{"id":1769,"date":"2015-03-05T14:59:44","date_gmt":"2015-03-05T19:59:44","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=1769"},"modified":"2019-09-12T15:29:20","modified_gmt":"2019-09-12T19:29:20","slug":"new-yorkish-new-orleans-and-chicago-diva-at-symphony-center","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/03\/new-yorkish-new-orleans-and-chicago-diva-at-symphony-center.html","title":{"rendered":"New Yorkish New Orleans and Chicago Diva at Symphony Center"},"content":{"rendered":"
\"A\"<\/a>

Butler, Bernstein & the Hot 9, Orchestra Hall @ Symphony Center; photo by Todd Rosenberg Photography<\/p><\/div>\n

Butler, Bernstein and the Hot 9 — that’s pianist Henry Butler, brassy brassman and arranger Steven Bernstein,<\/a> and their touring NYC-based all-stars\u00c2\u00a0— plus beloved local singer Dee Alexander<\/a> with her trio were double billed on a cold, cold night last week (Feb. 27)\u00c2\u00a0at Chicago’s downtown Orchestra Hall in Symphony Center.<\/a> \"butler<\/a>\"butler<\/a><\/p>\n

\"butler<\/a>It was the first time I’ve been to hear jazz at the 2500 seat concert venue, built in 1904 as designed by architect Daniel Burnham to be\u00c2\u00a0the Chicago Symphony Orchestra’s home, since returning to Chicago eight months ago, and the experience was both pleasurable and problematic.<\/p>\n

The musical program was smartly\u00c2\u00a0balanced, mainstream-progressive and entertainment-oriented, like all\u00c2\u00a0the bookings in the 10-month jazz series (continuing April 17 with duo pianists Herbie Hancock and Chick Corea<\/a>; May 15 with Lebanese-born\/French trumpeter Ibrahim Maalouf and pianist Jacky Terrasson plus pianist Jean-Michel Pilc<\/a>; June 19 with drummer-composer Dana Hall’s commissioned work<\/a> celebrating the 75th anniversary of the publication of Native Son<\/em><\/a>). Director of programming\u00c2\u00a0James M. Fahey has solid, eclectic taste, and has brought Eddie Palmieri’s Latin Jazz Band, the Dave Holland-Kenny Barron duo and clarinetist Ken Peplowski with Django\/gypsy stylists to town, as well as Dianne Reeves and — wait for it — Wynton Marsalis with the Lincoln Center Jazz Orchestra.<\/p>\n

\"CSO150227_030\"<\/a>

Dee Alexander and her trio; photo by Todd Rosenberg Photography<\/p><\/div>\n

Ms. Alexander, a youngish veteran with a wide range both octave- and repertoire-wise, was making her long-awaited and\"dee<\/a> well-deserved Orchestra Hall debut, and should be invited to return. Re predecessors, she’s out of the Sarah Vaughan camp but writes\u00c2\u00a0much of her own material and last summer at the Chicago Jazz Festival was strong in\u00c2\u00a0a Nelson Mandela-tribute<\/a> for big band led by AACM saxophonist Ernest Dawkins. Her performances are always\u00c2\u00a0imbued with bluesy, personal warmth that makes even occasional awkward turns of phrase (can the word “dysfunctional” work\u00c2\u00a0in a lyric?) forgivable\/ignorable. She\u00c2\u00a0opened with a graceful\u00c2\u00a0rendition of Billie Holiday’s flirtatious “Now Baby or Never,<\/a>” included her original “Butterfly<\/a>” which shows off dazzling\u00c2\u00a0extended vocal techniques, and ended with “Lonesome Lover,” by Abbey Lincoln comprising both\u00c2\u00a0scat singing and a clarion call (it’s on Dee’s most recent cd, Songs My Mother Loves<\/em><\/a>). Throughout, her\u00c2\u00a0trio of pianist Miguel de la Cerna, bassist Junius Paul and drummer Yusef Ernie Adams was supportive if not assertive, and from a\u00c2\u00a0perch in the third balcony, sound was clear if softer than I would have preferred.<\/p>\n

\"\"<\/a>

Henry Butler, piano; Matt Munisteri, guitar; photo by Todd Rosenberg Photography<\/p><\/div>\n

