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Chicago Jazz Festival celebrates 30 years
By Tom Ineck
CHICAGO, Ill.—Twenty years is a long
time between trips to Chicago, and once again it took the Chicago Jazz
Festival to get me headed north to the Windy City.
This year’s 30th annual event
was Aug. 28-31, with a special opening-night performance by Sonny
Rollins and a closing-night finale by Ornette Coleman.
The city-sponsored jazz fest has always
prided itself on a schedule that alternates mainstream jazz with the
avant-garde. The lineup in 1988 also included Sonny Rollins and Ornette
Coleman, in addition to Herbie Hancock, the Sun Ra Arkestra, Charlie
Haden and his Liberation Orchestra, native sons—all
saxophonists—Clifford Jordan, Johnny Griffin, Von Freeman and Ira
Sullivan, and native daughter pianist Dorothy Donegan, among many
others.
This year, the headliners ranged in age
from the young East Indian jazz fusion keyboardist Vijay Iyer to the
90-year-old big band leader Gerald Wilson, whose performance featured a
guest appearance by guitarist Kenny Burrell. Singer Dee Dee Bridgewater
paid tribute to the late Betty Carter, and the Eddie Palmieri Latin Jazz
Band stirred up a hot salsa of dance numbers. Trumpeter Dave Douglas
paid respectful and aptly adventurous homage to the late Lester Bowie,
who moved to Chicago in the mid-1960s and later founded the cutting-edge
Association for the Advancement of Creative Musicians (AACM) and the Art
Ensemble of Chicago.
One of the most vital and enduring
traditions of the jazz fest is its commitment to new compositions. With
help from the Chicago Jazz Partnership, the festival this year
commissioned original works by four artists, including Saturday night
headliners Iyer, Douglas and Wilson. The fourth was the 5 p.m.
opening-day “Tribute to Captain Walter Dyett,” in honor of the late
educator who served as the mentor for so many of the city’s great jazz
artists.
The quintet’s style is best summed up in
one word—intense. Myers attacked the keyboard with ferocious, percussive
phrases. Mitchell, 68, belied his age
with long alto sax solos that
employ rotary breathing to an amazing degree.
Logan and Barker seldom played the
time-keeping role of the traditional rhythm section. Instead, they wove
intricate patterns around the others, defining the essence of group
improvisation. Barker also doubled on marimba to great effect, lending
an organic element to the overall sound. He combined that instrument,
cymbals and drums in a moving piece he wrote for the late AACM drummer
Steve McCall (1933-1989). Mitchell, in turn, took up the soprano sax to
pay homage to late AACM bassist Malachi Favors (1927-2004).
The AACM tribute band eschewed stage
banter, not even introducing the pieces by name, preferring to let the
music speak for itself. It did, profoundly.
Accompanying Bridgewater were pianist
Mulgrew Miller, bassist Ira Coleman
and drummer Winard Harper, all of
whom were among the many young
Among the early highlights was a very
fast rendition of “What a Little Moonlight Can Do” and a scat-singing
interlude during “There Is No Greater Love” in which Bridgewater
mimicked a muted trumpet solo with unfettered glee. A resident of France
for many years, she sang the standard “The Good Life (La Dolce Vita)”
with the original French lyrics using Carter’s arrangement. “Cherokee”
had Bridgewater and Miller trading phrases in dazzling style. The band
slowed to a ballad tempo for a rendition of “Spring Can Really Hang You
Up the Most.”
Finally, Bridgewater turned her
attention to another gifted singer and iconoclast, Nina Simone
(1933-2003). Her powerful rendition of Simone’s classic “Four Women” led
to a call to all women of color—“Yes, we can change!”—and a plea to vote
for Barack Obama. It would not be the last time during the festival that
an artist would endorse the Democratic candidate for president.
But there were no overt political
messages in the infectious music of the
Palmieri’s current octet boasts the
stellar front line of trumpeter Brian Lynch, tenor saxophonist Donald
Harrison and trombonist Conrad Herwig, plus Luques Curtis on bass, Jose
Claussell on timbales, Vicente “Little Johnny” Rivero on congas and
Orlando Vega on bongos and cowbell. The mood was light and the playing
was top-notch as they whipped through an hour-long set of rhythmic
Hoping to catch legendary guitarist
Kenny Burrell fronting a rhythm section of Chicago’s finest at the Jazz
on Jackson stage, I hustled over to the festival grounds around 3:30
p.m. Saturday, only to find that Burrell had been replaced by trumpeter
Brian Lynch. But, after witnessing his playing prowess with Palmieri the
previous night, I was delighted to see him in a different format, with
excellent accompaniment from pianist Willie Pickens, bassist Larry Gray
and drummer Joel Spencer. After a half-hour in the sun-baked street,
snapping photos in 90-degree heat, I fled for a cooling respite to the
nearby banks of Lake Michigan, a welcome change of scenery for weary
festival-goers.
