• 'Treme,' Episode 11: Fourteen Months After

    April 25, 2011. Posted by Joshua Jackson.

    In Treme, Annie (Lucia Micarelli), Sonny (Michiel Huisman), John Boutte and Paul Sanchez perform at the Spotted Cat. (Image Credit: Paul Schiraldi/HBO)

    Season one of Treme opened with the placard "Three Months After"; the season two premiere tells us we're now "Fourteen Months After," in November 2006. If anything, this opening episode establishes that not much has changed in post-Katrina New Orleans — and what has changed isn't necessarily for the better.

    With the slow return of residents comes the faster return of violent crime; the police department has its hands full with it. The return of residents also means that Chief Lambreaux gets kicked out of the bar he's been squatting in; it doesn't mean that Creighton is coming back to the Bernette family. (The young Sofia seems to be assuming her late father's place as YouTube-enabled narrator, Greek chorus and voice of the city's pent-up anger, while Toni Bernette's fight with the city on behalf of musicians is only getting worse.) Ladonna is still trying to operate the bar despite her partner's protestations; her ex, Antoine Batiste, is dealing with an abandoned property his girlfriend's family owned but has no documentation for. And the emergence of investors like Nelson (Jon Seda) portends the arrival of people looking to capitalize on tragedy — even if Nelson himself doesn't turn out to be one of them.

    Of course, music still lives in the city, and this time around we have some new faces and new sounds. To break down the music of the season two premiere, WBGO's Josh Jackson joins me again over email to discuss the songs and live performances. (We'll be doing this every week, like we did last season.)

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  • A Jazz Piano Showdown In Indianapolis Worth Over $100,000

    April 19, 2011. Posted by Becca Pulliam.

    Aaron Diehl (piano) and Dee Dee Bridgewater go head-to-head on "Just One of Those Things," by Cole Porter. The duet was part of Diehl's winning performance in the competition for the Cole Porter Fellowship. (Image Credit: Mark Sheldon/American Pianists Association)

    Aaron Diehl has a way of backing into a piece. He begins freely, or so you think, then gradually sneaks in a progression or a rhythm, a rumble. The voice in your head tentatively sings a melody before you realize he's already suggesting it, and soon, he will satisfy your growing need to hear and even dance to it, at least in your imagination.

    Last weekend in Indianapolis, Diehl beat out four other finalists for the 2011 Cole Porter Fellowship, awarded by the American Pianists Association.

    Through two full sets on Friday at the Jazz Kitchen and a concert with Dee Dee Bridgewater and the Buselli-Wallarab Jazz Orchestra at The Athenaeum on Saturday, the finalists (all age 25 and under) worked hard for the fellowship. It's worth $50,000 in cash, plus at least that much in career support.

    Every contender emerged as an individual. Glenn Zaleski has a sound. I heard bells ring when he played — good-sized bells. His playing on Thelonious Monk's "Evidence," a new arrangement with the big band, was a favorite of mine. Harmonic touchstones are not Zach Lapidus' thing. His playing was faultless. I need to take piano lessons from him.

    Emmet Cohen looked straight across the Jazz Kitchen stage at drummer Kenny Phelps from Indianapolis, smiled, made mischief and swung. Emmet's two original pieces — "Dark Passenger" and "Swarm" — won me over completely, with Frank Smith (also from Indy) kicking in on bass. Jeremy Siskind showed vulnerability with his "The Inevitable Letdown." Siskind reworked Michael Jackson's "Black or White" as an anthem that dissolved into an argument, came back together, broke up again: a dialectical presentation. One of the judges later said Jeremy "owned that song."

    The finalists spent a year in contention. They know one another well. They're friends. However, that did not stop Diehl from besting his friends with his stride piano, his blues feel, his dynamic control, his impressive physical calmness. A friend of Diehl's told me he has been practicing "20 hours a day" for months and is also, by the way, a licensed airplane pilot.

    The judges — pianists Geri Allen, Danilo Perez and John Taylor; critic Nate Chinen; and Al Pryor, Executive Vice President for A&R at Mack Avenue Records — did not decide by consensus or persuasion. The outcome is determined by their individual ratings. I find that interesting and different from panels I've been on.

    In his acceptance speech, Diehl said, "I can't think of anything else greater than to be sharing this music with all of you." It's a cliché and bedrock. The American Pianists Association lines up host families, volunteer drivers, business, philanthropic and political support. The governor of Indiana came to the opening reception. The mayor of Indianapolis presented Diehl with the award.

    On semi-finals night, the APA sold out the long-running Jazz Kitchen, where Danilo Perez is playing this Wednesday and Benny Golson is coming a week from Saturday. (Coincidentally, two finalists played Golson's music; Lapidus played "Stablemates" and Cohen played "Whisper Not.") The Athenaeum is a hundred-year-old, German-built theater with a beer garden; it too was packed. Hospitality and excitement flowed in the heartland, with high-stakes music from players whose careers lie ahead.

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  • Duke's Men: Ellington's Loyal Improvisers

    April 12, 2011. Posted by Simon Rentner.

    Cootie Williams of the Duke Ellington Orchestra. (Image Credit: William Gottlieb/Library of Congress via Flickr)

    Every successful big band leader featured brilliant soloists: Count Basie had Lester Young, Fletcher Henderson had Coleman Hawkins, Benny Goodman had Gene Krupa. But the Maestro, Duke Ellington, spotlighted his men apart from the rest.

    Ellington's soloists captured the spirit of his music. He wrote concertos, short- and long-form tunes, with his musicians in mind, allowing for their personality to shape the structure of the music. He specifically targeted his musicians' strengths — Johnny Hodges' seductiveness, Cootie Williams' bravado, Tricky Sam Nanton's humor — and accentuated those attributes. That's why musicians remained so loyal to him over the years, even at the expense of their own fame. He understood them and brought the best out of their playing. These tunes remind us why.

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