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Rifftides

Doug Ramsey on Jazz and other matters...

Archives for August 2016

Monday Recommendation: Fred Hersch Trio

Fred Hersch Trio, Sunday Night at the Vanguard (Palmetto)

fredherschtrio_sundaynightatthevillagevanguard_mcAfter all their years together, take it for granted that pianist Hersch, bassist John Hébert and drummer Eric McPherson listen intently to one another and mesh with elegance on every level. However, taking for granted anything about the Hersch trio can only open you up to surprises. Many of the surprises here involve time. There are no Dave Brubeck excursions into 9/8, Charles Ives flings with 15/16, or other unconventional time signatures. Instead, Hersch, Hébert and McPherson flex the time, vary it, sometimes improvise with it as surely as they do with harmonic content, and never lose forward motion. Hersch’s “Serpentine” is a prime example. The trio’s Village Vanguard playlist contains Thelonious Monk’s “We See,” Jimmy Rowles’ “The Peacocks,” Paul McCartney’s “For No One,” and among several Hersch compositions a delicious solo piano encore, “Valentine.” Close listening to this album brings great rewards.

Weekend Extra: George Russell, Just Because…

…just because it has been too long since you’ve heard it, even if you heard it a russell190few minutes ago. It is a B-flat blues called “Honesty,” composed by trombonist Dave Baker and played by a sextet led by George Russell (pictured). We hear seven musicians thoroughly experienced in the post-bop mainstream who were also immersed in the freedom that in 1961 was introducing new colors into jazz. Indeed, Russell had been an encourager and trailblazer of that freedom since he wrote for Dizzy Gillespie in the late 1940s. His 1950s and ‘60s work featuring pianist Bill Evans, trumpeter Art Farmer and tenor saxophonist John Coltrane, among others, is some of the best of the music of those decades, written with the soloists’ characteristics and personalities in mind.

What, you say you’ve never heard “Honesty?” This is your lucky day.

Don Ellis, trumpet; Dave Baker, trombone; Eric Dolphy, alto saxophone; George Russell, piano; Steve Swallow, bass; Joe Hunt, drums. It’s from the album Ezz-thetics, recorded in New York in May, 1961.

Weekend Listening Tip: Two Herman Drummers & Friends

Jim Wilke alerts us that his Jazz Northwest  broadcast this weekend features two drummers who at different times drove Woody Herman’s Herd.  Jeff Hamilton and Joe LaBarbera will co-lead an all-star big band that includes another Herman alumnus, baritone saxophonist Gary Smulyan. Herman was known as “The Road Father” because he mentored countless young musicians who later became stars in their own right. The concert was recorded at this summer’s Jazz Port Townsend on Washington state’s Olympic Peninsula. In the Jim Levitt photo we see (left to right) pianist John Hansen, Hamilton, bassist John Hamar, LaBarbera and trumpeter Terrell Stafford.

Drummers Jeff Hamilton (L) and Joe LaBarbera (R) lead the Faculty All-Star Big Band Tribute to Woody Herman, at 2016 Jazz Port Townsend. Travis Ranney, tenor; Jay Thomas, tenor; Tracy Knoop, tenor; Gary Smulyan, bari sax; Brad Allison, trumpet; Sean Jones, trumpet; Terell Stafford, trumpet; Thomas Marriott, trumpet; Oliver Groenewald, trumpet; Wycliffe Gordon, trombone; David Marriott, trombone; Greg Schroeder, trombone; John Hansen, piano; Jon Hamar, bass; Jeff Hamilton, drums; Joe LaBarbera, drums

From Mr. Wilke’s note about the program:

Jazz Northwest airs Sundays at 2 PM PDT and is recorded and produced by Jim Wilke exclusively for KPLU-FM, 88.5. The program also streams at kplu.org and is available anytime after broadcast at jazznw.org. Next week’s show will feature the opening concert from this year’s festival, with tenor saxophonist JD Allen and trumpeter Sean Jones (September 4).

While we’re Hermanizing, here he is as encourager-in-chief with the 1977 edition of the Herd. 24-year-old Jeff Hamilton is the drummer. The tenor saxophone soloists on “Giant Steps” are Frank Tiberi and Joe Lovano. You’ll catch a glimpse or two of Pat Coil at the piano.