The 5 p.m. performance at
Melding many musical influences, Iyer
and company performed the movements of the suite—“Far From Over,”
“Optimism,” “Out of the Tunnel,” “Passage,” “Actions Speak…,” “Helix,”
and “Good on the Ground”—with assurance and technical proficiency,
displaying stylistic elements of rock, jazz, folk and world music in a
rhythmically complex tapestry of sound.
Douglas and his Brass Ecstasy ensemble
contributed “Chicago Calling: Bowie, Barack and Brass,” another
outspoken, political call to action. Of
The unusual format of four brass
instruments and drums created beautiful harmonies and dynamics running
the full range from Douglas’ astounding trumpet flights to the lower
regions of Rojas’ tuba. Perowsky broadened his own palette by employing
tuned bells and a second bass drum set up behind him, in addition to a
standard drum kit. For emphasis, he would occasionally take up a mallet
and pound the bass drum, creating a thunderous effect when combined with tuba.
The brass-heavy nature of the ensemble
also allowed Brass
In case anyone failed to get the
political message of the suite, Douglas announced that it was dedicated
to Nov. 4 (Election Day) and shouted “Yes, we can!” a sentiment echoed
by many in the audience.
Finally, Douglas offered a tune
specifically dedicated to Bowie that he wrote before the commissioned
suite. Entitled “Glad to Meet You,” it was performed as a soulful,
slow-drag that had Douglas exhibiting some of the lip effects and
breathing for which Bowie and Louis Armstrong are known.
The evening’s closer was a joyous affair
by the age-defying, nonagenarian big
Noting his tenure with Jimmie Lunceford
and Count Basie, Wilson began with a tune he wrote for Basie in the late
1940s. An animated conductor, Wilson
On several tunes, his 18-piece, Los
Angeles-based orchestra was augmented by legendary guitarist Kenny
Burrell. He made his entrance on “Theme for Monterey: Romance,” part of
a suite commissioned by the Monterey Jazz Festival in 1997. Wilson
humorously dedicated it to lovers of all kinds, proceeding to number all
the possible combinations. Burrell also was featured on “Viva Tirado,”
an bluesy Latin tune from the recent collaboration between Wilson and
the guitarist. Sans Burrell, the band followed up with “Triple Chase,”
an old flag-waving favorite.
In keeping with the festival’s pledge to
celebrate jazz in all its diverse forms, the final evening was arguably
the most adventurous of all, beginning with the iconoclastic Instant
Like Chicago’s AACM, the ICP has had
rotating personnel but still includes Mengelberg and original drummer
Han Bennink. The current 10-piece ensemble also includes Ab Baars,
Tobias Delius and Michael Moore on clarinets and saxophones, Thomas
Heberer on trumpet, Wolter Wierbos on trombone and a string sections
comprised of Mary Oliver on violin and viola, Tristan Honsinger on cello
and Ernst Glerum on bass. Together, they create a very unique sound,
often beginning with cacophonous interplay that somehow evolves into a
familiar jazz standard. Indeed, in its 35-year recording history, the
ICP has covered many tunes by Duke Ellington, Thelonious Monk and Herbie
Nichols, but never in a way that could be considered conventional or
predictable. Viva le difference!
A musical mainstay in Chicago since
1985, the loose-knit 8 Bold Souls has
Wilkerson speculated that the “definable
Chicago sound” is perhaps due to the city’s wind, the cold weather or
the smell of the stockyards. 8 Bold Souls
Flaunting their versatility, Wilkerson moved easily from tenor sax to
alto sax so clarinet to soprano sax, while Griffin took up both trumpet
and flugelhorn, first alternating the two, then playing both
simultaneously. Bowden doubled on baritone sax and clarinet.
Alexander joined the band for the
gospel-tinged “I Can Fly,” and deftly scatted her way through the
boppish “What the Heck,” displaying a broad range, both vocally and
stylistically. A swaggering funk tune completed the set with Wilkerson
on tenor. The four-horn front line, with additional heft from the tuba,
created a brawny sound.
High anticipation notwithstanding, the
average listener could not have been
Coleman’s most recent release, “Sound
Grammar,” was his first in a decade and, as though in recognition that
his music still is relevant, it won the 2007 Pulitzer Prize and inspired
a tour by the “Sound Grammar” quartet, consisting of Coleman along with
acoustic bassist Tony Falaga, electric bassist Al MacDowell and drummer
Denardo Coleman, the leader’s son and longtime percussionist.
On a bluesy tune, the acoustic bass and
drums kept things grounded as Coleman pitted his alto sax against the
electric bass in counterpoint. The basses then joined in unison as an
introduction to Coleman’s solo statement. Falaga began another tune with
bowed bass in a baroque style, while Coleman moved from violin to
trumpet to alto sax against the classical pattern. Yet another tune was
a folk ballad with a gorgeous bowed-bass melody that was abruptly
interrupted by Coleman trumpet squeaks and blats and alto sax squawks.
As the set came to an end, fireworks
went off over Lake Michigan, not for the festival but for a nearby ball
game. Even so, it seemed a fitting end to a sonically explosive and
stylistically kaleidoscopic festival.
