Tag Archives: Curtis Davenport

“Women in Jazz” Bops and Enlightens, A Giant Step in Resuming the QC’s Nightlife

Review: JazzArts Charlotte Presents “Women in Jazz”

 By Perry Tannenbaum

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March 17, 2022, Charlotte, NC – Aside from the mix of masked and unmasked concertgoers, the revocation of social distancing, ushers who skipped over asking for my proof of vaccination, and the absence of masked musicians onstage, the most gladdening indication that nightlife in Charlotte is returning to normal may be the three-day Women in Jazz residency at the Stage Door Theater. The JazzArts Charlotte celebration of Women’s History Month, paused by the global pandemic in March 2020, emphatically hit the play button – with a completely new guest lineup – to the delight of a nearly full house. Memories of the isolation, quarantines, and lockdowns imposed upon us by COVID weren’t totally erased, since one of the musicians, Francesca Remigi, was a last-minute replacement for the originally scheduled drummer, Allison Miller, absent due to illness.2022~Women in Jazz-07

My wife Sue and I were nearly absent as well, due to St. Patrick’s Day traffic and a 21-minute delay on I-77 induced by a crash, but radio personality Curtis Davenport, emceeing with his usual verve, had enough to say to prevent us from missing any of the music. Leading the female quartet, pianist Ellen Rowe had plenty to say in her own right, and persistently solicited questions from the audience, dispensing with the all-too prevalent assumption that people at a jazz concert must all be aficionados. Rowe was wonderfully in tune with the idea of a residency, not merely providing the title of every song but also some info about it. No hipster “of course that was…” codas after any of the tunes, a refreshing change.

This approach jibed with the discreetly educational vibe of the Jazz Room series and with the JazzArts mission. While the ambiance at the Stage Door is very much like a jazz club when JazzArts invades, the walls sport poster-sized photos of jazz greats like Charlie Parker and Duke Ellington, and a big screen monitor suspended behind the bandstand presents a slideshow of other jazz greats – not so quickly that it becomes distracting. At Women in Jazz, hardly a man was onscreen, the slides presenting a potpourri of influential woman, from pianist Mary Lou Williams and trombonist Melba Liston, way back when, to today’s Artemis supergroup.2022~Women in Jazz-24

Downstage on the bandstand, saxophonist Sharel Cassity was a dominant presence, playing both alto and soprano. Yet she tilted toward alto, especially in the heritage and tribute pieces, bending toward the higher instrument when she played on Rowe’s originals. Upstage, bassist Marion Hayden didn’t simply make the trip to recede demurely into the background, as we could have assumed when all three bandmates drew solo space on the opening “Kenny’s Quest,” a bopping tribute to contemporary altoist Kenny Garrett. The be-bop continued on “All the Things You Are,” Rowe supplying its Charlie Parker-Dizzy Gillespie context while explaining how she inverted Gillespie’s famed preamble in her arrangement. Here Hayden not only set the tone with the inverted intro, she actively lurked after Cassity launched the familiar Jerome Kern melody and, following the full three-chorus solos from Rowe and Cassity, added three eloquent choruses of her own, firmly establishing that she would be part of the evening’s conversation.2022~Women in Jazz-06

Hayden was part of the framework on the bop staple that followed as well, spelling Cassity at the bridge in introducing the melody and reprising that role in the out-chorus. By this time, it was apparent how brilliantly Cassity could burn on alto, drawing a few delighted exclamations from the crowd. So we were curious to learn what kind of flame she could ignite when she picked up her soprano sax. Unfortunately, the first two originals that she played on that instrument, Rowe’s “Sylvan Way” and “Defractions,” didn’t require her to turn up the tempo or the heat, and on Rowe’s “Phoenix” – proving, according to the composer, that she could write a happy tune – Cassity didn’t get enough blowing time to achieve lift-off. But her tone and lyricism on soprano were gorgeous, true to Rowe’s prevailing New Age flavor, sounding more comfortable when confined to the melody than she was on alto.