Rudy Van Gelder, 1924-2016

Van Gelder 2Rudy Van Gelder, who recorded thousands of albums by musicians including some of the most important in jazz, died today at 91. As a young man, Van Gelder began recording in a room in his parents’ house in Hackensack, New Jersey. Among his recordings were early albums by Miles Davis and Thelonious Monk. He was a practicing optometrist, but he said in recent years that when he first found himself in a recording studio, he had a feeling that “this is what I should be doing.” He went on to acquire the most sophisticated equipment and learned to use it to create what was sometimes labeled the Van Gelder sound. There was widespread speculation about how he achieved that sound, but he never disclosed his recording secrets. He ultimately left optometry and established his own studio in nearby Englewood Cliffs. Over the years he engineered classic sessions by Gil Mellé, John Coltrane, Cannonball Adderley, Art Blakey, Sonny Rollins, Horace Silver and dozens of others. Van Gelder’s work made up substantial portions of the output of the record companies Savoy, Prestige and—especially—Blue Note.

As an example of the Van Gelder sound, from pianist, composer and arranger Duke Pearson’s 1966 album Sweet Honeybee here is a nifty blues in F. The soloists are Freddie Hubbard, trumpet; Joe Henderson, tenor sax; James Spaulding, alto sax; Duke Pearson, piano; and Ron Carter, bass. The drummer is Mickey Roker. Pearson named the piece, “Ready Rudy?”

For an appreciation of Van Gelder from a New Jersey news organization, go here. Embedded in the obituary is video of an interview with Van Gelder about his life and work.

Rudy Van Gelder, RIP.

Recent Listening: Steven Lugerner On Jackie McLean

Steven Lugerner, Jacknife: The Music Of Jackie McLean (Primary Records)

51b-jRMJwZL._SS500After his studies at The New School in New York ended a couple of years ago, alto saxophonist Steven Lugerner returned home to the San Francisco Bay area and took Jackie McLean with him. Not in person, of course; McLean died in 2006, and Lugerner never met him, but the young man became immersed in McLean’s music. The audacity of McLean’s attack is apparent in everything that Lugerner plays. The aggressiveness, rough edges and incisiveness of McLean’s conception are apparent from his successor’s first solo, in “On the Nile.” If Lugerner’s pugnacity goes a bit over the top in the piece, trumpeter JJ Kirkpatrick brings theLugerner, S. emotional heat down in the transition to his solo, and there is an interlude of relative calm before Kirkpatrick cranks the energy back up. McLean composed three of the six tunes on Jacknife. His frequent trumpet companion Charles Tolliver wrote two. Another is by drummer Jack DeJohnette.

McLean had affinity for the innovations of Ornette Coleman, and while there is no free-jazz abandonment of conventional rules in the album, Lugerner applies Coleman phrasing and harmonic leaps in “Cancellation.” The dramatic “Melody for Melonae,” introduced by McLean on his 1962 Blue Note album Let Freedom Ring, incorporates simultaneous improvisation by Lugerner and Kirkpatrick. Pianist Richard Sears, bassist Garret Lang and drummer Michael Mitchell, already making an impression on the California jazz scene, are likely to receive further attention through their work with Lugerner and Kirkpatrick in this stimulating collection.

Toots Thielemans 1922-2016

Toots Thielemans, the man who made the harmonica a well-known jazz instrument died today in Brussels, Belgium, his hometown. He was 94. Thielemans was recently hospitalized after a fall that resulted in a broken arm, but neither his family nor management representatives specified the cause of his death.

Screen Shot 2016-08-22 at 8.54.23 PMOn an instrument often dismissed as a novelty, Thielemans’ advanced musicianship and individuality made him a respected colleague of Charlie Parker, Dizzy Gillespie, Benny Goodman and George Shearing, with all of whom he played. In Shearing’s quintet, he played both harmonica and guitar. Thielemans inspired a number of younger musicians to concentrate on the harmonica. In the 1950s, saxophonist Eddie Shu added the harmonica to his performances, as did Howard Levy later. Contemporary players include Grégoire Maret, William Galison, the young Swedish musician Filip Jers and the German virtuoso Hendrik Muerkens. None of them has achieved Thielemans’ popularity or the level of familiarity he attained through exposure on movie soundtracks, guest shots on albums by Billy Eckstine, Billy Joel and Julian Lennon, and appearances on television’s Sesame Street. For a thorough review of Thielemans’ career, see the obituary by Peter Keepnews in today’s New York Times.

