April 18, 2012. Posted by Alex Ariff.
Alexander Gelles Ariff is a musician/composer and graduate student in the Jazz History & Research Program at Rutgers University-Newark. Each week, he resurfaces gems from past JazzSets.
This week in JazzSet history, it’s all about the music! In celebration of Jazz Appreciation Month, I’d like to express my appreciation for the preservation of great music. The JazzSet archive is like a time capsule into the past 20 years of jazz—an ever evolving music. JazzSet captures the spontaneity of the live performance. I’m presenting a special gem this week: a duet between a 68-year-old Ray Brown and 22-year-old Christian McBride. Below is a recent photo of McBride that I shot at the Jazz House Kids summer concert in Montclair, NJ.
Ray Brown and Christian McBride performed a duet at 1994 Monterey Jazz Festival. The recording first aired April 22, 1995. They take their time at the beginning of each tune. First is “Things Ain't What They Used To Be,” and McBride takes the first solo. Second is the tune “Bye, Bye Blackbird." If you listen closely you can hear the audience singing along—you can also hear grunts of satisfaction from the bassists as the two engage in a musical conversation while trading-fours.
Beware! The wrath of "Tain"!! When drum Jeff "Tain" Watts is behind the kit, there is no groove he cannot tackle. In 2001, Watts brought in his 41st birthday at The Village Vanguard. JazzSet, with many thanks to proprietor Lorraine Gordon, aired the Jeff “Tain” Watts’ debut band: Ravi Coltrane, tenor; Paul Bollenbeck, guitar; David Budway, piano; Eric Revis, bass. The clip below begins in the piano solo and works its way to the end. The tune’s title—and the title of Watts’ debut album as a leader --is “The Impaler.” (We think this might be Watts' first week as a leader at The Vanguard. --Ed.)
In an interview with JazzSet host Branford Marsalis, Watts explained how his roots culminated into forming The Impaler. Tain said, "A good thing about my generation is we were privy to Motown and James Brown, Classic R&B and Rock, but at the other side of the spectrum we were still 18 and 19 years old when Hip-Hop was put into effect.” Your work is much appreciated, Mister Tain, your exceptional drumming bares all!
© 2012 WBGO
April 11, 2012. Posted by Alex Ariff.
By Alexander Gelles Ariff, our weekly historian
Week 15 in JazzSet history contained a massive amount of stellar moments: it was painfully difficult to select these four, but I did it! We’ll examine re-harmonization methods by Marcus Roberts and Stanley Cowell. Both pianists both take a tune that we all know, and introduce new textures and grooves. We'll conclude at the Kennedy Center in Washington, DC, to hear a truly one of a kind artist from Sao Paolo, Brazil.
But first, let’s have an early toast to Earth Day, April 16! In honor of the land we live and breathe, JazzSet aired Sphere on April 15, 1999. The group celebrated with a program of mostly Monk tunes, but I chose the Billy Strayhorn tune "Isfahan" to showcase this all-star band. It features saxophonist Gary Bartz on alto, playing the part so iconic to Johnny Hodges on the Far East Suite album. Bartz makes the piece his own without falling short of the classic melody played by Johnny Hodges. This recording is from November 21, 1998, at the Dayton Arts Institute (.. another fine Duke Markos recording - Ed.).
It's no coincidence that Sphere chose to play "Isfahan." Strayhorn's home town was Dayton, OH. The band featured Gary Bartz, alto; Kenny Barron, piano; Buster Williams, bass; and former Monk drummer Ben Riley on drums. Riley has been leading the Monk Legacy Sexet, but is currently performing with a new group featuring Wayne Escoffery on tenor sax. They will be releasing a new album coming out on April 24th entitled Grown Folks Music. Escoffery's bold new release, The Only Son of One, is available today.
Now let’s turn to two piano masters. The clip below contains two excerpts. The first one you’ll hear is Stanley Cowell performing “A Whole New World” from Disney’s Alladin, recorded at Pro Piano Hall in NYC in October of 2001. The next clip is Marcus Robert’s modern take on of the Fats Waller classic “Aint Misbehavin’,” from the 2002 Gilmore International Keyboard Festival. I especially love the way drummer Jason Marsalis and bassist Roland Guerin lock up in the groove at the end of the clip.
I chose these two clips not just for their inventive interpretations—there is a common thread I’d like to identify. You know the moment after Cowell plays the melody “I can show you the world…” In the space after the “world" in the melody, he infuses a harmonic gesture common in jazz. Popularized by John Coltrane, this harmonic motion has been most famously executed on "Giant Steps." Simply put, Coltrane created a new path to arrive at a familiar destination. Marcus Roberts also introduces a new harmonization to “Ain't Misbehavin'," adding a modern, J-Master twist on a timeless standard.
