On September 17,New York kicks off a fall season more highly charged with new creative energies than any in memory. An army of mostly young, skilled, ambitious and devoted musicians is making itself heard in the East Village, Soho, Brooklyn, on the Lower West Side and in the clubs — while benevolence is cast by the first ever performance — at last — of Ornette Coleman at Jazz at Lincoln Center, Sept. 26.
Best DC jazz presenter: Kennedy Center
The Kennedy Center presents more jazz in 2009-10 than all the other US government cultural institutions combined — some 40 concerts of new and established talent in all styles. No surprise, public performance being the Center’s reason for being, while the Library of Congress and the Smithsonian Institution are mandated for research and archival activities. But who supports the KenCen’s jazz?
McLaughlin-Corea Five Peace Band and a fan’s disappointment
The Five Peace Band — guitarist John McLaughlin, keyboardist Chick Corea, alto saxist Kenny Garrett, bassist Christian McBride and drummer Brian Blade — opened the last leg of a multi-month tour with a three-night stand at Jazz at Lincoln Center last night. The players’ musicianship can’t be faulted, their energy was high and they looked like they were deeply engaged in having fun. So are my expectations and/or standards disproportionate, unfulfillable? Why at concert end did I feel more enervated than invigorated?Â
Eddie Palmieri sets Jazz at Lincoln Center afire
Eddie Palmieri, the genius and prophet of Afro-Caribbean jazz, showed Herbie Hancock, maybe Wynton Marsalis and certainly the roaring audience at Jazz at Lincoln Center’s Rose Hall a thing or three last weekend. His band La Perfecta II, reconstituting the instrumentation and compositions for mambo, cha-cha and pachanga dancing Palmieri introduced in 1961, blew the lid off the joint as I’ve heard no other band do since it opened in 2004, establishing Latin music’s clavé rhythm for all time at the core of what Marsalis likes to call “the house that swing built.”Â
Swing they did, La Perfecta, swing hard, with style, precision and vengeance much more driving, cool and fiery than anything else taken for swing today. If only the Rose Hall seats could have been pushed aside for dancing. Swing, swivel, dip, cut, twist, step, shift, glide, gesture — faster, faster, faster — in perfect syncopation with the polyrhythmic percussion, the riffing trombones and trumpet, the steely-plucked trés and full-bodied but sparely applied flute.
Palmieri at the piano – age 73, dapper in suit and yellow tie, busy cueing his horns, supporting his elegant yet impassioned male singers, goosing the tempo kept by his deft young bassist and veteran conga player, breaking into unpredictably funky or classical, flowing or staggered keyboard solos — is probably the last surviving bandleader in America today who makes “swing” transcend its historic import to render big band virtuosity, intensity and density at highest speeds more immediate than tomorrow’s pop. His music isn’t  contemporary, it’s immediate, and thus timeless.
He expands on an extraordinary American idiom — check out this clip from a Fania All-Stars session of Palmieri, the “Sun of Latin Music” with fellow keyboardists Larry Harlow and Papo Lucca, Johnny Pacheco playing flute and Ismael Quintana singing lead:Â
Classic Monk, classical Jazz at Lincoln Center
The jazziest scene at the second night of Jazz at Lincoln Center’s Monk Festival was in the fifth floor atrium, during intermission of simultaneous concerts by pianist Danilo Perez’s trio (reprising his cd Panamonk, in the Allen Room) and the Lincoln Center Jazz Orchestra performing members’ arrangements of Monk’s music in big band settings led by Wynton Marsalis, with featured pianist Marcus Roberts (in more formal Rose Hall).Â
Between sets all-age, all-hipster-style attendees mingled in the buzzy, high ceilinged room. Especially fashionable young couples gazed out upon the lights of Columbus Circle, Central Park and 59th Street and sometimes at each other. Films of Monk were projected on a large screen while a excitedly engaged, unannounced piano trio, lit but not raised off the floor, jammed on Monk themes. Arrestingly artful album covers of Monk’s lps were displayed on stands politely guarded by low ropes; high end drinks and snacks were sold at kiosks around which the multi-generational crowd surged. CDs and Monk paraphernalia were available at one table, sponsorship info for J@LC at another, and brewer Doug Moody was pouring free samples of his tasty Brother Thelonious Belgian-style abbey ale at a third. Â The mood was lively as a village fair, in perhaps unfair contrast to the seriousness of intent palpable at the LCJO’s concert, from which I’d come.Â