Last night’s concert by the Jim Knapp Orchestra at The Seasons Performance Hall drew on much of the repertoire from Knapp’s most recent CD, Secular Breathing. There were a few changes in personnel, most notably the addition of Tom Varner, the brilliant French hornist who has moved from New York to Seattle. Varner fits perfectly into Knapp’s philosophy, which involves the creation of orchestral structures layered in rich textures that he parts to provide soloists opportunities for as much freedom as they care to exercise.

Varner cares to exercise plenty of freedom, as he made plain in his roaming, exploratory solo on “Wild West,” a piece not on the CD. Varner wasn’t the only one who rode the open country of Knapp’s orchestration. Each of the reed men played at length, baritone saxophonist Jim DeJoie ending his long, gutsy, solo by improvising simultaneously with alto saxophonist Mark Taylor; Taylor soloing at length and melding with tenor saxophonist Steve Treseler, who merged with fellow tenor man Adam Harris, who gave way to bassist Phil Sparks for a bowed solo that segued into pizzicato playing and led the orchestra out of the exhilirating untethered region of free time into strict tempo and resolution. The performance kept the audience in its grip. It had focus and energy so profound that later when one of the musicians remarked that the piece had lasted twenty-six minutes, I was startled. I thought it had been ten or twelve minutes.

There were impressive solos through the evening by trombonist Jeff Hay, trumpeters Jay Thomas and Vern Sielert and pianist John Hansen. Andy Omdahl, playing publicly with the band after only one rehearsal, was thrilling in his lead trumpet work on Knapp’s demanding arrangements. But the star of the thirteen-piece orchestra is Knapp, who manages to evoke his influences—including Debussy, Ellington, Gil Evans, Ives and (I think) Dvorak—while creating music that has his own mark of individuality. If this band were based in New York rather than Seattle, my guess is that it would be creating a significant buzz. My further guess is that it will do so in any case. A live recording is reportedly in the works. Keep an ear out for it.

The Portland Jazz Festival ended early this month, a week after I had to leave it. One of the events I hated to miss was a concert by the Jim Hall-Geoffrey Keezer duo. The Oregonian’s Marty Hughley was there. I just came across his review, which contains this apt characterization of Hall.

At 75, Hall is one of the genre’s revered elder statesmen, long lauded for his mellow, saxophone-like tone and gentle lyricism. It would be a mistake, though, to think of Hall as an old-fashioned musician. Through just more than an hour of music, Hall and pianist Geoff Keezer played music that was refined and pleasing to the ear, yet frequently challenged convention in subtle, refreshing ways.

To read all of Hughley’s review, go here.

Thanks to Bill Reed and David Ehrenstein for calling this to our attention.

I mentioned a few weeks ago that I was going to my hometown—Wenatchee, Washington, The Apple Capital of the World and the Buckle of the Powerbelt of the Northwest—to give a talk preceding a concert by the Jeff Hamilton Trio. I had not heard Hamilton’s group in person since early in the century, shortly after he brought aboard pianist Tamir Hendelman and bassist Christoph Luty. His drumming has been an addiction since I first heard him with Woody Herman in the late 1970s. My fascination with his work grew when he was with the L.A. Four and, later, when he sparked the Clayton-Hamilton Jazz Orchestra and recorded with Ray Brown, Milt Jackson, Bill Holman, Diana Krall and Benny Carter, to name a few of the major musicians he has supported and inspired.
I’m not sure how the talk went that night; I was preoccupied with giving it. But I know that the concert was a success. The first half was by the Wenatchee Big Band, a semi-pro outfit with polish and sophistication suprising in a town with fewer than 30,000 people far from the big population centers. Hamilton sat in with the band, swinging it harder—I think it’s safe to say—than it may have thought it could swing. Among big band drummers, he most effectively embodies the unique combination of power and refinement the late Mel Lewis brought to that demanding craft. In a combo setting, he is every bit as effective, as he demonstrated with his trio in the second half.
I was unprepared for the degree to which Hamilton, Hendelman and Luty have coalesced into a group that, in unity of thought, purpose and execution, is in a league with the greatest piano trios. It has a personality different from the trios of Oscar Peterson, Bill Evans, Tommy Flanagan or, more recently, of Bill Charlap and Kenny Barron, but comparison with them defines its standing. The trio’s character grows out of Hamilton’s astonishing command of time. He maintains irresistible swing while executing rhythmic permutations of enormous complexity, more often with brushes than with sticks. That night in Wenatchee, Hendelman and Luty were not only with him every step of the way, but melded into his rhythm and he into theirs. They achieved a chamber music ideal, performance as one mind, one spirit. How wonderful it would be, I thought, if they could capture this level of perfection and swing in a recording. It would have to be a live recording, of course, because such things virtually never happen in the cold, demanding precincts of a studio.
This is a case in which it is good to be wrong. The trio’s new CD arrived a few days ago. The Jeff Hamilton Trio: From Studio 4, Cologne, Germany, has the warmth, enthusiasm and flawless musicianship we heard in the Wenatchee concert. The arrangements by the members of the trio are smart, functional, never too clever for their own good. The pieces include a Milt Jackson blues, a samba by Hamilton, Hendelman’s clever treatment of Thelonious Monk’s “Epistrophy,” and several standards given new life. Among the more or less familiar songs are Luty’s arrangement of “Moonglow” incorporating Hamilton’s subtle virtuosity with wire brushes, “I’ve Never Been in Love Before” and the gorgeous “Too Many Stars.” With Hamilton’s group, Hendelman, an engaging team player, has grown into a major piano soloist, and Luty has developed further as a bassist strong in support and in solo.

