The Jazz Culture Feature
The Toshiko Akiyoshi/Lew Tabackin Quartet at Dizzy's
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The Toshiko Akiyoshi/Lew Tabackin Quartet by L. Hamanaka
Caught the Toshiko Akiyoshi/Lew Tabackin Quartet at Dizzy’s at Jazz at Lincoln Center on Tuesday, March 25 with Paul Gill on bass and Aaron Himmel on drums. The first song was “The Long Yellow Road,” an original by Ms. Akiyoshi, starting with a piano introduction, the group entered playing an original swing song at about 130=quarter note, with a tenor interlude by Lew Tabackin. Chic in a black top swirled with white and blue rhinestones, and a long black satin skirt with a side slit, Ms. Akiyoshi cut a sophisticated and lovely figure for her following. Mr. Tabackin’s solo played with his usual exuberance, a line full of triplet figures, with a big but not overpowering sound, extending his lines in storytelling verve; honking at times, quoting a Bird tune, with perfect articulation. The Bassist, Mr. Paul Gill, has a deep woody sound, played off the theme which has a somewhat Japanese tinge to it. The drummer, Mr. Aaron Kimmel, was energetic and his pitches were within the tessitura of the song, that was well arranged and well rehearsed. “Sumie” was next, another original by Ms. Akiyoshi, sumie being a type of Japanese painting with an unbroken line. Mr. Tabackin opened the song with a flute and arco bass and color from the cymbals, they were later joined by the piano in a pretty motif which sounded like a mix of Japanese philosophy, art and jazz expressed in music. Mr. Tabackin played with passionate phrasing and wild invocations on the flue, with a flowing quality. The bassist played introspectively, quoting “Lorraine” a solo with wide intervals, and a triplet ascending line. The drums provided fine accompaniment, mainly brushes, and when the piano entered the drummer switched to sticks. The pianist played succinct licks, and was joined by the flute in delightful counterpoint. Toshiko Akiyoshi played chordal melodies and Lew Tabackin picked up a 2
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piccolo flute and played high above in a contrasting mood with Japanese classical punctuation. Toshiko Akiyoshi played a crescendo to end the tune.
In These Pages Toshiko Akiyoshi/Lew Tabackin Dizzy's 1‐4 March listings 5‐6 Poems of Chip White 7‐8 Before Motown 9‐10
Ms. Akiyoshi then took the mike and announced, “Now Lew is going to play something.” He later explained that it was a tune played in Tokyo Club called “Bb.” Mr. Tabackin wrote a song for the club called “Where It’s At” and he is generally invited back there every year. He then played in Call and Response with the bassist, which sounded bluesy. The drummer switched to a Latin beat during an interlude, and then the Tenor, bass and drums went into swing at about 160=quarter note. Mr. Tabackin played elegant lines in a warm, sweet golden tone, having the effect of the surprise element in “Robin’s Nest,” sometimes ending his lines in a honk. Sometimes Mr. Tabackin quoted a nursery rhyme, but he was consistently rhythmically propulsive, started lines with honks, and felt the subdivisions of the beat. Mr. Tabackin avoids the vertical feeling of many horn players, playing phrases in a more tapestry-weave type shape, using many triplets, having a good sense of form, and retaining the warmth of previous generations of horn players. The bass player played a notey solo full of 8th notes, that he then switched to a two note syncopated phrase. They then traded 8’s. The Drummer Mr. Himmel found some good Call and Response rhythms. Lew Tabackin played an ascending cadenza line to end the song. Ms. Akiyoshi then did a trio number, “Tempus Fugit,” by Bud Powell, very fast, about 250=quarter note, with a passion similar to the composer ‘s. She created a minor tempest onstage, giving the drummer a chance to work out on an intense solo. The bass walked his solo, playing scalar ideas related to the melody. The next song was “Autumn Sea,” in which Mr. Tabackin used a 14 karat gold flute. Actually the gold was in the sound, instead of The Jazz Culture, V.III:11
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sounding silvery like most flutes do. There was a burnt golden glow to the sound that was quite effective. The entrance was a kind of vamp that then doubled in tempo, with a piano break and cadenza, segueing to a flute solo. The next section was the piano trio with the flute soaring high above with wavelike quality, while the cymbals played colors, later breaking into a piano interlude in a vibrant swing tempo, about 140=quarter note. Ms. Akiyoshi played contrapuntal double handed piano lines, then chorded insistently. Mr. Tabackin used Shakuhachi (a classical Japanese flute) flute devices and phrasing. There was a strong mix of Western and Japanese musical cultures leaning toward the Japanese. Then the flute started a conversation with the drums, which began a march rhythm, and then doubled the tempo, playing with energy. Ms. Akiyoshi worked with Charles Mingus for about a year, and after Mr. Mingus’s passing, composed a “Farewell” piece. The tenor saxophone played an introduction rubato with arco bass, invoking the spirit of Mingus in a