The following piece from the Rifftides archive reports on a Thielemans club appearance that had all of the elements that made his performances endearing and musically rewarding

Toots And Friends
November 14, 2005

My heavily-traveled weekend with an assemblage of couples out for a good time included an evening at Jazz Alley in Seattle eating well and hearing Toots Thielemans, Kenny Werner and Oscar Castro-Neves. Thielemans is a member of that astonishing corps of world-class jazz octogenarians (Hank Jones, Marian McPartland, James Moody, Dave Brubeck, ClarkTerry, Buddy DeFranco) who seem uninterested in slowing their pace, let alone retiring. At eighty-three, his polish, harmonic daring and swing on the harmonica keep him the undisputed champion not only of that unlikely jazz instrument but of all instruments that show up in the jazz magazines’ “miscellaneous” poll categories.

When it comes to Thielemans’ level of musicianship, categories don’t matter. He would likely be as creative if he played comb and tissue paper.  Thielemans and Werner, long established as a formidable duo, became a virtual chamber orchestra with the addition of Castro-Neves’ guitar. There were moments at Jazz Alley when the piano, guitar and harmonica melded into chords so expansive and deep, it seemed impossible that they came from only three instruments. The authenticity of Castro-Neves’ Brazilian rhythms and bossa nova spirit were an essential part of the set’s air of happiness. An inveterate quoter, Thielemans now and then broke himself up with some of his allusions. He threw sly glances at Werner as he worked snatches of several other Frank Sinatra hits into his solo on “All The Way.”

On some pieces, Werner supplemented his piano with an electronic keyboard. His goal may have been to create atmospherics, but rather than enhance the sublime quality of the ensemble, his synthesizer “sweetening” diluted it. A pianist of his protean capabilities needs no digital reinforcement, as he demonstrated in brilliant solos on “The Dolphin,” “Chega de Saudade,” and an unlikely neo-samba treatment of “God Bless America.”

The trio’s treatment of the Irving Berlin classic inspired a standing ovation, then a short speech by Thielemans about how jazz and the American people drew him to move to the United States from Belgium in 1957 and to become a US citizen. He talked about his love of Louis Armstrong. Then, as an encore, Thielemans, Werner and Castro-Neves played “What a Wonderful World.” For the ninety minutes of their set, the world, the band, the audience, the club, were wonderful. Everything was wonderful.

Here are Thielemans and Werner seven years later, without Castro-Neves, at Théâtre Maisonneuve in Montreal, playing “The Days of Wine and Roses,” a song associated with Thielemans nearly from its birth.

Toots Thielemans, RIP.

Jazz today also lost pianist Derek Smith, 84; trumpeter Louis Smith, 72; and Irish guitarist Louis Stewart, 74.

Monday Recommendation: Toots Thielemans

Toots Thielemans, Yesterday & Today (Out Of The Blue) TT Yesterday & TodayThe loss today of the harmonica virtuoso makes this survey of his career poignant and rewarding. Two CDs with thirty-eight tracks, most previously unreleased, follow Thielemans from 1946, when he was a 23-year-old guitarist with a Belgian swing band, to a 2001 harmonica performance of “What A Wonderful World” with pianist Kenny Werner. In the late 1940s and early ‘50s, when many European musicians were struggling with the style, Thielemans had a firm grasp of bebop. Playing through the decades with George Shearing, Hank Jones, J.J. Johnson, Elis Regina, Mulgrew Miller, Shirley Horn and a few dozen others, Thielemans is astonishing on both instruments, but it’s his harmonica that brings grins of joy.

Ystad Followup: Kathrine Windfeld

K. Windfeld 2The Rifftides wrapup report on the Ystad Sweden Jazz Festival included a brief, enthusiastic comment about a performance by the Kathrine Windfeld Big Band of her piece “Aircraft.” This young Danish composer, arranger and pianist writes for 15 young musicians from Denmark, Sweden, Norway and Poland. They negotiate her demanding charts with aplomb, intensity and obvious appreciation for one another’s talents. Following the video, I’m including their names for you to remember because we are undoubtedly going to be hearing further important work from Ms. Windfeld’s band. There is no video from the Ystad concert, but here is “Aircraft” from an earlier appearance in Copenhagen.

Again, the solists on “Aircraft” were Göran Abelli, trombone; Erik Kimestad, trumpet; and Henrik Holst Hansen, drums. Here are the names, instruments and countries of all the members.

TRUMPETS: Rolf Thofte (DK); Erik Kimestad (NO); Magnus Oseth (NO).

TROMBONES: Göran Abelli (SE); Johan Norberg (SE); Anders Malta (DK).

