O'Farrill. The suave sonero Herman Olivera then feted two of the music's most sensual singers, Vincentico Valdez and Benny More, with a medley of boleros, "Enseñame Tu/ Piensalo Bien" and "Corazon Rebelde", before paying tribute to the "king of the mambo", Tito Rodriguez, with "La Ley Del Guaguanco". Claudia Acuña graced the stage next to perform an exciting arrangement of Violetta Parra's "Volver A Los Diecisiete" by pianist Jason Lindner, who joined the singer for "Esta Tarde Vi Llover". Adela Dalto, filling in for the great Graciela, celebrated the matriarch's music with a moving version of "Reflexionando." Olivera closed the set with the rousing mambo "Estoy Como Nunca". The orchestra opened the second half of the concert with another Chico O'Farrill classic "Pianarabatibiri". Olivera returned to remember Machito with "Buscando La Melodia", followed by Acuña singing "Somos Novios" and "Delirio" and then dueting with the sonero on "Encantado La Vida". Olivera then delivered "Don Fulano" and Acuña did "Mi Amor Fugaz". Dalto returned to mambo for Graciela with "Biri-bi-kum-bi" and was then joined by Olivera singing coro for Acuña on the humorous "Deja Que Hablan", to close the concert. The band returned with Olivera for an electrifying encore, "Ven, Ven", that had audience members clapping clave and dancing in their seats.

~ Russ Musto


Recommended New Releases

Noah Baerman - What It Is (Lemel)

Riley Bandy - Out of the Darkness (CTA)

Sila Cevikce - A New Abode (SteepleChase)

Happy Apple - The Peace Between Our Companies (Sunnyside)

Roger Kellaway - I Was There (IPO)

New Talent Jazz Orchestra - The Sound of New York Jazz Underground (Fresh Sound-New Talent)

~ David Adler

Dave Douglas - Mountain Passages (Green Leaf)

Henry Grimes - Live at the Kerava Jazz Festival (Ayler)

Pandelis Karayorgis - Seventeen Pieces (Solo Piano) (Leo)

Grachan Moncur III - Exploration (Capri)

Archie Shepp/Mal Waldron - Left Alone Revisited: A Tribute to Billie Holiday (Synergy Music)

Ben Wolfe - My Kinda Beautiful (Planet Arts)

~ Laurence Donohue-Greene (Managing Editor, AllAboutJazz-New York)

Ducret/Chevillon/Echampard- l'annexe (s/r)

Exuberance - Live at the Vision Festival (Ayler)

Fast 'n' Bulbous: The Captain Beefheart Project - Pork Chop Blue Around The Rind (Cuneiform)

Henry Grimes - Live at the Kerava Jazz Festival (Ayler)

Henry Kaiser/Wadada Leo Smith - Yo Miles!: Upriver (Cuneiform)

Stevens/Watts/Guy - Mining the Steam (Hi 4Head)

~ Bruce Gallanter (Proprietor, Downtown Music Gallery)

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