Rollins, 78, shares wisdom through his horn
By
Jesse Starita
CHICAGO, Ill.—On a tranquil late-August evening, 13,000 people gathered to
hear an oracle proffer his wisdom. This offering—channeled through the
soul and spirit of a jazz elder’s saxophone—was intimate and engaging,
rollicking and sincere. Perched below the city’s imposing skyline, Sonny
Rollins commenced the 2008 Chicago Jazz Festival with sustained swing,
clarity and grace.
Emerging with a delicate walk, Rollins turned his back to the crowd to
converse with his personnel. A quick order then ensued. Kobie Watkins
gave
Although the quintet deserved much of the credit for its sound, the venue
helped propel the moment’s gravity. Thoughtfully, the organizers sought
a
Approaching the halfway point, Rollins delved into “Someday I’ll Find
You.” A silky ballad, Rollins played it while patrolling the stage,
showcasing subtle restraint, stylistically and in tone. At 78, he is
still capable of fleet and forceful soloing, but is best somewhere in
between ballad and burly. Perhaps it’s where Rollins is most comfortable
now. After a wild life filled with heroin addiction (which he kicked in
Chicago in 1955) and stints in jail, a musical equilibrium can have some
real value. Friends also help, and when the grey-haired Rollins took
frequent pauses to conserve energy, his sidemen stepped in fluidly.
Of particular import was Rollins’ nephew, trombonist Clifton Anderson.
After a quarter-century accompanying the tenor titan, Anderson’s
adroitness was evident and on full display. His range was most
notable—from casual slides and slurs on ballad numbers to a bl
As the evening receded, the lights of Chicago intensified and a slight
breeze blew in off Lake Michigan. I must take one more chorus to repeat:
what a stunning place to see a jazz legend! Seeking to end the night on
a high note, Rollins entered into a final comfort zone—calypso. Merging
jazz sensibilities with Caribbean melodies, Sonny and company ventured
south, playing with equatorial heat and fire. Empowered by the rhythm,
thousands got up to dance and cajole. A few moments later, Sonny
strolled carefully up to the microphone to thank his bandmates and the
host city. They walked off stage, escorted by an echo of cheers and
claps, only to reappear moments later at the crowd’s bidding. Another
calypso conversation began.
Six decades after he first picked up the saxophone, Rollins continues to
ignite his playing, his personnel and crowds with novelty and vigor. The
music really does keep you young. top
"Tour de Frank" wows Omaha audience By Tom
Ineck
OMAHA, Neb.—Dweezil Zappa’s deep
respect for his father’s vast musical oeuvre is immediately apparent in
the younger Zappa’s devotion to the music’s integrity in performance.
That devotion was on display June 7, when the so-called “Tour de Frank”
made a stop at Witherspoon Hall.
In addition to Dweezil on guitar, the
band consists of Aaron Arntz on keyboards and trumpet; Scheila Gonzalez
on saxophone, flute and keyboards; Pete Griffin on bass; Billy Hulting
on marimba and percussion; Jamie Kime on guitar; and Joe Travers on
drums, who is also the Zappa family archivist, a handy resource when
assembling a truly representative program for each concert. The latest
addition to the ensemble is vocalist and guitarist Ray White, who
performed and recorded with Zappa senior and who adds another element of
authenticity.
With a setlist of more than 20
tunes—many of which segued from one to another—it is difficult to name
them all. Needless to say, there was little banter from the stage during
the concert, which lasted nearly two and a half hours.
From 1981’s “You Are What You Is,” came
“I’m a Beautiful Guy” and “Beauty Knows No Pain.” Returning to “Sheik
Yerbouti,” the band turned in a great rendition of “Broken Hearts Are
for Assholes,” with Arntz doubling on keys and trumpet and Dweezil
switching to his Fender Stratocaster for a solo.
The centerpiece of the concert was a
full treatment of the instrumental “King Kong,” a Mothers of Invention
classic dating to 1967 but first immortalized two years later on “Uncle
Meat.” The tune featured outstanding solos on vibes, keys, bass, alto
sax and drums. From Zappa’s more scatological period of the mid-1970s
came “Don’t Eat the Yellow Snow.”
The evening would not have been complete
without a take on “Cosmik Debris,” and the band delivered in spades.
Singer Ray White took a bluesy guitar solo, followed by another guitar
solo by Kime and a third solo by Dweezil. Returning for an encore, the
band dipped into 1971’s “200 Motels” with “Magic Fingers.”
The audience of 600 seemed largely
comprised of fanatic, male Zappa devotees who knew every lick and every
lyric from the songbook. Age-wise, the crowd ranged from teenagers to
60-somethings, testimony to the lasting impact of Zappa’s music, as
least among a cultish minority of discriminating listeners.
Zappa fans may want to check out the
live, two-disc “Zappa Plays Zappa” DVD, which features guest appearances
by guitarist Steve Vai, singer Napoleon Murphy Brock and drummer Terry
Bozzio. A single live CD also is available.