SAXES: Jakub Wiecek (PO); Søren Høst (DK); Roald Elm Larsen (DK); Marika Andersen (DK); Toke Reines (DK).

RHYTHM SECTION: Viktor Sandström, guitar (SE); Johannes Vaht, bass (SE); Henrik Holst Hansen, drums (DK) Kathrine Windfeld, piano, leader (DK).

Ms. Winfield studied piano with Jan Lundgren, the festival’s artistic director and one of its stars. I asked him if he also taught her arranging. “No,” he said. “Playing  the piano and arranging are the same thing.”

Bobby Hutcherson: 1941-2016

imagesBobby Hutcherson, whose vibraphone playing developed deep and complex harmonies, died on Monday at home in Montara, California. He was 75. When Hutcherson came to prominence in the early 1960s, he was in the forefront of young musicians already adept at bebop but seeking greater freedom. He expanded his instrument’s range of tonal colors, with particular attention to dramatic use of resonance, and he was open to ideas pioneered by free jazz saxophonist Ornette Coleman. Along with saxophonists Eric Dolphy and Joe Henderson, pianist McCoy Tyner, trumpeter Freddie Hubbard and other musicians in their twenties, Hutchinson flourished rhythmic and harmonic adventuring beyond bop conventions. In the title tune from his 1965 album Components, we hear a headlong sense of excitement and a bit of the time-play in which Hutcherson loved to indulge. Soloists are Hubbard; alto saxophonist James Spaulding; Hutcherson; and pianist Herbie Hancock. Ron Carter, the bassist, does not solo on this track.

In 2010 Hutcherson became a Jazz Master of the National Endowment for the Arts. For a thorough review of his career, see Jesse Hamlin’s article in The SanFrancisco Chronicle’s SF Gate.

Hutcherson was the subject of an NPR Jazz Profiles program that Capitol Public Radio’s Paul Conley produced in 2001. To hear excerpts from it and Hutcherson’s own words about his music and career, click here.

Monday Recommendation: Bill Charlap Trio

Bill Charlap Trio: Notes From New York (Impulse!)

81yLDy4+3dL._SX522_In Thad Jones’s “Little Rascal On A Rock,” pianist Charlap, bassist Peter Washington and drummer Kenny Washington summon up the dynamics of the Thad Jones-Mel Lewis big band’s 1976 debut recording of the piece. Their twenty years together have given them sensitivity to one another that allows the strength and subtlety needed for such a feat. Charlap and the Washingtons are masters of a kind of jazz piano trio playing that recalls Ahmad Jamal, Hank Jones and George Shearing at their peaks. With jazz often stuck in place or flailing around, it is encouraging that this trio has high exposure and acceptance. Charlap includes welcome rediscoveries of neglected songs by Harry Warren, Harold Arlen and Burton Lane; a joyous Tiny Grimes blues; and what may be the world’s slowest, most endearing solo piano version of “On The Sunny Side Of The Street.”

Weekend Extra: Ellis Marsalis

In fifty years the New Orleans JazzFest has evolved from a three-day pure jazzimages event into a musical spectacular that also encompasses rock, folk, zydeco, gospel, and genres that may not yet have names. As a weeklong citywide gala, it is second only to Mardi Gras. Ellis Marsalis was there from the festival’s birth in 1968 and has matured into one of the city’s celebrated patriarchs—in more than one sense. He is the father of Branford, Wynton, Delfeayo and Jason, themselves celebrated musicians. Over the years Ellis has been featured on the festival, playing at the Unknown-2beginning for hundreds of listeners in the old Civic Auditorium and in recent years for thousands at the Fair Grounds.

During the 2014 JazzFest Marsalis pere had fun with “Sweet Georgia Brown.” He, son Jason on drums and Jason Stewart on bass played in the Faubourg Marigny neighborhood at the record store called the Louisiana Music Factory. At an electric piano rather than his customary nine-foot concert grand, Mr. Marsalis worked his pointillist way into the piece to the amusement of his sidemen.

Ellis Marsalis will turn 82 in December, we hope with that swing and humor intact.

Ystad: The Wrapup

It was impossible to hear all of the music at the Ystad Sweden Jazz Festival. I came as close as allowed by festival scheduling and the need for a minimal amount of sleep. Here are brief notes wrapping up this series of Rifftides reports on Ystad 2016.

Swiss harmonica player Grégoire Maret reached peaks of excitement whenG. Maret he
and drummer John Davis faced off in rhythmic flurries that amounted to mutual solos. They were particularly gripping in Maret’s “The Angel Gabriel.” The British singer Zara McFarlane vocalized a clever unison line with Maret in one piece, but in another the banal lyric of a song called “Diary of a Fool” took the edge off her effectiveness.

