The Jazz Culture Feature
CHARLES MCPHERSON QUINTET AT JAZZ STANDARD The Jazz Culture, V.III:29
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CHARLES MCPHERSON QUINTET by L. Hamanaka
Caught the Charles McPherson Quintet at the Jazz Standard on Thursday, July 10, 2014, with Brian Lynch, trumpet, Kiyoshi Kitagawa, bass, Jeb Patton, piano, and Victor Lewis, drums. “Sweet Synergy” was the first song, at about 116=quarter note, a joyous dance tune with latin comping on top of the beat by Patton and light hearted, lyric toned trumpet perambulations, mostly 8th notes, with some flares and high note punctuation by Brian Lynch. Mr. Lynch played some six note phrases leading to a fall, and then switched to five note motifs. One thing that McPherson has hit on is to bring post swing era jazz back to the dance genre, which doubles its popularity by connecting it to the body, and enables the participation of a mass audience. It is organic, in this case because he has been doing some collaborations with his daughter Camille McPherson, a marvelous dancer with the San Diego Ballet. Also organic is Mr. McPherson’s status, first last and always, as a jazz player who swings, who has created his own ouevre organically developing out of the bebop heritage. He has succeeded in the goal of all jazz musicians: to find themselves through the music, expressing through his originals, beautifully voiced pieces that open new pallettes. Sweet Synergy has the charm of movement, bright and positive colors, and the feeling of In these pages joy from dancing. Mr. Charles McPherson Quintet McPherson fit into the latin 1‐4, 7‐10 groove like a glove, riding the July Listings 5‐6 changes with exuberance that John Watson Ad seemed to be what the song was Kuni Mikami Ad about. Jeb Patton’s played with Roma Jazz Workshop Ad gusto, throwing in 16th note runs Obituary Charlie Haden 14 and six note motifs. There were by Ron McClure nice timbres on the drum solo, 2
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with expansive, full sound on bass and drums, but a unique palette on Mr. Lewis’s solo, filling out the African context of the song. “Delight” was next, at about 96=quarter note, a deceptively simple expression of that feeling, with a four note motif that changes into slow swing, part of the same suite that “Sweet Synergy” is in. These songs seem to have been written in the sunshine. In his unique lilting style, Mr. McPherson played releases in a bittersweet sound, pealing down through the changes, using dynamics poetically and rhythmic turning points of the song as pivot points in his lines. Mr. Lynch seemed relaxed and self assured, glissing down dwelling at times in his lower register with clusters of 16th notes that resolve into 8th note phrases. He played with ease, structured and resolved his solo well. Mr. Patton had a much fuller sound in his middle register, using bigger intervals as he climbed into the upper register then using octave trills, sometimes repeating licks through the changes, throwing in some blue notes and playing with smooth and tasteful lines. Kitagawa’s solo floated above the melody line and occasionally resolved, using space well and sometimes playing chords. The theme expresses that happiness can be found in simple things and moments in a performance filled with that ambience. Brian Lynch was featured on “My Old Flame,” a ballad he began with an ornate cadenza in the middle register with well articulated phrases. It was a subdued and well played version, pensive with some whole tone inserts and sometimes quoting the melody using minor 3rd glisses and using his lower register to contrast on the bridge, inserting some blue note phrases. Jeb Patton played a lyric chorus that took nothing away from the soloist, who ended the song with a trill in his lower register. “Horizons,” an original about 250=quarter note, opened with a somber bass pedal point, like a portending storm. The The Jazz Culture, V.III:30
