Pablo Ziegler and Nestor Torres
Los Lobos
Wayne Bergeron, Willie Murillo and
NJO
George Winston
Summit Jazz Festival
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January
2010
Performances
Concert reviews |
Concert Review
Ziegler Quartet & Torres bring tango to Lied
Tom
Ineck
LINCOLN,
Neb.—In its 20-year history, the Lied Center for Performing Arts has
presented few concerts as exhilarating, inspired and virtuosic as the
Nov. 13 appearance of the Pablo Ziegler Quartet for New Tango, with
special guest artist flutist Nestor Torres.
Pianist
Ziegler earned his reputation as an interpreter of the Argentine song
form during a decade-long stint with the master of Nuevo tango, composer
and bandoneon player Astor Piazzolla. Since Piazzolla’s death in 1992,
Ziegler has continued to expand its scope and influence with worldwide
touring and recording, adding his own compositions and arrangements to
the growing canon of tango classics.
His current
ensemble maintains the high level of technical proficiency, dramatic
stage craft and exciting interplay essential to the music. Hector del
Curto is an astounding bandoneon player, guitarist Claudio Ragazzi
alternates between a percussive accompaniment and single-note forays,
and bassist Pedro Giraudo anchors the whole group with effortless
confidence. Ziegler, of course, directs the entire proceedings with
consummate authority from the keyboard.
The quartet
accomplished seamless transitions, from three-way unison passages
through-written in classical style to free-form improvised solos,
romantic runs on the piano and two-way dialogue between Ziegler and del
Curto.
The foursome warmed up the action with a couple of tunes, including
“Just around the Corner” and “Milonga.”
Torres, a
native of Puerto Rico and a relative newcomer to the tango esthetic,
added his Latin and jazz chops to the mix on the Piazzolla composition
“Michelangelo 70,” a delicious blend of intricate and intense rhythms,
often created by del Curto and Giraudo tapping out polyrhythmic passages
on their instruments. Ziegler’s “Buenos Aires Report” surged with an
insistently repetitive bandoneon riff and on “Blues Tango” Ragazzi
churned out a stinging guitar solo on his hollow-bodied Gibson.
Torres
warmly dedicated the classical tango “Fuga Y Misterio (Fugue and
Mystery)” to John Bailey and the flute program at the University of
Nebraska-Lincoln. Ziegler and Ragazzi performed a duo rendition of
“Elegante Canyebquito.” Piazzolla’s brilliant “La Muerte del Angel
(Death of the Angel)” was simply stunning in its flawless execution (no
pun intended). Ziegler
introduced
a new milonga with classical elements and dedicated to composer Alberto
Ginastera, who mentored Piazzolla.
In a very
personal vein, Ziegler introduced the achingly beautiful ballad
“Muchacha de Boedo” by describing the young girl who inspired it. Torres
returned for “Chin Chin,” a dazzling workout for the whole band. The
second half of the concert also featured Torres stating the lovely
melody of “Introduction to the Angel,” and the exquisite rendition of
that most famous Piazzolla composition, “Libertango (Freedom Tango),”
with Torres turning in an amazing flute solo of great skill and passion.
The
audience of some 900 demanded—and received—an encore, which began as a
stately Bach sonata before moving into the jazz realm with soaring flute
improvisations by Torres.
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Concert Review
Los Lobos unplugs for most of Lied concert
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By Tom Ineck
LINCOLN,
Neb.—As though a concession to the high-brow confines of the Lied Center
for Performing Arts, the ordinarily rockin’ Americana of Los Lobos was
somewhat more subdued in the band’s Oct. 30 appearance. After more than
30 years of recording and performing on the road, they have plenty of
material for any occasion, so the largely unplugged, folk-heavy choice
of tunes was actually a welcomed contrast.
The
90-minute, two-part program drew from the entire Los Lobos catalog and
featured everyone in the band, beginning with a set of Spanish-languish
songs played on traditional Mexican instruments and including the title
track from the band’s 1988 release, “La Pistola y el Corazon,” with
Steve Berlin on tenor sax.
Louie Perez
sang “Saint Behind the Glass,” from 1992’s “Kiko,” and Cesar Rosas
delivered a heartfelt version of “Maricela” from “Colossal Head,” the
band’s 1994 release. David Hidalgo showed his versatility, moving easily
from accordion to various acoustic and electric guitars. Especially
enjoyable was a fine treatment of the familiar Cuban folk song “Guantanamera,”
which appeared on the very first Los Lobos release in 1978. Bassist
Conrad Lozano handled the vocals and Berlin switched to flute.