 

Mathias LandaeusThe courtyard of the Hos Morten Café was crowded for The Other Woman, a new group headed by Swedish pianist Mathias Landaeus. Landaeus’s solos streamed along highly personal harmonic lines. He is a pianist to take note of. Landaeus had solid rapport with bassist Johnny Åman and the impressive young drummer Cornelia Nilsson. In “I’ll Be Around,” the idiosyncratic vocalist Ellekari Sander interpreted the song with fragility that suited it.

 

In the Ystad Theatre, Avishai Cohen unleashed hisUnknown bass, his trio and his athleticism. His concert was an experience in unremitting energy. Nearly everything Cohen, pianist Omri Mor and drummer Daniel Dor played either directly reflected their Israeli heritage or had a broad Middle Eastern inclination. An exception was Thad Jones’s blues ballad “A Child Is Born.” In it, Cohen explored and expanded the harmonies to create a moving statement.

 

A concert by vocalist, composer and arranger Iris Bergcrantz drew on herimages recent album. As in the recording, her band included her trumpeter father, Anders Bergkrantz; her mother, pianist Anna Lena Laurin; and her sister Rebecca singing backup vocals. The music was experimental, imaginative and successful. A haunting approach to “Eleanor Rigby” found levels of meaning beyond The Beatles. Anders Bergcrantz’s trumpet solos matched the audacity of his daughter’s concept.

 

Unknown-2A young Dane, Kathrine Windfeld, has assembled a big band for which she writes and arranges with brilliance, humor and originality. In her piece called “Aircraft,” repetition of a six-note figure helped establish a Scandinavian ambience that was apparent throughout the band’s set. Her arrangement set up trombonist Göran Abelli for a riotous solo that brought him huge applause. Ms. Windfeld is bound to have an important future.

 

(Thanks to Markus Fägersten and his superb Ystand festival photo staff for supplying pictures.)

2016 Ystad Sweden Jazz Festival: Further Impressions

Petri, Fischer, LidbergNearly as old as jazz itself, Svend Asmussen celebrated his 100th birthday in February. The Ystad Sweden Jazz Festival honored him in a concert by two violinists, Bjarke Falgren and Gunnar Lidberg, who were inspired by the centenarian. Asmussen’s longtime guitar colleague Jacob Fischer was also a part of the band, along with bassist Mattias Petri and drummer Andreas Svendsen. Above, we see Petri and Fischer, with Lidberg in the background. The concert was in the ancient Per Helas Gard courtyard, which was packed with Asmussen admirers. To the surprise of the band, the festival staff and the audience, an unexpected listener arrived—Asmussen himself, with his wife Ellen. Press office director Itta Johnson captured them at Per Helsas Gard in this impromptu portrait.
Svend_Asmussen_ Ellen_Bick_Asmussen_1_YSJF_2016-08-05_foto_Itta_Johnson

Asmussen, who no longer plays, listened intently to his proteges.

A master of the art of duo playing, Dave Liebman toured and recorded extensively with pianist Richie Beirach in the 1980s and has combined in duets with a number of other musicians. His rich history also includes work on soprano and tenor saxes with Miles Davis, Elvin Jones and Chick Corea, among others. In 1973 he founded the group Lookout Farm with Beirach and guitarist John Abercrombie.

Liebman’s partner at the Ystad festival was the French pianist Jean-Marie Machado. They opened their recital at the KlosterkyrkanMachado, Liebman 1 with Machado’s “Little Dog Waltz,” a piece as spritely as its title suggests, and went on to several more Machado compositions and Liebman’s dramatic “Breath.” In that work, Liebman pushed air and partial notes through his horn as if struggling to get them out, before he settled into abstract lines. The Kosterkyrkan’s eccentric acoustics were as challenging as they had been to Joachim Kuhn and to the Heinz Sauer-Michael Wollny duo earlier in the week. Like them, Liebman and Machado adjusted to the sound delay, even took advantage of it. In another piece, whose title I heard as “Blue Spice,” Liebman improvised alone for more than a minute before Machado entered behind him streaming notes like rippling waters. Both indulged in aggressive passages with blues leanings. In the traditional Portuguese Fado “So a Noithina Saudade,” Liebman enhanced the Latin feeling with popping sounds that he generated with his mouthpiece. Machado’s and Liebman’s encore in this multifaceted set was Maurice Ravel’s short song “Le Reveil de La Mariee,” furbished and expanded through their imaginations in ways that the impressionist Ravel might well have approved.