kind of bluesy style at about 76=quarter note. The melody sounds like Mingus, sort of majestic ode to an important composer, deeply appreciated by Ms. Akiyoshi. Lew Tabackin then doubled the tempo, and found melodic riffs that lifted the mood, injecting squeals that expressed the rebellious nature of Mr. Mingus, and ending the song with arco bass, and tenor duet leading to a tenor saxophone cadenza. Another original “Chasing After Love,” was vivid at over 300=quarter note. Ms. Akiyoshi played at breakneck tempo with virtuosity and interesting lines. Mr. Tabackin played with the spirit of a 20 year old. He then cut the tempo in half to a groovy tempo about 150=quarter note and played at his full throated generous best; and another trait almost all the present generation does not express-the generosity of spirit- of giving everything and then some. Mr. Gill played a swift arco a la Ari Roland, with good pitch and soft drums providing good support. This led to a tenor Cont. p.8 sax and drums duet, leading in the piano and bass, 4 The Jazz Culture, V.III:11
The Jazz Culture Newsletter Wishes the Jazz World Community a Happy, Healthy Prosperous 2014! 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 72 countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers." Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Kenya, Latvia, Lebanon, Lithuania, Luxembourg, Malaysia, Mexico, Moldova, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Romania, Russian Federation, Saudi Arabia, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam
BILLIE HOLIDAY TRIBUTE
April 6, 2-6 p.m.Sunday at BEA's, 403 West 43 Street (9th Avenue) Jazz Singers of New York Present with Kuni Mikami, Chris Heaney, Chuck
March Listings
Clarence Banks‐ Swing 46 most Thursdays with Felix and the Cats, 346 W. 46 St. Ray Blue, Jules, brunch, 3/15 Ray Blue Trio, 3/10, Garage 3/23 Bean Runner café, Night Town Jazz Club, 3/20Cleveland Kim Clark‐ Women in Jazz Festival starts March 1 at First Reformed Church, Jamaica; 802 Jam, March 17 Richard Clements‐ Pianist, 11th Street Bar most Mondays, 8 Kenney Gates, pianist. Philadelphia, Tues., Sun. some Sats.‐ High Note Cafe on Tasker & 13th, 5‐9 p.m. Bertha Hope ‐ Minton's on 206 W. 118 Street, every weekend George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Barry Harris, March 4, with Trio Emmanuel Baptist Church March 5‐9 Village Vanguard with Leroy Williams and Ray
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Drummond 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 in March‐ Gillespie Auditorium in the NYC Baha'i Center at 53 East 11th Street 8:00 and 9:30 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. Bill Saxton; Every Friday and Saturday Bill’s Place 133 Street Rick Stone‐ Café Lore March 15 7:30‐11:00 w/Marco Panascia Sunday brunch at Desmond's Steakhouse;12‐ 4PM. 513 7th Avenue (at 38th Street). http://www.desmondssteakhouse.com Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m. Leroy Williams, drums: Minton's Sun & Tues 2‐6 W. 118 St. ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat Save the Dates: George Gee‐May 23, Frankie Manning's 100th, Edison Ballroom, NYC John Kamitsuka Annual Recital Weill Recital Hall April 30, 8 p.m. Tickets available at Carnegie Hall Box office $15 for students and seniors ERRATA: Pianist DINAH VERO was mistakenly identified as Mala Waldron last issue at the Local 802 jam
Happy Birthday March Babies George Gee! Bandleader Ilya Lushtak, Guitarist/Comp; Alex Stein, Tenor Sax, Educator; Frank Senior & De Alva, Singer; Brian McMillen, Photographer
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with Mr. Tabackin dancing onstage. The piano played a fine solo, in an orchestral style. There was then a Call and Response section between drums and tenor, with a cadenza to a full chordal ending of the whole quartet. Standing to address the audience, Ms. Akiyoshi introduced the final composition “Hope” which is an epilogue to a longer piece on “Hiroshima.” Mr. Tabackin played the beautiful melody on tenor, and was joined by the trio playing a light counterpoint background. He then soloed on tenor followed by Ms. Akiyoshi’s understated pianisms, and then restated the theme. Ms. Akiyoshi is an important composer whose work reveals a rare talent for creating beautiful and memorable melodies and textures. Her music punctuation expresses her own personality of passion, lyric gift, humor and comprehension. Mr. Tabackin’s playing is imminently suited to express the possibilities of her songs, and he is a virtuoso on tenor, with a warm, compelling sound, generosity of spirit and plays flute with new devices and unique phrasing concepts. Mr. Gill has an original sound and technically adept, and Mr. Himmel is a gifted and consistent drummer. Ms. Akiyoshi with a fan, and Mr. Tabackin, right
CHIP WHITE's cd "DOUBLE DEDICATION"
Chip White, the drummer and poet, has put out a cd called “Double Dedication” with an All Star Ensemble. This report covers the second disc, including some of Mr White’s poetry. The ‘Poetry’ section has beautiful musical intros to each poem and each poem contains witty rhymes-making historical and biographical references, Mr. White pens odes to some of the immortal jazz giants. He includes many song titles in his poems The Jazz Culture, V.III:11
