Category Archives: Jazz

Ethan Iverson & Tom Harrell at Buffalo’s Kleinhans Music Hall

After a two-year postponement, pianist Ethan Iverson and trumpeter Tom Harrell came to Buffalo for their duo concert at Kleinhans Music Hall’s Mary Seaton Room. Originally scheduled for March 2020, this was the first concert on my calendar to be pushed back or canceled outright due to COVID-19 restrictions. (With Chicago’s Ring Cycle being the second…) Now, more than two years later, it was the first acoustic jazz concert I’ve seen as an audience member since then. This was my first time seeing either musician perform live and hopefully not the last.

(For additional context, a pre-concert interview is here.)

The concert was a compelling 80-minute journey through the The Tradition via The American Songbook and a couple of Harrell originals. An “evening of standards” can go in many directions (good and bad), and the duo deftly navigated the musical waters in a way that was consistently refreshing. On the one hand, their approach was traditional: recognizable tunes, clear melodic lines, alternating solos within the prescribed forms. However, within that rubric there was much variety: harmonic and rhythmic exploration, stylistic wandering (with Iverson occasionally drawing on European classical influences), a wide textural range—notable considering the duo format.

The 11-song set was pretty evenly divided. Each piece was several minutes in length, and I don’t think there was one instance of someone soloing for more than two consecutive choruses. The set ran The Tradition’s gamut, from medium-tempo numbers (“Sentimental Journey,” “I’m Getting Sentimental Over You,” “I Remember You”), to blues (“Philadelphia Creamer,” an Iverson original), to up-tempo swing (“All The Things You Are,” Harrell’s “Improv”), rhythm changes (“Wee”), ballads (“I Can’t Get Started,” “The Man I Love”), and modern fare (Harrell’s “Journey To The Stars”). (Full disclosure: I am missing one title, as there was one tune I couldn’t name.) Many of the tunes are featured on 2019’s Common Practice (ECM), a fun album that showcases Iverson and Harrell in a quartet setting. But the duo format put those same pieces in a new relief, and it nicely highlighted Harrell’s more intimate, understated approach.

Harrell spent most of the evening on flugelhorn, which was a real treat. His full, warm sound complemented the piano nicely. He did play trumpet on two or three occasions in the latter half of the set, but not for a full tune. I appreciated his approach to melodies—straightforward but not plain, providing a nice contrast to his more searching improvisations. His two originals were nice additions. “Improv” was a post bop romp that fit right in with the evening’s standards theme. And “Journey to the Stars” went perhaps the farthest astray from that same theme, with Iverson’s arpeggiated harmonies* and Harrell’s haunting lines.

Given the duo setting, especially when paired with a monodic instrument, Iverson had his work cut out for him and more than rose to the occasion. He was often a one-man rhythm section and sometimes even a one-man horn section. And his melodic approach was diverse, from his borderline shout chorus on “I Remember You” (which sounded like a horn soli) to his crystalline single-note lines and everything in between. His bouncy, bluesy clusters on “Sentimental Journey” filled the hall, and his sparse melodic lines on “I Can’t Get Started” showcased Iverson’s expansive textural range. (And for those familiar with Iverson’s writing, particularly on jazz standards, he practices what he preaches: his playing evinces a keen interplay between the bass and melody, with more emphasis on counterpoint than “chord scales.”)

My only complaint is that the performance didn’t last longer, but it’s better than the alternative. The concert was more than worth the wait. My only hope is that it won’t be another two years until I can see either artist again.

Ethan Iverson and Tom Harrell on April 8, 2022
(photograph by me)

Also, it was nice to briefly meet Ethan Iverson after the concert. He’s just as friendly in person as online (where I occasionally tweet at him, usually about Keith Jarrett).

*I should admit, with apologies to the artists, that Iverson’s arpeggiating briefly reminded me of Collective Soul’s “December,” which proved distracting for a few seconds. Not that Collective Soul invented such arpeggiation—far from it—but that’s where my mind took me. Ah well…

Reconciliation at the NEA Jazz Masters 2014 Ceremony

The ceremony honoring 2014’s NEA Jazz Masters Fellowship recipients was held Monday evening at Lincoln Center and was streamed live. I generally don’t make a habit of watching or listening to the actual ceremony, but I was home and had the time. And while I don’t want to go into a lengthy exposé, I do have a few thoughts on the event.

