![\"images\"](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/images.jpeg\")
<\/a>as a big band vehicle and as a solo piano piece, and at the Portland Jazz Festival it worked for their quartet. Bassist Boris Kozlov and drummer Mark Taylor joined Akiyoshi and Tabackin in a 90-minute recital of Akiyoshi\u00e2\u20ac\u2122s pieces and others by Duke Ellington, Dizzy Gillespie and her initial piano inspiration, Bud Powell. After talking about Powell\u00e2\u20ac\u2122s \u00e2\u20ac\u0153hard, sad life,\u00e2\u20ac\u009d she tore into his \u00e2\u20ac\u0153Tempus Fugit\u00e2\u20ac\u009d in the kind of uncompromising bebop piano playing she learned by studying his recordings when she was a girl in Japan. She smiled again, this time at a felicitous phrase in her own solo. Tabackin sat listening intently to the trio number, which he must have heard her play hundreds of times. Kozlov and Taylor soloed to great effect on \u00e2\u20ac\u0153Tempus Fugit\u00e2\u20ac\u009d and other pieces. Throughout the set, they were strong in support. <\/p>\nOther Highlights:<\/p>\n
Akiyoshi began \u00e2\u20ac\u0153Sophisticated Lady\u00e2\u20ac\u009d with a mesmerizing out-of-tempo introduction and garnished her solo with Thelonious Monk touches. In his \u00e2\u20ac\u0153Studio F,\u00e2\u20ac\u009d Tabackin played what he described as \u00e2\u20ac\u0153free bop,\u00e2\u20ac\u009d performed with only Taylor and Kozlov. Now it was Akiyoshi\u00e2\u20ac\u2122s turn to sit listening on the side. Using a wireless microphone attached his horn\u00e2\u20ac\u2122s bell, Tabackin was often in a half-crouch as he moved forward and back across the stage. The free bop in his solo developed along the lines of a tribute to one of his early models, Sonny Rollins. His flute playing in Ellington’s “Sunset and the Dave Frishberg And Bob Dorough<\/strong><\/p>\n Seated facing each other at twin grand pianos, the celebrated writers set out to perform songs they created singly and together. They began with an instrumental, Ellington\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Rockin\u00e2\u20ac\u2122 in Rhythm\u00e2\u20ac\u009d and proceded to \u00e2\u20ac\u0153Who\u00e2\u20ac\u2122s on First?\u00e2\u20ac\u009d the title tune of their 2000 Blue Note CD<\/a> (\u00e2\u20ac\u0153Which of us is the frim-fram sauce, and which is the The word the next day was that Frishberg had an anxiety attack, a phenomenon familiar to many performers. He was at home, doing fine.<\/p>\n","protected":false},"excerpt":{"rendered":" [contextly_auto_sidebar id=”XHVhKGvOMx8t2uf6Yhy22eqxFeOQzVFL”] Midway through Lew Tabackin\u00e2\u20ac\u2122s tenor saxophone solo on \u00e2\u20ac\u0153Long Yellow Road,\u00e2\u20ac\u009d Toshiko Akiyoshi smiled at a particularly vigorous passage in his improvisation. The two have put a lot of miles on that Akiyoshi composition since it was the title tune of a classic 1975 album. It has worked for Akiyoshi as a big […]<\/p>\n","protected":false},"author":2,"featured_media":5520,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5519","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5519","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5519"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5519\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/5520"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5519"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5519"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5519"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a> Mocking Bird” from The Queen’s Suite bore traces of nothing but Tabackin’s individuality. There were overtones of anguish in his tenor in the introduction to \u00e2\u20ac\u0153Farewell to Mingus,\u00e2\u20ac\u009d followed by his duet with Kozlov\u00e2\u20ac\u2122s bowed bass and heartfelt solos by Tabackin and Akiyoshi. Following a wildly expressive \u00e2\u20ac\u0153Chasing After Love,\u00e2\u20ac\u009d the quartet played \u00e2\u20ac\u0153Hope,\u00e2\u20ac\u009d a piece from Akiyoshi\u00e2\u20ac\u2122s long work \u00e2\u20ac\u0153Hiroshima.\u00e2\u20ac\u009d Since the 9\/11 attack, she and Tabackin have played the poignant ballad to close their performances. <\/p>\n<\/a> shafaffa on the side?\u00e2\u20ac\u009d). As they moved into Frishberg\u00e2\u20ac\u2122s solo segment, he forgot the words of the first of his songs, then of several others. He apologized to the audience: \u00e2\u20ac\u0153I\u00e2\u20ac\u2122m drawing a blank on everything.\u00e2\u20ac\u009d Dorough came gracefully to the rescue, singing and playing \u00e2\u20ac\u0153Nothing Like You\u00e2\u20ac\u009d and some of his other songs. They played another Ellington piano duet, \u00e2\u20ac\u0153The Mooche.\u00e2\u20ac\u009d Frishberg had no problem at the keyboard. He rallied to sing, with Dorough, \u00e2\u20ac\u0153I\u00e2\u20ac\u2122m Hip,\u00e2\u20ac\u009d their best known joint effort. The audience gave them a standing ovation. Frishberg apologized again for his lapses. Several people in the crowd gave assurance to their fellow Portlander, shouting \u00e2\u20ac\u0153We love you.\u00e2\u20ac\u009d <\/p>\n