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Jazz Beyond Jazz

Howard Mandel's Urban Improvisation

JazzBash! Immersive virtual Awards event plus!

I daresay the JazzBash! on Sunday, 9/11 is the first ever virtual hybrid Awards party/live Jazz Cruise auction/online concert from six U.S. cities/conference of activist panelists/bar with storytellers and presenters, live improvised painting, exclusive jazz photography exhibits and more — in immersive environments depicting noted jazz sites through which attendees — musicians, critics, the general public — can roam at will, by cursor.

video by Michal Shapiro — starts black but hit arrow!

Thanks to the genius of SyncSpace.live, the Jazz Journalists Association (of which I’m president, driving this production — promotion acknowledge!) is throwing a one-time-only, five-ring demonstration of what can be done, media-wise, to bring together individuals and groups in an online experience with interactive functionality beyond that of Zoom, for instance. “Rooms” in the customized JazzBash pay homage to the Jazz Showcase of Chicago, Sharp 9 Gallery in Durham NC, and the Blue Note NY, where many of the 20 archival performance videos were shot. Attendees can talk in groups or private side-chats, use text box, vote for art preferences — and bid in live auction for a stateroom on the Blue Note at Sea 23 cruise from Ft Lauderdale Jan 13 – 20, with stops in St. Maarten and St. Thomas — (minimum bid $700 for a $7000 value, contact CruiseBid2022@JazzJournalists.org).

Some 60 musicians are participating with live appearance or video messages, including winners of the 27th annual JJA Jazz Awards announced last April such as Musician of the Year Jon Batiste, Lifetime Achievement in Jazz honoree Sheila Jordan, Kenny Garrett for his Album of the Year Sounds from our Ancestor, reeds master Charles Lloyd, who won Midsized Ensemble of the Year with his band The Marvels (featuring guitarist Bill Frisell).

The singing trio Duchess performs live with guest clarinetist Anat Cohen; we’ll hear guitarist Louis Valenzuela’s band from San Diego, pianist and scholar Deanna Witkowski playing a Mary Lou WIlliams composition from Pittsburgh; pianist-vocalist-El Paso Jazz Girls founder Amanda Ekery, and saxophonist Ernest Khabeer Dawkins‘ quartet from Chicago. Terri Lyne Carrington, Nicole Mitchell and Yngvil Vatn Guttu — a multi-instrumentalist arts activist from Anchorage — discuss “Updating the Canon,” (moderated by WRTI’s evening jazz host Greg Bryant); other panels being “Where My Music’s Going” (Jane Ira Bloom, Vijay Iyer and James Brandon Lewis, moderated by Neil Tesser) and “Jazz Family Roots” (Melissa Aldana and James Francies, moderated by Willard Jenkins). Photographer Carol Friedman shows her iconic “Images,” Lewis Achenbach will paint improvisationally to the live music, the great Bill Crow will tell jazz stories and great Jon Faddis will crack jazz jokes. That’s not the half of it.

Grid created by Lauren Deutsch

The point of all this is to show that digital media be very enjoyably and creatively used to convene, communicate, entertain and enlighten. We don’t have to sit in checkerboard squares as dull as office cubicles in order to have fun, or be productive, remotely. While sitting at our laptops we can leave our surroundings to commune with folks half-way ’round the world. It amazes me. No plane ticket necessary, no hotel room, and a great savings of time.

Maybe the pandemic is over, and in-person normality coming back. Wouldn’t that be nice? But if it ain’t, and we want to scale back traveling yet reach ever broader networks . . . there are alternatives. True, there will be no pressing of the flesh at the JazzBash!, group drinking will happen only on a distanced and byo basis, glad-handing will be virtual. Well, there’s nothing like the real thing — but the JazzBash! is a stab at an engaging second best.

Jazz on Millennium Park’s big screen – PoKempner photos

How’s that for brass? Jon Faddis presents the trumpeters of the Chicago Jazz Festival Big Band (from left: Chuck Parrish, Pharez Whitted, Tito Carrillo, Victor Garcia)

A 40-by-22½-foot LED screen is a dominating feature of the stage in the Pritzker Pavilion of Chicago’s Millennium Park, difficult to ignore though many try. Photographer Marc PoKempner does the opposite in his shots from the 39th annual Chicago Jazz Festival: he uses what he (and everybody else) sees to create striking images, in the best tradition of artists in his medium.