Lao Tizer band brings breath
of fresh air
By
Jesse Starita
LINCOLN, Neb.—The
weather, the Sheldon Art Gallery and the people of Lincoln kept
oscillating on June 24. Sunny or rainy? Indoors or outdoors? To go or to
not to go? After much debate, the final concert of Jazz in June’s 17th
season remained external, rain-free and with a substantial crowd of
several thousand. And to conclude an equivocal day, the Lao Tizer band
submitted an unequivocal statement of their preferred atmosphere—smooth.
This was a welcome change of pace, both from the day’s
uncertainties and from the past few weeks of traditional,
straightforward jazz. Tizer, a keyboardist with improvisational flair
and deft touch, led his quintet through a fusion of Latin-tinged, George
Bensonesque cookers with the occasional ballad for good measure. Their
first set drew largely from Tizer’s (pronounced
The band shifted gears for the title track from “Diversify.”
Steve Nieves, the quintet’s renaissance man, played saxophone, congas
and sang on this lengthy fusion piece. However, the band seemed to bite
off more than they could chew and the resulting sound felt forced and
contrived. Then, Tizer threw a change-up as he and guitarist Jeff
Kollmann collaborated on “Ella’s First Light,” a gorgeous duet with
Kollmann on the upright, classical guitar. The change in guitars—from
electric to classical—was subtle on the surface but indicated the
group’s affinity for melding rhythms, cultures and styles.
After a halftime spent signing CDs and toweling off from the
muggy conditions, Tizer emerged with a pair of rather simple and
straightforward Latin jams. But the crowd received a well-needed
injection of dynamism during “What It Is” as bassist Andre Manga
pounded, pulled, slapped and popped his instrument on an exhilarating
three-minute solo. In fact, many patrons stood up to applaud the solo,
which, in Jazz in June terms, meant he hit all the right notes.
Tizer then took a moment to re-introduce the band. Currently based in
Los Angeles, Tizer revealed he was born and raised in Boulder, Colo.,
and joked that “I don’t want to get started talking about football
rivalries.”
As the sun began to set and the daylight waned, the quintet
embarked on a gentle Tizer original called “A Hui Hou,” or “Till We Meet
Again,” in Hawaiian.
The group displayed some excellent chemistry, but this was
occasionally undercut by the distracting and unnecessary vocals from
Nieves. Regardless, when the band concluded their set with “West Side
Highway,” the crowd immediately answered with a passionate applause and
call for more. Tizer obliged with the Brazilian-based “Blue Bossa” a
nice change and fitting conclusion for this worldly, smooth jazz
collective.
Equal parts funk, groove, soul and smooth, the Lao Tizer band
gave Jazz in June a breath of fresh air and a freewheeling atmosphere
just when it was most needed. The crowd’s only regret: that rare air and
atmosphere will vanish for the next 12 months. DeMerle band performed as
Butch vowed By Tom
Ineck
LINCOLN, Neb.—Soon after awakening from
a six-day, induced coma last October, Butch Berman was visited in the
hospital by his wife, Grace, who brought to his bedside a CD entitled
“Cookin’ at the Corner, Volume Two,” by The Dynamic Les DeMerle Band.
Butch was so moved by the music that he credited it, in part, for his
initial recovery.
Proving themselves to be
family-friendly, they performed the humorous Jefferson showcase
“Bennie’s From Heaven,” followed by a scat-singing primer in which
DeMerle invited two girls from the audience to join him on stage for a
sing-along of “All Night Long.” The popular standards continued with
“This Can’t Be Love” and a Vegas-style medley of “Satin Doll” and “Don’t
Get Around Much Anymore.”
The second half also had its share of
familiar, popular tunes, including Ellington’s “In a Mellotone,” “Let’s
Fall in Love,” Gershwin’s “S’Wonderful” and the ballad “Do You Know What
It Means to Miss New Orleans?"
The June 17 appearance by the Dynamic
Les DeMerle Band featuring Bonnie Eisele gave everyone connected with
Jazz in June yet another chance to express their appreciation for many
years of financial support from the BMF. We hope that collaboration
continues for many years to come. Thomas quintet delivers
moving performance
By Tom Ineck
LINCOLN, Neb.—Emotions ran high as the
Dan Thomas Quintet took the stage for a June 10 performance at Jazz in
June. Although the Kansas City-based band had never performed at the
popular outdoor summer event, its talented members had been friends of
the Berman Music Foundation for several years.
In that spirit, Thomas and his ensemble
delivered a moving program of largely original tunes by the saxophonist,
keyboard master Roger Wilder and young drummer Brandon Draper, who had
appeared a week earlier with trumpeter Darryl White’s group. Together
with his longtime bandmates, trumpeter Joe Parisi and bassist Bram
Wijnands, Thomas confidently led off with his composition “Green Card,”
a reference to his Canadian citizenship and his move to the states.
Wilder’s “The Dodger Says” was an
uptempo tune featuring solid solo by Thomas on alto sax, the composer on
keys and Draper, whose cliché-free style was a breath of fresh air.
