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...

3

Terri Lyne Carrington at Royce Hall

Cristofer Gross By

Sign in to view read count
After flooring a jazz concert crowd with her celebration of legendary women at UCLA Terri Lyne Carrington launches a new Jazz and Gender Justice program at Berklee.
Terri Lyne Carrington
Celebrating Tina Turner, Nancy Wilson and Joni Mitchell
Royce Hall
Los Angeles, CA
November 9, 2018

In 1998, Terri Lyne Carrington was the second musician to arrive for one of Herbie Hancock's Gershwin's World recording sessions. Joni Mitchell was already there, and while they waited for saxophonist Wayne Shorter, bassist Ira Coleman, Stevie Wonder, who would add his sweet signature harmonica, and Hancock, Carrington sat at her drum kit listening to Mitchell explore chord configurations on the piano.

"She was playing these chords," Carrington said, still awestruck as she sat at her drum kit 20 years later. "But they weren't the song chords. They were these unconventional chords and they sounded amazing."

The recollection came during her November 9, 2018 concert at UCLA's Royce Hall, in which she and eight other musicians celebrated the music of living legends Tina Turner, Nancy Wilson and Mitchell. Giving voice to 14 of their songs were Jazzmeia Horn, Ledisi and Lizz Wright and a band of Carrington featuring saxophonist Edmar Colon , pianist Jon Cowherd, bassist Solomon Dorsey, trumpeter Ingrid Jensen and guitarist Marvin Sewell.

A few songs in, she had paused to recall her personal contacts with each one. She had been part of a Billie Holiday tribute hosted by Wilson and she knew of Turner through Shorter, a mutual friend. With Mitchell, however, the shared working relationships ran deepest. Now something ephemeral and personal would link them.

"As I listened," she continued, "I was thinking this will never happen again, these chords may never get played again, and I'm the only one hearing them. I wish I had a phonographic memory, or that we had phones back then to record so I could have captured it. But I just sat and listened. It was so beautiful."

The tardy men eventually arrived to back Mitchell as she gave Hancock's album her unique take on "Summertime," a jazz standard with an estimated 25,000 versions. Before they came, however, she had given her eavesdropping audience of one an indelible, one-of-a-kind memory.

Carrington's UCLA concert, which came near the end of a string of tour dates, was also a one-time-only event. This constellation of artists required some members to travel from the east coast and their schedule demands meant that despite weeks of communicating and planning by phone or Internet, rehearsals would be little more than the afternoon of the show.

The kinetics of performing in this way would add energy and focus to the 90-minute program, and it began with the opening number, Horn's lively interpretation of Wilson's "Never Will I Marry" off her 1962 collaboration with Julian "Cannonball" Adderley. Another Wilson classic, "Teach Me Tonight," introduced Ledisi, whose smoldering rendition was a highlight. Wright's Wilson tribute was "Save Your Love" (also on the album with Adderley), which featured a beautiful solo from Jensen.

It was the rarest of concerts: a program of highlights. Even so, there were points that achieved greater heights. One of these tent-pole moments came after Horn introduced her second Wilson tribute in a way that also introduced the singer and the empowering impact she has had on many young African-American women. At 13 or 14, Horn said, she saw a beautiful woman, salt-and-pepper hair, on television. Impressed by Wilson's beauty, talent and especially her confident attitude, Horn had said, "I want to be like that!" She then proceeded to lay down a take on "Guess Who I Saw Today," that left no doubt she had accomplished her goal.

Wright's first appearance was the evening's second number, Mitchell's "Edith and the King Pin." With a timbre you'd want Mother Nature to have if it could sing, Wright made "Edith" a tent-pole moment that touched the celestial as it tore at heartstrings. She would follow it with another, a transcendent take on Turner's "Better be Good to Me" inspired by her own arrangement of Nick Drake's "River Man" for her 2015 Freedom & Surrender album.

Another Mitchell song that raised the stakes began with Dorsey's bass solo. After Carrington and pianist Cowherd gently joined in, Dorsey surprised with a haunting vocal on "Goodbye Pork Pie Hat" off Mitchell's 1979 Mingus, then eased into the first verse of "Both Sides, Now." Wright and Ledisi would slip back onstage for the second and third verses. Horn sang Mitchell's "Love," which Carrington said would be on her next release, and then a time-altering rhythmic intro by Carrington opened another song from Mingus, "Dry Cleaner of Des Moines." Here again, Jensen provided a rich-toned solo that altered below deep dives below the staff and soaring runs far above it.

Tags

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Live Reviews
Interviews
CD/LP/Track Review
Read more articles
Money Jungle: Provocative in Blue

Money Jungle:...

Concord Music Group
2013

buy
 

The Mosaic Project

Prime Directive Music
2012

buy
The Mosaic Project

The Mosaic Project

Concord Music Group
2011

buy
Structure

Structure

ACT Music
2005

buy
Structure

Structure

ACT Music
2004

buy
Jazz is a Spirit

Jazz is a Spirit

ACT Music
2003

buy
Date Detail Price
Jan27Sun
7:00 pm
Terri Lyne Carrington
Moods
Zurich, Switzerland

Related Articles

Read Joe Gransden's Big Band At Cafe 290 Live Reviews
Joe Gransden's Big Band At Cafe 290
by Martin McFie
Published: December 9, 2018
Read U2 at Mercedes-Benz Arena in Berlin Live Reviews
U2 at Mercedes-Benz Arena in Berlin
by Nenad Georgievski
Published: December 9, 2018
Read David Johansen at The Space at Westbury Live Reviews
David Johansen at The Space at Westbury
by Mike Perciaccante
Published: December 9, 2018
Read Joshua Bowlus Trio at The Jazz Corner Live Reviews
Joshua Bowlus Trio at The Jazz Corner
by Martin McFie
Published: December 8, 2018
Read Arturo Sandoval At Yoshi's Live Reviews
Arturo Sandoval At Yoshi's
by Walter Atkins
Published: December 8, 2018
Read Julian Lage Trio at Flynn Center for the Performing Arts Live Reviews
Julian Lage Trio at Flynn Center for the Performing Arts
by Doug Collette
Published: December 7, 2018
Read "We Jazz: Moveable Feast Fest Theory" Live Reviews We Jazz: Moveable Feast Fest Theory
by Josef Woodard
Published: December 16, 2017
Read "Sligo Jazz Project 2018: Days 5-6" Live Reviews Sligo Jazz Project 2018: Days 5-6
by James Fleming
Published: October 1, 2018
Read "YstadSweden JazzFestival 2018" Live Reviews YstadSweden JazzFestival 2018
by Wolfgang Konig
Published: August 30, 2018
Read "Terence Blanchard at Christ Church Cranbrook" Live Reviews Terence Blanchard at Christ Church Cranbrook
by Troy Dostert
Published: December 29, 2017