Opening the
second half, the band dipped into its latest CD, “Los Lobos Goes
Disney,” for “I Wanna Be Like You (The Monkey Song),” from the animated
film adaptation of “The Jungle Book.” Yet another acoustic performance,
this one featured Berlin on baritone sax. From their own extensive
songbook came excellent versions of “Just a Matter of Time,” “One Time
One Night” and “Kiko and the Lavender Moon.”
The night
would not have been complete without “La Bamba,” the only tune that has
come close to hit status for Los Lobos. Never satisfied with a
conventional take, they worked variations that included a long quote
from The Rascals’ “Good Lovin’” and infused the well-worn song with new
energy.
The
15-minute encore alone was worth the price of admission. Beginning with
the rockin’ rave-up “I Got Loaded,” it segued into the classic Buddy
Holly tune “Not Fade Away,” with a heavy emphasis on the infectious Bo
Diddley beat. With Hidalgo, Rosas and Perez wailing on guitars, it
expanded into a full-blown Grateful Dead jam. It was a grand finale
worthy of the Los Lobos tradition.
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Concert Review
Bergeron doubles the pleasure at NJO
concert
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By Tom
Ineck
LINCOLN,
Neb.—An audience of 400 got a two-for-one deal Oct. 29 at The Cornhusker
hotel when featured trumpeter Wayne Bergeron brought along a “stunt
double” to handle the high-note duties as guest soloist with the
Nebraska Jazz Orchestra.
Still
nursing a recent lip injury, the Lost Angeles-based Bergeron enlisted
former student Willie Murillo, a 10-year veteran of the swinging Brian
Setzer Orchestra. Meanwhile, Bergeron conducted the NJO and entertained
the crowd with one-liners, inside jokes and general hilarity.
The
kick-off concert of the NJO’s 34th year began with several
tunes featuring young trombonist Karl Lyden, winner of the NJO’s 2009
Young Jazz Artist
Award, including the standard “Spring Is Here,” John
Coltrane’s fast blues “Locomotion” and the Eric Richards samba “Noite de Tempestade (Evening Storm).”
The
16-piece NJO also ran through two typically difficult compositions by
Rex Cadwallader, “Year of the Frog” and “Tactical Practicality,” which
gave everyone a chance to work out, including another guest artist, Doug
Hinrichs, on congas.
But
Bergeron and Murillo were the night’s winning combination. Murillo
immediately proved his chops with “Friend Like Me,” from the Disney
movie “Aladdin,” a high-note extravaganza originally arranged for Arturo
Sandoval. Bergeron briefly played the melody of a Tom Kubis tune written
for him, the cleverly titled “High Clouds and a Good Chance of Wayne
Tonight.”
A Kubis
arrangement of the ballad standard “You Go to My Head” allowed Bergeron
to play the melody on flugelhorn before turning to Murillo, who
delivered a piercing solo with the sax section.
Other
favorites included a wonderful arrangement of “Besame Mucho” and an odd
“Waltz of the Flowers.”
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Concert Review
Winston brings "rural folk piano" style
to Lied
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By Tom
Ineck
LINCOLN,
Neb.—The listener who expects to hear conventional blues rhythms or jazz
improvisations from George Winston is apt to be flummoxed by his unusual
approach to the keyboard, a style he accurately calls “rural folk
piano.”
It’s a
style steeped in tradition but pared down to its essence, as Winston
proved Oct. 20 at the Lied Center for Performing Arts in Lincoln. In a
program oddly titled “The Summer Show,” Winston ranged freely over a
variety of his favorite influences, including New Orleans great
Professor Longhair, jazz composer Vince Guaraldi and the rock group The
Doors.
Taking the
stage in his unassuming style, wearing a simple work shirt and blue
jeans, Winston immediately went to work with an uptempo version of
Professor Longhair’s “Meet Me Tomorrow Night,” a rollicking Crescent
City rocker. Almost totally devoid of blues dynamics, Winston’s approach
is technically precise and totally original.
His
composition “Spring,” a pastoral piece with ringing chords, included a
section inspired by modernist Steve Reich that had Winston repeating a
pattern with his left hand as he played variations with the right.
A Guaraldi
medley included “It’s Been a Short Summer, Charlie Brown,” a typically
lively, whimsical tune. Winston expertly alternated between bass and
treble passages for dramatic effect. “Woods,” inspired by early autumn,
evoked that pastoral imagery inherent in his rural folk piano.
As an
example of the stride piano technique of Fats Waller and Teddy Wilson,
Winston performed “Cat and Mouse,” where his mechanical keyboard attack
was appropriate. The right hand soared into the upper registers as the
tempo went from fast to very fast.
To finish
the first half, he switched to guitar for a lovely performance of the
Hawaiian “slack-key” style, with complex chords and delicate
finger-picking.