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bass switching back and forth from a two feel to a walking quarter note. Mr. McPherson had a triplet feel anticipating the fourth beat, repeat rhythmic licks, and with his lines seemed to be always reaching for the crest of the next wave, as if he were a sailor on a rough sea full of squalls looks over the horizon in defiance in face of forces larger than life. Mr. Lynch played a lot of quarter note flourishes and tried to pick out lines that would sound somewhat melodic. Mr. Patton balanced short right hand ideas with answering left hand phrasing and found ways through the changes to express his effervescent positive personality. The song ended on a highly pitched resolution of long tones. A slow blues was next, Mr. McPherson lyrical and wailing the blues, with funky accents from the bass, playing mainly in the upper register but able to express many side thoughts, enough to fill an encyclopedia. Brian Lynch reached nice high points in his lines, sometimes worrying a phrase and repeating simple motifs, filling them with whole tone ideas. Mr. Patton played a well balanced solo, with his right hand playing free with some dissonant voicing tumbling through phrases, lines that started just ahead of the downbeat and then with some freedom, then repeating and with some flourishes and runs, and double handed ideas. “Cherokee” seemed to lift everyone’s spirits, played at 300=quarter note, a whirlwind tempo that reveals the virtuosity required in bebop, Mr. McPherson running through the changes like liquid silver. Brian Lynch acquitted himself well, playing fluent lines. Jeb Patton flowed through the piece with the enthusiasm of youth. Victor Lewis lovingly built his solo from almost total silence, light sticks, raising then dropping dynamics so the crowd heard each dynamic level, shimmering delicately on his toms, moving to cymbals, building sheer circles of sound, with his bass drum like a warrior call to arms and crashing to a quiet lull, playing the melody. The horns traded, ending on a wild crescendo. 4
cont. p. 8 The Jazz Culture, V.III:30
The Jazz Culture Newsletter Jazz Tours in NYC are available; also music teachers in various countries for students & jazz lovers. email: info@thejazzculture.com. Ads are available in The Jazz Culture Newsletter. The Jazz Culture Newsletter has been read in 79 countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers." Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Bahrain, Barbados, Belarus, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Croatia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Gibraltar, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Kenya, Latvia, Lebanon, Lithuania, Luxembourg, Malaysia, Mauritius, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Russian Federation, Saudi Arabia, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam
July Listings Robert Anderson‐ Saturdays, Univ of the Streets 10:30 Clarence Banks‐ Swing 46 w/ Felix and the Cats, 346 W. 46 St. Ray Blue: Germany tour Bertha Hope: pianist/quintet every Thurs, Fri & Sat at Mintons Restaurant,116th&St Nicholas Av. Reservations strongly recommended. 212‐243‐2222 Richard Clements: Pianist, 11th Street Bar most Mondays, 8 Luciano Fabris‐Rome George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Lafayette Harris: July 3‐ Solo piano at Antique Garage, 41 Mercer St./ Grand Ave.7‐10pm no cover, great food! July 9 ‐Jazzmobile, Grants Tomb at 122 St & Riverside Drive w/Houston Person‐free: 7 p.m. July 10‐ Play with Antoine Drye in The Great Hall at The Metropolitan Opera NYC‐Private party July 14‐ Solo piano at Antique Garage, 41 Mercer St..Grand Ave. 7‐10
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July 19‐ Sankofa Aban, 107 Macon St. Brooklyn NY $30 cove show/dinner Loston Harris: Bemelmans Bar at The Carlyle; Tues ‐ Thur 9:30pm ‐ 12:30am, Fri‐Sat 9:30pm‐1:00am Bemelmans Bar Residency 12th year at The Carlyle, 35 East 76th St., New York, NY 10021 (76th St. & Madison Ave.) 212‐744‐1600 Mike Longo: Tuesdays Gillespie Auditorium in the NYC Baha'i Center at 53 East 11th Street 8:00 and 9:30 Joe Magnarelli: July 6, Sun. leads Small’s late session John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m. David Pearl‐ Mondays at the Thalia, 95 St. bet. B'way & West End 8 p.m.; David Pearl Trio, Thurs. July 24, 7 p.m, Fri. July 25 at 9:30 p.m. Sophie's 318 West 53rd Street, Tix: 15/20 with Code DPT63 Valery Pomoronov‐ Zinc Bar on the first Wednesday in July, 9:30 p.m. Bill Saxton: Every Friday and Saturday Bill’s Place 133 Street Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m. Leroy Williams, drums: Minton's Sun & Tues 2‐6 W. 118 St.
