A confusion of Eubanks

I heard Dave Holland once before and he was playing with a fabulous trombone player, Robin Eubanks, so when I saw Eubanks on the program I remembered him. But this was Robin’s guitarist brother Kevin Eubanks and the band was Prism and the music was immensely other. Prism was also having its first outing at this Chicago Jazz Festival. They comprise guitar, piano, bass, drums and they play jazz rock. Very, very different. Dave may have introduced the band as nominal leader but the sound clearly functions around guitarist Kevin. He’s brash and loud and driven and always on the edge of feedback and he uses it as a sound. He’s rocky or fusionesque or soundscapish rather than jazzy. The notes are not the thing; the effect is, and it’s an outlandish and extroverted and fun thing. The energy is high; the volume is high; the harmony is low. There was some of each these but this is essentially a music of grooves and rock-intensity. Dave played a few solos, and on double bass they were impressive outings but they could not help but be quieter and more jazzy. Drummer Eric Harland played a few solos and these seemed to be a bit strained as he searched for an authentic response to the urgent guitar, but this was the first gig for this band so they are presumably finding their feet. I hardly recall the role of Craig Taborn on Rhodes and piano as I write this a few days later although I do have notes for some decent solos. I could appreciate some of all this but I was underwhelmed. I thought of leaving early; too loud; too brash; too little change. I wondered if Kevin was faking it but I was wrong, of course. You can’t use jazz guitar chops as the model for this style. This was predominantly chromatic and strummed and sound effectish. Consonance or dissonance or even harmony were not the issue. Some left early but others took the opportunity to take their seats. The woman next to me, not alone, stood for ovations during the gig. I was underwhelmed although somewhat interested. Maybe it’s just that my rock days are behind me but this was very much ROCK[jazz] to my ears.

Prism were Dave Holland (bass), Kevin Eubanks (guitar), Craig Taborn (piano, Rhodes) and Eric Harland (drums). Prism premiered at the Chicago Jazz Festival.

Ensembled iconoclasm

Tom Harrell was clearly held in very high regard. I knew of him but didn’t know him, but now I also hold him in high regard. He composed and led a sextet with alto, trumpet, tenor front line and 2 x bass and drums rhythm section. Obviously, the combination of two double basses without a chordal instrument is rare and to note. Esperanza Spalding as one of those basses was also to note and from the video feeds, it was noted. Tom is obviously not well, stooped and shaking, but his writing was impressive and deep and his solos were interesting and well built. I was taken by Esmeralda who did wordless vocals and bass, including some very capable solos well up the neck. I was also admiring of other bassist Ugonna Okegwo who took on most solid backing duties and played with a firm hand. There were solos from the various horns and several passages that devolved into collective improvisation. Jaleel Shaw on alto really impressed with several evocative and speedy solos. One thing of interest was how all the soloists approached their solos similarly on the same song, but then played markedly differently on another song. So there was a shared vision of each song and each song had its own vision. This is one nice ensemble. Great playing from Wayne Escoffery on tenor and steady, malleable playing by Johnathan Blake on drums. Obviously, the way the basses worked together was of much interest. Ugonna tended to do the majority of the traditional bass work, especially as Esperanza had another role as singer (for a ballad in French) and wordless vocals for several other tunes. She sometimes combined vocals and bass. Against solos, they would play consecutively behind each horn, so when the soloist changed, so did the bassist. The two basses played a unison obbligato for one tune; for another, Ugonna took the low parts with Esperanza playing two-note chords an octave above; for yet another, they improvised in different octaves, Esperanza above. It’s hard to avoid a comparison. They were both good players: perhaps he with firmer technique in traditional roles; she with more lyrical solos onto thumb positions; both impressive. The tunes were not introduced but were presumably compositions by Tom Harrell, including that French ballad (truly beautiful), a contorted bass obbligato played unison by two basses with slow melody over, a rollicking hayride tune, a glorious trio of two basses and flugelhorn, a blow with long repeated octaves from the basses. Beauty but also iconoclasm and invention. Great compositions and arrangements played as genuine ensemble works by an intriguing line-up.