Acoustic issues, however, had a negative\u00c2\u00a0impact on the denser, more complicated ensemble music Bernstein and Butler have devised for their Hot 9. This\u00c2\u00a0touring troupe<\/a> has released Viper’s Drag<\/em><\/a>, first recording on the newly revived Impulse! label, with idiomatic originals and\u00c2\u00a0 revisits of works by Jelly Roll Morton and later\u00c2\u00a0Crescent City piano professors including James Booker<\/a> and Professor Longhair.<\/a> Butler is a volatile and versatile two-fisted pianist who also gives throaty immediacy to songs (this night, the ever-funky “Buddy Bolden’s Blues”). Bernstein’s charts for a band of longtime comrades with “downtown” cred — trombonist Curtis Fowlkes, tenor saxophonist Peter Apfelbaum, clarinetist Doug Weiselman, bassist Brad Jones among them — feature the good-time spirit of New Orleans polyphony, akin to what Morton wrought from 1926- ’30\u00c2\u00a0with his never equalled Red Hot Peppers<\/a>.<\/p>\n

\"\"<\/a>

Butler, piano; Bernstein, trumpet; Munisteri, guitar; photo by Todd Rosenberg Photography<\/p><\/div>\n

But to really enjoy a nine-piece (ten, counting\u00c2\u00a0Butler) band, you’ve got to be able to hear everyone all the time, and the house mix in this case wasn’t up to the challenge. Orchestra Hall has long been criticized and a couple times renovated due to significant concerns about the acoustics; according to Wiki,<\/a> in one renovation 50% of Burnham’s original interior was destroyed.<\/p>\n

No concert hall engineered more than 100 years ago with symphonic orchestras specifically in mind is going to be an automatic good fit for groups with amplification and traps drums. We know there’s an art to live mixing — and the best\u00c2\u00a0financed touring bands (including, for instance, Marsalis’\u00c2\u00a0LCJO) travel with their own sound technicians.\u00c2\u00a0The Hot 9 + Butler doesn’t carry anyone to be at the mixing board (Corea and Hancock upcoming will do so). From the start of the second half of this concert I couldn’t make out Bernstein’s trumpet playing — which is hardly ever a problem — and Butler’s grand piano seemed like a very\u00c2\u00a0trebly electric keyboard.<\/p>\n

Moving to the rear of the first floor, I still had trouble discerning Berstein’s solos on baritone horn, much less the violin (sitting next to the trombone) or niceties in the three-reeds line. Electric guitar rang out, but bass and drums were dim, and the group\u00c2\u00a0harmonies were tonally colorless.<\/p>\n

During the course of\u00c2\u00a0the set the sound improved slightly, and the band remained jolly. The irrepressible nature of this music survived, and when\u00c2\u00a0the musicians (except Butler) left the stage\u00c2\u00a0briefly to\u00c2\u00a0parade, playing, through\u00c2\u00a0front-of-hall seating, the audience was roused to a standing ovation. Afterwards Bernstein kvelled about the onstage sound, so what was coming from monitors evidently worked for the performers. But when a friend who’d been sitting elsewhere asked me how I liked the music, I couldn’t say. I felt like I hadn’t really heard most of it. And when 10 experts in ensemble improvisation are pumping the second-line rhythms of “Iko Iko” to little more effect than a muffled roar, that just ain’t right.<\/p>\n

Orchestra Hall staff doesn’t deny\u00c2\u00a0the problems and are at work to improve matters, so I’m encouraged to try the venue again. Some music, after all, will not be presented anywhere else.\u00c2\u00a0Dana Hall’s\u00c2\u00a0ambitious project in consideration of Native Son<\/em>\u00c2\u00a0may be a must-hear.<\/p>\n

howardmandel.com<\/a><\/p>\n

Subscribe by Email <\/a> |
\nSubscribe by RSS<\/a> |
\nFollow on Twitter <\/a><\/p>\n

All JBJ posts <\/a> |<\/p>\n

[contextly_auto_sidebar id=”W4p8uMKddebBYhnIakLFKqVTghwTgJ9SM”]<\/p>\n","protected":false},"excerpt":{"rendered":"