Rowe’s style was rather chameleonic when she played. On “Kenny’s Quest” and Carole King’s “I Feel the Earth Move,” her shuttling between light-fingered and heavily percussive passages hinted at a wisp of McCoy Tyner influence. After the latter gem, she hoped that at least the bandstand moved. When we reached Oscar Pettiford’s “Blues in the Closet,” where everyone excelled, including Remigi at her drumkit, Rowe seemed to be channeling a slew of ‘50s keyboard greats, Bud Powell or John Lewis when she frolicked with her right hand in the treble, Red Garland or Erroll Garner when she switched to two-fisted block chords. I was afraid that Cassity’s performance of the melody would go without the wonderful harmony Pettiford wrote for it, so I found myself singing it at one point. But Rowe came to the rescue, and thankfully, I could shut up.

JazzArts Crowns Summer at Victoria Yards With an Epic Triple-Tiered Concert

Reviews: Robyn Springer and Dreamroot

 By Perry Tannenbaum

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As the second year of the pandemic lumbers past the halfway mark and cultural life begins to migrate back indoors – along with our sacrificial schoolchildren – we can only wonder whether outdoor venues like Rivers Green in Charleston and Victoria Yards in Charlotte, pressed by necessity into emergency use, will ever be utilized again on the other side of our global nightmare. At first blush, Rivers Green might have seemed to hold more promise, nestled on a picturesque site behind the College of Charleston library. But with more flexible seating, picnic tables, and provisions for food trucks and restrooms surrounding concertgoers, the more urban Victoria Yards offers a more casual and welcoming experience – and a more sophisticated sound system.

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All of these factors came into play as JazzArts presented a three-tiered event as its 2021 outdoor finale. The JazzArts Youth All-Stars warmed up for the Dreamroot quintet from Durham, who in turn made way for hometown vocalist Robyn Springer – with saxophonist Adrian Crutchfield leading a mini-set before her regal entrance. Nearly three hours long, with two generous intermissions, this robust program was in no hurry to send us home, as so many misguided live and online events have been over the past 17 months. Instead of cowering from COVID, JazzArts offered us extra helpings of escape and joy.

 

Covering such standards as “Someday My Prince Will Come” and “On Green Dolphin Street” while mixing in a couple of originals, Holland Majors was the dominant member of the Youth All-Stars trio – and its spokesman from the keyboard. Holland’s younger sister, Lois Majors, accompanied on the upright bass, making her most impactful contribution as composer of the first original. Upstage behind his drum kit, Samuel David shone brightest in the latter portion of the set, on “Green Dolphin Street” and the original blues that served as the closer. That as-yet-untitled tune was unexpectedly swift and hard-driving for a blues, climaxed by an extended exchange of four-bar volleys from the drummer and the keyboardist. Holland’s sound on the electronic piano was also more satisfying at this point, preferable to the saccharine timbre he often opted for in the early portions of the set.

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Beginning with woodwind player Serena Wiley, who also sings and composes the band’s spoken word segments, Dreamroot is a richly gifted quintet, weaving between commercial and artistic aspirations rather than exploring their trailblazing potential. With less time to stretch out on her flute and tenor saxophone solos, Wiley wasn’t as impressive or technically advanced in her improvisations as Lynn Grissett on his honey-toned trumpet solos. While Grissett delivered the most satisfying individual playing, keyboardist Joe MacPhail frustrated me the most – with the sparsity of his output. After erupting into a spacey, cosmic solo and setting the tone in “Habits,” the second piece of the set, MacPhail only surfaced intermittently afterwards in the soloing.

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Most of the tunes were unannounced, but I filled in gaps with Dreamroot’s 2020 recording, Phases, thanks to Spotify and Wiley’s poetry. Positive ID and spelling were obtained in this manner for three of the songs, “Momentum 7,” “Stridin’,” and “Good Morning Afternoon.” Among the instrumentals, Wiley announced “2AM” from the stage, a mellow ensemble akin to “Good Morning Afternoon” with its slow tempo and rich harmonies. The bopping penultimate tune was “Phase Is,” the closing piece on their similarly named album. Since that studio date, they’ve improved the arrangement and given drummer Theous Jones a much greater opportunity to shine.