Jan L. String Q 1In addition to introducing every festival event, hosting a public breakfast discussion with the Swedish jazz magazine Orksterjournalen’s Magnus Nygren, sitting in with tenor saxophonist Bernt Rosengren and being generally omnipresent, artistic director Jan Lundgren played two major concerts. He, bassist Mattias Svensson and the Bonfiglioli Weber String Quartet repeated last year’s Ystad tribute to the influential Swedish pianist Jan Johansson (1931-1968). That version is now out on CD. TheyJan L. SQ 2 concentrated on music from Johansson’s popular and musically satisfying albums of Swedish and Russian music and, for good measure, threw in two Hungarian pieces from another of his albums. Lundgren’s and Svensson’s integration with the strings was once again a demonstration that in the right hands the jazz and classical idioms can not only blend but also enhance one another. The demonstration included improvisations by members of the string quartet, until a few years ago something that classical musicians either were incapable of or kept secret.

Lundgren,Galliano, Fresu

Lundgren also reunited with flugelhornist Paolo Fresu and accordionist Richard Galliano in the trio they call Mare Nostrum, to play music featured on their second CD, and some from their first. Highlights were Lundgren’s “Giselle” and “The Seagull” and Galliano’s “Chat Pitre.” They closed with Lundgren’s “Loveland,” which, he told the audience, “means Ystad.”

Galliano standing O.

The evening before, Galliano received two standing ovations for his solo accordion concert at the beautiful Santa Maria church in the center of Ystad.

Ystad: Joe Lovano, The Bohuslän Big Band & Others

As the Rifftides staff flies home, digital magic allows us to continue reporting on highlights of the 2016 Ystad Sweden Jazz Festival.

In the first of two Ystad appearances accompanying soloists, Sweden’s formidable Bohuslän Big Band backed singer LaGaylia Frazier. The Bohusläns opened the concert with “St. Louis Blues” in an arrangement that had touchesJ. Rolandsson reminiscent of Thad Jones and incorporated a reference to Fletcher Henderson’s “King Porter Stomp.” It had a peak moment in a Joakim Rolandsson alto saxophone solo that emulated Charlie Parker and Phil Woods without imitating or directly quoting them. Every time I hear him, Rolandsson (pictured) is increasingly impressive.

Ms. Frazier, an American who has lived in Sweden for 15 years, is a woman of a certain age who has the energy and demeanor of a hyperactive teenager. Singing all-out all of the time, she poured her dynamism into a variety of songs that ranged from the Beatles’ “With A Little Help From My Friends” through Lerner and Loewe’s (sp) “On The Street Where You Live,” Dizzy Gillespie’s “A Night In Tunisia” and Antonio Carlos Jobim’s “One Note Samba.” Lagaylia 2Rapping between songs, she described herself as a soul singer, but in “The Shadow Of Your Smile,” she included the verse and interpreted the lyric with sensitivity that had little to typecast her in any genre; it was simply good singing. Her hand jive and her dancing to Stefan Wingefors’ piano interlude could have been distractions, but she integrated them into the performance. Her jumping around and yelling during Fats Waller’s “Honeysuckle Rose” were distractions, ‘way over the top. Following the Waller and a piece by Stevie Wonder, Ms. Frazier chose the Swedish song “Cecilia Lind” as an encore, comfortably wrapping herself around its minor harmonies.

Later in the week, the Bohuslän Big Band collaborated with tenor saxophonist Joe Lovano, as he explored pieces from his quarter of a century recording for the Blue Note label. During the set, Lovano received frequent endorsement by the Bohuslän reed section as their heads shook and jaws dropped when he negotiated feats of virtuosity transcending the most advanced saxophone method books. The arrangement of his composition “Bird’s Eye View” contained a saxophone soli passage that established the Bohuslän saxophonists’ own collective virtuosity.

A few other high points of the concert:

  • Pianist Wingefors’ switch to accordion for a romp with Lovano through “Streets Of Naples.”
  • A gorgeous reading of Charles Mingus’s ballad “Duke Ellington’s Sound Of Love.”
  • Lovano roaring through the demanding harmonic changes of fellow tenor saxophonist Joe Henderson’s “Inner Urge.”
  • A great (term used advisedly) solo on “A Portrait Of Jenny.”
  • Lovano indulging his Italian operatic passion in “Viva Caruso.”

