Helen Sung Quartet with guest Jenny Scheinman at SFJAZZ

Helen Sung Quartet with guest artist Jenny Scheinman
Joe Henderson Lab at SFJazz
San Francisco, CA
March 18, 2022

Last night the Helen Sung Quartet plus violinist Jenny Scheinman graced the stage of the Joe Henderson Lab at San Francisco's premier jazz venue, SFJazz. Ms. Sung, a Guggenheim fellow, has a winsome, energetic, stylish, and captivating presence and is a strong advocate for women jazz composers and performers.

She kicked off the set with a fine jump tune penned by pianist-composer-bandleader Toshiko Akiyoshi, entitled "Long Yellow Road," which featured a tenor sax solo by John Ellis and a lively hip piano solo by Sung. A subsequent piece, her excellent up-tempo samba "Coquette," featured some mighty slick stickwork from much-in-demand drummer Kendrick Scott, whose left hand is—there is no other way to put it—a monster.

Next, guest artist and jazz violinist extraordinaire Jenny Scheinman took the stage for the avant-garde Carla Bley piece "Wrong Key Donkey," which showcased Sung's formidable talent for progressive jazz piano and Scheinman's astonishing bow and fingerboard dexterity. Scheinman is tall and striking, and her expressive playing—channeled through her entire being, including her face, eyes, and body gestures—at times unintentionally stole the show.

Next up was the slow and lengthy-lined "Lament for Kalief Browder," which featured superb soprano saxophone work by John Ellis, who produced an enrapturing loosely-woven blanket of sound, à la musical legend and saint, John Coltrane. Bassist David Wong provided solid support and structure on this tune and throughout the set. Immediately following were two fine Sung originals titled "Everybody's Waltz" and "Time Loops," which began with a catchy ostinato time loop that informed the tune's entire structure.

The group completed their set with pianist-composer Herbie Nichols' tribute to Mary Lou Williams, "Mary's Waltz," and the Mary Lou Williams Boogie-Woogie titled "Roll 'Em," which featured another impressive piano solo by Sung and a knock-em-dead drum solo by Kendrick Scott. An instantaneous— almost obligatory—standing "O" followed the final introductions as the band left the stage.

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