Another Wilder tune followed, with Parisi deftly
“Shock and Awe” yielded an unforeseen
shock when a gust of wind suddenly blew Wilder’s sheet music to the
stage during a solo, but he recovered with aplomb. Draper’s dazzling
drum solo had an Eastern flair to it. The drummer’s ballad “Looking Up”
had Parisi on flugelhorn and Thomas on alto stating the melody. The
saxophonist took a gorgeous solo. The uptempo “Blues for BLT,” from the
group’s 2005 release, “Musical Sanctuary,” was another showcase for
Parisi’s flugelhorn work, but everyone got ample solo space.
Two of a perfect pair, Thomas and Parisi
again stated the melody on “Leading the Blind,” a pretty tune that
offered solo space for Thomas on also, Wilder on piano, Parisi on
flugelhorn and Wijnands on bass. Up next was the title track from
“Musical Sanctuary,” an obvious expression of Thomas’ philosophy that
music is a saving grace capable of healing and providing shelter from
the storms of life.
For the last tune, Thomas lovingly
introduced “The Eternal Triangle,” a bop classic by the underappreciated
alto saxophonist Sonny Stitt. As an encore, the band played a lilting
“Bye Bye Blackbird.” It was a fitting farewell both to the very
appreciative Jazz in June audience and to Butch Berman, the band’s
longtime friend and benefactor. Trumpeter impresses with
diversity, technique By Tom
Ineck
LINCOLN, Neb.—Trumpeter Darryl White has
increasingly impressed this reviewer with his ability to find musicians
who are not only compatible but also challenge each other to new
creative heights. Such was the case June 3, when the Darryl White Group
opened the 2008 Jazz in June concert series with a diverse repertoire
and an often-spellbinding performance.
But this was the best yet, as he fronted
a stellar group also consisting of saxophonist Dave Pietro,
The six-piece ensemble operated at the
top of its game, and its choice of material was unusual and inspired,
from the opening gem, “Get Up,” written by local musician Paul Krueger,
one of White’s most promising young trumpet students at the University
of Nebraska-Lincoln. It was a mature piece of work that showed both
imagination and the urge to swing, which the band did with verve. White
put on his best Freddie Hubbard style, playing with powerful assurance
and a bright, bell-like tone.
Pietro and Pujado left the stage for a
quartet performance of the ballad “Dulce” by pianist Kenny Werner. With
White on flugelhorn, Jenkins, Akin and Draper accompanied with great
sensitivity. Akin, Jenkins and White took solos that enhanced the lovely
nature of the tune.
Never too far from his gospel roots,
White delivered an exquisite trumpet introduction to “Amazing Grace,”
which then went uptempo with the whole band. For an encore, they dove
into a splendidly celebratory rendition of “When the Saints Go Marching
In,” sending home the crowd of several thousand with satisfied smiles.
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Performances
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September
2008
Performances
Concert reviews
![Chicago's skyline glows as a crowd gathers at Grant Park for an evening performance. [Photo by Tom Ineck]](media/908chicrowd.jpg)
In between, a
typically diverse array of jazz artists took the Petrillo Music Shell
stage in Grant Park. Afternoon performances were scheduled at a smaller
stage on nearby Jackson Street. ![Members of the AACM are (from left) Michael Logan, Roscoe Mitchell, Thurman Barker and Wadada Leo Smith [Photo by Tom Ineck]](media/908chiaacm1.jpg)
Having just arrived at my hotel room
about the time that performance was in progress, I didn’t arrive at the
festival site until 6 p.m., just in time for another tribute. This one
recognized the indisputable influence of the AACM and featured
saxophonist Roscoe Mitchell, trumpeter Wadada Leo Smith, pianist Amina
Claudine Myers, bassist Michael Logan and drummer Thurman Barker, who
organized the quintet for this special appearance.![AACM pianist Amina Claudine Myers [Photo by Tom Ineck]](media/908chiaacm2.jpg)
Trumpeter Smith and
saxophonist Mitchell created a formidable front line, often playing in
unison on long, through-written pieces, and then alternating lines in
classic jazz dialogue. ![Pianist Mulgrew Miller interacts with Bridgewater. [Photo by Tom Ineck]](media/908chidd2.jpg)
Like her mentor Betty Carter
(1930-1998), Dee Dee Bridgewater always brings style and drama to her
performances, both visually and musically.
