This summer for the first time in several years, circumstances prevented my covering the Ystad Sweden Jazz Festival. Rifftides reader—and sometimes commentator—John Bolger attended the 2018 festival. After he got back to Ireland, he kindly sent a report about his first trip to Ystad. Here is John’s message, illustrated with his photos, except the one of Cecile McLorin Savant, which is by Kenny Fransson.

For many years, I have read your wonderful postings about concerts of the Ystad Festival on the shores of the Baltic Sea in southern Sweden. This year, I kept my promise to myself that some year I would be there. Unfortunately, I picked a year when it was not possible for you to go. It would have been great to meet up. Here is a brief résumé of my time in Ystad, in return for of all the wonderful reviews you have written about this great festival and town. Over 5 days, there were 42 concerts. I got to over a third of them. This is a summary of a few.

The opening event for me was walking in the opening parade through the streets of Ystad with about 300 others led by the “The Second Line Jazzband” from Gothenburg playing New Orleans revival style music. They closed the parade with a rousing rendition of “When The Saints Go Marching In.”

The first concert I attended was Cecile McLorin Salvant at the magnificent Ystad arena. She sang a repertoire from all of her four her albums to date, including last year’s album Dreams and Daggers, which won a Grammy Award for Best Jazz Vocal Album of 2018.

Making a return to the concert after playing in 2010 and 2011 was vocalist Youn Sun Nah. Although she speaks in a very soft and shy manner, her voice explodes in a repertoire of American songs, French chansons and the traditional music of her homeland, South Korea. Her lengthy version of Leonard Cohen’s “Hallelujah” brought me goose bumps to me and tears to the eyes of Youn Sun Nah (and the audience), so powerful was her rendition of this wonderful song.

Flautist Magnus Lindgren, and his band played songs from his most recent album “Stockholm Underground”, homage to Herbie Mann and Mann’s legendary 1969 album “Memphis Underground. One of the highlights was their version of “A Whiter Shade of Pale” and “Brutal Truth” written by pianist and vocalist Ida Sand, who joined the band for this and some other songs.

The amazing Israeli trumpeter, Avishai Cohen (pictured above) gave a magnificent performance playing with Sweden’s Bohuslän Big Band, made up of 5 saxophones, 4 trombones, 5 violins, piano, bass and drums. He announced that they had met only the day before, but they somehow pulled off a flawless performance. All of the compositions were Cohen’s with the exception of his tremendous tribute to Charles Mingus, “Goodbye Pork Pie Hat”.

Australian vocalist and lyricist, Trudy Kerr, based in the UK, played with her own Trio and Finnish saxophonist Jukka Perko. Playing in the courtyard of the beautiful centuries-old building “Per Helsas Gard,” she sang music from her most recent album “Take Five, The Music of Paul Desmond”. Ms. Kerr wrote lyrics to most of the songs she performed, such as “Desmond Blue,” “Take Ten,” “Late Lament” and “Wendy.” Her vocal range was wonderful, and she did justice to Paul’s music. Star of the show for me, though, was Jukka Perko whose playing was as close in tone to Paul’s as I have ever heard, with the exception of Brent Jensen.

One of the highlights for me was the concert performed by a grouping of young, female talented European jazz artists brought together specifically for a unique concert in the ballroom of Ystad’s sumptuous Hotel Saltsjöbad. Their working name was “Crossing Borders.” The septet (pictured above) was made up of Elin Larsson (Sweden), saxophone; Tini Thomsen (Denmark), baritone saxophone; Susana Santos Silva (Portugal), trumpet; Lisa Stick (Denmark), trombone; Fanny Gunnarsson (Sweden) piano; Ida Hvid (Denmark), bass and Anne Paceo (France) drums. The compositions by various members of the group, were mesmerizing and brought a lengthy standing ovation from the audience the Saltsjöbad audience. They advised they had only met the day before and had practiced for 9 hours “to ensure their performance was good”. It was excellent. I noted that they were recorded. I hope that someday the music gets out to a worldwide audience.

One of the great jazz trumpeters, Paolo Fresu, played with his own band “The Devil Quartet”. The material was mainly from their latest album, the totally acoustic Carpe Diem. The audience were very familiar with Paulo, who has played at the Ystad festival on numerous occasions. They gave him a rapturous welcome, and an ovation at the end of a great concert.

Bill Evans, a tenor and soprano saxophonist who played with Miles Davis in the 1980s and made six albums with him, joined at Ystad with Ulf Wakenius, a guitarist in the quartet of Oscar Peterson for almost 11 years. With them was Per Mathisen of Norway on bass and, for me, one of the best drummers at the festival, Keith Carlock from America. At the end of a rousing performance there was an audience request for “Jean Pierre” which Bill had played with Miles all those years ago. Somewhat reluctantly the quartet, having never played it, improvised an arrangement on the spot. As the saying goes, “that’s Jazz.”