THE JOHN WATSON TRIO In partnership with LaurentPerrier, the Palm Court presents The Summer Social Tea inspired by the Chelsea Flower Show, Ascot and Wimbledon with a chance to win some wonderful prizes. To make a booking call: 020 7965 0195 or for more information visit: www.palmcourt.co.uk/#/summer-social-tea. Website: www.johnpianoman.co.uk; Facebook: facebook.com/JohnPianomanWatson ; YouTube: www.youtube.com/johnpianoman ; Twitter: http://twitter.com /johnpianoman ; Flickr: http://www.flickr.com/photos/johnpianoman. Linkedin: http://www.linkedin.com/in/johnpianoman
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KUNI MIKAMI, Pianist is also an acclaimed, talented Videographer Special Introductory Sale: Five Minute Edited (with music) Video Resume for Performers $300 Contact Kuni @: 123mime@gmail.com
Artist must provide: • Good quality HD video on computer file • Good recorded audio sound • A photo of yourself • Text you want to see on the video
Luciano Fabris in Rome, David Pearl at Thalia & Sophie's, Mike Longo Trio at the Bahai Center on Tues. July 15, July 6, Leroy Williams at Minton's, The Jazz Culture, V.III:30
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The band plus: Charles McPherson, Brian Lynch, Kitagawa, Patton, Victor Lewis and as a listener, Kenny Barron
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HAPPY BIRTHDAY Connie MacNamee, Singer Phoenix Rivera, Composer/Drummer
We Love you!
Tenor saxophonist Alex Stein is happy with the music, Mr. McPherson below with a fan cont. from p. 8
“Happy Feet” an original by Jeb Patton was next, a solo piano piece that showed his love of stride, very pretty and well played with his signature double fisted episodes. “Song of the Sphinx,” at 106=quarter note, with an enigmatic melody that seemed to ask a question. There were two 8 measure sections that repeated, with mysterious charm. It could signify the vastness of the African diaspora faced with the indifference of the universe at night, the wandering of souls in quest of meaning, played with confidence. Mr. McPherson used a warm throaty tone with a slight abrasive edge and a fuller tone, piercing the night that The Jazz Culture, V.III:30
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seemed to reunite the sense of lost identity afflicting an African American person here cut off from his lost heritage in Africa. There was florid and splendid piano concerto-like approach, like the discovery of a wild garden. There was a nice solo from the bass player, who utilized the silence implied in the melody and arrangement, twanging naturally with scalar fills, a free style that fit into the rhythms of the piece, with some chordal strumming. Again, a totally unique musical identity emerges, as valid as any other in the jazz repertoire, and adding to it. There were clashes of the cymbal with varied dynamics from the drummer, with a repeated triplet motif like a cry in the night. “Tropic of Capricorn” (a McPherson original) at 175=quarter note, began with a long tone with trills, and repeated bass and piano Latin figure to introduce a warm and lovely song, bringing to mind “Nica’s Dream.” Brian Lynch’s solo was very sympatico from the bottom to the top of his horn, capturing the evocative flavor of the song. Mr. McPherson was passionate and direct, sometimes screeching fiercely with intervals from the bottom and top registers following each other, playing with rarely heard intensity, with good vibes from the rhythm section. Jeb Patton found tasty accents to play in the Latin framework. Victor Lewis provided intense lines and sometimes controlled clashes with shining accents on his cymbals. “Darn that Dream” followed, by Jimmy Van Heusen (at about 72=quarter note), bringing his personal sound to the chestnut, in this instance a very rococo treatment, doubling the time into 16th notes, seemingly carried away with emotion. “Lover” (Rodgers & Hart) at about 250=quarter note first in ¾ then 4/4 on solos, showing an ability to make cohesive melodic statements with rapidly descending changes. The trumpet player connected the scales well, with a backup played by Mr. McPherson, playing some 16 note figures. With the greatest of 10