Possessing a virtuosic vocal
range and an irresistible personality, she
commands the stage and rivets
the audience’s attention. With a program devoted to Carter and a rhythm
section comprised of Carter veterans, she delivered a spectacular
concert.![Dee Dee Bridgewater wails as drummer Winard Harper adds emphasis. [Photo by Tom Ineck]](media/908chidd1.jpg)
musicians who Carter famously hand-picked
and nurtured during her career. The singer had herself been a close
friend and student of Carter’s, giving the tribute concert a sense of
authenticity. ![Bridgewater and bassist Ira Coleman [Photo by Tom Ineck]](media/908chidd3.jpg)
Bridgewater related her final phone
conversation with Carter and her efforts to win the rights for the only
“authorized” tribute show to her mentor. That served as an introduction
to her take on Carter’s most idiosyncratic and devilishly difficult
number, the stop-and-start, elastic “Tight.” After a couple of miscues,
she sailed into the heart of the song, with the band admirably keeping
pace, and confidently added the sequel, “Mr. Gentleman.”![The Eddie Palmieri Latin Jazz Band, with saxophonist Donald Harrison, trumpeter Brian Lynch and trombonist Conrad Herwig [Photo by Tom Ineck]](media/908chipalmieri1.jpg)
evening’s closing act, the Eddie
Palmieri Latin Jazz Band. Holding court from the piano bench, Palmieri
displayed a perpetual glowing smile, evidence of his great love for this
music and for Chicago. ![Eddie Palmieri sings as bassist Luques Curtis plays. [Photo by Tom Ineck]](media/908chipalmieri2.jpg)
dance
tunes and ballads, ending with the smoking, crowd-pleasing favorite, “Azucar,”
with somewhat unsteady vocals by the 71-year-old Palmieri.![Trumpeter Pharez Whitted is joined by pianist Ron Perrillo, bassist Dennis Carroll, drummer Kobie Watkins and guitarist Bobby Broom. [Photo by Tom Ineck]](media/908chiwhitted.jpg)
Petrillo Music
Shell was the sextet of trumpeter Pharez Whitted, a native of Columbus,
Ohio, who now directs the jazz studies program at Chicago State
University. He was joined by Edwin Bayard on tenor sax, Bobby Broom on
guitar, Ron Perrillo on piano, Dennis Carroll on bass and Kobie Watkins
on drums. The group will release its debut CD next year, good news for
those of us who think Whitted is deserving of more recognition. His
style is akin to Freddie Hubbard’s. Indeed, the trumpeter performed two
Hubbard tunes, the funky “Mr. Clean” and the uptempo “Birdlike.”![Pianist Vijay Iyer, bassist Stephan Crump and trumpeter Ambrose Akinmusire [Photo by Tom Ineck]](media/908chiiyer1.jpg)
Commissioned to write a piece for the
festival, pianist Vijay Iyer delivered “Far
From Over,” a seven-part
suite inspired by the police shooting of Sean Bell in
New York City and
devoted to the potential change promised by a Barack Obama presidency.
The title, Iyer noted, acknowledges that much work lies ahead in
improving the lives of Americans at home and the status of the United
States abroad.![Guitarist Prasanna [Photo by Tom Ineck]](media/908chiiyer2.jpg)
The performance also marked the debut
appearance of Iyer’s formidable quintet, which prominently featured
guitarist Prasanna, whose style draws on the keening tone and leaping
scales of the sitar. The band also includes trumpeter Ambrose Akinmusire,
who won the 2007 Thelonious Monk Competition, bassist Stephan Crump and
drummer Marcus Gilmore, the grandson of legendary bop drummer Roy
Haynes.![Trumpeter Dave Douglas and Brass Ecstasy [Photo by Tom Ineck]](media/908chidouglas1.jpg)
course, the band’s name is a
reference to Bowie’s ground-breaking, mid-‘80s outfit, Brass Fantasy.
Douglas carries on—and extends—that tradition with help from Vincent Chancey on french horn, Luis Bonilla on trombone, Marcus Rojas on tuba
and Ben Perowsky on drums. ![Drummer Ben Perowsky drives Brass Ecstasy. [Photo by Tom Ineck]](media/908chidouglas3.jpg)
Ecstasy to approximate the polyphony of traditional
New Orleans bands without sounding stodgy or old-fashioned. The trumpet
soared, the trombone growled and the drums marched, but, as always,
Douglas maintained an imaginative, progressive approach to the music.![The Gerald Wilson Orchestra [Photo by Tom Ineck]](media/908chiwilson1.jpg)
band leader Gerald Wilson. His
commissioned piece was a long, somewhat disjointed suite called “Chicago
Is.” Again and again, it praised Chicago as “a beautiful place to be,”
citing its windy reputation, its history as a transportation hub, its
blues roots and its many sports venues and sports fans. ![Guitarist Kenny Burrell and violinist Yvette Devereaux [Photo by Tom Ineck]](media/908chiwilson3.jpg)
energetically led the band through
the swinger, which included excellent solos by Winston Byrd on trumpet,
Yvette Devereaux on violin, and Louie Spears on bass. ![Kenny Burrell and 90-year-old bandleader Gerald Wilson [Photo by Tom Ineck]](media/908chiwilson4.jpg)
Pianist Brian O’Rourke, who has been
with Wilson for 15 years, performed the introduction to “Chicago Is.”
Burrell returned to deliver the very romantic melody, accompanied by
powerful brass voicing, and an outstanding guitar solo. “Blues Triangle”
and “Blowing in the Windy City” brought the suite to its conclusion,
after which festival officials wheeled a giant cake to the stage’s edge
and sang “Happy Birthday” to the grateful bandleader, who was born Sept.