I had two personal favourites among the concerts I attended. First was the amazing Lizz Wright from Georgia, whose music I adore. Her voice on the night of her concert reminded me a lot of a mixture of Cassandra Wilson, Norah Jones and Eva Cassidy. She sang mostly from last year’s album “Grace” which marked a return to her southern roots and the harmonic configurations of gospel music. Her quartet members were amazing, in particular the great Bobby Sparks on keyboards and Hammond organ. Two songs were highlights, Rose Cousins’s “Grace” and “Seems I’m Never Of Tired Lovin’ You”. The ovation she received made it evident that all those attending will never stop loving Lizz Wright. Amazing concert. I am unsure why this lady had never received the recognition that some of her contemporaries have.

The overall highlight for me was the concert of the Monty Alexander Trio. Monty, who was guest of honour of the festival, played with Hassan Shakur, bass; and Obed Calvaire, drums. Monty rolled back the years with a virtuoso performance made up primarily of American standards. When he gave a nod to his Jamaican roots by playing “No Woman No Cry” the audience responded with several minutes of applause. I learned that in Sweden the audience only expect one encore. Then they leave. Monty was brought back for 3 encores including a tribute to his hero and the man who discovered him, Frank Sinatra, appropriately “In the Wee Small Hours Of The Morning” – it was 12.40 at that stage. His wife, the Italian vocalist Caterina Zapponi, joined him in one of the songs.

Before he departed the stage, Monty spoke in a teary voice and said, reluctantly, that 5 days before, he had suffered a stroke that paralyzed a large portion of his left side. He said that he hoped that the next time he played, “I promise I will be better”. We were in total shock. He could not possibly have played any better. He advised that he had traveled against doctors’ orders, but said he was so happy that he had done so. I spoke to the festival organizer, pianist Jan Lundgren, after one of the concerts. He said that he had no idea beforehand about what had happened to Monty. It was one great concert that will long be in my memory.

The closing 3-hour gala concert (pictured above) was an all-star extravaganza and mix of musical genres of the Nils Landgren Funk Unit, the Jan Lundgren Trio, the 15-piece string ensemble Musica Vitae plus Italian trumpeter Paolo Fresu, German drummer Wolfgang Haffner and Finnish saxophonist Jukka Perko. Nils Landgren has cult status in Sweden.

Before The Funk Unit joined the stage the highlights were “Norwegian Wood” by Nils and Jan, Miles Davis’s “So What” from Nils, Jan, Paulo, Jukka, Mattias and Wolfgang, and an amazing version of “Si Doice e il Tormento” from Jan and Paolo.

Close to the end of their set, Nils and the Funk Unit requested the audience to stand up and jive the night away. Up to this point my impression of the Swedish nation and its people was that they were quiet and conservative. Seeing 1500 people, whose average age was—let’s say—well above 50, dance and move with such enthusiasm was an incredible sight and a joy to hold. What an ending.

Jan Lundgren and his fantastic committee assembled a range of established American and European stars along with a group of established and emerging Nordic talent. I took Ystad and its people to my heart. I very much hope to make the journey there again. I would never have heard of Ystad and never made this journey were it not for you, Doug. Thank you.

 

Thanks for a fine report, John. I was sorry not to have attended, but your enthusiasm helps bring the festival, and Ystad, to life.

The percussionist Jack Costanzo was so closely identified with his instrument that early in his career he became known as “Mr. Bongo.” Costanzo died over the weekend at his home near San Diego, California. He was 98. During his long career he worked with Stan Kenton, Nat Cole, Charlie Parker and dozens of other musical stars. He was frequently featured in motion pictures and television programs in duets with celebrities including dancer Ann Miller, singer Judy Garland and actor Marlon Brando—a fellow bongo player who studied with Costanzo.

Video of Costanzo performing seems to be rare, but this one made at an unidentified friend’s birthday party shows him in action. The picture is a bit fuzzy, but the audio is fine. The YouTube caption says, “Check out his left hand independence while playing the bongos and conga drum!”

Rifftides reader Orsolya Sarvari Bene recently wrote:

Years ago you recommended the album Indian Summer, with Dave Brubeck playing solo piano. I enjoyed this album a lot. The local library had it available for rent. It’s a hidden gem. He plays very quietly and soothingly and sounds different playing alone at an older age. I don’t know if he recorded it at his home. It sounded that way. It had an intimate feel.

Great reminder. Thanks. We’re jumping the seasonal gun, but let’s listen to the title tune.