Guitarist George Freeman (age 90) with fellow guitarist Mike Allemana, organist Pete Benson, drummer Mike Schlick

 

A smaller but not less intense screen at the Claudia Cassidy Theater of the Chicago Cultural Center, where drummer Ignacio Berroa led a band of students demonstrating points in his talk on “The Evolution of Afro-Cuban Jazz.”

 

Boom Tic Boom, demonstrating the welcome trend of gender-diversified ensembles: bassist Todd Sickafoose, pianist Myra Melford, violinist Jenny Scheinman, leader and drummer Allison Miller, cornetist Kirk Knuffke, clarinetist Ben Goldberg.

 

Kirk Knuffke magnified, visible in detail to the crowd in the grassy field. The sound is amplified — why not the sight?

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Chicago Jazz Fest expanded review & Deutsch photos

My DownBeat review of the 39th annual Chicago Jazz Festival held over Labor Day weekend in and spilling out of Millennium Park, highlights the best I heard — including the specially organized big band

The Chicago Jazz Festival Big Band, led by Jon Faddis, in Dizzy Gillespie’s Centennial Celebration, at Pritzker Pavilion of Millennium Park, 89/31/17 (all photos on this page copyright Lauren Deutsch)

led by trumpeter Jon Faddis, making big fun from his mentor Dizzy Gillespie‘s fresh-as-fire arrangements dating 60 to 70 years back. (Gotta wonder what a music fan raised on the past decades’ pop, country and rap but who never heard anything like this would make of the power of 16 players so synced in rhythm, tune and spirit, partying with sound).

Lauren Deutsch’s photos depict that set splendidly — (and thanks in large part to her work over the past 21 years as executive director of the Jazz Institute of Chicago, the fest retains its essential community DNA).

To expand: The huge screen backdrop is good for attendees in the grassy field and back rows of seats, but can dwarf those onstage. Faddis was able to make this presentation, lasting more than an hour, seem intimate and simultaneously made for tv (astute camera work from the City’s staffers helped).

Jon Faddis, eyes open

A large man in dark clothes, Jon was at ease talking with his horn under his arm, and equally so lifting it to pierce the limits of hearing at key points in the hard-driving, wildly colorful compositions from the era when swing bands went bebop over Afro-Cuban beats. Gillespie was a pioneer of drawing on Afro-Cuban, Caribbean and South American elements and on the flagwaver “Manteca” Faddis’ silvery upper register is so amazing we might forget what a swift and sensitively musical mind he has. But like Gillespie, that’s the real crux of his creativity, his high notes and wit, willingness to be silly and ability to spontaneously inspire a dozen or so virtuosi simply aspects of it. To me, Faddis’ best and most personal playing was his all-but-recklessly fast, nimble, nuanced, shapely, melodically developed solo on “Tanga,” based on one of Gillespie’s later career combo recordings.

Victor Garcia on flugelhorn, Jon Faddis admiring

One man’s solo doesn’t a set make. Faddis demonstrated generosity as well as geniality joshing with Victor Garcia, an up’n’coming Chicagoan in the brass section, creating a running joke that had a handsome musical payoff, gaining Garcia extra attention for his flugelhorn feature.  (More or perhaps less incidentally, the very first solo of this show, on “Night In Tunisia,” was performed by Audrey Morrison, Jazz Studies Director at the Music Institute of Chicago, a mature white woman.)

New Yorker Antonio Hart, a last minute sub for his mentor, saxophonist Jimmy Heath (91, he had a medical issue)

Alto saxophone Antonio Hart soloing on “Things to Come” by Dizzy Gillespie

was a standout, tearing through “Things to Come,” Gillespie’s warning from 1946, in alto sax language that took the freedoms claimed by of Charlie Parker through the changes wrought by such as Coltrane, Pharoah Sanders and Albert Ayler. Chicago tenor saxophonist Pat Mallinger of Sabretooth, the hardbitten, longtime midnight Saturday to 4 am Sunday attraction at the Green Mill, showed his stuff, as did trumpeter Pharez Whitted.