Tom Harrell (trumpet, flugelhorn) debuted his new sextet with Jaleel Shaw (alto), Wayne Escoffery (tenor), Esperanza Spalding (bass, vocals), Ugonna Okegwo (bass), Johnathan Blake (drums).

Next a biggie

What I noticed about Gary Burton was just how unforced was this music of his New Quintet. Gary himself plays a straight but wonderfully capable style, easy, consonant, fluid. You feel every line is as you’d expect and as you’ve heard it before. For me this is mainstream. The lines are right if a little unchallenging but as a muso you realise they are not easy to play, of course. There’s immense practice and skills to do the expected. He played with a young band of internationals: Ukraine (piano), Peru (bass), Puerto Rico (drums) and … California (guitar). Young guitarist Julian Lage also had this unpretentious style, blues-rich and slow-hand. He did occasional fast, dropping in a few flourishes, but mainly this was slow with each note felt. This was neat playing, easily comprehended and very presentable. Both Gary and Julian smiled frequently and looked encouragingly at the others. Pianist Vadim Neselovskyi also stared at the others but his style was none so overt. His solos were very different, to my ears they were a classical crossover, and mostly classical: polytonal, polyrhythmic, poly-everything. Just once or twice was there a right hand sax-line line; this was full handed explorations that veered way off track but recovered in resolutions. No surprise there from the Ukrainian of the band: I always imagine East Europeans are the remaining stalwarts of classical training. Otherwise, the band was bassist Jorge Roeder, again understated and tutored. Drummer Henry Cole displayed some tortured facial expressions but his playing was responsive and his solos were very satisfying dissections of the rhythm and explorations of drum tone. The quintet played originals by various band members: Late night sunrise by the pianist, The Lookout and another by the guitarist, a tango dedicated to Piazzola by Gary, another one or two and finished with a relaxed blues on Bag’s groove. Finally, Gary Burton was given two awards by the Jazz Journalists Association, for his vibes playing and for the best jazz book of the year, Learning to listen / Gary Burton. Clear and evident playing meets classical improv.

Gary Burton (vibraphone) debuted his New quintet at the Chicago Jazz Festival. The members were Gary with Julian Lage (guitar), Vadim Neselovskyi (piano), Jorge Roeder (bass) and Henry Cole (drums).

My music

Ari Brown played at the first Chicago Jazz Festival and this is the 36th iteration, so he is a veteran. Apparently the band, too, is longstanding. This is unpretentious, honest, true music. Bassist Yosef wore a colourful African skull cap and this places the time. So does the simultaneous harmonies of tenor and soprano a la Roland Kirk. Steady grooves with bass that moves but holds, meditative, lyrical, eddying percussion. Ari’s solos were strongly voiced (he’s a Chicago tenor and they have a tradition of big tone), uncluttered and lyrical. His pianist brother Kirk spoke from this same era, again simply and honestly phrased. Bassist Yosef stood warm but inscrutable, holding steady latin-like grooves, subtly enlivening them with fifth and octave patterns. I enjoyed percussionist Dr Cruz staring blankly to audience as he developed intriguing but understated polyrhythms in his solo and otherwise and the interplay with drummer Avreeayl was a pleasure. They played the range of this style. Wayne’s train was a dotted quarter note octave bass obbligato; One for him was a dedication and a medium-up walking blues; Freebop for Mal was another dedication written by Kirk; Inca was another latin feel; they finished on a lovely take on Sophisticated lady. To some degree it’s my preferences (this is close to some of my formative Africa-rich albums including Norman Connors) but this was a great pleasure to me. To my added pleasure and surprise, they received a standing ovation, so it’s a music that’s loved by many. Just unpretentious and honest music from the veterans.

Ari Brown (tenor, soprano) led a quintet with his brother Kirk Brown (piano), Yosef Ben Israel (bass), Avreeayl Ra (drums) and Dr Cuz (percussion) at the Chicago Jazz Festival.