Vibraphonist, pianist and bandleader Charlie Shoemake (pictured right) wrote the other day to relate an experience involving pianist Jimmy Rowles (1918-1996). Here is Charlie’s message:

August 19 is the birth date of my (and your) hero Jimmy Rowles. Sometime ago, in a nothing-to-do moment, I just happened to come across on YouTube an occasion in my life (and Jimmy’s) that is seared in my memory. A short time before I left the world of Hollywood studio work and joined the George Shearing Quintet (fall of 1966) I finished a date and went over to NBC in Burbank to see my wife Sandi, who was a member of the George Wyle singers on the weekly Andy Williams television show. As I got there, they were just about to finish taping and I talked for a moment to Jimmy (on staff at NBC at the time and a member of the show’s orchestra) before he said they had one last number to do. I stood about 30 feet away and witnessed one of the most beautiful piano accompaniments that you could ever imagine. I‘ve played this for Terry Trotter and Tom Ranier who, like virtually all pianists, were great fans of Jimmy. They they were, understandably, in awe—as I am to this day.

YouTube, in its infinite wisdom or protection of someone’s copyright, will not allow us to embed the video of Rowles and Williams doing “The Way You Look Tonight,” the piece that so impressed Mr. Shoemake. It is more than worth your time  to follow this link and enjoy their performance.

In my New York and Los Angeles Days I had the good fortune to frequently hear Rowles in various clubs. In L.A., we became friends when we were in a luncheon group that got together once a month or so. It took us a while to find a restaurant that had no sound system, but we did; a place in Toluca Lake called Barone’s. The last thing that most musicians want is to be subjected to background music of any kind. The photograph below, taken at Barone’s, is no doubt one of the last pictures taken of Jimmy. You see him on the left with (l to r) Bill Holman, Ramsey, Jeff Hamilton and Lou Levy. As you see, Jimmy was on oxygen toward the end but rarely, if ever, missed one of our lunch dates.

For at least the next couple of days we’ll attempt to deal with some of the backlog of albums that accumulated during the week or so when the Rifftides staff was on vacation.

Daan Kleijn, Passages, (daankleijn)

Kleijn’s spare format of his guitar with bass and drums allows him freedom to pursue an instinct for melodic creativity. Despite its title, his composition “Bird Song” has no obvious Charlie Parker allusion. Rather, it develops subtle rhythmic movement, and relaxed interaction with fellow Hollanders Tobias Nujboer, bass, and Joost van Schalk, drums. Kleijn also wrote the sprightly and surprising “Humble Bee.” The remaining pieces on the album are compositions by Richard Rodgers, Lee Konitz, Duke Pearson, Bobby Hutcherson and Antonio Carlos Jobim. Jobim’s “Estrada Branca” is a captivating rendition of the piece known in English as “This Happy Madness.”

Kleijn has established himself in the jazz communities of both New York and the Netherlands. Based on his inventive and imaginative work here, it seems safe to predict that he will occupy an increasingly solid position among jazz guitarists. For further evidence, here is a link to video of the Kleijn trio’s bracing performance of a Cole Porter standard.

Charles Lloyd And The Marvels + Lucinda Williams, Vanished Gardens (Blue Note)

Lloyd’s melding of disparate kinds of music has never been on more convincing or effective display. The 80-year-old saxophonist sourced the album from country, pop, rock, his bottomless fount of jazz imagination and the leathery soulfulness of Lucinda Williams’ vocals. His quintet, The Marvels, includes guitarists Bill Frisell and Greg Leisz, bassist Reuben Rogers and drummer Eric Harland. Frisell’s solos and the atmospherics created by Leisz’s pedal steel guitar are crucial elements in what makes this collection fascinating. Although Ms. Williams will inevitably attract the most listener and media attention—singers always do—but she is one voice in an ensemble. Lloyd’s tenor saxophone is primary. The churn, energy and humanity in his playing lingers in the mind. If you have forgotten what a formidable flutist he is, his work with Frisell on “Blues For Langston And LaRue” will remind you. In a relaxed duet with Frisell, his fuidity on tenor saxophone is riveting in “Monk’s Mood.”

Ms. Williams revisits two of her earlier songs, “Ventura” and “Dust” (the latter loosely based on a work by her late father, the poet Miller Williams). She also performs a new one, “We’ve Come Too Far To Turn Around,” which Lloyd introduces with a subtle tenor sax soliloquy. Harland accompanies her on that piece with a series of quiet drum commentaries. This isn’t Lucinda Williams’ album. It is a triumph for Charles Lloyd, but it may also become one of her most successful recordings.