4, 1918. A few days early, it was nevertheless a fitting end to an
amazing day of music.![The Instant Composers Pool Orchestra [Photo by Tom Ineck]](media/908chiicp.jpg)
Composers Pool Orchestra, a Dutch outfit with roots in the early 1960s,
when pianist Misha Mengelberg coined the term “instant
composition,” as opposed to the much-maligned concept of “free
improvisation.” ![8 Bold Souls, led by Ed Wilkerson Jr. [Photo by Tom Ineck]](media/908chibold1.jpg)
never received the recognition
they deserve for their genre-leaping compositions and extraordinary
group interplay. With only four recordings in the last 20 years—most
recently in 2000—it was a rare treat to hear them in action.![Robert Griffin and Ed Wilkerson Jr., festival artist-in-residence [Photo by Tom Ineck]](media/908chibold3.jpg)
The octet is led by multi-reed
specialist Edward Wilkerson Jr., the festival’s 2008
Artist-in-Residence, and boasts some of the Windy City’s most talented
and innovative players—Mwata Bowden on reeds, Robert Griffin on trumpet,
Isaiah Jackson on trombone, Aaron Dodd on tuba, Naomi Millender on
cello, Harrison Bankhead on bass and Dushun Mosley on drums. The
festival appearance also featured special guest vocalist Dee Alexander,
herself an area favorite.![Dee Alexander [Photo by Tom Ineck]](media/908chibold2.jpg)
undoubtedly are linked to
Chicago’s blues roots, but not in any conventional,
12-bar sense. The
tune “Autumn of the Patriarch” sounded like a
modified tango.![Ornette Coleman and his "Sound Grammar' quartet [Photo by Tom Ineck]](media/908chiornette1.jpg)
adequately prepared for Ornette
Coleman’s festival-closing set. The 78-year-old, free-jazz icon did not
disappoint those who expected the unexpected. It began when Coleman’s
announced entrance was delayed by several minutes while the rest of his
quartet stood waiting on stage. It soon became apparent that the band
leader had misplaced his horn. Stage hands scurried until it was found
and taken to him. ![Ornette doubles on trumpet and alto sax. [Photo by Tom Ineck]](media/908chiornette2.jpg)
Never one for idle chit-chat, Coleman
remained silent throughout the set, without a word of introduction for
the tunes. He switched, seemingly at random, from alto sax to trumpet to
violin, as the others followed his every whim. MacDowell was especially
effective as he played his four-string Fender in the upper register,
creating a dynamic contrast with Falanga’s groaning upright bass.
![Sonny Rollins performs opening-night concert. [Photo by Jesse Starita]](media/908rollins2.jpg)
a few whacks to his drum kit. Bobby Broom answered with animated
licks on the guitar. Bob Cranshaw unfurled a slow and steady line on
bass. And trombonist Clifton Anderson joined Sonny for the opening
chorus of “Sonny, Please.” The title track from his latest album turned
out to be a lengthy jam, even for live jazz standards. Throughout it
all, Rollins’ tenor pierced through the surface, accompanied by his six
decades of perspicacity and wisdom.
change in location for such a marquee artist and occasion (the
festival was celebrating its 30th anniversary). Jay Pritzker
Pavilion, located in Millennium Park, is a stunning if slightly odd
structure. The bandshell is surrounded by massive steel platelets that zig-zag and jut out from the center, giving the stage an other-worldly
feel. A giant steel trellis envelopes the audience from above and beams
a rich, uniform sound to the audience below. And as the Chicago sun
began to dim, Sonny’s exhales merged wonderfully with the pavilion’s
structural grace.![Sonny Rollins with guitarist Bobby Broom and bassist Bob Cranshaw [Courtesy Chicago Tribune]](media/908rollins1.jpg)
istering
authority and swing on everything else. Inspired by his uncle, who
bought him his first trombone at age 7, Anderson seemed to be the most
uplifted by the voluminous and vocal crowd.
!["Zappa Plays Zappa," 2008 tour poster [Courtesy Photo]](media/908zappa1.jpg)
The road show, better known as “Zappa
Plays Zappa,” has been touring for a couple of years now and has
developed an incredibly diverse cross-section of Frank’s often-difficult
music to a very high degree of execution. The process began with Dweezil
spending more than three years studying his father’s compositions and
honing his own guitar technique to a point where he could do justice to
the classic, idiosyncratic Zappa sound. It came to fruition with the
selection of bandmates who could recreate the music with the right mix
of technical proficiency and humor.![Dweezil Zappa [Photo by Michael Mesker]](media/908zappa5.jpg)
Among the highlights was “City of Tiny
Lites,” from 1979’s “Sheik Yerbouti,” one of the recordings on which
White appeared. Dweezil delivered one of the evening’s many dazzling
guitar solos on this one, showing that he has mastered his dad’s
stinging wah-wah style to perfection.![Ray White [Photo by Michael Mesker]](media/908zappa9.jpg)
An unexpected treat came at the request
of an audience member, as the band tore into a rocking version of the
Juan Tizol swinger “Caravan,’ with White breaking into some smooth
vocalise. That seemed like an apt lead-in to several excerpts from
“Joe’s Garage,” including “Wet T-Shirt Night,” “Outside Now,” “He Used
to Cut My Grass,” and “Packard Goose.”
