2 Sem. 2010 - Part Six

McCoy Tyner

Solo - Live From San Francisco

by Michael G. Nastos

McCoy Tyner has rarely been reliant on others, although his legendary co-dependency with John Coltrane yielded obvious spectacular and unforgettable results. The great pianist has been very favorably heard in a variety of settings, but it's been quite some time since he's released a solo album — the Blue Note label releases Reevaluations from 1988, Soliloquy done in 1991, or the 1991 Who's Who in Jazz set Live in Warsaw were all quite memorable. From the SF Jazz Festival's Spring Series in May of 2007, Tyner tackles the solo spotlight once again, as his talent rises, soars, and takes off while the program continues for some 50 minutes. All of the hallmarks of his sound, from up and down dynamics to the legendary crashing of chords, especially with his left hand, and the stunning virtuosity of his improvisational runs and streaks, assure you that he is in good spirits and has energy to burn off even at his advanced age. Tyner entered this performance with no preconceived set list, but it's clear a focused vision and sense of purpose serve him well as he mixes up these 11 standards and originals. Of his own works, "Just Feelin'" is Tyner's most revered in its bouncy construct, still fresh and alive even though the larger instrumentation of the original versions is stripped down here. "African Village" and "Blues for Jeff" are newer pieces, the former starting like "Footprints" before serving up constantly changing pacings and modal motifs, the latter a basic, straight-ahead, no-nonsense, upbeat, and rambling discourse. The peaceful, tender "Ballad for Aisha" and the bright, happy "Angelina" bring Tyner into a different, stoic space with that ever-present left hand undeniably potent. As many thousands of times as Tyner has done Coltrane's "Naima," he still seems to discover how to further refine it, and lovingly does so here. He takes diminished or arpeggiated nuances on "I Should Care" in no time with some stride inflections, fully extrapolates the basic structure of "Sweet & Lovely," and rips through a speedy version of Tadd Dameron's "Lady Bird" with a wildly inspired bridge. The obligatory Duke Ellington homage "In a Mellow Tone" closes the performance in a manner that starts out sounding like "Two Close for Comfort," a sly technique Tyner has magically wielded throughout his stellar career. This is yet another of the many triumphant recordings Tyner has given to the world, and though always challenging for any solo artist, he easily pulls it off with nary a hitch, much spirit, and a ton of soul.

Gene Harris Quartet

Live In London

by Ken Dryden
Gene Harris recorded extensively from the time he came out of retirement to his untimely death in early 2000 (1933-2000) . This previously unissued concert, from 1996 at London's Pizza Express, features the pianist with a group of British musicians (guitarist Jim Mullen, bassist Andrew Clyendert, and drummer Martin Drew, the latter worked extensively with Oscar Peterson) who were chosen prior to his arrival in England. Though the musicians had not played together as a regular group, they gelled rather well as a unit. This hour-plus set starts with an invigorating, extended workout of "(There Is) No Greater Love." His jaunty, rollicking setting of Thelonious Monk's "Blue Monk" is bluesy and swinging. Harris changes gears to offer a subtle, lyrical, solo interpretation of "My Funny Valentine"; from there he segues into Duke Ellington's "In a Mellow Tone" and slowly builds it from a whisper to the boiling point. A shimmering "Misty" and a lively impromptu blues close this excellent set.

Nicki Parrott & Rossano Sportiello

Do It Again

By Bruce Klauber

Nicki Parrott is a rarity: a bassist who sings. And she does both very well. This is the second Arbors outing for this charming duo of her and pianist Rossano Sportiello. Parrott first came to the U.S. in 1994 from Australia via an arts grant, enabling her to study bass with Rufus Reid. From 2000 until Les Paul’s passing last year, she was the guitar legend’s Monday-night bassist at New York City’s Iridium. Her duties included supporting Paul musically and also trading funny repartee.
On bass, Parrott is an able improviser with a marvelous, innate sense of swing, heard to great advantage on Tommy Flanagan’s “Sea Changes” and on the little-heard—these days, anyway—“Idaho” by Jesse Stone. As a singer, she’s relatively straight-ahead, devoid of unnecessary effect; a more throaty combination of Blossom Dearie and Joanie Sommers. Her simplicity works well on Milton Drake’s “I Love the Way You’re Breaking My Heart,” “Do It Again” and several other chestnuts.
Italian-born Sportiello—he came to the U.S. permanently in 2007—is a rousing player who straddles the bop of Tommy Flanagan, the traditionalism of Teddy Wilson and even a bit of ragtime. Sportiello has named Barry Harris as his mentor, and like Harris, who has called Sportiello the best ragtime pianist ever, he’s clean as a whistle and never misses, no matter what the tempo. He even tries his hand at a vocal in tandem with Parrot on “Two Sleepy People.” A Vic Damone he’s not, but the duo works, and these two should do more of it. This is the type of timeless music that used to be heard at places like the Café Carlyle. It should be again

