Tanglewood Jazz Festival 2007
Tanglewood Music Center
June 28 to September 3, 2007
The 2007 Tanglewood Jazz Festival in the beautiful Berkshire Mountains' city of Lenox, Massachusetts, was multi-flavored, with musicians from various corners of the world and rhythms that ranged from Africa to Brazil to the down-home swing of Kansas City.
The lineup, once again, was laudable highlighted by a great set of music from the quartet of vocalist Kurt Elling, augmented by "special friends," the buoyant Brazilian music from Poncho Sanchez, the intimate and classy duet of singer Roberta Gambarini and pianist Hank Jones, the creative elegance of the Maria Schneider Orchestra, the hip stylings of Ahmad Jamal and much more.
As has been the custom in recent years, the summer-long festival also featured a live taping of Marian McPartland's award-winning Piano Jazz program for National Public Radiothis time with the wonderful pianist Renee Rosnes. And there was a "cafe" tent where young talent was put on display, with an international flavor that also showed off some young vocal up and comers.
Musicians seemed to enjoy Tanglewood's splendid Ozawa Hall, a posh venue that seats about 1,100 people in three tiers, while many more sit on the spacious lawn of the grounds to enjoy the sounds of jazz each Labor Day weekend. The sounds that emanated from the stage were consistently stellar.
Elling has been touring in support of his Nightmoves recording, his first for Concord, and the band continues to show it is one of the excellent aggregations on the scene, with drummer Willie Jones III, bassist Rob Amster and pianist/arranger/collaborator Laurence Hobgood always providing the swing, the drive and the tension behind Elling's flights, whether they be poetic, straight-ahead or careening across space. This time saxophonist Joel Frahm, Gregoire Maret on harmonica and acoustic guitarist Romero Lubambo helped out on some of the tunes.
After the always compelling "My Foolish Heart" from a couple CDs ago, the group stuck to the new repertoire. Betty Carter's "Tight" was the swingingest, befitting its original creator. Maret helped "And We Will Fly" soar, and Lubambo's guitar softly supported the medley "Change Partners/I You Never Come To Me." The most intimate moment came with Elling and Lubambo duet rendition of "Luiza." The singer's duet with Amster"The Waking"was also intimate, but superbly dramatic. Elling's voice remains one of the richest and most compelling vocal instruments on the scene and their music was excellent.
Also performing from a high artistic peak was the Maria Schneider Orchestra. The music came from early and newer projects. "Evanesence," an earlier tribute to her mentor, Gil Evans, had shifting passages and moods, with trombonist Marshall Gilkes soloing hot over them. "The Pretty Road" started of with a beautiful melancholy before shifting its story into other delicious statements, with the trumpet of Ingrid Jensen providing the narrative to a journey down a magical road. "Sky Blue," the title cut to Schneider's latest CD, and "Hang Gliding" both showed her majestic way of presenting feelings that come from her creative soul. What she finds in her inspiration, filters through her imagination, orchestrates with blood sweat and tears, and brings to life on the stage is a joy. She uses emotion to convey beauty. Hearing what comes next will always be something to look forward to.
Purveying good, old-fashioned jump blues and swing, with a nod to the late Big Joe Turner, was a group led by singer Kevin Mahogany. It was well put together, with the blues-drenched sax of Red Holloway and the piano of Cyrus Chestnut perfectly suited to songs like "Every Day I have the Blues," "Morning Glories" and "Kansas City Born and Bred." The Chuck Bergeron Trio also helped swing the room. Mahogany's big voice and style are best suited to this type of songbook. He was helped along by Kathy Kosins on vocals at times, and she, too, proved to be a good blues belter. Mahogany also struck a comic chord with a blues he wrote recently, "Tony Bennett Never calls," a delightful parody of how he doesn't get invited to participate in duet projects that so many of the marquee singers do nowadays, including Bennett. It was light-hearted, but beneath it a damn solid blues.