![Lao Tizer [Photo by Dao Pham]](media/908tizer1.jpg)
Ty-zer) acclaimed 2006
release “Diversify.” The band instantly locked into a groove on “A Night
in the City,” which featured Tizer lightly sprinkling notes during his
keyboard solo, evoking a Ray Manzarek “Riders on the Storm” quality.
![The Les DeMerle Band at Jazz in June [Photo by Tom Ineck]](media/908demerle2.jpg)
Butch wrote a rave review of the CD and
vowed to bring the band to the 2008 Jazz in June concert series, though
as time passed he must have known that his chances of surviving that
long were slim. Indeed, he died nearly five months before Les DeMerle
and his band took the stage for the June 17 concert. It was left to the
rest of us at the Berman Music Foundation to welcome them
to Lincoln and introduce them on stage.![Les DeMerle at the drums [Photo by Tom Ineck]](media/908demerle3.jpg)
After being wined and dined the previous
night, band leader Les DeMerle, along with his wife, singer Bonnie
Eisele, pianist Mike Levine and bassist Jamie Ousley were in good
spirits as they took the stage, kicking off with the title track,
“Cookin’ at the Corner.” A fine drummer who followed Buddy Rich in the
Harry James band and who once kept time for Manhattan Transfer and Eddie
Jefferson, DeMerle gave a Latin groove to his rendition of “It Might as
Well Be Spring.” ![Les DeMerle coaches girls in scat-singing technique [Photo by Tom Ineck]](media/908demerle4.jpg)
Stylistically, the performance ranged
from Jobim’s samba “Agua de Beber” to the evergreen romantic ballad “At
Last,” with a bluesy piano solo by Levine. “The More I See You” was a
vocal duet between DeMerle and Eisele with Les scatting in the Louis
Armstrong mode. The flashiest drum solo of the evening came in an
uptempo Latin rendition of “What a Difference a Day Makes.” “Red Top”
served as the break song.
![Dan Thomas band at Jazz in June with Roger Wilder at left [Photo by Tom Ineck]](media/908thomas1.jpg)
Before his death in January, BMF founder
Butch Berman ensured that the quintet would have sufficient sponsorship
to make it a part of this year’s concert series, though he would be
unable to attend.![Thomas band with drummer Brandon Draper at right [Photo by Tom Ineck]](media/908thomas2.jpg)
switching from
flugelhorn to trumpet. Throughout the evening, he revealed his uncanny
ability to play powerful bop runs on the larger horn. ![Dan Thomas and Bram Wijnands [Photo by Tom Ineck]](media/908thomas3.jpg)
“What is This Thing Called Love” was one
of only two standards on the evening’s program. Parisi again got the
spotlight treatment with a flugelhorn solo, but bassist Wijnands was the
main attraction, taking a bass solo while singing in unison in his
trademark vocalise. Draper’s tune “Tiles” was funky number with a melody
that combined Thomas on alto sax with Parisi on trumpet. Wilder took an
excellent piano solo, followed by Parisi, while the composer exhibited
his sure sense of time as he improvised a rhythmic backdrop.
![The Darryl White Group at Jazz in June [Photo by Tom Ineck]](media/908white1.jpg)
There are several performances with
which to compare White’s most recent. The Berman Music Foundation
was there for the trumpeter’s 2003 Jazz in June gig, featuring Kansas
City saxophonists Bobby Watson and Gerald Dunn. We also were at the Blue
Room in KC’s famed 18th and Vine Historic District in July
2004, when he performed again with Watson and Dunn at his side. White
also made an impressive showing at last year’s Jazz in June, as guest
soloist with Kansas City singer Angela Hagenbach and the Nebraska Jazz
Orchestra.![Darryl White and Dave Pietro [Photo by Tom Ineck]](media/908white2.jpg)
keyboardist
extraordinaire Jeff Jenkins, bassist Craig Akin, drummer Brandon Draper
and percussionist Michael Pujado, a native of Chile. Hailing from New
York City, Denver, Kansas City and Omaha, they played with a unity that
belied their geographical differences. ![Drummer Brandon Draper [Photo by Tom Ineck]](media/908White3.jpg)
A set of tunes by saxophonists began
with Joe Henderson’s “Mamacita,” which churned with hot Latin rhythms
and a bluesy feel. Pujado set the mood on congas for a succession of
solos by White, Jenkins and the formidable percussion duo of Draper and
Pujado. Jenkins’ solo was especially notable for its unique blend of
drive and dissonance. Kenny Garrett’s “2 Step,” on the other hand, had
Jenkins switching to electronic keyboards and White switching to
flugelhorn for a funky rendition of the 1992 tune. “St. Thomas,” the
classic calypso by Sonny Rollins, was a perfect vehicle for the
percussionists, especially Draper’s unconventional and unusually melodic
approach to the drum kit. ![Michael Pujado [Photo by Tom Ineck]](media/908white4.jpg)
Pietro’s composing skills were on
display on his mid-tempo samba “Never Nothing,” from 2004’s "Embrace:
Impressions of Brazil.” After the composer stated the lilting melody on
alto sax, Jenkins offered an equally lyrical solo before turning it over
to the rest of the band for a group percussion interlude.