Oct29a by Lionelle Hamanaka

The Jazz Culture Feature

Dado Moroni, George Mraz, Matt Wilson at the KITANO,

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DADO MORONI, GEORGE MRAZ, MATT WILSON by L. Hamanaka

Caught Dado Moroni, pianist, with George Mraz, bass and Matt Wilson, drums at the Kitano (38th Street & Park Avenue) on Saturday October 26, 2013. The trio began with a lovely song by Billy Strayhorne, “All Day Long,” at about 184=quarter note, the rhythm section light and Mr. Moroni playing with lyric abandon, with no patterns, anticipating the beat to feature key notes in the line, propelling the music forward smoothly, with ideas ranging from Basie influenced to a blues-scape of his own—modern sculpting, a wealth of ideas, sometimes switching to feature his Left Hand in a virtuosic solo. George Mraz cut the time in half, using twangy low notes in a resonant tone, sometimes playing octaves dissolving to a pedal point, then augmenting with his lower register, during which Matt Wilson maintained a feather light running eighth note. They then traded 8’s with Wilson, who 2

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played just the right dynamic level, hinting at reserves of power but not overshadowing, to end in a tumultuous finale with a drum button. Mr. Moroni then switched to a softer mode playing “What’s New” thatecame a bossa nova about 145=quarter note with a beautiful bass introduction. Displaying a delicate, sensitive touch, with a counterpoint in a descending left hand contrasting to the melody that was high in the upper register of the keyboard, and interesting harmonic lines by the bass. There was a touch of satin in the solo using very wide intervals with a bluesy overtone that expanded to scalar lines that descended with a heartfelt and growing intensity and circular lines that fell right in the pocket. He then chose a short motif that recalled the melody with a haunting quality. Mr. Mraz focused in the middle register, each note soulful with ideas that circled about the melody accenting the upbeat of 2; began phrases with great articulation and intervals over an octave alternating with scale passages, then strumming some chords, ending on a vamp with cymbal color, with Mr. Mraz finding the perfect motif to express poignant longing. Mr. Moroni, a bit of a comedian, told a story behind the next song, which he wrote subsequent to going to a party in Amsterdam when he was very young. He described himself as a “nice Catholic boy” who found himself at a wild party where literally everything was going on and people were in all sorts of combinations and relationships, and he was just hungry. He went to the food table and found a beautiful cake, and ate three slices. He cannot remember what happened after because he woke up three days later. Singer Kate Collins and pianist Rafael The song “Duck & D'Lugoff The Jazz Culture, V.II:10

Duchesses” is about the party. The melody is kind of funky recollection with a motif with the element of surprise in it. Mr. Wilson provided pretty colors in the drums, a bit too loudly (perhaps he was reliving a similar experience). The song loosened up the audience, who were all going through their own memories, and put them in good spirits. “Duck & Duchesses” was suited to the intimate atmosphere at the Kitano, Mr. Moroni’s solo drawing the audience closer together in sheets of circular sound with a funky overtone, some octave chording, a heavy downbeat that made people nod in time. George Mraz played a comical solo with the bass plunking just like a man walking who was drunk or high, and had too much of a “good thing.” The drum solo by Mr. Wilson was subdividing to 6 and then 32nd notes and booming colorfully with the bass drum. Then Mr. Moroni played a counter melody, Mr. Wilson played a march, and the song ended in convivial spirits. Mr. Wilson played rim shots, and the march crescendoed under Mr. Moroni’s bluesy melody, which could be subtitled “Initiation to the Way Out.” Before the next original, the composer explained something about the uses of music: “If you are in a relationship and don’t know how to get out of it, write a song. It’s guaranteed that within six months,”… a break up would ensue. The title of the song evolved into, “Just an Old Song.” The verse was played rubato, with a dramatic left hand, with a triplet infused melody; during which each voice of the trio was very clearly distinct. Mr. Moroni then coloring waves of sound, arching high in the treble and then doubling the time, able to converse with the audience through music, relating experiences, coloring in light blue pastels, with motifs like floral sprays in a poignant arrangement. George Mraz played a four note motif in seconds, reaching up to a telling arch in 4 The Jazz Culture, V.II:10