(The NEA Jazz Masters Fellowship is the US’s highest federal honor for jazz musicians. That’s great, though it’s curious that such prestige for “America’s classical music” amounts to a $25,000 grant for cultural titans in our homegrown art. Anyway…)

It’s of course interesting to see who receives such awards, and I had an increased personal interest in the class of 2011 which included Dave Liebman. (2011 also curiously included the entire Marsalis family. Cute. It prompted this response from Phil Woods.) This year’s class also piqued my interest beyond general curiosity. The recipients are:
Jamey Aebersold – Renowned jazz pedagogue (I bet a number of you reading this have used his play-along sets as I have)
Anthony Braxton – Saxophonist, composer
Richard Davis – Bassist, educator
Keith Jarret – Pianist

He hasn’t received as much attention on this blog as some other figures/topics, but Keith Jarrett looms large in my life. (As I alluded to in a recent interview.) He’s one of my favorite musicians, and I’m fortunate to be alive at the same time as he. I can’t claim to have all of this albums, but I can at least say that I have a strong majority of his ECM output, and he’s a significant part of my collection. As far as “traditional” jazz is concerned, he’s often a bit of an outsider, despite his stature as being one of the most listened to pianists in the world. So his being recognized as a “Master” was of strong personal interest. That, and I was curious to see him give a speech – something that almost never happens – and wanted to see how he handled the performance portion of the evening. (Aside form classical works, he plays extended solo concerts or with his trio. That’s it.)

Jarrett was warm and sincere, all things considered. Humorous, even. (His speech was rough around the edges, but people don’t flock to his concerts – myself included – because of his charm and pleasant demeanor.) And it was nice to see Manfred there with him. For his “performance,” fellow ECM artists Jason Moran and Bill Frisell performed his “Memories of Tomorrow,” which he seemed to genuinely enjoy.

For me, the highlight of the night was Anthony Braxton‘s portion. It was quite compelling and one of the reasons I tuned in to begin with. If Jarrett is somewhat removed from the historical neo-Bop “heads” of the jazz elite, then Braxton is from another universe entirely, something Braxton acknowledged in his speech. Among other things, he, along with Roscoe Mitchell and Evan Parker, pioneered the solo saxophone aesthetic in improvised music. He’s since become renown as a composer, writer, and educator, as well as a strong technician of the instrument. While I’ve not really written about Braxton on this blog, I have discussed his Association for the Advancement of Creative Musicians (AACM) colleague Roscoe Mitchell. When I tuned in, I wanted to see both what he would say/do and what the reaction of his peers and audience would be.

I’ll admit, Braxton rambled and his speech was all over the place (and long), but he spoke a great truth: that musicians must reconcile their aesthetic differences and celebrate creativity and progression. He was heartfelt, joyous, and soft-spoken. Also, he acknowledged that his being considered a Jazz Master is a solid leap in that direction of reconciliation. Three key quotes, the first coming from his opening:

“For the last 50 years, my worked has been viewed as not jazz, not black, not contemporary classical music. My work doesn’t swing. After a while I got used to that. I got used to those perspectives and accepted it. In the end, I just wanted to do my music. And suddenly, with the beautiful passage of time, there would be a change.”

“Before Charlie Parker played his music, it didn’t exist.”

“We need to have a reconcilement in our music… We need to reconcile the polarities.”

He cited influences including Dave Brubeck, Cecil Taylor, Arnold Schönberg, Iannis Xenakis, John Philip Sousa, and the MSU and UofM marching bands. He also discussed music and aesthetics in the prism of cultural nationalism, politics, and theory. Yes, he droned on and on, but it was obvious that he was just as surprised to be receiving the award as others were to watch him receive it. Although the other three recipients were humbled and gracious, they’re still easily considered jazz musicians and they know it. Braxton, on the other hand, has spent his life and career in the wilderness doing his own thing and creating his own art. And the fact that he was acknowledged alongside Jamey Aebersold for anything is news in and of itself.

Braxton didn’t himself perform, but rather an excerpt of one of his operas, Trillium J, was performed by some of his associates and students. Yes, a contemporary/avant-garde opera excerpt was performed at the NEA Jazz Masters ceremony. And not only that, but it was performed well.

Unsurprisingly, Braxton’s speech and performance received a supportive but unenergetic applause. At least it got that, I suppose.