I have a special connection with Marcus Roberts: he is a professor at Florida State University where I earned my B.A in Jazz Studies. I only took one private lesson with him—I'm a saxophonist—but he frequently gave lectures, master classes and performances (which were like lessons in their own right). We still stay in touch, and he continues to inspire me with his humble generosity and relentlessly creative and diligent ethic. One afternoon at FSU, he surprised the jazz department by hosting a Master Class with modern banjo legend Bela Fleck. Fleck and the Marcus Roberts Trio were workshopping their new music for us before premiering it at the Savannah Jazz Festival in Spring 2011. Roberts also believes strongly in the power of mentorship. He will employ three Florida State University alumni for his James P. Johnson program, coming to JALC May 11 and 12.
I’d like to close out with a musical performance of acrobatic proportions. Guitarist Badi Assad performing “Asa Branca,” a traditional Brazilian song, on November 18, 2005, at the Kennedy Center Jazz Club. She shared the gig with a “Three Guitars” ensemble featuring Larry Coryell and John Abercrombie. “Asa Branca” startled me so much that I couldn’t believe it was one human producing the sounds. She plays guitar and sings through her nose, while doing mouth percussion.
© 2012 WBGO
April 4, 2012. Posted by Alex Ariff.
Welcome to April! We're into week 14 of JazzSet's 20th Anniversary celebration. Each week Alexander Gelles Ariff, of the Jazz History & Research program at Rutgers University Newark, digs deep to bring you these special moments.
This week in JazzSet history, we’ll start in one of my favorite cities at one of my favorite festivals, the Jazz and Heritage Festival in New Orleans. I’ve attended the past two years and plan on keeping it up. We’ll also close out Women in Jazz Month with a Kennedy Center broadcast of the 2005 Mary Lou Williams Jazz Piano Competition. Daniela Schaechter’s quintet puts a powerful imprint on the American standard “Stella by Starlight.” And we’ll end up in the Netherlands with Gianluigi Trovesi’s Octet delivering an twisted take on Dixieland. JazzSet gets around!
Back in 1991, before he joined Jazz at Lincoln Center, Victor Goines brought his quintet to the Jazz and Heritage Festival in New Orleans. The band featured Goines on tenor and soprano; Glenn Patscha, piano; Rolan Guerin, bass; Brian Blade; drums; and a 19-year-old Nicholas Payton on trumpet. Payton holds his own, but I want to feature the virtuosity and development of Goines’s tenor solo on an original composition “Heterogeneity.” The tune calls to mind elements of Art Blakey’s Jazz Messengers band from the mid '60s; with Brian Blade on drums in this band, you better hold on tight!
In 2007, JazzSet concluded March, Women's History Month, with a broadcast featuring Sicilian pianist Daniela Schaechter and her quintet at the Mary Lou Williams Women in Jazz Festival. It was special for Daniela because she was performing with her mentor Terri Lyne Carrington on drums. Other band members include Russian musicians Alex Sipiagin on trumpet and Oleg Osenkov on bass. Their arrangement of Victor Young’s “Stella by Starlight” caught my ear. I love the way Alex Sipiagin’s trumpet -- while introducing a fresh modern intensity -- harks back to the way Miles phrased the melody in ’58.
Groningen is the small, capital city on the northernmost province of the Netherlands. At the 1993 Groningen Jazz Festival, Italian reedman Gianluigi Trovesi and his octet delivered a truly multicultural performance, and we have the extended audio! Trovesi fuses traditional Italian music with Bulgarian rhythms and hints of Ornette Coleman. In this original piece entitled “Hercab,” Trovesi is on clarinet and bass clarinet; Pino Minafra, trumpet; Rudy Migliardi, tuba and trombone; Marco Remondini, cello; Roberto Bonati and Marco Micheli, bass; Vittorio Marioni, drums; and Fulvio Maras on percussion. (Host Branford Marsalis loved pronouncing the band names!) Trovesi’s spectrum of sound on the bass clarinet is astounding, and Pino Minafra’s megaphone rap adds an unfamiliar dark texture. It reminds me of a cross between Pink Floyd’s The Wall and the "Cantina Theme" from Star Wars.
About halfway through the tune, the cello quotes the French tune “Frère Jacques.” This is is most likely a nod to Gustav Mahler, who used the melody in Symphony No. 1, Movement 3. Uri Caine unveiled his own Mahler interpretation on a previous episode of This Week in JazzSet History. Special thanks to producers of these recordings, N.O.S. Radio and P.H. van de Pohl in the Netherlands and WGBH’s Bob Lyons in Boston.
Alexander Gelles Ariff has a B.A. in Jazz Studies from Florida State University and is now completing his Master's in Jazz History and Research at Rutgers-Newark. He is the recipient of the Morroe Berger - Benny Carter Jazz Research Fund Award from the Institute of Jazz Studies. Alex is writing his Master's thesis on the selected recorded collaboration between jazz figures and American poets -- Kenneth Patchen, Jack Kerouac, Lawrence Ferlinghetti, Kenneth Rexroth, and Langston Hughes.
© 2012 WBGO