The V.O.A. on short-wave radio and, in particular, the jazz presented by Willis Conover was top of our listening list as U.K. students in the late 1950’s. Starved of American artists in the U.K because of the Musician’s Union Ban, this was one way of our hearing the best U.S. jazz of the day.The programmes did a great deal to influence my musical taste and sow the seeds of a lifetime commitment to ‘America’s Music’.
When the band exchanges started during that period John Dankworth took his band to a festival in New Jersey and reported back with one revelation: “Willis Conover talks in the same careful, almost pedantic, way in real life”. Later Dankworth had to pay out of his own pocket for records by his band and Cleo Laine, sent to V.O.A. and played by Willis Conover. The U.K. record company (EMI) regarded V.O.A. as irrelevant to their marketing!
Gordon Sapsed in the U.K.

Thanks to ArtsJournal commander-in-chief Doug McLennan for calling our attention, by way of his daily digest, to this story from the San Jose Mercury-News :

San Jose’s summer jazz festival calls itself the “largest free jazz festival in the United States.” But that designation may be about to change. The festival may have to start charging: $5 a person for an all-day pass. “The reason for the charge: rising operational fees coupled with a loss of corporate sponsors Ford, Chevron and Applied Materials. The festival costs almost $1 million and, much to their disappointment, organizers said, only $60,000 comes from a city that has just designated $4 million for a car race.

To read the whole story, go here.
Allow me to remind you that ArtsJournal bloggers write regularly on music, the visual arts, architecture, media, publishing, theater, dance and the business side of culture. It is a smorgasboard of expertise under one web umbrella. To sample it, go to AJ BLOGS CENTRAL.

The Bush administration’s efforts to reduce or eliminate the amount of English language broadcasting overseas by the Voice Of America are receiving close attention from all sectors of the body politic. Not all of the warnings about the shortsighted foolishness of the administration strategy are coming from the left and middle of the spectrum. Even the conservative Heritage Foundation, no hotbed of anti-Bush activism, raises the alarm. In a national security research memo issued by Heritage, Stephen Johnson writes:

Because public diplomacy efforts such as international broadcasting take years and decades to do their work, shifting massive resources to current hotspots may net little in the end. America needs a more balanced long-term strategy for its foreign broadcasting, and its overseers need to use greater creativity to spread American culture and ideas successfully.

And:

More recently, poor vision has caused policymakers to regard the 2001 terrorist attacks on New York and Washington as proof that most threats now come from the Middle East. In a rush to influence Middle Eastern public opinion in a hurry, they gutted the global Voice of America (VOA) radio and TV networks to create new regional broadcasting services.
However, research shows that changing deep-seated perceptions takes time and targeting through multiple channels such as supplying textbooks, supporting libraries, and sponsoring academic exchanges. Sadly, face-to-face public diplomacy efforts remain disorganized at the U.S. Department of State.

To read the entire Heritage Foundation memo, go here.
Average Americans can do something about this dangerous plan, which works against the longrange interests of The United States. We can apply pressure. For the original Rifftides posting on this attempt to gut the VOA’s invaluable public diplomacy, click here. Then use the suggested message to e-mail your senators and representative in congress.
As for Rifftides readers around the world, please let us know what the Voice of America has meant to you. Use the “Comment” link at the end of this posting or the e-mail address in the right column.

