48th Annual Pitt Jazz Seminar
November 1-3, 2018
The Pitt Jazz Seminar took place the first weekend of Novenmber under the musical direction of Terri Lyne Carrington
; Thursday, Friday, and early Saturday were packed with guest lectures while the all-star concert was scheduled for 7:30 on Saturday evening. Sean Jones
and Reginald Veal
were facilitating a lecture on community outreach in the Hill District, the historic cradle of Pittsburgh jazz, at 11 'o' clock that Saturday morning. One need only glance over past Jazz Seminar programs here, which have included the likes of George Cables
, Pharoah Sanders
, Esperanza Spalding
, and Idris Muhammad
, to realize this annual event is so much more than a programming gimmick; it is a connect-the-dots and paint-by-numbers guide to the evolving diversity of jazz. Conceived by the late Nathan Davis, innovative reedman and Director of Jazz Studies at the University of Pittsburgh, the Seminar was entering into its 48th season.
Dutch saxophonist Tineke Postma
spoke about the historic cultural exchange between European and American jazz musicians. Postma, who subsisted on a robust musical diet of bebop during her childhood in the Netherlands, followed in the footsteps of the masters when she embarked on her own one-woman exodus to New York City. In the liner notes of Postma's debut record First Avenue
(Munich Records, 2003), Terri Lyne Carrington wrote that European musicians are carrying the torch and that American musicians should pay attention. If this is true, Postma is a woman who carries many
torchesher literacy as far as the history of the music goes is impeccable and she has incorporated the Nordic sound into her performances, notably during an appearance with Wayne Shorter
at the 2012 International Jazz Day at the United Nations Assembly Hall.
Pianist Orrin Evans
, a son of the Philadelphia jazz piano tradition, presented his ideas on modern self-promotion. The newly-minted The Bad Plus
member has been involved in every aspect of the music business, from managing Philadelphia's Blue Moon Jazz Club at the age of eighteen to stuffing manila envelopes with new promotional material on the floor of his first place in New York. The Thelonious Monk Competition runner-up delivers bombastic energy to all that he does whether he is conducting the Captain Black Big Band or producing projects by artists like Sean Jones. Evans is a man who rises to the occasion, and most especially so in the face of adversity, defiantly asserting "I didn't get into this to get out of it."
A soulful Joey DeFrancesco
took a brief leave of absence from his beloved organ, delivering his lecture on jazz improvisation from behind a piano. DeFrancesco's well of credits runs deep and rich; lest we forget, the Miles Davis
/ George Benson
/ John McLaughlin
alum got his start playing the family organ at four years old and by the time he was eleven, he had shared the stage with Philly Joe Jones
. Citing Oscar Peterson
and Ray Brown
as influences, DeFrancesco also claims to live by the Gospel According to Charles Mingus
... that is, he thinks "labels should go in the trash because musicians are only playing music." "I was born into everything you need," he went on to say, referring to a childhood bursting at the seams with encouragement, one fine
record collection, and his favorite toy (the living room organ). His records have evolved over the years into productions that are more spiritual; this transformation can be clearly heard when one compares The Champ
(HighNote, 1999) with Enjoy the View
(Blue Note, 2014) for example, where Billy Hart
soldiers behind the kit on both of these projects). DeFrancesco himself describes his contemporary records as being "less of an advertisement."