the melody, with quarter note triplet figures up and down the scale, widening to octaves, then descending chords, and coloring in the extreme registers of the bass. The pianist returned playing a bit louder, to a humble, sincere theme with a graceful ending ascending the scale. The next song was about 148=quarter note, a Dado Moroni clowning with WBGO waltz now called “Brother DJ Sheila Anderson Alfred.” Since his father’s name is Alfred, Mr. Moroni never had the heart to tell him it was not, but the song is a dynamic combustible force of nature. It was dedicated originally to Alfred McCoy Tyner (“Actually I think that McCoy is his middle name” pointed out Mr. Moroni); the pianist added that it was now dedicated to his father Alfred also; and is a welcome addition to modern jazz repertoire that deserves to be a standard. Mr. Moroni shares with McCoy Tyner a natural intensity with physical power that seems part of his personality; that said, they are very different pianists. This song expresses the furor and turmoil of the present industrial age, but with a redeeming lyric beauty. In Mr. Moroni’s sculpted lines, fast scalar passages, and tasty motifs, exciting the crowd, one of whom started yelling, “Dado! Dado!” and whooping. Mr. Moroni created a dense texture and a memorable motif that expanded. Mr. Wilson played a tasty solo that was well constructed and filled out the piece, so that it the group seemed much larger than it actually was, with an orchestral effect. With controlled dynamics and intensity they went diminuendo to double piano, played a flourished arc, and a The Jazz Culture, V.II:10

blues cadenza ending. “My Foolish Heart,” at about 76=quarter note was next as a ballad. While it was intimate and sincere, emotionally was a bit timid with the uncertainty of a first love. Mr. Mraz played a George Mraz takes a break pedal point, quoted the melody, with poetic color in his tone, and played an obbligato that ran from the top to the bottom of his instrument, with an almost lute-like tone and resonance. Mr. Moroni followed this with a filigreed solo with blue notes skipping lightly in a celestial type atmosphere. He used the very top of the piano to contrast with the bottom low notes that Mr. Mraz played, Mr. Wilson playing brushes. Going into double time over a pedal point, waves of scalar passages in five note motifs that repeated, followed by bluesy phrasing, leading to a restatement of the theme, with nice voicings to match, sometimes rolling chord voicings like strands of glistening beads. On “It’s You or No One,” at about 175=quarter note, a colleague from Turin sat in, tenor saxophonist Emanuele Cisi. Mr. Cisi has a full, beautiful soulful tone that leans towards a baritone sound. Their interpretation sounded like a jet plane taking off on a transatlantic flight, secure and ebullient. They performed to a packed house. Mr. Moroni is a pianist who holds the affection of many musicians-- he developed a following in New York during the ten years this was his primary residence and has a long history of playing with leading American jazz artists. He has recorded every year, and this time, having hopped from LA to Ohio to Baltimore in his stops, including an event at Eataly, the famous eatery run by top chef Mario Vitale, has expanded his fan base. Mr. Mraz is a classic player with soul and taste and a beautiful sound; and Mr. Wilson has his own style and made the group sound larger on epic and comical tunes (perhaps overshadowing-I don’t know if he had a monitor), and was sensitive on the more lyric songs. 6

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L to R: Joseph Lepore, Luca Santaniello, Emanuele Cisi

Duduka Da Fonseca The Jazz Culture, V. II:10

Dado Moroni, George Mraz at the Kitano

Vibes player Joe Locke was among many musicians at the Kitano

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HAPPY BIRTHDAY MARCO PANASCIA

EVENTS TO BE COVERED SOON: Articles on Kenny Barron, Charles McPherson, Rick Stone, Cedar Walton and NY State of the Art Big Band

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HAPPY BIRTHDAY! JIMMY HEATH

The Jazz Culture Newsletter

Private 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 57 countries in the past year.

