Strolling Bourbon

Bourbon Street; famed way in New Orleans. There was jazz; Irvin Mayfield in an upmarket hotel jamming on Miles. It’s still a nightlife centre. Sleazy during the day, busy and throbbing at night: drinks, strip clubs, very noisy music. Classic rock, mainly, but some country and a touch of older style jazz. They were all tight and lively, although some were playing empty houses. All had a bucket for tips. It was still early. My favourite was a large band at Fat Cat doing Motown and the like with authentic, gospel infused vocals and the unlikely name Ka-nection. They were great but loud! These clubs have great sound: clear and very loud. Enter at your own risk.

Walking New Orleans

I could have stayed on for the second set at Snug Harbor but I really wanted to explore the music on Frenchmen Street and through the French Quarter. I am told that Frenchman Street is the place for jazz, contemporary or otherwise. There are lots of other bars including interesting early bands, but no more contemporary jazz. But this is a lively street. Jenny Vee & the Windin’ Boys were playing on the steps of a closed bar with a few onlookers and a couple dancing. Meschiya Lake & the Little Big Boys were playing at the Spotted Cat Music Club. Both are early jazz styles with sousaphone basses. Both entertaining and capable bands. I noticed the Spotted Cat was a room with stage in one corner, bar in another and mostly open space. I was to find most bar here are open with much space for standing or dancing and just a few chairs or perhaps high tables around the side. Timber floors, dark interiors; good for active night life. I passed a string of other styles and club. New Soul at BMC had another innovation: no breaks. They just keep playing all night so people don’t leave. I arrived to the playing instrumental – Sissy funk, the band set up a groove on Fever with looped bass, the singer came up and the bass and guitar left the stage, to return after a long take with vocals and tenor and trombone solos. The singer quipped the drummer has a good bladder. Then on through backstreets seeing no more music but shop windows, statues, rains storm and the like.

Roots and connections

We are in New Orleans and there’s a real sense of history, not least of jazz, and the tourism around it. We were out to dinner and jazz in Frenchmen Street. It’s just outside the French Quarter but it’s a renowned street for jazz and bars and the venue we went to, Snug Harbor, is known as a decent eatery and more contemporary jazz venue. The band this night was a piano trio led by drummer and they are playing each Tuesday for 5 weeks prior to a Blue Note stint and a tour to Japan. I imagine NOLA is in the thick of it, as they chatted of the loss of a local performer and recording with Chris Martin of Medeski Martin & Wood (just confirmed given Delfeayo Marsalis is playing at this venue the following night). The trio was led by Stanton Moore on drums, with James Singleton on bass and David Torkanowsky on piano. They started driving and punctuated with drum solo then a hard swing. There was a real sharpness and accuracy and a sense of history of the music. NOLA is drenched with historical jazz sounds (as I was to hear later in the night) and Preservation Hall and heavily-blues influenced pianos and it showed here. This was not so much complex or clever musically; it was sharp and correct and basically tuneful and scalar and harmonically easy. Not a lot of substitutions or complex polyrhythms, although there were some dissonant sequences later from piano. David sat pretty still but Stanton would writhe on this drum stool at times and James was tastefully fluent in his soloing if physically and facially contorted. It’s the jazz image, I guess, of commitment to the art. But I did like his solos: melodic, nice intonation, some extended country-like slap, loops under bowed solos. Committed but not so much urban contemporary. I put it down to being products of a long and strong local tradition. Stanton was somewhat the same: strong drumming laid straight and firm. David was a little different, sounding of McCoy Tyner fourths combined with long scalar runs, and just a dabble into dissonance later in the set. I’ve yet to see much NOLA music and I won’t do it this time around but I’m getting the feel of tradition and roots already. My walk home will just add to that.

Stanton Moore (drums) led his piano trio at Snug Harbor in New Orleans with James Singleton (bass) and David Torkanowsky (piano).

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.