I am enclosing two tickets to the first night of my new play, bring a friend… if you have one.
– George Bernard Shaw to Winston Churchill

Cannot possibly attend first night, will attend second… if there is one.
– Winston Churchill, in reply

Bill Crow read the Rifftides post about The Seasons, then wrote:

Could this be the realization of the dream Red Kelly had when he started the OWL party in Olympia. He wanted to build a giant Sin Drome near Chehalis, where everyone could come and party.
His slogan: “Unemployment isn’t working!”

Uh. No, but any opportunity to remember Red Kelly is welcome. His campaign to be elected governor of Washington was, like much in his life, for laughs. He was serious about music. For those who may not have had the pleasure, Red was a shipyard welder in Seattle in 1943 when he taught himself to play the bass. He had heard there was a shortage of musicians because of the war. After a period with the pianist Johnny Wittwer in 1944, he went on to play with—more or less—everybody. Here’s a quote in which he described his career path.

I picked the brains of the best: Ted Fio Rito, Randy Brooks, Sam Donahue, Chubby Jackson, Herbie Fields, Charlie Barnet, Red Norvo, Claude Thornhill, Woody Herman, Maynard Ferguson, Stan Kenton, some studio work, back to Herman (the third Herd), Les Brown — we hated each other — finally Harry James off and on for 14 years. And I’ll never forget the night I played with Charlie Parker at Birdland. He even hugged me, so it must have been okay.

That is from a column Harvey Siders wrote for Seattle’s Earshot Jazz Monthly not long after Red died in 2004. Much of the good and funny stuff of Red’s life is in Siders’ piece; his dream rhythm section partnership with Buddy Rich and Jack Perciful in the James band; the time Red Norvo hired him thinking he was Red Mitchell; his tongue-in-cheek run for governor in 1976 as the candidate of the OWL Party (“Out With Logic, On With Lunacy”), winning nine percent of the vote; how his bar in Tacoma because a must-hang spot for the jazz elite. To read the whole thing, go here. To read even more, see the Tacoma Public Library’s Red Kelly Collection website, officially named Remembering Red. Very few jazz bass players become the best known characters in their states. Red managed it.
CDs:
Kelly was in the 1955 Woody Herman Road Band that also included Dick Collins, Richie Kamuca, Chuck Flores and Cy Touff.
Blues On The Rocks incorporates Kelly’s Classic 1960 Pacific Jazz Good Friday Blues with guitarist Jim Hall and fellow bassist Red Mitchell playing piano.
One of Stan Kenton’s best albums of the 1950s, Kenton At The Tropicana, has Kelly on bass and singing his touching ballad, “You and I and George.”
Red had a knack for showing up on bands when they were at their height in terms of musical quality, or maybe he had something to do with their achieving it. On Verve Jazz Masters 55, he is with Harry James at one of the trumpeter-leader’s peaks.

A couple of Rifftides readers have asked if there is a website for The Seasons, the nifty 400-seat performance hall in Yakima, Washington, my current home town. The Pacific Northwest of the United States is a wonderful place to visit. It is unlikely that many of you have immediate plans to come here, especially those in, say, Beijing, Perth or Oslo. Nonetheless, click here to be transported to The Seasons site and see its intriguing artist lineup for the next few months. Perhaps you’ll decide to hop a plane and come. If you do, please let me know. We’ll tour a few of the Yakima Valley’s world-class wineries.
Recent performances I have attended included splendid concerts by Tierney Sutton and her band, the Brazilian pianist Jovino Santos Neto and his Quartet, and the Thomas Marriott Quartet. I am told that in addition to the musicians listed on the website, Kenny Barron, Meredith d’Ambrosio, Miguel Zenon, and Luciana Souza (with Romero Lubambo) will all be playing The Seasons before the year is out. The Bill Mays Trio, which inaugurated the hall, will be back, and Mays is likely to cross over and perform the stirring finale from Mendelssohn’s Trio in D Minor with The Seasons’ classical artists-in-residence, the Finesterra Trio.
Not bad for a city of 75,000 on the unpopulous side of the Cascade Mountains in the upper left corner of the country. The sky, by the way, is nearly always as blue as you see it in the photograph above; this is the non-rainy side of the Cascades. (Full disclosure: I am not in the employ of the Yakima Chamber of Commerce. I am a volunteer advisor on talent matters to The Seasons nonprofit management and sometimes give unpaid pre-concert talks. They get me in free.)
For previous Rifftides postings about music at The Seasons, go here and here.