I could drone on and on about my thoughts on various other details, but a few things stick out:
• It’s curious that the two most technically advanced musicians of the recipients – Jarrett and Braxton – were the two recipients who did not perform live. Aebersold, a giant of jazz education who hasn’t made a career out of performing, did. (Which was nice to see, by the way, since it’s a rarity.) And Richard Davis started playing an interesting solo bass piece that quickly devolved into an arco trainwreck. (The bow, like the Ring of Power, is tempting and does more harm than good.)
• Despite the above point, the performances of Braxton’s and Jarrett’s music were the strongest of the recipients, and arguably the strongest of the night if judging purely on technical merits (and not subjective matters of taste).
• Wynton Marsalis and Soledad O’Brien needn’t co-host again.
• The forced collaborations for performances had an awkward, Grammy-like quality to it. Furthermore, why did some of the collaborations by jazz musicians seem so uncomfortable?
• The neo-Bop army was a little too smug when they gave a rousing applause to Richard Davis’s insistence that one can’t play “free” without the requisite fundamentals. (I agree wholeheartedly, but the audience reaction seemed like more of a slam against Braxton, who preceded Davis, than a support of instrumental technique.) This happened a couple other times.
• Many of the next-day write-ups have downplayed if not outright ignored Jamey Aebersold’s presence at the ceremony. Not only is he 25% of the program, but he’s arguably responsible for everyone under 40 on that bandstand. Considering how much those in the arts like to “celebrate” education, I take that as a slap on the face that one of the giants of jazz pedagogy was written out of so many articles. Simply look at this title. [Note: This entry is largely about Braxton and some Jarrett, and not an overall report. So I can get away with it.]

That about sums it up, at least for this post. Will I be tuning into the live stream in 2015? Let’s wait and see the recipients list first.


Dave Liebman at the 2013 Detroit Jazz Festival

This past weekend was something special: three disparate sets by Dave Liebman over as many days and stages at the Detroit Jazz Festival. I mentioned my excitement in my last post, and the performances met and exceeded the hype. Not only was it three days of The Master, but each performance featured a group I hadn’t before seen live.

Saturday’s headliner at the JP Morgan Chase Main Stage was Saxophone Summit: Lieb, Joe Lovano, Ravi Coltrane, Billy Hart, Cecil McBee, and Phil Markowitz. This burnin’ 75-minute set consisted of four tunes from the group’s debut album Gathering of Spirits: “Alexander the Great,” “The 12th Man,” “Tricycle,” and Trane’s “India.” After a bit of a loose start – mainly because of sound – it was off to the races with “Alexander the Great,” and the momentum let up not once. It may have just been the mix (i.e., balance) but it sounded as if the scoring was a bit different in parts. Either way I liked it. Cecil McBee’s dark bass lines gave the set a sinister undertone which I greatly enjoyed, and Jabali‘s driving yet unpredictable drumming continually propelled the group forward. And hats off to Phil Markowitz for such tasteful accompanying. He’s unafraid to both fill out the texture with dense harmonies and not play at all, and he knows exactly when to do both. “Tricycle” was perhaps the highlight, as each saxophonist got an opportunity to play in his own style – separate from the others – within the same piece. Lieb and Markowitz played a lovely improvised duo that could be transcribed and held up against most contemporary classical compositions; Lovano nimbly let loose over McBee and Hart’s drunken dance; Coltrane and Hart created an intense, fiery atmosphere reminiscent of the elder Trane and Elvin Jones. This led into Trane’s “India,” featuring Ravi on sopranino (with a great tone, something rarely heard on that instrument!), Lovano on tenor, and Lieb on soprano (and wood flute for the intro). Whatever was left of the metaphorical roof was decimated with Liebman’s final solo and Billy Hart’s drumming.

(photo by me)

Sunday’s set at the Absopure Pyramid Stage was a duo performance by Lieb and longtime collaborator Richie Beirach. I was particularly excited for this concert because one of the first Liebman recordings I remember experiencing was Tribute to John Coltrane, which features a superb duo performance of “After the Rain” into “Naima.” (And, having purchased so many Lookout Farm, Quest, and other related recordings since then, I was ready to see the real deal in person.) They kicked off their hour set with a lovely tenor/piano rendition of “‘Round Midnight” that traveled quite a stylistic journey: a gentle ballad to bookend frenetic, chromatic solos, finished off with an exploratory cadenza. Liebman showed that, while he’s a Mt. Rushmore-level soprano saxophonist, he’s also dangerous on the tenor. Next was Beirach’s haunting “Testament,” followed by Wayne Shorter’s “Prince of Darkness” and an intense “Footprints.” Their duo rendition of “Footprints” was more intense than most versions I’ve heard by full groups, with Lieb’s characteristic soprano stylings and the pair’s ultra-chromatic approach in full flight. Closing out the set was Liebman’s “Tender” and the Quest classic “Pendulum.” The latter was a nice whetting of the audience’s appetite for the next day’s performance.