Worthy of the bigger tent

Even the MC bemoaned that Kurt Rosenwinkel didn’t make the main stage. Instead his quartet played a set in the Jazz & Heritage Pavilion. It was hot and sweaty and full with perhaps thousands. These are truly big marquees for big weddings! This is my third listen to KR and I am still unravelling his reputation. Guitar is not always my favourite instrument, but I can see his immense capabilities. Synth effects are not always my favourite sounds, but I could enjoy his presumably-midi driven analogue synth tones and slow attack envelopes. There was even a friendly harmonium-tone for one solo. He’s fast; he’s wonderfully easy with his lines; he plays huge phrasings and ends them with the most glorious of dropping lines; he can play unexpected intervals and extend them with ease over three octaves; he mixes finger picking and picks; he plays with slurs or soft unattached tones; his sequences are of all manner and immense capability. I heard all this and drooled. Similarly for the others. Aaron Parks was playing a more straight jazz effort than when I heard him a week or two before with his own band. Eric Revis was eminently firm and drummer Colin Stranahan took several solo outings with verve and force. This is not music of great dynamics and perhaps not of great humanity. I felt a steadiness and consistency from streams of notes and steady drive rather than crescendos and variation. I thought of the visual age and film and Pat Metheny. They played an easy latin feel over 16 bars, a samba with a beautiful guitar solo intro, a dotted feel, a 3-feel over 16 bars, they ended with a 6-feel that was welcomed with applause, obviously well known. There’s clear mastery and some clever twists. I drooled over the playing and was immensely happy to hear this show but remain a little untouched, so I’m still searching for the heart of Kurt Rosenwinkel after 3 gigs.

Kurt Rosenwinkel (guitar) performed with Aaron Parks (piano), Eric Revis (bass) and Colin Shanahan (drums) at the Chicago Jazz Festival.

And so to day 2

Two short visits started my day 2 at Chicago Jazz Festival. Neither visit did justice to the performers. CJF had two large tents as well as the major stage. The Jazz & Heritage Pavilion was the stage for the Chicago Underground Duo. There’s a long-standing underground and experimental music scene in Chicago. Rob Mazurek was playing trumpet as I arrived then moved through bamboo flute, wordless voice and African percussion, all the time managing something electronic, presumably a laptop, while Chad Taylor drove and coloured on drums. All this was embedded within bass and other recorded sounds and echo effects. Loud and convincing and well received.

The John Wojciechowski Quartet was a more traditional jazz outfit playing in the Von Freeman Pavilion. Tenor, piano, bass, drums playing a ‘70s style jazz. Nicely dynamic with accents, pedals, swing and walks, unison punctuations, and some satisfying solos passed round. Attractive modern jazz played for a large and willing audience. I was amused by the counterpoint of blank-faced bassist and beaming drummer. It’s actually been quite an education to watch musicians’ faces at this festival. Quite a few smile and often they are the ones closely watching each other; some are bland and distant; some pull quite odd faces. Perhaps it’s the huge screen over the mains stage and the intimacy of TV projection that raises this as an issue. But my impression is it’s best to smile, at least to engender participation and empathy in the audience.

The Chicago Underground Duo is Rob Mazurek (trumpet, flute, laptop, percussion, various other) and Chad Taylor (drums). John Wojciechowski (tenor) led a quartet with Ryan Cohen (piano), Dennis Carroll (bass) and Dana Hall (drums).

