In the days when I was learning to truly listen, Red Kelly gave me a piece of valuable advice. He told me to close my eyes and in my mind isolate and concentrate on the bass player. He said that when I felt and understood what the bassist was doing, the rest of the music would begin to fall into place. It was a coincidence, of course, that Red was a bass player.

As an impoverished student, I had a limited record collection. It consisted of a dozen or so 10-inch LPs, and it happened that Percy Heath was the bassist on about half of them, with Miles Davis, Sonny Rollins, Thelonious Monk and the Modern Jazz Quartet, then a new group.

Red’s advice was invaluable. To this day, I lock in on the bassist for a blueprint to the shape of a piece, and I am still fascinated by Heath’s bass lines. In the following performance by the MJQ of Milt Jackson’s blues “Bag’s Groove,” Percy is in customary form with his spacious but concentrated tone, impeccable note choices and irresistible swing. This is from the Zelt festival in Freiburg, Germany, in 1987. The video producers insert a title misnaming the tune. A German YouTube viewer reacts in the comment section:

“das insert “BACKGROOVE” ist richtig peinlich!”

“Really embarrassing,” he says. Well, yes, but not as embarrassing as the director, asleep at the switch, who keeps the camera on John Lewis during all three choruses of Heath’s bass solo. Nonetheless, this is a splendid performance. You may as well close your eyes and focus your attention on Percy’s notes because you’re going to see little of him.

Red Kelly is the bassist on Kenton At The Tropicana, one of the best live albums in Stan Kenton’s discography. Backed by the Kenton trombones, Red also appears as featured vocalist on the heartbreaking ballad “You and I and George.” In a small group setting on another album, he is with his friend and fellow bassist Red Mitchell and guitarist Jim Hall in the classic Good Friday Blues, now packaged with other Hall recordings in a CD called Blues On The Rocks. Mitchell plays piano and leaves the bass work to Kelly.

The television comic Soupy Sales loved jazz, knew its history and many of its leading players. Early in his career, when he had a local show in Detroit, he frequently presented jazz stars as guests. After Sales died on October 22 at the age of 83, many obituaries mentioned that the only known video of Clifford Brown performing is from a kinescope recording of the Sales show. For decades, it was assumed lost, but Sales found the film in his garage in the mid-1990s. Here is the trumpeter in February, 1956, five months before he died at 26 in an auto crash, playing “Lady Be Good” and “Memories of You.”

In his blog I Witness, Ed Leimbacher muses about the pervasiveness of Thelonious Monk as a model for or influence on other pianists. In an essay packed with album citations, he acknowledges 18 pianists from Jelly Roll Morton to Keith Jarrett who have made an impact, then writes:

Reviewing the Art Farmer Jazz Icons DVD the other day stimulated thoughts of his unique place in the pantheon of major jazz soloists. I started to write them, then realized that I already had. Here is an excerpt from the Farmer chapter of my book Jazz Matters.

Washington, DC, correspondent John Birchard ventures into the jazz wilds of the US capital in search of live music and reports to Rifftides readers on what he hears. This time, the event was a tribute concert.

A few times you’ve linked to Amazon listings for Venus releases, such as the Charlap/NY Trio disc in your new set of picks. Just a caveat about this, of which you may be aware. These are CD-Rs with reprinted liner booklets and info. Obviously the price reflects this and Amazon and Venus are to be applauded for offering this important music at a more reasonable price stateside. However, I picked up a Kenny Barron CD recently and the inserts listed nothing but the musicians’ names and song selections. There was no recording date nor were there composer credits. As something of a fanatic about this sort of information, it was disappointing. Perhaps there was a translation issue involved. In any event, I wanted to mention this to you.
Rich Juliano

This time around, CDs by Bill Charlap’s “other” trio, Miguel Zenón exploring his PR roots and the uncanny Mitchell/Marsh duo. Also: a DVD of Art Farmer in his prime and a book about Scott La Faro. Kindly direct your attention to Doug’s Picks in the center column. The Rifftides staff wishes you good listening, viewing and reading.

This is the 92nd anniversary of Dizzy Gillespie’s birth. There are many ways to celebrate it. The Rifftides staff offers two. The first video is from the Bern Jazz Festival in 1985. The band is Dizzy, James Moody, Gene Harris, Ray Brown and Grady Tate. The tune is “Ow.” It was made famous by the great Gillespie big band of the 1940s. So were Moody and Brown.
The second clip is from the 1979 Newport Jazz Festival in Nice, France. With Gillespie are Arnie Lawrence, alto sax; Stan Getz, tenor sax; John Lewis, piano; George Duvivier, bass; and Shelly Manne, drums. The piece is Ellington’s “It Don’t Mean a thing if it Ain’t Got That Swing.”