The Ystad festival’s printed program describes the German pianist Joachim Kühn as “a world class musician whose playing style defies catergorization.” He lived up to that evaluation in his solo concert at the Klosterkyrkan. The stone walls and high ceiling of the 13th century church give it acoustic properties that produce a sound delay of as much as six seconds. That may be Joachim Kühna challenge for the Klosterkyrkan’s choir. It is certainly one for the player of a nine-foot Steinway concert grand, but Kühn was unfazed. Indeed, he thrived in the resonant atmosphere. A piece that Kühn said originated with the rock band The Doors had a dissonant left-hand pattern that seemed to come from all parts of the room. A theme from Roman Polanski’s Rosemary’s Baby swelled with the peculiar mystery and beauty of that film. Kühn did not identify some of the music he played—or when he did, his heavily accented English obscured his words—but Gil Evans’s “Blues For Pablo” needed only a perfunctory introduction. Kühn played the piece with a stormy, nearly Lisztian aspect that gave way to sunshine. For his encore, he chose Ellington’s “Sophisticated Lady.” He embraced the melody and answered it with runs redolent of complex layers of chromatic harmonies that Kühn may have learned in listening to Art Tatum.

The Klosterkyrkan also hosted a pair of duet recitals involving pianists. The 83-year-old German tenor saxophonist Heinz Sauer teamed with Michael Wollny, a countryman less than half his age. The empathy they have developed in ten years of collaboration made their concert spellbinding.
Woolly, Sauer
Not tethered to standard form, harmonies or concepts of swing, the two played through a succession of pieces that riveted the audience’s attention. Playing or at rest, Sauer stood gazing above the heads of his listeners as if searching for something in the back of the church—or beyond. Wollny was a study in motion. He bobbed and weaved on the bench, his right foot fluttering the piano’s sustain pedal, his left jabbing the soft pedal. He reached into the instrument with his left had to pluck or swipe across strings as his right ranged through the upper octaves. Sauer often seemed to be meditating, hands to his forehead. They did not announce the names of tunes. Audience reaction indicated that no announcement was needed for Thelonious Monk’s “Evidence.” They flawlessly played the melody of Monk’s famous study in hesitancy and blew freely on the changes—and often also without regard to them. They played abstractions on “Everything Happens To Me,” working in a phrase from Billie Holiday’s “Don’t Explain” as the piece ended, and concluded with a hymn-like song appropriate to the surroundings. Listening to Sauer and Wollny is like overhearing an intimate conversation.

Next time: Another Klosterkyrkan duo, and more, from Ystad 2016.

Pete Fountain

Pete-Fountain-1960-billboard-1548As I prepared to leave Ystad, I learned that clarinetist Pete Fountain died on Saturday in New Orleans. By way of his recordings and television exposure, he became an unofficial and effective cultural spokesman for his beloved hometown and was happy to return there following his years in the 1950s with Lawrence Welk’s TV show. Despite the renown it brought Fountain, the Welk relationship was not a musical marriage made in heaven. He was happier in his Bourbon Street club than he was soloing in front of the Welk band.

From the beginning of my tours of duty in New Orleans in the 1960s and again in the late 70s, Pete made me feel welcome. He was a congenial and entertaining guy to hang out with. I used to try to persuade him to move out of his traditional-music comfort zone and make a quartet record with, say, Tommy Flanagan, Ron Carter and Billy Hart. He had the musical adaptability and depth to do that, but he felt that New York players in the modern jazz idiom wouldn’t accept him. He would have surprised them and, I imagine, himself. I wish it had happened.

I’ll miss Pete. For an obituary that covers his career, see this article in The Los Angeles Times. Here he is as Johnny’s Carson’s guest on NBC’s Tonight Show.

Pete Fountain, RIP.

Ystad Report # 2

When bassist Avishai Cohen and his trio wrapped up their concert after midnight on Sunday, the 2016 edition of the Ystad Sweden Jazz Festival became history. For this listener, the festival’s five days of music included opportunities to hear several artists in person for the first time. One of M. VerPlanck 2016 Ystadthem was Marlene VerPlanck, a veteran singer whose repertoire overflows with material from the A-list of songwriters and lyricists—among them Irving Berlin, Johnny Mercer, Victor Young, Sammy Cahn, Arthur Schwartz, Peggy Lee, and Jimmy Van Heusen.