With less of a footprint on the major streaming services, Springer was more of an enigma before she performed. Previous blips of her on our radar were both part of JazzArts presentations, a couple of songs as a guest artist in a Matt Lemmler tribute to Stevie Wonder in 2019 and a prerecorded “Santa Baby” (with notably less distinguished backup) in an online Holiday Edition last December. What Springer would program when she was the headliner seemed to be completely up for grabs, though the introductory set led by Crutchfield and a quartet that included two percussionists and an electric guitar presaged a smooth jazz flavor. Our host, Curtis Davenport, priming us to greet the headliner with a rousing ovation, conveyed to us that Ms. Springer intended to “sang,” which implied that there would be some heat involved.

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Among the most familiar songs Springer and her bandmates covered were “Give Me the Night,” “Moondance,” “Knockin’ on Heaven’s Door,” “Lovely Day,” “I Can’t Help It,” and “I Believe in Love,” all of which are over 40 years old. So it may have seemed odd to those in the crowd who reached puberty in the current millennium when Springer archly asked if it would be okay to sing an “old” song before launching into the more ancient “Fever,” in the revised version introduced by Miss Peggy Lee back in 1958. At this inopportune time, since the cat was already out of the proverbial bag, Springer hilariously insisted that it was the song and not she who was old. Sade’s “Keep Looking” soon followed, perhaps the youngest song in the set, released in 1988.

 

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True to her word, Springer made each of these standards her own. Particularly savvy were the inclusions of Bob Dylan’s “Knockin’” and “Fever,” each of which comes equipped with stanza breaks that provided Crutchfield and guitarist Joe Lindsay convenient spaces to blow. Part of an all-star Jazz at the Bechtler anniversary celebration just a couple of months before the pandemic struck, Crutchfield blazed most memorably in the interstices of “Moondance” and “Fever.” There was no shortage of voltage from the alto sax on “Knockin’,” but Lindsay, whom I’d never seen or heard of before, absolutely upstaged him on a searing solo that even left Springer gasping in wonderment when he was done. Both soloists excelled equally on “Lovely Day” and afterwards supplied the familiar backup vocals as Springer scatted and vamped to the finish.

Under the lights, everyone onstage was enjoying the show as much as the audience, though the temperature remained in the 80s well after the sun set. Crutchfield was particularly loose by the time we reached “Keep Looking.” As Springer’s vocal gradually built to a boil over Lindsay’s intensifying lines and the seething percussion of Shamon Scull and Corey Johnson, Crutchfield spiced the festivities with capricious snippets from Bizet’s Carmen.

 

JazzArts’ Mostly Merry Holiday Edition Spans Continents and Holidays

Review: Jazz Room Holiday Edition with Roxy Coss, Corey Wilkes and the Preservation Hall Jazz Band

By Perry Tannenbaum

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President and CEO Lonnie Davis and artistic director Ocie Davis have been delivering JazzArts programming and monthly Jazz Room concerts for over 10 years – and Holiday Editions from their first year onwards. Previous Jazz Room Holiday Editions were staged at Booth Playhouse or McGlohon Theater to accommodate larger Yuletide audiences, but the 11th Edition had to be unique, virtually streamed over Facebook and YouTube, sourced from multiple locations in the US and abroad. Hosting garrulously in a seasonal Santa cap and a garish fal-la-lah jacket, Curtis Davenport certainly established a festive tone. Yet all wasn’t merry on the playlist from nine different ensembles – and all wasn’t Christmas, since time was set aside for a Chanukah segment.Screen Shot 2020-12-18 at 8.14.19 PM