Butler, Bernstein and the Hot 9 — that’s pianist Henry Butler, brassy brassman and arranger Steven Bernstein, and their touring NYC-based all-stars\u00c2\u00a0— plus beloved local singer Dee Alexander with her trio were double billed on a cold, cold night last week (Feb. 27)\u00c2\u00a0at Chicago’s downtown Orchestra Hall in Symphony Center. It was the first time […]<\/p>\n","protected":false},"author":2,"featured_media":1777,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":{"0":"post-1769","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/03\/CSO150227_046.jpg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-sx","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2421,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2018\/02\/jazz-projects-with-2018-nea-funding-support.html","url_meta":{"origin":1769,"position":0},"title":"Jazz and beyond projects with 2018 NEA funding support","author":"Howard Mandel","date":"February 19, 2018","format":false,"excerpt":"Given all the noise, the\u00c2\u00a0National Endowment for the Arts' $25 mil for arts, literature and education\u00c2\u00a0announced Feb. 7 may have been overlooked. But these funds and the projects they support, nationwide, should be noted.\u00c2\u00a0From more than $3 million going to initiatives strictly labeled \"Music\" (exclusive of \"Musical Theater\" or \"Opera\")\u2026","rel":"","context":"In \"Akropolis Reed Quintet\"","block_context":{"text":"Akropolis Reed Quintet","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/akropolis-reed-quintet"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/02\/images-1.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1767,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/02\/jazz-composers-meet-symphony-orchestra-challenge.html","url_meta":{"origin":1769,"position":1},"title":"Jazz composers meet symphony orchestra challenge","author":"Howard Mandel","date":"February 28, 2015","format":false,"excerpt":"The American Composers Orchestra's Jazz Composers Orchestra Initiative rides again\u00c2\u00a0-- application deadline April for a two part intensive beginning August 2015. I blogged about at length\u00c2\u00a0about the Buffalo Philharmonic's 2013 reading of\u00c2\u00a0\u00c2\u00a0first symphonic works by five highly skilled performer-composers who otherwise would be hard-pressed get a chance to write for\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"rufus","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/02\/rufus.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":292,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/01\/saxes_percussion_boulez_sympho.html","url_meta":{"origin":1769,"position":2},"title":"Saxes & percussion, Boulez & Symphony","author":"Howard Mandel","date":"January 29, 2010","format":false,"excerpt":"Last weekend the World Saxophone Quartet and percussion ensemble M'Boom blasted 21st century conventions at Birdland -- this weekend Pierre Boulez conducts the Chicago Symphony Orchestra through Bartok's two piano & percussion concerto and Stravinsky's \"The Firebird\" at Carnegie Hall. Listening opportunities in New York City cover a vast range.\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"wsq & mboom robt klurfield.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wsq%20%26%20mboom%20robt%20klurfield.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":296,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/02\/the_blues_in_nyc.html","url_meta":{"origin":1769,"position":3},"title":"The blues in NYC","author":"Howard Mandel","date":"February 12, 2010","format":false,"excerpt":"My column\u00a0\u00a0http:\/\/tinyurl.com\/NYCblues\u00a0in City Arts - New York's Review of Culture, focuses on America's deep, dark musical strain as it is today in a blues-challenged city. It doesn't mention that Wynton Marsalis is the world's greatest blues trumpeter, as he proved last night playing \"bread and butter\" from the Count Basie\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2924,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2021\/08\/city-of-chicago-music-promoter.html","url_meta":{"origin":1769,"position":4},"title":"City of Chicago, music promoter","author":"Howard Mandel","date":"August 29, 2021","format":false,"excerpt":"Lollapalooza 2021 had some 385,000 attendees (without significant Covid-19 outbreak, fortunately) but featured little of host Chicago's indigenous talent or styles. And that's just wrong, declared Department of Cultural Affairs and Special Events commissioner Mark Kelly, launching the month-long Chicago in Tune Mark Kelly, photos \u00c2\u00a9 Lauren Deutsch \"festival\" at\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/08\/MPOK0299-e.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/08\/MPOK0299-e.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/08\/MPOK0299-e.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/08\/MPOK0299-e.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1327,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/04\/jazz-composers-the-buffalo-philharmonic-orch-jazzapril-week-4.html","url_meta":{"origin":1769,"position":5},"title":"Jazz composers @ the Buffalo Philharmonic Orch – JazzApril week 4","author":"Howard Mandel","date":"April 26, 2013","format":false,"excerpt":"Five jazz-associated composers took on the heady task of writing eight-minute works for full symphonic forces, introduced to the Buffalo Philharmonic Orchestra and worked up for performance by conductor Matt Kraemer on Tuesday and Wednesday this past week, thanks to\u00c2\u00a0Earshot \/Jazz Composers Orchestra Initiative, organized by American Composers Orchestra. As\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"4 of 5","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/04\/4-of-5-300x225.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1769","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=1769"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1769\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=1769"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=1769"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=1769"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}