Young lions

Terence Blanchard was one of the young guns and a member of the Jazz Messengers. He, too, played at Jazz Showcase sometime in the ‘80s and this, too, was a return to Chicago for him. That was well received. Terence and the band were well received. There was plenty of virtuosic display on show; actually, tons of virtuosic display. For this show, Terence’s offsiders included Lionel Loueke and Ravi Coltrane and the rhythm section was led by Fabian Almazan whom I missed at Village Vanguard in the last week or so. Fabian was getting rave reviews. But that was something different, with string quartet and other. This show had the flair and confidence and virtuosity and neatness of CTI or perhaps Miles strutting the stage. They played long tunes; their solos were long and incredibly capable; the tunes were neat but more a vehicle for the individuality of the blow; the solos took off with verve and incredible ability. Maybe they took off too quickly for comfort or blew with inconceivable intensity. Certainly Terence bent over with his intensity. Ravi was less the showman but did some of the same. The drummer worked and sweated. I felt Lionel build more gently into his fingerpicking that seemed almost incredible with its long intervals between thumb and fingers. Fabian, too, developed more slowly and seemed to my ears to seek out a more inventive improvisation. They were excellent players, all. I’m sure they knew it; Terence seemed to know it. He’s not quite the young gun anymore and he’s probably hotter than then; at his peak. He’s certainly hot, bending and strolling and blowing fabulous lines with a thickset tone to die for. But still I was left wanting. Much ado? These are obviously great players, I remind myself. That’s what I took from this: great players. The audience loved it, but it left me wanting more. A bit too much sound and fury for me.

Terence Blanchard (trumpet) played with Ravi Coltrane (soprano, tenor saxes), Brice Winston (tenor), Lionel Loueke (guitar), Fabian Almazan (piano), Joshua Crumbly (bass) and Kendrick Scott (drums) at the Chicago Jazz Festival.

Sublimity

My body loves hard bop but my soul loved Myra Melford’s Snowy Egret. Myra grew up in Chicago, lives in New York, plays with Henry Threadgill, teaches at UCB, is influenced by Don Pullen and Cecil Taylor and speaks with accents of classical, blues, free jazz and more. I found this a deeply satisfying set. It was simpler than the clever, earthy contortions of hard bop; more minimal but rich and expansive. Tunes merged. They played just three numbers, but the first was a medley of three (Promised land, Virgin of Guadeloupe, Kitchen). Hypnotic melodies would arise from dense expanses of transmuting colour. The drums would writhe with density and busyness, accompanied by rhythmic, little-harmonicised fretless acoustic bass guitar. The clear, punctuated classical guitar played a contrapuntal lines or soloed with mutating harmony over an urgent foundation. Cornet and guitar were similarly clear in intent, both wonderfully lyrical and exploratory. I was deeply in admiration of both these players, calm, seeking, overtly honest in their task. Myra established this as leader. She also spelt melody with clarity and intent (on piano and once on melodica). Later, she did a playful take on boogie-woogie and stride but she obviously had ability and love for the esoteric and dissonant. More than once did she raise the pitch and descend to hands and elbows and tone clusters and free abandon. At this, she was a master. But what I liked was that this was not someone who plays only free but a trained performer who chooses free at will. And the abandon was infectious and accepted: she raised great applause from this audience. As for the music, there were dotted syncopations, there was a light 8-feel, there was stride and latin, there was rubato. To my ears, this is truth in music, learned but unrestricted, challenging but inviting, training used for purpose. Sublime.

Snowy Egret was led by Myra Melford (piano, melodica) with Ron Miles (cornet), Liberty Ellman (acoustic classical guitar), Stomu Takeishi (acoustic bass guitar) and Tyshawn Sorey (drums). They performed at the Chicago Jazz Festival.

