Discover Jazz Festival
June 3-12, 2016
With thirty-two years of history, the Burlington Discover Jazz Festival is an avowed tradition, but those who oversee the wide variety of events that take place in Vermont's Queen City for the duration of its multiple nights regularly find a way to inject fresh ideas into the basic concept. 2015, for instance, saw the introduction of recording shows at the intimate FlynnSpace, later to be broadcast on Vermont Public Television (and streamed on-line). This creative initiative continued this year in the wake of winning a $25,000 grant from the National Endowment for the Arts for future festival initiatives.
As in the past, BDJF 2016 inspired the city to join the festivities in all manner of ways, from the various venues that feature music on a regular basis throughout the year, like the historic home of Phish Nectar's, as well as the other clubs, restaurants and various locations who rise to the occasion of the festival. Not to mention the multiple local sponsorships that not only make the festival possible, but allow films, workshops, meet-the-artist sessions, over one hundred of which such events are free.
But the overriding distinction of 2016's Discover Jazz Festival lie in the vividly memorable way the high(er) profile concerts, over the course of the ten days, set in motion a discernible momentum not unlike that a great band will generate during a truly stellar performance. By the time Bela Fleck
& The Flecktones left a tumultuous Waterfront Park stage near 11:00pm Thursday June 9, it was as if the main 'set' was complete, leaving the ensuing three nights as multiple encores. Such a perception does nothing to disparage the subsequent appearances of The Kenny Barron
and Marcus Roberts
Trios or anyone else subsequently performing before the festival's actual close the evening of June 12th: it only reaffirms how appropriate is the festival's name 'Discover Jazz.'
June 3, 2016
Regular and repeated ripples of recognition for songs, spontaneous applause through the venue the likes of which usually erupts at the end of shows, whispered singalongs more frequent as the night evolved, a genuinely heartfelt thanks from the artist (including good wishes for the festival he headlined) and a final tune clearly directed at this capacity crowd...Burlington's 2016 Discover Jazz Festival could not have offered and received a better opening night than the the two-set concert by this award-winning, yet self-effacing songwriter. Over the course of the two hours plus, both performer and audience laughed knowingly during his salty repartee, even as poignant tunes such as "I Wish It Would Rain" rendered the room silent as he sat alone at the Steinway piano. Newman might've played one elongated set instead and/or delivered less between-song repartee during the second segment, but regardless, the reciprocal affection that permeated the air was a far cry from his performance back in the early Seventies on a co-bill with Bonnie Raitt
, long before the modern renovation of the Flynn, in front of fifty some attendees a handful of whom came just to razz the performers. But then Newman's come a long way since then and it's not just his own hit with "Short People" or the popular covers of "You Can Leave Your Hat On" and "Mama Told Me Not to Come" (presented here in a short sweet take). It's a canon of tunes juxtaposed with numbers he's written for Disney movies like 'Toy Story,' as well as the poignant "Baltimore," which was no more or less cinematic than "Louisiana" which,like his lighthearted ode to Vladimir Putin, sounds as relevant now (perhaps more so) as when it was originally recorded. It wasn't even necessary to be a Randy Newman fan this warm June night: a voice caricatured but wholly unaffected radiated a deceptive confidence that justified the rapt and reverent attention from the floor and the balcony of the Flynn Center.
Will Bernard Trio
City Hall Stage
June 4, 2016
It's a measure of the quality of Burlington's Discover Jazz Festival that performers regularly return and, in the case of Will Bernard
(who was just in Vermont last year!), do so to play multiple gigs while in town: the evening of his alfresco afternoon show, he shared the stage at Nectar's and was scheduled to play the next day at a local restaurant as well. During a delayed series of performances on the annual 'Big Joe Burrell Day' (honoring the late mainstay of Burlington's local music scene), the Will Bernard Trio was composed of the same personnel as 2015Brian Charette
on keyboards and Erik Kalb
on drumsbut the ensemble altered their approach to inject markedly insistent undercurrent throughout the entire ninety-minute set. Kalb set that momentum in motion on his break near the end of "Catscan" and further sustained it as the band moved through "We the People," a track from Charette's just released solo album Alphabet City
(Posi-Tone, 2016) and a number from Bernard's Blue Plate Special
(Palmetto, 2008). Perhaps it was the awareness of his other gigs that prompted the guitarist's elevated spirit of generosity toward his bandmates, but regardless, the attitude made for unusually tightly-knit ensemble playing, even for a trio as experienced together as this one.