Cy Coleman, A Jazzman’s Broadway (Harbinger Records)

Cy Coleman’s success as a popular songwriter and a composer for musical theater overshadowed his effectiveness and influence as a jazz pianist. Nonetheless, as this album reminds us, he could be a spirited improviser whose background as a classical prodigy equipped him with impressive technique and a feeling for the harmonies inspired by classical music that underlay much jazz improvisation in the late 1950s. The album has no music written by Coleman. It consists of his interpretations of 22 Broadway showpieces by Harold Arlen and Richard Rodgers. The songs are from Arlen and Yip Harburg’s Jamaica, with others from Flower Drum Song, and South Pacific by Rodgers and lyricist Oscar Hammerstein II. His singing on several tracks is infectious, on others show-bizzy and over the top.

He comes closest to  piano in the modern mainstream tradition in Arlen’s “Savanna” and “What Good Does It Do?” Bassist Aaron Bell, guitarist Skeeter Best and drummer Osie Johnson are among his accompanists on several of the Arlen and Rodgers tracks, giving them firm rhythmic boosts. Coleman plays four songs from South Pacific with considerable verve, all as solo piano performances. He leaps into “I’m Gonna Wash That Man Right Outa My Hair” with near abandon before winding it down and out with a subdued low E-flat that ends the piece and the album.

It’s an entertaining collection.

Vacation is almost over. Rested and rejuvenated, the Rifftides staff can’t wait to spring into action after they fly home.As they head back to their duties, the staff want to be sure that you’re up to date on listening opportunities, so they customized this announcement from Jim Wilke about his next presentation on Jazz Northwest.

Trumpet player Terell Stafford led an all-star quintet in concert at Centrum’s Jazz Port Townsend in July. The concert was recorded for radio and will air on Jazz Northwest on Sunday, August 12 at 2 PM Pacific Time on 88.5 KNKX.  The music includes selections by the late trumpet icon Lee Morgan from Terell Stafford’s CD BrotherLee Love celebrating a Stafford influence, Lee Morgan.  Tenor saxophonist Tim Warfield, who played on the CD, is also on this concert, with pianist Dawn Clement, John Clayton on bass, and drummer Billy Williams. Terell Stafford heads the Jazz department at Temple University and is a regular in the Vanguard Jazz Orchestras.

This concert is one in a series of seven performances recorded in McCurdy Pavilion during this Summer’s Jazz Port Townsend which are being broadcast on Jazz Northwest on KNKX.  Next in the series will be drummer Jeff Hamilton’s Trio airing on Sunday August 19.  The concerts were recorded and produced for KNKX by host Jim Wilke.  After broadcast they are archived and may be streamed anytime at jazznw.org.

Vacation-bound on an airplane, I heard a woman behind me say, approximately 732 times in a twenty-minute conversation, “I know, right?”

I didn’t realize how long that annoying, meaningless phrase has been around. Researching it, I found this 2011 episode from Jerry Scott’s and Jim Borgman’s comic strip Zits.

Further investigation disclosed that the phrase appeared even earlier, in the 2004 motion picture Mean Girls. Some experts credit the movie with infusing the phrase into the language. It may not be too late for the film makers to refute the charge and clear their names.

On southern Sweden’s Baltic coast, the venerable town of Ystad is about to launch the 2018 edition of the festival that has made the medieval village, now a town of 29,00, a prime summer music destination in Europe. Officially named the Ystad Sweden Jazz Festival, it has been notable for a cross-section of top Scandinavian groups alternating with well-known musicians from the US and elsewhere. This year’s visiting American attractions will include pianist Monty Alexander and his trio; The Manhattan Transfer, a vocal group successful for nearly half a century; and Cecile McLorin Salvant, a Grammy-winning singer often rated by critics as a successor to Billie Holiday, Ella Fitzgerald and Sarah Vaughan. The New York-based Israeli trumpeter Avishai Cohen will be a soloist with the formidable Bohuslän Big Band, a frequent audience favorite at Ystad.

From elsewhere in Europe, trumpeter and flugelhornist Paolo Fresu will return to Ystad leading a quartet of his fellow Italians. The festival artistic director, pianist Jan Lundgren, will again appear with trombonist Nils Landgren and an assortment of “friends” that will include Fresu, the Finnish alto saxophonist Juka Perko and a 15-piece string section.

Circumstances have made it impossible for me to be in Ystad, the first time in several years that I will have missed a festival to which I always look forward. I shall hope that things work out better in 2019. If you would like to learn more about this year’s Ystad Festival, click here to find the complete 2018 lineup.

In the meantime, let’s ask Nils Landgren to play a beloved traditional Swedish song that is almost certain to be performed by someone in Ystad, although possibly not quite like this—unless that someone is Landgren.