The rhythm section, however, was this orchestra’s solid core: Dr. Todd Coolman, understated but unwavering bassist and professor (former director) of jazz studies at Purchase College (SUNY), where Faddis also teaches; drummer Ignacio Berroa, who arrived in the US from his native Havana as a refugee/alien during the 1981 Mariel boatlift, was hired by Gillespie for his quartet and stayed until the trumpeter’s death in ’93,  plus Chicago pianist Willie Pickens, at age 86 undiminished in ideas and agility.

Willie Pickens

Just days earlier I’d heard Pickens in command of entirely different repertoire, accompanying Gary Bartz. He sweeps stylistically from Bud Powell’s fast single note lines to the more spacious, all-octaves approach of McCoy Tyner, and his infectious momentum connected with the clavé rhythm of “Manteca” irresistibly.

This all made for a thrilling first night for a jazz festival, and set a high bar for all the acts who followed.

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Great new jazz photography: Sánta’s faces of Northsea Jazz Fest

Jon Faddis

The faces of jazz musicians Sánta István Csaba hears, sees and snaps are indelibly expressive — like the memorable phrases, inspired improvisations and magical connections these players play, so meaningful to listeners in the moment, remembered or recorded. JazzTimes magazine has published some of Sánta’s images from the Northsea Jazz Festival in early July — here are more, not included in that publication.

Malika Tirolien of Bokanté

Northsea, held in the Hague, is a multi-stage, non-stop, international showcase of bands on tour now. Having worked with him elsewhere, I can imagine Sánta not pushing but simply slipping through the crowds to get his closeups that serve as both portraits and candids, typically from an unimpeded perspective. Many music photographers complain about the microphones, cables and other on-stage detritus that detracts from the heart of the matter. Somehow, Sánta sneaks around that stuff or makes it disappear.

I’ve included his photos on this blog previously, and will again, as he has assigned himself an urgent quest to document his heroes, frequently traveling substantial distances on a nickel (not a dime), getting very close after coming very far.

Ambrose Akinmusire

Just looking at the individuals Sánta portrays, one can get a sense of their sounds. Is Jon Faddis a joyous player? Absolutely — in the tradition of Louis Armstrong and Dizzy Gillespie. I haven’t heard Malika Tirolien but know from the set of her lips that her voice and delivery have an edge. Trumpeter Ambrose Akinmusire’s music, in my experience, has been, like his gaze, thoughtful and penetrating; as the photo shows, he’s youthful but has depths, too. As for Italian trumpeter Enrico Rava, whose visage conveys age, yes, and perhaps experience: Even with his eyes closed and focus so clearly on what’s happening in his mind, we get that he’s not contemplating anything banal, instead absorbing information and perhaps transforming it into comprehension that’s profound.

I’ve always wondered how my photographer friends and colleagues take in the music while they are engaging their visual skills. When I’m listening with the intent of writing, I usually take notes, but they are reckless scribblings, not polished or thought-through — I get to do that later.Revision, it’s become ever clearer to me, offers great opportunity.

Enrico Rava

Photographers have no such grace period. They must capture their impression simultaneously with the gesture, laugh, grimace, asserted concentration or perhaps, yes, sound that inspires it. That’s why jazz photography — the documentation of a moment that could not be foreseen and will never come again — can be so great. Thanks to those including but not limited to Sánta, Dee Kalea, Lauren Deutsch and Marc PoKempner who keep this rare art alive and vital.

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Howard Mandel

I'm a Chicago-born (and after 32 years in NYC, recently repatriated) writer, editor, author, arts reporter for National Public Radio, consultant and nascent videographer -- a veteran freelance journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere, consulting on media, publishing and jazz-related issues. I'm president of the Jazz Journalists Association, a non-profit membership organization devoted to using all media to disseminate news and views about all kinds of jazz.
My books are Future Jazz (Oxford U Press, 1999) and Miles Ornette Cecil - Jazz Beyond Jazz (Routledge, 2008). I was general editor of the Illustrated Encyclopedia of Jazz and Blues (Flame Tree 2005/Billboard Books 2006). Of course I'm working on something new. . . Read More…

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