Tyshawn Sorey: Koan Quartet
June 4, 2016
It's fair to say FlynnSpace has neither seen nor heard anything like the performance put on by these four musicians this second night of 2016 Discover Jazz and it set a standard for the 2016 FlynnSpace shows as the rather unusual instrumental lineup of trombone, acoustic guitar, viola, piano and drums turned out to be just a hint of the eccentricity to come: the foursome played an uninterrupted seventy-five minutes that made the Sonny Fortune
& Rashied Ali
drums/saxophone free form of 2005 seem wholly conventional in contrast. To describe what happened to anyone not present is to beg credulity when mentioning trombonist Ben Gerstein pouring water in his instrument, blowing through the bell and playing his phone through the instrument; guitarist Todd Neufeld rarely chording but more often stretching and sliding his hands and various objects up down and around the fretboard even as he tightened and loosened strings. Mat Maneri
added vocal exhortations to comparative lulls in the cacophony when seated on the stage, but he sat on the edge of it twice and took a walk through the audience at one point, sitting down to serenade the attendees near the rear. All the while, Sorey, the bandleader/drummer took a couple stints away from his kit to bang and pluck the piano to his left returning to bend cymbals, blow through a drum head, rattle around those as arrayed before him when he wasn't squeaking up down and inside out them all. What was perhaps most amazing is how Sorey and company captured and held the attention of an admittedly sparse audience for the duration of the 'piece,' which might best be summarized by suggesting the notes and beats they struck were those that otherwise would exist in the spaces and silence of conventional compositions. Those who don't dote on jazz in any form and (over) generalize the genre as just noise would find their description almost but not quite apt in attemptingbut ultimately probably failingto capture in words what Koan Quartet did in sound this first Saturday of Discover Jazz.
The Jimmy Greene Quartet
June 5, 2016
Even if you hadn't attended Tyshawn Sorey
's free-form excursion at FlynnSpace the previous evening, the saxophonist and his band would still have sounded absolutely refreshing. As soulful as it was accessible, Greene and his band offered a particularly well-constructed set that included a breathless opening number based on Greene mentor Jackie McLean
's writing, the rollicking "Stinkthumb" and an exercise in deceptively infectious syncopation called "32." And as much as the trade-offs for solos were carefully arranged, when pianist Kevin Hays took over from the bandleader on "Ana's Way," the transition was effective precisely because of the seamless overlap between the two musicians. Greene displayed restraint and abandon in turn throughout the concert so that a duet between him and Hays wasn't the only number where he brought John Coltrane
; nevertheless, it was the most memorable such instance simply because the subdued piece was so ideally placed in the setlist to set up the crackling drum interlude by which Otis Brown III
closed the set. In more ways than one, the Jimmy Greene Quartet deserved the word 'classic' applied to their performance for the full house sheltered from the summer rain this early June evening.
Film Screening: "Bill Evans: Time Remembered"
The BCA Center
June 6, 2016
Filmmaker Bruce Speigel's tribute to the iconic pianist deftly balanced rhapsodic observations about Bill Evans
' musicianship with trenchant comments on his personal life in such a way that, by the time the film concluded, he had presented a comprehensive picture of the man's life. Whether everyone in attendance in the fairly small auditorium of the (festival co-sponsor) Burlington City Arts building learned something new or was prompted to recall their knowledge about Bill Evans and his legacy to jazz matters less than it was an occasion, like so many free events on the Discover Jazz schedule, fully competitive with the higher profile presentations.
The Rodriguez Brothers
June 6, 2016
Anyone in FlynnSpace the night of June 6 would've been hard pressed to tell who was enjoying the evening moreThe Rodriguez Brothers or their audience. And, with all due respect, any attendee who walked down to the intimate venue on a whim might well have assumed the namesake leaders of the band were the drummer and percussionist: the bond between Ludwig Alfonso
and Samuel Torres
, respectively, was such that it was well nigh impossible to look around the stage. That said, the deep pulse Zachary Brown
generated on his double bass was nearly as riveting, so much so that, given his position center stage, albeit removed in the rear (and thus aligned with the rhythm section), it was as if Mike and Rob were there to support their three bandmates not vice versa. Truth be told, the Rodriguez' are the creative force in the quintet as they supply the original material, like the pianist's "Fragment," and they do work the melody instruments(though the ivory keyboard may never be more of a percussion instrument than in this setting). But the reality is that the loose-limbed and light touch of Alfonso on his kit was a tightly fused complement to Torres' unerring touch and savvy use of his battery of rhythm tools, so much so the spontaneous eruptions of applause for their work was just a precursor to a deserved standing ovation and a muted spacious encore ballad that was a fitting end to an otherwise wholly rousing performance.
Jenny Scheinman & Myra Melford Duo
June 7, 2016