The Jazz Gallery is perched on the second floor of a three floor brick building that at one time held offices, and now sits anachronistic within a region of tucked away luxury lofts and popular nightclubs. The gallery itself is a long narrow room that focuses on to an improvised stage area where a baby grand piano, drum kit and a few amps sit. The walls are covered with the latest collection of music related art, this time it is scenes of Cuban musicians. The space is intimate and inviting yet serious in purpose. Jazz Gallery's proprietor Dale Fitzgerald states that purpose clearly to us as we await the beginning of the set. "There is place for jazz as a repertory art form, and it is not here." Tonight we are to hear jazz as a fresh, evolving, and daring art form. In Fitzgerald's words we are to hear jazz that no one has heard publicly before. Sitting behind Fitzgerald as he spoke are the young composers who are among a select few that are in the forefront of jazz today, twenty-nine year old pianist Jason Linder and twenty-eight year old drummer Dafnis Prieto, accompanied by three other young powerful musicians, trumpeter Avishai Cohen, saxophonist Peter Apfelbaum, and bassist Hans Glawischnig. I had missed the last two nights in which Jason Moran, Rudresh Manhanthappa and Vijay Iyer had set the tone and caliber of two excellent evenings. I sit curious to hear the continuation of what was already becoming an acclaimed music series. Jason Lindner begins the set with one of his compositions, "Russian Dance". A strong rhythm player, Lindner immediately establishes a Slavic/gypsy beat which he accents with an eastern minor mode melody. Dafnis Prieto locks in impeccably and supports the motif Lindner has established through a layered set of polyrhythms that provide accented color. Trumpet player Avishai Cohen uses this rich background to stream a distant yet crisp and pulsing melody. Lindner carries his initial motif and then breaks it down to a minimalist counter point to add greater effect to Dafnis's drumming, and then ushers it up again with a thrust of brass. The dance is exotic and passionate. We are engaged from the onset and informed that it has many turns and steps, both delicate and forceful, of which we must be prepared for if we wish to keep up. The dance theme is extended in Preito's piece "Trio Absolute" a work reflective of the rhythmic tradition of his homeland Cuba. "Cut the clave and see how it tastes", he comments in his notes. The song is powerful right from the get go, Lindner keeps up with heavy cords as Prieto leads the charge at a driving pace, sometimes staccato and then polyrhythmic again. He dons the drum set and flexes it, using it as if it is another layer of skin. This piece exists in a territory where 4/4 is un-welcomed, puro cubano. We tremble. The next piece is another Prieto tune, "3 Poems/ 1 Song". Chilean-New Yorker singer Claudia Acuña is welcomed to the stage to sing. She warms the stage with a presence that is bright and sensual. When she sings it is fresh and flowing as she embraces the rhythm and tonality of the beat and melody. We hear the range of a rich voice that Acuña uses to lead the group through the dynamics of the song to reach a heightened plateau and vista. The piece is broken up into three sections as the title indicates. An introductory dark section, a middle-eastern interlude and a punto guajiro finale, a true musical and cultural synthesis. The arrangement works to blend the three disparate moods. The song embodies the cultural backgrounds of those playing, Israeli, Latino and New Yorker.
James Hurt / Dafnis Prieto: November 24th
I return the next evening for the closing performances of the Composer's Series. I am to hear more works of Dafnis Prieto, this time in a trio format with Luis Perdomo on piano and John Benitez on bass. Sharing the bill this evening is avant-garde composer and pianist James Hurt, who is to present us with his new works which he called "Audio Cinema".
James Hurt begins the set by quietly walking up to the piano and with no introduction embarks on what would be a soundscape of dramatic-noir themes. He creates an ambiance of sound that immediately evokes a cinematic feel. As if wandering through the forest in a David Lynch film or opening a forbidden door at the end of a dark hallway, Hurt's music is mysterious and suspenseful yet not corny. He tests us with a synthesizer, pushing our ears and sensibilities with a sound that is somewhat familiar of a starter Casio keyboard, and then after setting a presence of almost nostalgia and dreams, he returns to the baby grand and awakens us again to a new scene of characters and settings.
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.