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ease, the pianist flew through the changes. The drummer built a solo carefully and on the melody of the song, feeling the slow beneath the fast. Another original, “Nightfall” was next, had an evocative timbre and somnambulistic like lyric melody, pretty with accents, warm charm and the beauty of magnetic elements like nightfall close to the ocean. Mr. McPherson used intervals of the song that could have been interpreted through several genres, using a jazz interpretation in the second chorus, on the undulating rhythm of waves, building a mysterious solo that captured the wild untamable quality of nature in a plaintive romantic tone. Kitagawa with stark poetic lines, expressed a lonely lyrical feeling with wide intervals. “Nightfall” captures the exquisite dancelike movements at the time of day when we let our dreams and unknown desires take hold of us. “Tenor Madness” (over 300), finding groovy melodies to play on a chestnut is a test of a true master. Sparingly, Mr. McPherson adept at the magic of playing superfast intricacies of bebop with a liquid style, explored substitutions, yet maintaining melodic interest; sometimes playing five note motifs, finding phrases that complemented each other in Call and response fashion, like pulling magic rabbits out of a hat. Brian Lynch found short responses to himself, and pealed off lines and repeated pitches with toreador-like intensity. Jeb Patton came out with two handed lines, that sounded brilliant and then he broke into stride. Mr. Lewis gets attention using silence, probably the hardest thing for a drummer to do, starting with one cymbal stroke and a beat every two measures. This group has finesse playing exciting songs at top tempo, and ended on a wild crescendo of trumpet and alto saxophone—“Tenor Madness.” Mr. McPherson is an important master who has opened a The Jazz Culture, V.III:30
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door for jazz to expand its audience and function, collaborating in multimedia forms. We may be witnessing an expansion of the love affair between jazz and dancing (the most democratic of all art forms) on the world stage. Mr. McPherson's compositions are classically American -- vibrant and moving with intense colors (sounds that are the equivalent to the effect painters like Impressionists Monet or Van Gogh had, whose unique palette rocked the art world). This achievement should be seen on the world stage. See: CharlesMcPherson.com. Also, http://www.youtube.com/watch?v=lWwKQIeS�1c&feature=youtube
Charlie Haden
Photo Brian McMillen NOTES ON CHARLIE HADEN
August 6, 1937-July 11, 2014, Charles Haden was born in Shenendoah, Iowa, and died in LA. He was a double bass player, composer, arranger, teacher, and played bop. bebop, post bop, folk, free jazz, mainstream. As a kid, the Haden Family Band had a radio show where he made his debut on at the age of two as a singer. He got a form of polio and stopped singing and played his brother's double bass. He went to LA searching for Hampton Hawes in 1957. Mr. Haden collaborated with many artists including: Kenny Barron, Hank Jones, Ralph Alessi, Ornette Coleman, Danny Zeitlin, Archie Shepp, and many others, had his own groups, Liberation with Carla Bley, a family group with his wife and kids, and Quartet West. Charlie Haden was a pure person. He received an NEA Jazz Master Award in 2012. " I always dreamed ofa world without cruelty and greed"..."there's no tomorrow or yesterday, only right now."
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Links: Lionelleh.com, lostpuppyblues.com The Jazz Culture, V.III:30
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OBITUARY Charlie Haden Dies at 76 by Ron McClure, photo by Brian McMillen
Thanks for asking me about Charlie Haden. Charlie was 4 years older than me, and the peer of other iconic jazz acoustic bassists such as Steve Swallow, Gary Peacock, Ron Carter that I've literally worshiped since my teens. I've been listening to Charlie Haden since 1959 when I was a senior in high school, and heard him on Ornerte Coleman's Atlantic album "The shape of jazz to come", one of the most important, breakthrough recordings in jazz history. Charlie's roots in country music gave him his Time and Sound, which were his signature. His bass playing on recordings with country musicians such as Old Joe Clarke are as astounding as his many recordings with jazz greats like Keith Jarrett, Pat Metheny, Hank Jones, Kenny Barron, Paul Bley and his own groups, Quartet West and The Jazz Liberation Orchestra. Charlie was a rebel with a cause. He was as passionate about his politics as he was about his music. Charlie Haden was one of a kind and a man that danced to his own beat. No one plays like Charlie Haden, and very few have had the impact he's had on so many. I consider it an honor to have known Charlie Haden, and his musical strength was an still is important influence on me as a musician. He will be sorely missed. 14
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