Lionelle Hamanaka, Publisher Lionelle Hamanaka's single, "Lost Puppy Blues" is available on CD BABY for kids, with Richard Wyands, Ron McClure and Leroy Williams. see: lostpuppyblues.com

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October Listings Ray Blue October 1‐Jazz Ed Workshop in Peekskill October 4‐ Showman's 375 West 125 Street 9:30, 11:30, 1:30 am. October 5‐ Beanrunner Cafe, Peekskill NY, 8, 11 p.m. October 18‐Division Street Grill, 7‐10 p.m. October 19‐Cleopatra's Needle‐93 & Broadway, NYC 10 pm October20‐22‐Midwest Tour October 24‐ Jazz Ed Workshop, Peekskill, NY October 26‐CC Pro Am with Mike Longo Big Band at Paramount in Peekskill October 29‐Garage, 7th Avenue South near Christopher Sheridan Square, 6‐10 Kenney Gates, pianist. Philadelphia, every Tuesday, Sunday and some Saturdays at the High Note Cafe on Tasker & 13th, 5‐9 p.m. George Gee Orchestra at Swing 46, (346 W. 46 Street bet. 8th/9th Ave.) Tuesdays; sm. Sat. 9:30‐free dance lesson beforehand. Lionelle Hamanaka‐ October 10, Japanese American United Church, 6:00 p.m. 25th Street & 7 Ave. Steps on the Church (Methodist) Loston Harris October 22, the Carlyle, 9:30 p.m. Mad. Ave & 76 St Jimmy Heath October 28-31 Blue Note, 131 West 3rd Street;

shows at 8:00 and 10:30

Bertha Hope/Kim Clarke‐October 28, Local 802 322 W. 48 St., 6‐9:15 p.m. Mike Longo‐ October 22, hosts Dizzy Gillespie's Birthday Party at the Baha'i Center, 53 East 11th Street 8 p.m. Joe Magnarelli‐ October 14, JALC Jazz at Lincoln Center

October 1 3, Memorial Hall, Joe Magnarelli Quintet Protestant Community Church 1 00 Stokes Road, Medford Lakes, NJ 609-654-4220 The Jazz Culture, V. II:10

Jim Malloy, Swing 46, 9:30 p.m. October 3, 10, 17, 24, 31. Ron McClure: Solo piano at McDonald's at 160 Broadway in Manhattan from 12‐4 PM on Tuesdays & Saturdays.(October 1,5,8, 12, 15, 19, 22, 26, 28) I play the "American Songbook," originals and rom other contemporary composers. October 10, JAUC, Steps on the Church, 255 7th Avenue, 6:00 p.m. Kuni Mikami: October 10, Japanese American United Church, 6:00 p.m. 25th Street & 7 Ave. Steps on the Church (Methodist) John Mosca & Michael Weiss: Vanguard Orchestra Every Monday night at the Village Vanguard Bill Saxton: Bill's Place every Friday, 148 West 133 Street, 9 p.m. Ranked #25 among 305 attractions in NYC Rick Stone Trio October 17 6‐10pm, The Garage, 99 7th Avenue South Rev. Kaz Takahashi: October 10‐Steps on the Church, Japanese American United Church, 255 7th Avenue, 6 p.m. Richie VitaleOctober 12 –Richie Vitalie at Measure at the Pamgham Place Hotel, 8‐11 pm October 19 –Richie Vitalie Quintet at Measure at the Pamgham Place Hotel, 8‐11 pm ENGLAND: John Watson Trio at the Palm Court, the Langham Hotel, London, 1c Portland, Regent Street 207‐636‐1000 Fri-Sat 1) IMAGINATION UK Tour October 2013 featuring John Watson on keyboards/vocal!; 2) Dave Koz & Friends at Sea John Watson on smooth jazz cruise! – video available 3) Hayman’s Gin Palace at the Langham 11th Oct‐ 30th Nov featuring the John Watson Trio! ‐ Thursday, Friday & Saturday nights

John Watson

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