I just got the bright idea of live/remote coverage of today’s music at the Newport Jazz Fest – tweeting briefly but fleshing out comments here and on Facebook — wherever people respond. Follow me @jazzbeyondjazz or #newportjazz and hear the broadcast: http://t.co/acrBBnq
I’ll start at 2:45 pm – with Regina Carter’s Reverse Thread performance — and probably quite at 5, before the New Orleans finale — unless it’s really fun and working out —
To kick things off: two profiles of fest-producer George Wein, produced by eyeJAZZ.tv participants over the past couple months:
Thanks to R.J. DeLuke:
Thanks to Susan Brink:
Catching the end of Joey DeFrancesco, who was that singer? Oh, Joey D himself? Rollicking stuff,
“Eddie Palmieri just about knocked the walls of the fort down” — wish I’d heard that! Palmieri is Mr. Energy, and gets so excited, and conveys it. More info on those side sets: like, the size of the ensemble? What made this gig special?
Ok, here comes a Regina, pre-recorded (and tweets say Wynton’s currently on the mainstage — what are we missing. “Live” is not quite live, then. . .
Celtic touch from the accordion (bandoneon?) and Regina’s pizzicato + the kora brings to mind Bela Fleck’s Africa project. Everything converges. . . Tightly arranged, but now she’s bringing out the saw edge, fiddle-aspect — more of that, please! Dig in and go! — (what an impatient listener I am . . .) Nice dance music, bare feet in the dust. . . and she touches on the gypsy edge —
That first was a Amadou and Mariam piece — now, “Friendship.” The kora is one of the most beautiful instruments, a harp with a glistening edge, typically underlay by flowing bass register counterlines. The sea-chanty accordion and keening, long-bowed violin phrase; nimble bass playing, too — no one in each other’s way, a transparent weave of strings and breathy squeezbox reeds. . . I imagine this goes down very easily, also, in Fort Adams Park, set on a rocky prominatory, usually a nice breeze (though few trees/little shade except from the stage . . .
— Now, Regina quotes “My Country ‘Tis of Thee” and the accordion suggests a penny whistle — Regina quotes a tango, and the accordion gladly dips into that rich stream — “friendship” across the waters, the continents. . .
“New for N’Awlins” — this is a bit more set-up, but are those spoons and rubbaboard in the background? Clickety-clack percussion, cuts the accordion sauciness, (single note accordion lines, has anyone here heard of Leon Sash? Art Van Damme? Block chords — has Joey D. suddenly returned to the stage? Rockin’ Dopsie’s influence passes through, too) . . When Regina returns, can’t you hear the Western Swing?
Whooops! Sound drop out! Hate that! Is it only over the online broadcast? ‘Cause turning on WBGO quickly, there’s a signal —
The music’s all different, though. In full swing, so to speak, but I need to get acclimated: A sweet voice singing unfamiliar language, staggered saxes behind her and the drumming seems worth focusing on (oh, of course, it’s Tyshawn Sorey drumming, and Steve Coleman, alto saxophonist/innovator), piano wending throughout . . . many lines to follow, and they double back on each other . . .
Now Steve Coleman stands alone, putting forth a theme — and his people fall in behind . . . brooding, Middle Eastern hints . . .and here’s what Coleman does that’s so fascinating — the offbeat synchronicity of accents driving forward. Colllective improvisation, thick and fast, expanding and contracting only to spring forward… use of riffs turning tight, and after climactic full grip, subsiding as if into the air.
With barely a moment – Mostly Other People Do The Killing. NPR’s on-sight commentator Andy Beanstock (sp?) unfamiliar with this quartet, talking over the end of Coleman (why?), enthused about “having this many jazz people in one place” (duh, that’s a jazz fest for ya). These guys have been around for several prominent records with spoof covers but solid + playing. The band I’m most sorry I haven’t heard live yet. I’ve caught saxophonist Jon Irabagon in person, but not Peter Evans and from what he’s done on record, I’ll dig being in a room while he’s blowing, feeling him move the air.
The quartet rolls as a team through episodes, loose and together like acrobats disguised as clowns. Clowns in suits. Scary smart ones.
Ambrose Aminmusire, trumpeter with quintet — another rising star I haven’t heard live yet, so yet again, thanks NPR for making it easy! Trumpeter of the Year and Up and Coming Artist of the Year in the 2011 Jazz Journalists Association Jazz Awards — an unusual double win. Starting with his “slow jam,” as NPR/the Checkout host Joshua Jackson describes it. Does ruminative work at Newport? Does quiet? Last time I was there (for the fest’s 50th anniversary) the answer was: If you sit close and concentrate. Or if the power coming from the stage is so intense it can be restrained without fear of getting talked-over. Outdoors, sunshine is hard on jazz, the nightmusic.
Coincidentally, last night I watched the scone great Miles Davis quintet — Herbie Hancock, Wayne Shorter, Ron Carter and especially Tony Williams — on DVD from German concerts circa fall 1967. Those gents went straight for a high level of improvisation, immediately upon hitting the stage, and created this stretching-from-the-inside style that Akinmusire’s approaching with his ensemble — (“Regret No More” was the name of that tune they just laid out; a rather abstracted mood from it, consoling not celebratory). It’s not conviction that’s lacking here; maybe just experience. The Davis 5 seemed like serious adults, though Williams was 22 at the time, Hancock 27. Ok, Akinmusire was born in ’82, how has he ever had three week stints of four sets a night?
Modernism, and today’s jazz milieu. Ambrose’s ensemble is working hard, both the tenor saxophonist and drummer contributing high points. Saxophonist Walter Smith III is running through and past what he knows, and that element of exploration — search — is one of jazz’s most exciting dimensions, especially when it results in find. Finding what’s new or distinct, different, even if it’s only a corner or niche, post Coltrane/Rollins/Ayler/(Fred Anderson and Kidd Jordan might be on the list, Von Freeman for his unique intonation, Dewey Redman, Joe Henderson, Rahsaan Roland Kirk, John Gilmore, Eddie Lockjaw Davis, Jimmy Forrest, Frank Foster?)/Shorter is a huge challenge to any saxophonist.
Vladimir Chekasin – VilniusJazz32nd
Have Jimmy Heath, Joe Lovano, James Carter, David Murray, Michael Brecker for sheer technique, Chris Potter, Tony Malaby, Ernie Watts, Joshua Redman, Ravi Coltrane, David Ware, Peter Brotzmann, Ken Vandermark, Larry Ochs, Vladimir Chekasin, Charles Gayle, Roscoe Mitchell achieved it? Let’s search their repertoires and identify the genuiine acccomplishments. There are some, but it is an ongoing quest. There will be a new music, someday. Maybe tomorrow. Tune in again, I’m taking a listening-only position vis a vis Grace Kelly & Phil Woods, Wynton, the New Black Eagle band, Trombone Shorty, and whatever else Newport has in store. But I think I’ll try this exercise — live tweeting/blogging to a radio broadcast — again tomorrow.
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