Winston
opened the second half with “Fragrant Fields,” a haunting tune by
pianist Art Lande. He followed that with an equally compelling ballad
called “Beverly” before launching into another New Orleans rocker, this
time a tune by the legendary James Booker, a clear precursor to rock ‘n’
roll.
Again
showing his versatility, Winston cupped a harmonica in his hands and
played a long, old-timey piece, with variations, in a style all his own.
The evening’s crowd pleaser was his “Variations on Pachelbel’s Canon,”
utilizing a resounding bass-note counterpoint.
Finally,
Winston’s attention turned to The Doors for a version of their “Riders
on the Storm,” complete with the falling-rain effect that Ray Manzarek
played on the original recording. Winston returned for an encore on
guitar, playing The Doors’ sad ballad “You’re Lost, Little Girl.”
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Colorado Correspondent
Summit Jazz Festival swings in trad
style |
By Dan DeMuth
DENVER—Early October found us in Denver
to attend another Summit Jazz Festival. Traditionally, these start on
Friday evening with the finale on Sunday, and traditional as well is the
style of jazz focused on for this event. There was the usual mix of name
artists spotlighted for their solo efforts, along with some ensembles.
In no particular order, the name players
would include cornetist Duke Heitger, pianist and vocalist Jeff Barnhart
(who also fronts the Ivory and Gold Trio) , drummer Joe Ascione, Jerry
Krahn on guitar, bassist Paul Keller and Anat Cohen, known for her
outstanding work on the clarinet but also capably doubling on tenor sax.
The bands included the Jim Cullum group of San Antonio’s Riverwalk fame,
the Ivory and Gold Trio, the Titan Hot Seven out of Nashville, and the
Toronto-based Climax Jazz Band, a personal favorite (more on that
later).
The Denver area contributed the Alan
Frederickson Jazz Ensemble, led by the gentleman of the same name, who
also co-produces this event. Featured also were two local bands who
painted some numbers in an excellent frame. Both the University of
Colorado at Denver "Claim Jumpers" and the "Jazz Cookers" put on
outstanding shows. The latter is a group of young musicians most of whom
were classmates in a high school group and have continued to play
together. Thankfully, youth groups continue to be an important mainstay
at most festivals.
As expected, there was a polished
performance by the Jim Cullum Jazz Band. A very knowledgeable friend in
attendance, who has seen them before, expressed an opinion prior to
their performance that they
were almost too polished—no mistakes and
very little improvisation. I found this to be an astute observation,
akin to hearing the released cut on a recording, and one might surmise Cullum's purpose is to authentically recreate the older numbers as a
rehearsed band would have played them in their day. Give them credit
that they do not focus on the same time-worn songs in which other Dixie
or trad groups often tend to immerse themselves.
Anat Cohen's promo notes she is
"idiomatically conversant with both modern and traditional jazz...." and
having heard her perform in both environments it is certainly true (even
if couched in language a bit highbrow for this old lowbrow). Her great
talent belies her sometimes rather stiff stage presence and I guess
that’s what it is really all about.
One could certainly put Jeff Barnhart at
the opposite end of that spectrum; at times allowing the exuberant
persona to almost overshadow the excellent technical skills.
Bassist Keller is not only extremely proficient but adds humorous banter
perfectly timed. Krahn's playing and demeanor remind me of Bucky
Pizzarelli—not ostentatious, just great.
Heitger definitely lives up to his
reputation for diversity, blowing both hot and cool numbers equally
well. Further notes would have to include Ascione, who continues to
courageously battle MS and yet performs flawlessly on any number called,
an astute timekeeper who can also light 'em up when needed.
The Climax Jazz Band uses a
free-swinging, hard-driving approach, with improvisation definitely
allowed and a great stage presence with a dose of British humor thrown
in. We had the opportunity of enjoying a libation or two with some of
the members in the hotel bar (not sure how that always seems to happen!)
and were regaled with a few jokes and stories. Can you top this? Oscar
Peterson politely asked if it was OK to sit in with them at a
performance in Canada! The Titan Hot Seven (the “hot” aptly applied)
feature some of the above artists, such as Barnhart and Krahn, as well
as drummer Danny Coots providing inspiration.
A tip of the hat goes to all of the
above musicians, who also perform well in other styles of jazz. The
focus of this event just happened to be traditional.
The entire event is well run and for
that, credit rightfully goes to Juanita Greenwood and partner Alan
Frederickson, who have been involved in producing these for 30 years.
Juanita is very adept at recruiting volunteers to aid in the production
and adds a personal touch in assisting attendees in any way. To
persevere that long in any business means you have to be doing something
right!
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