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that are succinct and rhythmically apt, and will delight any jazz lover. These poems would be easily memorized by any aspiring rapper of the younger generation, and should be offered to the public schools as part of an educational program on jazz. 1.Pres-“He leaped in and the Leapt out. Lester Young, always spoke softly…”porkie hat” 2. Duke- “Music, not art, would become his mistress”-quoting words from his song titles 3. Bird-“Thirst to be first…opening a new musical door…” 4. Dizzy-“coming north out of South Carolina, a catalyst for a music much finer” 5. Strays-“taking ‘Chelsea Bridge’ to the ‘upper manhattan medical center” 6. Lee-“Morgan—he came fast and far, with “sidewinder” searching for a new land at Slugs he met a tragic end 7. Jones That Is-(Etta) there’s many singers but none can make you pop your fingers like Etta” 8. Mr. P.C. “coming from Detroit at only 17”…Paul Chambers, the Great 9. Monk –“Check the cat with the beard and hat, who stands, dances and finally plays—the “Evidence” from “Hackensack’ becomes food for an inside look at “Monk’s Mood.” 10. Buhaina (Art Blakey)-‘he came out of Pittsburgh like a shot” 11. Trane-“ Was it a freak, such spiritual technique?”, “Every day I say Thank you, thank you, thank you, Mr. John Coltrane.” 12. Max-“One of the fathers of the modern drum”—…“that’s Max, always doing a multitude of things.” 13. Mingus- “audio fungus”…”the heir apparent to Duke.” These poems are available in a book. See: chipwhitejazz.com Contact: chipwhite@chipwhitejazz.com. This unique recording was on the JazzWeek Jazz album radio charts for six weeks, reaching number 27. In the next issue the musical part of the Double Dedication will be reported on. 8
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December, 1958, Ypsilanti, Michigan. L to R. Donald Walden, tenor sax, Mike Terry, Trombone, Lonnie Hillyer, trumpet, Barry Harris, piano, Rudy Tucich, drums, Ira Jackson, Alto sax, Bill Stewart, bass, Bill Robinson, friend ofIra Jackson, Charles McPherson, Alto sax (at a concert at the Univ. ofMichigan) Courtesy Rudy Tucich
Before Motown: a History ofJazz in Detroit 1920-1960
By Lars Bjorn & Jim Gallert, Univ. Michigan Press, 2001; 239 pp.
Review by L. Hamanaka
Bjorn and Gallert tie the flowering of jazz history to the history ofAfrican American people in Detroit, and cover the contributions of white jazz musicians in a fascinating read, as well as the evolution of jazz in venues including Paradise Valley, a laboratory (many African American owned) that provided the space for musicians to develop jazz from swing to bop. Some of the chapter titles read: 'Detroit and the Creation of Big Band Jazz'; and 'Detroit and the Birth of Bop.' There are maps of Detroit, original newspaper ads, and hundreds of beautiful photographs. Over 20 The Jazz Culture, V.III:11 9
years, the authors conducted 93 interviews with musicians, club owners, relatives and fans, quoting reviews of the time and seeing through the eye of the beholder, the beauty and riotous invention of the period from 1920-60 comes alive in a stunning and carefully researched piece of scholarship that does justice to the art of jazz itself and should be read by all jazz artists and fans to get a complete picture of one of the most important branches of the jazz tree, Detroit. Then, with painstaking care, they interrelate all the elements of the periods with the many bands, hundreds of musicians. The fertile scene including community support, nostop practicing, composing, camaraderie, arranging, rehearsing and the availability of gigs and venues in Detroit in the period Bjorn and Gallert write of is a joyous adventure through which they provide authoritative and authentic guidance. Coleman Hawkins considered Detroit of the 1920’s to be “the greatest jazz town in the world.” From Cass Tech, a high school with a music department the “equal of a junior college” (according to Ron Carter) to The Blue Bird Inn, the crown jewel club of the jazz scene Scholar Bjorn and broadcaster cover the gamut of jazz life in an authentic tone straight from the horse’s mouth. Starting with scores of big bands from the 1920’s, 30’s and 40’s like Jean Goldkette’s Orchestra and McKinney’s Cotton Pickers, through the 1950’s, Detroit experienced a jazz boom and golden era developed by the artists. Bjorn and Gallert depict the relationships between blacks and whites and different forces within the community that reveal the context this evolution took place. A festive and thrilling hotbed of jazz, that nurtured incandescent masters like the piano foursome Thad Jones, Tommy Flanagan Barry Harris and Sir Roland Hanna, Pepper Adams, Kenny Burrell, Billy Mitchell, Frank Foster, Yusef Lateef, Joe Henderson, Charles McPherson as well as shedding light on local stars of world class quality like Terry Pollard, who retired early to raise a family. Many national stars such as Charlie Parker, Miles Davis, Sonny Rollins and others played at the ballrooms Greystone, Madison and others and hung out at the Blue Bird. ***** FIVE STAR rating by Google Books; and GoodRead
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