She was superb from her opener, Berlin’s “The Best Thing For You,” to “The Party Upstairs,” a new song whose lyric tells a subtle story of longing for love, with a clever use of the title as the punch line. The New York singer worked with a British trio headed by pianist John Pearce. Suited, necktied and dignified, they looked as if they might have just come from a meeting of a bank’s board of directors. They accompanied her beautifully. Not primarily a scat singer, Ms. VerPlanck nonetheless scatted her way into “Speak Low” paying canny attention to the song’s chords and generating irresistible swing. That swing characterized every up-tempo song she performed. She caressed two ballads, Billy Eckstine’s “I Want To Talk About You” and “The Lies Of Handsome Men.” The latter is in this 2013 album. Her encore was Rodgers and Hammerstein’s “It Might As Well Be Spring,” which had one of several tricky key changes in her concert. She executed them all seamlessly.

The Polish violinist Adam Baldych and his Norwegian rhythm section enraptured the audience in the recital hall of the Ystad Art Museum. At some points the band verged on free jazz, with a sense of time more implied than stated. Heads that nodded and feet that tapped testified that their rhythmic feelingAdam Baldych ran strong through the hall. That compelling aspect of their music was occasionally in contrast with harmonies as old as Renaissance madigrals. Drummer Per Oddvar Johansen enhanced the atmosphere of freedom when he reacted to Baldych’s adventuring with mallets on tom-toms and sharp pops with sticks on snare drum rims. On a piece whose title was not announced, as Baldych’s pizzicato interaction with Helge Llien’s piano was underway, a cell phone with remarkably similar sound qualities gave its call. Running in a crouch, head down, the phone’s owner removed its surprising but not entirely objectionable contribution. The Baldych quartet listened to one another intently and brought an adventurous spirit to the festival.

Further impressions of the festival will be coming—later today if possible; or if not, when the staff returns to Rifftides world headquarters. Please check in from time to time.

Ystad Festival

The Ystad Sweden Jazz Festival is in its fourth day. It is so jam-packed and tightly scheduled that this is my first opportunity to begin reporting on it. The early posts will be a series of observations rather than full reviews. As always at this festival, things get underway with the Swedish variation on a traditional New Orleans street parade—making its way through the streets of this charming medieval town on the Baltic Sea.

Ystad 2016 parade

The first evening, in the magnificent Ystad Theatre, three of Sweden’s best- known female jazz vocalists gave a concert accompanied by guitarist Ewan Svensson, bassist Mattias Svensson (no relation) and drummer Cornelia Nilsson. The singers, Vivian Buczek, Anna Pauline and Hannah Svensson (relation; she is Ewan’s daughter) performed in solo pieces, duets and trio numbers that imbued familiar standards and Swedish songs with rich harmonies and interwoven vocal lines. Ms. Pauline’s arrangements were notable for their harmonic subtlety.

3 Swedish singers

(L to R) Hanna Svensson, Vivian Buczek, Ewan Svensson, Anna Pauline

If there is a report on the concert that Bill Mays and I performed on Wednesday, it will have to come from elsewhere. Journalistic objectivity and (ahem) modesty will allow me to say only that the audience was kind to us, even to the extent of demanding an encore. Of course, that alone is no great distinction; Ystad audiences inevitably insist on encores. Bill played at the top of his game. As always, it was a pleasure to work with him.

To Sweden

Swedish flagAs I fly to Sweden this morning, I’ll be humming “Ack Värmeland du sköna,” the patriotic folk song Swedes love so much. It is, in effect, the country’s unofficial national anthem. Here it is, sung by the great Swedish tenor Jussi Björling in 1959.

When Stan Getz recorded the song in 1951 with pianist Bengt Hallberg and other Swedish musicians, it was retitled “Dear Old Stockholm.” Decades later another tenor saxophonist, Scott Hamilton, recorded it with pianist Jan Lundgren, bassist Jesper Lundgaard and drummer Kristian Leth.

Lundgren, the pianist you just heard, is the artistic director of the Ystad Sweden Jazz Festival. Pianist Bill Mays and I are headed to Europe to be a part of it. For details, go here.

Following our performance, Bill and his wife Judy will spend a few days in Copenhagen. I’ll remain in Ystad and do some reporting on the festival. Please check in to Rifftides now and then for updates.

Doug Ramsey

Doug is a recipient of the lifetime achievement award of the Jazz Journalists Association. He lives in the Pacific Northwest, where he settled following a career in print and broadcast journalism in cities including New York, New Orleans, San Francisco, Los Angeles, Seattle, Portland, San Antonio, … [MORE]

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