(photo by me)

On Monday, Quest was featured at the Carhartt Ampitheater Stage, and it was a wonderful way to complete this triptych. Quest is a hard-charging acoustic quartet consisting of Liebman, Beirach, Billy Hart, and Ron McClure. Originally running from the early ’80s to ’91, Lieb exclusively played soprano with the group until the 2005 reunion. Living in Michigan, I thought I’d never be able to see this group without traveling to the east coast or overseas. (I’ve contemplated the former once or twice in the past.) Seeing them perform was a masterclass in ensemble communication. (The same could be said for the Lieb/Beirach duo and the now-defunct Dave Liebman Group.) Their musical empathy with one another allows for near telepathy, making the music unpredictable. They play without a safety net, and as a listener you know you’ll enjoy wherever they take you, even if it’s a complete mystery. They opened the set with a no-holds-barred “Pendulum” – their de facto theme – with Liebman on tenor. After the melody’s opening salvo, the group took off. Slowing things down a bit, next up was a treat for me: the Lookout Farm-era “M.D.” (Liebman). Of course, even Quest’s “slower” moments are rife with intensity, but they followed that up with a “Footprints” that took no prisoners – I thought his poor soprano would explode – and a “Re-Dial” that featured a complex collective improvisation. Beirach then demonstrated his command of both composition and improvisation on “Elm,” a beautiful ballad and now standard. (Or, rather, what best suits this quartet as a “ballad,” something still too strong for some listeners.) Much to my surprise, the group then played Ornette Coleman’s “Lonely Woman,” featuring Lieb playing the wooden flute exclusively. In my review of DLG’s Ornette Plus – is mine really the only review of that album? – I praised DLG’s ability to create an almost electronic soundscape. Well, Quest may have one-upped that rendition, as they created a complementary haunting atmosphere with Lieb at the helm but with acoustic instruments. No pulse, just flowing sound and texture. It was definitely a highlight of the weekend. They then concluded their set with a version Wayne Shorter’s “Paraphernalia” that made Circular Dreaming‘s studio cut seem tame. Each time Billy Hart played his fleeting rock rhythms, I’m sure Danny Carey and Vinnie Paul felt a tremor in The Force. I’m surprised the stage remained standing at the performance’s end.

Needless to say, it was an amazing weekend. (…and I didn’t even discuss the great performances by Charles Lloyd and John Scofield!) I know that Dave is often considered “a musician’s musician,” which he definitely is, but I’m confident that he garnered many new fans over the weekend at the world’s largest free jazz festival. The NEA Jazz Master consistently demonstrated to the Detroit audience why he deserves to be counted among the pantheon of the jazz greats.

Heads Up: Detroit Jazz Festival 2013

The 34th annual Detroit Jazz Festival is this weekend in Motown. Detroit’s been picked on quite a bit these last few years, particularly in recent months, but the Motor City continues to thrive. One of the ways in which the city reigns is by continuing to host, and somehow continually improving, the world’s largest free jazz festival. And it’s not simply the fact that it’s both large and free that’s notable, but the fact that it features such a powerful lineup. (2013’s lineup is here.) I have neither the time nor space to go through all the artists individually, but suffice it to say that if you’re anywhere near Detroit this Friday-Monday you MUST head over and catch an act or three!

I’m especially excited this year – more so than any other time I’ve attended – as some of the headliners seem as though they’ve been curated to meet my tastes. Usually I’m seeing DMB at The Gorge over Labor Day Weekend, but not this year. I was originally deeply regretful about opting out of this year’s pilgrimage, but the DJF lineup made me quickly forget about it. Three of my favorite saxophonists will be performing, and regular readers of this blog should recognize at least a couple names.

DAVE LIEBMAN — The Master is performing three sets this weekend: one each with Saxophone Summit, Richie Beirach (duo performance), and Quest (!). If no one else I liked were performing, Lieb’s appearances alone would make this my most anticipated Jazz Fest. Wow. (A couple rare album reviews here and here, and MTH-V appearances here and here. And he is referenced in many other posts throughout this blog. And since Saxophone Summit also features Joe Lovano, here are a few great clips with him.)

CHARLES LLOYD — The saxophonist who always commands with subtle intensity. He’ll be performing a set featuring guitarist Bill Frisell immediately preceding Saxophone Summit Saturday night. (A Lloyd post is here.)

JAMES CARTER — Hometown hero and perhaps the greatest living technician of the instrument. (A couple Carter-centric posts are here and here.)

Those aside, I’m also quite looking forward to John Scofield’s Überjam Band and a host of others. You’d have to shell out a lot of bread to see just a couple of the acts that will be performing this weekend, but the fact that so many artists will be performing at a FREE festival is almost incomprehensible. As mentioned above, you must attend if at all possible…