Leading off from New Orleans was Matt Lemmler, whom we had last seen at the Stage Door in an August 2019 jazz tribute to Stevie Wonder. For that Jazz Room event, Lemmler had fronted a 10-piece band from the keyboard. This time, clad in full Santa attire, Lemmler launched into Vince Guaraldi’s “Linus and Lucy” from A Charly Brown Christmas without even a trio, accompanied only by Don Caro, a rather interesting and unique drummer. Lemmler didn’t toy much with the beloved 1965 soundtrack album, improvising only a little, but his follow-up vocal on Guaraldi’s “Christmas Time Is Here,” from the same album, certainly changed the flavor. A small band of cute little cartoon kiddies sang on the original vinyl from the CBS Special, but Lemmler’s style evoked the late Dr. John, though there wasn’t the same signature rasp in his voice.Screen Shot 2020-12-18 at 8.16.10 PM

The next group was homegrown and JazzArts-bred, namely the JazzArts All-Star Youth Ensemble playing “I’ll Be Home for Christmas.” Hollnd Maajors seemed to anchor the quartet from the electric keyboard, but it was Olivia Ratliff who had center stage and the spotlight, playing electric bass and singing the vocal. Tenor saxophonist Gustavo Cruz was consistently fine on both his solos. Majors also took two brief solos, impressing me more when he switched off his piano mode and went with his organ sound. Since this webcast also doubled as a fundraiser, Davenport aptly pointed out that educational programs working with musicians and combos such as these were a prime destination for contributions to JazzArts.Screen Shot 2020-12-18 at 9.14.33 PM

Davenport was most effusive when he introduced the Preservation Hall Jazz Band and rightfully so. The New Orleans institution not only brought the largest ensemble to the party, they also boasted the most impressive video production in their down-home setting, easily MTV quality. As tenor saxophonist Clint Maedgen sang “Please Come Home for Christmas,” there were close-ups of the brass, Ronell Johnson on the trombone and Branden Lewis on the trumpet, enriching the texture. Side shots of the rhythm section showed us drummer Walter Harris in the foreground, bassist Ben Jaffe near the middle of our screens, and pianist Kyle Roussel in the distance with his back toward us. Yet there were also closeups of Roussel in the final cut, and shots of hands were near enough to render his wristwatch larger than life-size on my computer monitor. Maedgen’s vocal was as recognizably New Orleans as Lemmler’s had been but in a bluesier vein.

While I couldn’t begrudge JazzArts for saving the second Preservation Hall selection for the finale of the program, it was a bit cruel to have Robyn Springer follow in their wake with such spare backup. Lovell Bradford was listless and quiet at the electric keyboard and Ocie Davis, armed with a bell shaker in one hand and a brush in the other, hardly helped Springer to even smolder, let alone burst into flame, as she sang the coquettish “Santa Baby.” A more robust backup could have added some edge to Springer’s savvy rendition the lyric before she finally heated up toward the end. There was a welcome flourish of scatting the vocalist before her fadeout, sprinkled with Bradford’s holiday coda.Screen Shot 2020-12-19 at 8.32.10 PM

Springer recorded her spot at Wonderworld West End Studios, the same local spot as the JazzArts All-Stars, so the interval with the Preservation Hall combo gave the Holiday Edition a more credible continuity. No exits, no entrances, and no new setups were necessary to sustain the flow. Our next excursion was to Chicago, where we reverted to a duo performance with a less claustrophobic camera placement than we’d seen for Lemmler. We could see the full height of bassist Junius Paul as he accompanied Corey Wilkes, playing muted trumpet on “Winter Wonderland.” Without much texture to the arrangement, Wilkes’ straightforward unveiling of the melody was a bit bland, but he opened up impressively with multiple choruses of dazzling variations on the theme. Discreetly, the trumpeter exited from the screen – well, almost – while Paul demonstrated that he also had formidable improvising skills.Screen Shot 2020-12-19 at 8.49.15 PM