Marc Cary

Focus Trio Live 2009

by Michael G. Nastos

As brilliant a jazz pianist as Marc Cary has always been, he continues as an exploratory performer, seeking new avenues and vistas that challenge his adventuresome spirit. With his Focus Trio featuring bassist David Ewell and drummer Sameer Gupta, he seems to have found everything needed in order to complete his visionary quest. These live performances done in Colorado, Switzerland, and two cities in Italy (Rome and Fano) comprise some of his most exciting work, as well as carrying out the thoughtful, inventive characteristics that have marked him as a true individualist. There are adaptations of standards like his incredibly fresh treatment of the well-worn '''Round Midnight," done anew in modal ostinato trim, and exuberant hard bop such as his original waltz "Runnin' Out of Time" and the boiling, highly dramatic cover of Jackie McLean's "Minor March." As a quick thinker, Cary is able to transmit impulses to musical phrases with no hitches, but he also uses two-handed chiming effects à la McCoy Tyner, inside-the-piano string effects, and on occasion electric keyboards, too. The hyperkinetic "CD Changer" uses many short themes between acoustic and amplified keyboards and the contemporary, funky hip-hop attitude that has identified some of his other projects. Even ethnic East Indian raga with tabla (courtesy of Bismillah Khan) can be heard. This tour de force effort needs rapt attention to hear everything that is going on, but it's well worth the concentrated effort in appreciating true genius at work, as only Marc Cary can deliver it.

Dee Alexander
Wild Is The Wind

by Ken Dryden

Dee Alexander was a part of the Chicago jazz scene for some time prior to this outing, working with the late Malachi Thompson and recording a pair of CDs as a leader. Alexander has a fluid voice, good chops, and a flair for expression, especially in Thompson's Latin-flavored cooker "Surrender Your Love." She is backed by a potent rhythm section with bassist Harrison Bankhead, drummer Leon Joyce, Jr., and either Miguel de la Cerna or Mike Logan at the piano. Alexander's dramatic interpretation of Dimitri Tiomkin's "Wild Is the Wind" and emotional treatment of Nina Simone's "Four Women" show her flair for drama. But some of the original material doesn't hold up as well. The late Henry Huff penned several interesting melodies, though his weak lyrics handicap the singer. Alexander's lyrics are no better, as on the repetitious tribute to Huff "C U on the Other Side," though Logan's catchy vamp proves interesting. This is a good CD that would have been more memorable with a judicious selection of material.

Orrin Evans

Faith In Action

by Michael G. Nastos

Jazz pianist Orrin Evans has been knocking on the door of stardom in jazz for a full decade, but with Faith in Action, it seems he's really hit his stride. As a performer he's a more confident improviser willing to take chances, while also retaining a sweetness and lighthearted approach that reflects the romantic inside. These ten tracks are equally split compositionally between him and obvious mentor Bobby Watson, all in trio settings with bassist Luques Curtis and with drummer Nasheet Waits featured on seven tracks; Waits is replaced on two cuts by Gene Jackson and on another track by Rocky Bryant. How Evans plays in giddy highs or serene lows is impressive, with little gray area shown or needed. Tunes by Watson are quite well-known, but without horns are still full and rich. The title track was made famous by John Hicks simply as "Faith," a brilliant 6/8 in 4/4 organ of beauty as Evans digs into its ultimately pristine melody. Watson's most acclaimed composition when he was with Art Blakey's Jazz Messengers, "Wheel Within a Wheel" is spare but no less vibrant; "Appointment in Milano" is a modal two-fisted bopper where Evans goes a bit out and crazed; while "Love Remains" is an ultimate romantic, late-night, steamy piece built for intimacy. Evans wrote "Don't Call Me Wally" in a delightful funk to swing beat, deft but still lean; "MAT-Matt" is very combustible and spontaneous, stopping and starting back up; and "Why Not" closes in a easy swing unlike the rest. Summarily this is the most ambitious effort, and also one that shows the innate common sense of Orrin Evans. He is no longer emerging, but now established as a skilled and experienced young to middle-aged mainstream jazzman who should be around making great music for a long time.