Let’s wrap up the Fall Festival at The Seasons. Here are brief reports about the final four events.
• Africa: The Power of Drum and Dance: Michael Wimberly, a percussionist and composer from New York, performed with scores of sidemen and sidewomen. They were professional drummers, dancers and singers from his troupe; students from several middle schools and high schools; a contingent from the Yakima Valley Community College jazz ensemble; and a band of marimbists, if that’s the term, who played marimbas of all sizes from small to preposterously large. Building on traditional African rhythms, Wimberly morphed his flexible supporting cast into several percussion and dance combinations delivering aural and visual excitement that had the audience in a packed house grooving in their seats. It was a spectacle that had the added impact of opening up a hundred or so youngsters to roots music that can enrich their lives. The joy on their faces seemed to show that the process was underway.
• The Matt Wilson Quartet. Wilson alone can be a spectacle. Fresh from the cover of Down Beat magazine, the drummer brought to the festival saxophonist Jeff Lederer, trumpeter Kirk Knuffke and bassist Chris Lightcap. Six of their ten pieces were from his most recent CD, That’s Gonna Leave a Mark. Their intensity was enhanced by the energy Wilson generates in live performance and transmits to musicians and audience. He kicked off a furious tempo for John Lewis’s “Two Bass Hit,” a staple of Dizzy Gillespie’s 1940s big band. Lederer soloed with essence of Coltrane, Knuffke with impressive thematic development, Lightcap with lyricism, the true wood sound of the bass and (hooray) little volume on his amplifier. Through the evening, Wilson surged, roared and crackled beneath the ensemble and the soloists, a continuously renewable source of power. Other highlights of the set: Lederer coming out of an abstracted arrangement of “Don’t Blame Me” into a gorgeous tenor saxophone solo on the tune’s changes, then a pure statement of the melody; his wild clarinet solo on “Rear Control;” Knuffke’s ability to produce a sound like Chet Baker’s one minute and Wadada Leo Smith’s the next; The contrast between Wilson’s manic shenanigans in a spoof of heavy metal called “Schoolboy Thug” and the peacefulness of the encore, a prayerful ensemble reading of the Scottish Presbyterian hymn “Come and Find the Quiet Center.”
• Yakima Symphony Chamber Orchestra. In addition to percussionist Wimberly’s work with young musicians, the primary educational activity of The Seasons Fall Festival was the development of emerging composers and conductors from all regions of the United States. The composers studied under the guidance of Daron Hagen, Chris Brubeck, Gilda Lyons and Robert Frankenberry. The emerging conductors worked with retiring Yakima Symphony Orchestra conductor Brooke Cresswell (pictured) and one of Cresswell’s mentors, Donald Thulean, a veteran conductor of several orchestras. The evening began with the world premiere of Cicadas, Lyons’ atmospheric evocation of a childhood memory of seventeen-year cicadas swarming. It ended with Hagen’s Concerto for Violin, Cello and Orchestra, featuring violinist Simon James and cellist Kevin Krentz. In between, the audience heard the culmination of a week of workshops and rehearsals. Each young conductor led the orchestra in a piece by one of the young composers. The seven new compositions ran about four minutes apeice. They showed enormous potential from a group of musicians, one only 16 years old, whose work should give heart to anyone concerned about the future of serious music in America.
• Dena DeRose. On the eve of her return to Graz, Austria, where she is a professor at the University of Music and Dramatic Arts, the pianist and singer demonstrated her qualifications in both areas. Her playing and singing are musical in the extreme and, when she digs into the rhythm with the zeal she displayed Saturday night, dramatic. Matt Wilson and Chris Lightcap joined DeRose for the festival’s final concert, creating a trio with extraordinary cohesion and singleness of purpose. There were moments when the three were swinging as hard as any piano trio I have heard. The interaction between Wilson and the pianist was remarkable. DeRose’s celebrated improvisation of lines with voice and keyboard in parallel was never a gimmick, the integration so subtle that it took the listener a few seconds to realize what was producing that unique blend of sound. The technique has been used since at least as far back as the great Joe Mooney, but rarely with DeRose’s musicianship and finesse. Whether in a standard like “How Deep is the Ocean?” or the relatively unfamiliar ballad “In the Glow of the Moon,” DeRose’s singing was perfect in pitch, phrasing, interpretation and pleasure in performing. Most of The Seasons audience arrived with little or no previous knowledge of DeRose. They are unlikely to forget the finale that she provided a memorable festival.

