![\"Nicholas](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/02\/Nicholas-Payton-in-Portland.jpg\")
<\/a>and Tipitina\u00e2\u20ac\u2122s. <\/p>\nIn the veteran drummer Bill Stewart and young bassist Vicente Archer, Payton has band mates fully up to the challenges of their leader\u00e2\u20ac\u2122s quick-change artistry. Pieces called \u00e2\u20ac\u0153Two,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Three\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Six\u00e2\u20ac\u009d from Payton\u00e2\u20ac\u2122s album Numbers<\/a><\/em> were vamps that opened spaces for improvisation. Payton, Stewart and Archer filled the spaces Payton sang \u00e2\u20ac\u0153 When I Fall In Love,\u00e2\u20ac\u009d with intonation all over the place, apparently on purpose, although the nature of the purpose was unclear. He ended the song on trumpet with flutters followed by lovely long tones. When Payton held the trumpet in both hands, reared back on the bench and concentrated his considerable energy and creativity in the construction of a jazz solo—as he did in variations on phrases from Benny Golson\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Stablemates\u00e2\u20ac\u009d—he made it clear that he is one of the trumpet\u00e2\u20ac\u2122s contemporary jazz masters. Given his development of other specialties, it will be interesting to see where his eclecticism is taking him. <\/p>\n For the trio’s encore, Payton announced a piece from his next album, which is to be called Letters<\/em>. \u00e2\u20ac\u0153The name of it, he said, is\u00e2\u20ac\u00a6\u00e2\u20ac\u009d<\/p>\n \u00e2\u20ac\u00a6\u00e2\u20ac\u0153A<\/strong>,\u00e2\u20ac\u009d shouted most of the audience. It was an attractive song of standard construction that ended with a soft and welcome trumpet solo.<\/p>\n","protected":false},"excerpt":{"rendered":" [contextly_auto_sidebar id=”ejjCe3LCsqjJQn8kJxdcMpnu0P7qEyU8″] Trumpeter Nicholas Payton\u00e2\u20ac\u2122s kaleidoscopic talent was on full, and generally satisfying, display with his trio at the Newmark Theatre. He frequently accompanied himself with his left hand on an electric piano as he played the trumpet held in his right. Sitting at the junction of an angle formed by the electric piano and […]<\/p>\n","protected":false},"author":2,"featured_media":0,"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-6470","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6470","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=6470"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6470\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a>with unflagging energy. When it was his job to keep time, Archer played walking bass lines to great effect. When he soloed, there was clarity in his sound and logic in the melodies he invented. On Thelonious Monk\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Straight No Chaser\u00e2\u20ac\u009d Payton ended one of his trumpet-electric piano excursions with a run up to a trumpet note well above high C, then pivoted to the grand piano for a solo full of chromatic modulations, riffs and repeats. Stewart slashed and burned behind Payton, then followed with a drum<\/a> solo that was both fiery and constructed with geometrical logic.<\/p>\n