We returned to the local studio, where Israeli-born guitarist Amos Hoffman (now based in Columbia, SC) supplied us with our Chanukah interlude, “Cad Katan,” backed by Davis and bassist Sam Edwards. You can more easily check out this song, commemorating the “Little Jug” of oil that lasted eight days at the Holy Temple when the Maccabees reclaimed Jerusalem in 160 (the Chanukah miracle), by spelling it “Kad Katan” in a Google or Spotify search box. Hoffman’s first pass through the melody was very much at the deliberate pace of most recordings, with perhaps a reggae lilt layered on. Each successive chorus markedly quickened the pace, triggered by Davis at the drums, truly swinging by the time we reached the outchorus. Over the course of this instrumental, Davis switched from mallets to drumsticks to kickstart Hoffman’s fleet repeat, switching yet again to brushes when he shared a chorus with Edwards, trading fours as the bassist unsheathed his bow. These exploits were nearly as eye-catching as the handless Caro’s had been behind Lemmler. One of Caro’s arms proved capable of grasping a stick, but the other needed the assistance of an elastic armband. Switching from one kind of drumstick to another was itself a feat.Screen Shot 2020-12-19 at 8.39.08 PM

Our trip overseas to watch Sasha Masakowski sing “Have Yourself a Merry Little Christmas” was arguably the most claustrophobic of the evening – and certainly the most poignant. Accompanied only by guitarist Per Møllehøj in the corner of a Copenhagen garret, Masakowski sang a reduced arrangement by her father, renowned New Orleans guitarist Steve Masakowski, that appears on the newly-released Have Yourself a Merry Little Christmas (Live at Snug Harbor New Orleans) album by the Masakowski Family. Sasha is anything but a belter. She sang so sweetly, making this “Merry Christmas” especially forlorn each time she reached the final eight bars and their pandemic-pertinent lyric, “Through the years, we all will be together, if the fates allow.” Given his own solo, Møllehøj underscored the intimacy and solemnity of Masakowski’s performance. Showcasing Jason Marsalis as its most recognizable guest artist, the Masakowski Family album manages to cover two other songs performed at the Holiday Edition, making it a worthy gift.Screen Shot 2020-12-19 at 8.56.15 PM

“Christmas Time Is Here” was the first of these covers and “The Christmas Song,” presented at Wonderworld West End by Mac Arnold & Plate Full O’Blues, was the second. Immortalized with his bassline in the “Sanford and Son Theme Song,” Arnold is doubly unorthodox as a bluesman. He plays his bass left-handed and, even more outré, his instrument is handmade with a gasoline can – like the gas-can guitar he learned to build and play when he was growing up on a sharecropper’s farm in South Carolina. You wouldn’t expect the 78-year-old’s rendition of the Mel Tormé standard to sound like Nat Cole’s, but Arnold was not far from the weathered timbre and expressiveness of Tony Bennett to my ears – and Austin Brashier’s brief solo reaffirmed that Holiday Edition was blessed with more than a couple of fine guitarists.Screen Shot 2020-12-19 at 8.58.19 PM

Roxy Coss’s most recent Quintet album was one of the best in 2019 to my ears, and the tenor saxophonist was able to gather a fine quartet into her cramped New York dwelling – with a video camera or two, a grand piano, and the grand pianist from her quintet, Miki Yamanaka. Coss put a little more mustard on her opening chorus of “Let It Snow” than we heard on the plainer expositions by Lemmler and Hoffman, handing off the bridge to Yamanaka to add color to the arrangement, and both women swung their solos heartily when the real blowing began. The gals gave a guy a piece of the action, taking turns in trading fours with drummer Jimmy Macbride before taking back control for the last chorus. It was arranged like the opening statement, except for Yamanaka getting the last word and adding a Count Basie-like coda to her exit.Screen Shot 2020-12-18 at 9.13.08 PM

With the Preservation Hall Jazz Band’s encore came an extra treat, 88-year-old clarinet icon Charlie Gabriel performing the valedictory vocal, “We Wish You All.” This Christmas song is unknown in the annals of Google, Spotify, and AllMusic, listed simply in the closing credits as performed by the band without specifying a composer. Could have been a world premiere for all we knew, sung with youthful gusto by Gabriel and very much in the vein of that quintessential New Orleans native, Louis Armstrong. Nor was there anything as newfangled as a solo during the half-chorus between Gabriel’s gorgeous vocals: Johnson on the trombone, Maedgen on tenor sax, and Lewis on a muted trumpet all jammed together. Big finish, of course, in classic Dixieland style.