A small but important part of The Seasons Fall Festival brought a select group of arts supporters to the Greystone Restaurant in Yakima’s historic district for an evening of food, wine and entertainment. Daron Hagen served as impresario, pianist and raconteur as soprano Gilda Lyons and tenor Robert Frankenberry performed songs by a who’s-who of composers and lyricists. The Seasons Performance Hall is a nonprofit operation that has managed with difficulty to weather the storm and stress of the struggling economy. It depends, like such arts outfits everywhere, on community support and the kindness of donors. The evening was designed to generate tangible help for the organization.
Hagen’s montage of pieces by George and Ira Gershwin, Johnny Mercer, Leonard Bernstein, Henry Mancini, Kurt Weill Stephen Sondheim, Jacques Brel, Marc Blitzstein and Joe Raposo was as rich as the Greystone chef’s red wine reduction sauce on the steak. Frequent collaborators, Lyons and Frankenberry have developed smooth rapport in voice and dramatic presentation. Sailing along in Hagen’s skillful arrangements, they blended segments of disparate musical material into an event that would be at home in tony cabaret establishments of Manhattan, San Francisco or London. Their treatment of material from Weill’s and Blitzstein’s Threepenny Opera, in a kaleidoscope of styles, began the cabaret at a high level that elevated through the hour. There were those in the elegant Greystone dining room who clearly relished the quality of the performance but, as luck would have it, two tables strategically placed near the front of the room accommodated folks who appeared nonplussed, then disappointed.
Several of the women who occupied one of the tables stayed through most of the performance, shooting one another puzzled glances. The men who sat at the other walked out one by one and, by the end, left the table empty and the room a bit chilled. I don’t know what they were expecting, but evidently it was not the sophisticated production Hagen, Lyons and Frankenberry gave them. Too bad for them, but I hope not too bad for The Seasons because it needs the support not only of ticket buying concert-goers but also of wealthy and influential citizens. I wonder whether in retrospect the festival organizers wish that they had made the cabaret a public event. With proper sound and lighting in the intimate, acoustically perfect atmosphere of The Seasons hall, it might have gone further toward achieving their goal.
The next Rifftides post will be a wrap-up of the festival’s final events, which included stirring concerts by Matt Wilson and Dena DeRose and an evening that presented no fewer than nine world premieres by seven young and two seasoned (ahem) composers.

There was a sneak peak of the–for lack of a more accomodating word–classical aspects of The Seasons Fall Festival when tenor Robert Frankenberry and soprano Gilda Lyons previewed a bit of Daron Hagen’s opera Amelia. The Seattle Opera will premiere the work next spring. At an intimate session in The Seasons back room, the New York composer talked about the opera, which is in gestation, then took to the piano to accompany Frankenberry and Lyons in an aria. The Amelia of the title is not the lost pilot Amelia Earhart but the daughter of a Navy flyer who died in the Viet Nam war. The libretto by the poet Gardner McFall is based on the wartime loss of her own father. The work, as described by Hagen, has a complexity of themes involving flight, including references to Earhart and the myth of Icarus and Daedalus. If the entire opera is as beautiful as the sample, it will be worth the trip to Seattle in May.
Hagen, the festival’s artistic director, put together a sampler concert in the main hall that previewed many elements of the festival’s nine days. It encompassed performances by the Finisterra Piano Trio, the Kairos String Quartet, Chris Brubeck, the African percussion expert Michael Wimberly, more singing by Lyons and Frankenberry and a performance by Frankenberry of Aaron Copland’s 1931 Piano Variations. The Copland piece begins as a puzzling series of abstractions from his most experimental period. It works through 20 nervous, kinetic variations to a coda that ends the work in a grand statement packed with harmonic riches. It is notoriously demanding to play and, for many, difficult to listen to. Leonard Bernstein used to say that he could wind up a party with it because it would empty the room in two minutes. This recording is probably the best one available, but Rob Frankenberry should put it on a CD because–there’s no better way to describe it–he plays the hell out of it.
The “Bravi Tutti” sampler evening ended with a new Hagen arrangement of “Amazing Grace” played by all of the evening’s 20 or so musicians. Brooke Creswell, the retiring music director of the Yakima Symphony Orchestra, played double bass, Chris Brubeck worked up a long, blowsy, trombone solo and the Finisterra’s Tanya Stambuck brought down the house with her vigorous interpretation of the solo piano section.
The next evening’s chamber music concert by Kairos and Finisterra had riches of several eras. It included works by composers Michael Torke, Felix Mendelssohn, André Previn, BedÅ™ich Smetana and a deeply felt short string quartet piece by Hagen, Snapshot no. 1: Wedding Day. It ended with the Finisterra Trio’s world premiere performance of Gilda Lyons’ Folklorico, commissioned by The Seasons for this festival. The four-part piece is based on music and folklore of Nicaragua. It abounds with passions and rhythms of Latin America and a slow section called “Tortuga’s Lament” so intriguing that I am ready to immediately hear it again.
More later on an evening of cabaret, an African drum spectacular, the dynamo known as Matt Wilson and the Dena DeRose trio, which, as this is written, I am off to hear. Stay
tuned.

