All About Jazz

Home » Articles » Live Reviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

17

Newport Jazz Festival: Newport, RI, August 4, 2012

Newport Jazz Festival: Newport, RI, August 4, 2012
Timothy J. O'Keefe By

Sign in to view read count
Newport Jazz Festival
Fort Adams State Park
Newport, RI
August 4, 2012

"Yeah that's what I'm talking about, Newport!" the bright-smiled Cuban conga player said with enthusiasm, as the crowd he encouraged to dance clapped a beat to his liking. Amid the vortex of sound that is the Newport Jazz Festival—three stages hosting five acts apiece— Pedrito Martinez's four-piece band played "Ay Amor," and brought the quad stage to life. "Memorias," the second song, saw keyboardist Ariacne Trujillo contribute lead vocals. Venezuelan electric bassist Alvaro Benavides and Peruvian percussionist Jhair Sala, contributed elements that expanded the group's Afro-Cuban sounds. "Que Palo" and "La Luna" completed the set.

Over at the main stage, Matt Perrine's tuba furnished the bottom end sounds of saxophonist John Ellis' Double Wide. Notes smeared as Ellis lead the band through the sugary sounds of "Zydeco Clowns on the Lamb." A set rife with musical gymnastics, the music jumped, flipped, and hopped as it prodded and explored. Punctual changes in time and timbre saw the emotions in "Dowey Dah" morph from light and happy to a dark cinematic nature.

Looking from the stage and towards the audience set about the ocean- side peninsula, Ellis said: "This is such a beautiful, beautiful place to play. We are so happy to be here and we're so happy that you're here." The zany, New Orleans-influenced "Three Legged tango in Jackson Square," bluesy "This too shall pass" and upbeat "Break Time" were also heard.

When Boston jazz radio host Eric Jackson introduced bassist Christian McBride's Inside Straight, he pointed out that the date marked Trumpeter Louis Armstrong's birthday. "Seems like a great day to have a jazz festival," Jackson said. Saxophonist Steve Wilson and vibraphonist Warren Wolf helped established the main theme on the opener, "Brother Mister." Wolf's vibraphone crackled. Carefully striking mallets upon the instrument's metal bars, the notes resonated outward with a glasslike quality. McBride twisted bass riffs. Plucking rapid notes in his heavy-handed yet flowing manner, he pushed the runs in unanticipated directions.

Pianist Christian Sands and drummer Ulysses Owens, Jr. joined McBride in a trio format. Sands' buoyant phrasings bobbed from crest to trough, exploring the sounds, anchored by McBride's bass. McBride belted a single note, returning the music to calm as the band sounded the main theme to end the piece.

"Theme for Kareem" opened with extended time for McBride in unaccompanied format. Front and center, the bass emitted deep, robust sounds from the stage. McCoy Tyner's "Celestial Chant" provided improvisational travels, and the band closed on the swinging blues "Used Ta' Could."

Inside Fort Adams, drummer Jack DeJohnette's Group delivered some electric fusion on the quad stage. The set began with the slow tempo "Blue," where George Colligan slipped from behind the keys and delivering long, drawn-out notes and accents on the pocket trumpet.



"If you hear something that sounds out of tune, don't worry," DeJohnette said while introducing David Fiuczynski. The guitarist employed microtones, and his double-neck, orange sunburst guitar procures sounds not typically found within the 12 musical intervals that comprise Western music.

The centerpiece of the set, "Priestesses of the Mist," was inspired by Marion Zimmer Bradley's Arthurian novel, The Mists of Avalon (Alfred A. Knopf, 1982). Rudresh Mahanthappa hoisted saxophone notes high in the register, snaking the music to new places that flourishing about the rhythms. Fiuczywski's guitar warbled around DeJohnette's drums and Colligan's keyboard. Climbing and falling, the guitar harmonized in unison with the sax, broke off to explore disparate harmonies, then returned to new heights amidst a churn of electronic effects. The band wrapped up on the funky ditty "Miles," dedicated to jazz icon Miles Davis.

As the DeJohnette Group exited, the stage crew carefully hoisted a wooden relic onto the performance area. A rack containing metal foot pedals was slid into a rectangular frame. "To the people in the front row, get ready to be blown away," Worcester jazz radio host Bonnie Johnson cautioned as she introduced the James Carter Organ Trio ...that's all I've got to say!"

Tags

Related Video

comments powered by Disqus

Related Articles

Read The Jane Getter Premonition at Iridium Live Reviews
The Jane Getter Premonition at Iridium
by Roger Weisman
Published: April 24, 2018
Read Liberty Ellman Trio at Crescent Arts Centre Live Reviews
Liberty Ellman Trio at Crescent Arts Centre
by Ian Patterson
Published: April 22, 2018
Read Tallinn Music Week 2018 Live Reviews
Tallinn Music Week 2018
by Henning Bolte
Published: April 19, 2018
Read James Blood Ulmer and the Thing at Bochum Art Museum Live Reviews
James Blood Ulmer and the Thing at Bochum Art Museum
by Phillip Woolever
Published: April 17, 2018
Read Jocelyn Medina at Jazz at Kitano Live Reviews
Jocelyn Medina at Jazz at Kitano
by Tyran Grillo
Published: April 16, 2018
Read Marbin at The Firmament Live Reviews
Marbin at The Firmament
by Mark Sullivan
Published: April 15, 2018
Read "Chick Corea/Steve Gadd Band At Blues Alley" Live Reviews Chick Corea/Steve Gadd Band At Blues Alley
by David Hadley Ray
Published: February 14, 2018
Read "We Jazz: Moveable Feast Fest Theory" Live Reviews We Jazz: Moveable Feast Fest Theory
by Josef Woodard
Published: December 16, 2017
Read "Liberty Ellman Trio at Crescent Arts Centre" Live Reviews Liberty Ellman Trio at Crescent Arts Centre
by Ian Patterson
Published: April 22, 2018
Read "Bonerama at the Iridium" Live Reviews Bonerama at the Iridium
by Mike Perciaccante
Published: August 5, 2017
Read "Omar Sosa At SFJAZZ" Live Reviews Omar Sosa At SFJAZZ
by Walter Atkins
Published: May 13, 2017