My bass tutor

The Rufus Reid books (Evolving bassist and Evolving upward) were the main tutor books in my bass life and presumably the lives of many jazz bassists, so to see he was performing at the Chicago Jazz Festival was a moment of great excitement. It’s different from the pages of a book and perhaps more so than a video. Suffice to say I was not disappointed although I was surprised by some aspects of this gig. Rufus is now a bass veteran, firm, confident, in the back row but key, as composer, leader, formidable hard-bop driver and player and front row member when laying down unison lines with the horns or taking his own solos. These charts were sometimes contorted, frequently complex and of odd times. I think I counted Hues of a different blue as 4-5-4-7 but I’m still not sure. The playing all round was great. Solos were passed often between players, so at least the front line tended to all solo on each tune with reasonably short solos. Alto Bobby Watson was the most at home with Rufus, concentration relieved with smiles, but they all looked comfortable even if they were obviously working to read a few of the charts. And they were all reading, even Rufus for several of the more contorted melodies. Great, driving hard-bop with rich arrangements and interesting changes from some expert players. So what’s surprising here? Firstly, Rufus’s playing, which seemed so magisterial and relaxed and which he seemed to do with little left hand movement. I put this down to pedal but mostly to sly use of leading notes, so a rich chromatic take on the bass lines was just a middle finger away. Lovely! This is how the seasoned pros do it. Secondly, how these guys milked so much music from essentially a tonal take on the changes. I first noticed with Bobby Watson, but the others did this too. Their sense of melody overlaying the changes was magical and informed with profound comfort with the scales and arpeggios that are the building blocks of all this. The lines just flowed; the changes just passed but the musical themes moved through them with incisiveness and ease. I noticed some dissonance later so it was there, but invention was there without it. I remember John Mackey correcting my hearing of his playing once, that it was essentially tonal. It shows how closely you have to listen. It was just piano played with considerable dissonance and the first time I noticed this, it was in the left hand against a tonal right hand. How interesting and so much to learn. They mostly played originals from Rufus’s recent album/s: Glory (contorted heads and odd resolutions), When she smiles upon your face (medium latin AABA arranged with a march as feature), Ebony, The eloquent one (dedicated to Hank Jones), Hues of a different blue (with that odd time), The drying blues (hard bop F blues with a melodic twist by Eddie Harris). Rufus played with Eddie Harris and a string of others (Stan Getz, Art Farmer, JJ Johnson…) and studied classical bass and is famed as an educator. He deserves the confidence of his senior statesman status and he certainly looks it on stage. Just a great, hard driving performance and classy musicianship.

BTW, a recurring theme of this Chicago JF is Joe Segal and his very longstanding Chicago venue, Jazz Showcase. Early in his career, Rufus Reid was resident bassist at the Showcase, so this was also a return to known turf. And not just for Rufus, but for several other players. Chicago laid claim to 60% of the performers at this festival.

Rufus Reid (bass) led his Sextet with Bobby Watson (alto), JD Allen (tenor), Derrick Gardner (trumpet), Steve Allee (piano) and Winard Harper (drums) at the Chicago Jazz Festival.

First up

There’s a pavilion at this festival named after Von Freeman. Von is held in high regard here in Chicago, but he’s just one of a family, including son Chico (who I’d seen at an Adelaide Festival in the ‘70s) and brothers drummer Eldridge “Buzz” and guitarist George. So it was with much warmth that the crowd welcomed George playing with the Mike Allemana trio. This was very much a mainstream, straight-ahead set. The trio was Mike on guitar with organ and drums. The grooves were swung, the feel was blues-rich and considerably dirty at times. The tunes were pretty much blowing charts. Firstly, a 32-bar with elaborations on rhythm-changes, a blues, a ballad, a funky dotted quarter-note groove, a 6-feel with cycle changes and an final up-tempo bop blues. George is now 87 so more the slowhand (his history ranges from Louis to playing with Bird, Diz, Roy Eldridge, Sonny Stitt, Ben Webster and a list of names) and he plays the dirty effect to the max, with strummed chromatic chords and occasional cross-neck lines. It’s in marked contrast to young gun Mike Allemana with his clear tone, staccato attack, long eighth note lines, occasional side-stepping and substitutions and switches to 16th notes. This is an organ trio. The left hand bass line was prominent over such a massive PA and the tone of Hammond with Leslie was sweet and changing. Organise Dan Trudell played similar improvisations of tonality with occasional substitutions. Drummer Mike Schlick held steady swings with a light touch and all kept eyes and ears open for the veteran George. In some way this set was a family outing for jazz in Chicago with the respected veteran uncle in the corner and a pair of conservative mainstream Gibsons holding the stage even if George’s detune solo harked back to a funky soulful youth. Good swinging mainstream with a reminder of provocative youth.

George Freeman (guitar) performed with Mike Allemana (guitar), Dan Trudell (organ) and Mike Schlick (drums) at the Chicago Jazz Festival.