The next night (see the following exhibit) in their own concert, the Imani Winds drew upon music from their CD The Classical Underground. They began with the late Astor Piazzolla’s Libertango, a brief example of the heterodoxy with which Piazzolla shocked and outraged the Argentine tango establishment and ultimately endeared himself to music lovers everywhere. The Imani French horn player, Jeff Scott, arranged the piece to feature his instrument’s dramatic, even explosive, qualities. From a different branch of Latin music, the woodwind quintet continued with composer Paquito D’Rivera’s Aires Tropicales, a seven-part suite illuminated by the insinuating movement called “Dizzyness” (after D’Rivera’s former boss Dizzy Gillespie) and the magnetic harmonies of a joropo, “Vals Venezolano.”
To these ears, predisposed by years of living in New Orleans, the evening’s highlight was a short piece by another composer seasoned under the tutelage and leadership of Gillespie. It was Lalo Schifrin’s La Nouvelle Orleans, a seven-minute sketch that combines Schifrin’s classical and jazz sensibilities to encapsulate the sadness and liberating joy of a traditional New Orleans funeral procession. The Imanis, virtuosos all, captured both aspects as if they had often experienced the emotions of that march to and from the cemetery. Torin Spellman-Diaz, the oboist in the group photo above, was unable to be in Yakima. Her substitute, able and fully engaged, was James Roe (pictured), a stalwart of the New York chamber music milieu. To see bios and more photos of the regular members of the group, go here.
More about the festival is on the way, maybe later today.

This festival has so many elements that it fits in only one category, Music. Its jazz, classical, cabaret, and percussion aspects have flowed in an outpouring of music that blends in a steam of consciousness experience for the listener. All of the events have been public except for one intimate gathering designed to entice deep-pockets supporters to assure this unusual festival’s future.
The performance that has so far most dramatically expressed the eclectic vision of the festival’s founders was a live version of a three-part suite first heard on a Brubeck Brothers Quartet CD. The album is called Classified, but composer Chris Brubeck’s “Vignettes for Nonette” is unclassifiable. It combined the Brubeck Brothers band with the Imani Winds, a woodwind quintet of classical musicians who understand swinging. The technical complexity of Brubeck’s writing is leavened with drama, humor and–notably in the second movement–grandeur. It has sections of improvisation for the jazz quartet and, this being a Brubeck work, challenging time signatures. The Seasons audience was brought to its feet cheering the emotion and wit of the music, the verve and obvious enjoyment of the nine players and the power of Dan Brubeck’s drumming in the final movement. Programming the concert, the Brubecks were wise to combine with the Imanis in the second set. Impressive as the Brubeck brothers, pianist Chuck Lamb and guitarist Mike DeMicco were before intermission, it would have been tough to follow the collaboration with Imani on “Vignettes” and their rousing combined-forces encore, Dave Brubeck’s “Blue Rondo a la Turk.”
Later today, I’ll post more on the festival, including something about that private event, if car shopping and rehearsal time allow. I’ve been drafted to do a reading and fool around on trumpet with Matt Wilson’s quartet at tonight’s concert.

The Portland Jazz Festival today announced its 2010 headliners and beefed up its front office strength by adding a veteran jazz publicist as managing director.
The headliners for the February 22-28 festival will be Pharoah Sanders (pictured), Luciana Souza, Dave Douglas, Dave Holland and the Mingus Big Band. There will also be concerts by three Norwegian groups. They are the saxophone-accordian duo of Trygvie Seim and Frode Haltli, the Christian Wallumrod Ensemble and In The Country, a trio of acoustic bass, piano and drums that, according to the festival’s publicity, combines rock influences with jazz. That’s not a revolutionary idea, but maybe they have a new slant.
Don Lucoff, who has for more than two decades run the extensive publicity agency DL Media, will take over as the festival’s managing director, working with its founder and artistic director, Bill Royston. For details about the artists and Lucoff, see the PDX web site.
Speaking of festivals, I’m moving at a fast pace battling car trouble and trying to keep up with The Seasons Fall Festival, now in its sixth day. I promised reports, and they will come, possibly beginning as soon as late tonight. The variety and quality have been impressive.

Speaking of Dena DeRose (see the October 9 item below), she just showed up in YouTube clips accompanying and soloing with Bill Henderson at this summer’s Litchfield Jazz Festival. Listen to the head of steam the quartet generates on “You Are My Sunshine.” Avery Sharpe is the bassist, Winard Harper the drummer.