http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Thu, 4 Nov 2004 08:22:11 EST http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. 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Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2004/11/04/082211.php James KnoxOn December 11, 2004, some of today's brightest jazz talents come out to pay homage to Grammy® winner and Washington, D.C. native Shirley Horn--whose trademark velvet vocals and smooth piano stylings have been enchanting international audiences for more than 40 years. For one performance only, vocalists Dee Dee Bridgewater, Sheila Jordan, Kevin Mahogany, and Lizz Wright, trumpeter Jeremy Pelt, pianist Kenny Barron, vibist Stefon Harris, the Clayton Brothers Quintet, violinist Regina Carter, and other musical guests join this legendary queen of jazz piano and song to celebrate her amazing career. For more information, go to the Kennedy Center for the Performing Arts website. Music21850@blogcritics.org Thu, 4 Nov 2004 08:22:11 EST http://blogcritics.org/archives/2004/01/22/181823.php James KnoxEarl Klugh - acoustic guitar Greg Phillinganes - keyboards Al Turner - bass guitar Ron Otis - drumsThere is nothing like starting off the year with good music and Earl Klugh delivered. I was overjoyed when I found out he was coming to town because I have been enjoying his music for a number of years. His smooth and mellow guitar could be heard on all the quiet storm/lights-out radio formats in the 80's. Long before I began buying massive amounts of music, I would sit on the porch at night listening to the radio and Earl's music was a part of it. His set included such classics as "One Night (Alone With You)", "Dr. Macumba", "Heart String", "Livin' Inside Your Love", "Low Ride", "Twinkle", "Balladina", "Wind & Sea." His music floats you away to a tropical paradise as he caresses his guitar like a babe in arms. His notes are precise and powerful. I observed a childlike wonder in his eyes and playful laughter as he enjoyed his music. He took us from beautiful ballads to soulful funk grooves throughout the evening. Earl mentioned that the Yoshi's concerts were put together to give him the opportunity to play again with his longtime collaborator, Greg Phillinganes, who has played keyboards for the best in the business. Al Turner on bass guitar and Ron Otis on drums, whom I also saw with Bob James last summer, play with Earl regularly. Each of them brought on the funk during their solos. Earl will have a new release in the fall on an independent label. There will also be a new Earl Klugh website coming soon. Stay tuned. Originally posted on j-notes.com Music11950@blogcritics.org Thu, 22 Jan 2004 18:18:23 EST http://blogcritics.org/archives/2004/01/22/174716.php James KnoxLizz Wright - Vocals Nicholas Rolfe - Piano/Fender Rhodes Carlos Henderson - Bass Mark Collenberg - DrumsThe lyrics are so essential to the song. They convey emotion and tells us a story from the singer's perspective. Extraordinarily gifted vocalist/songwriter Lizz Wright brings the lyrics to life. She brings them from her heart and conveys them through her rich contralto voice and her graceful movements. Just watching her perform the past two nights at Yoshi's has been a magical and spiritual experience.I have had the pleasure of seeing Lizz twice in concert before these two special evenings. She moved and swayed me at the Monterey Jazz Festival in 2002 and the Cerritos Center in 2003. It is wonderful to watch her grow in her musical journey. She is more comfortable and engaging with her audience. She is freer in her music yet there is still a wonderful innocence about her. Her phrasing is even sharper and her endings are smoother. She can take you to far away places and leave you wanting more. You can hear the gentle winds and the ocean breezes and see the beautiful fields of flowers and peaceful sunsets in her song. She opened her evening with an up-tempo arrangement of "Open Your Eyes, You Can Fly," then floated over to the melodic coolness and chants of "Afro Blue." Next, she set our souls on fire with "Walk With Me, Lord" which featured Nicholas Rolfe on Fender Rhodes. "Blue Rose" was fragrant as she took us deeper into her soul. Her interpretation of the classic ballad "Nature Boy" has always been a favorite of mine. This evening it got funkier as Carlos Henderson set the tone with soulful groove on the bass, then Lizz took us from a simmer to a sizzle. Nicholas brought on the funk on the Fender Rhodes (even interspersing a little bit of The Stylistics "People Make the World Go Round" in his solo) and Mark Collenberg threw in a soulful beat on the drums. Lizz came back in and brought it all back down to a simmer as she told us "the greatest thing you'll ever learn, is just to love and be loved in return." She flowed gracefully through "Eternity", soared effortlessly on her gospel/soulful interpretation of "The Eagle and Me", and closed out the evening with "Silence." The audience loved her and let her know with loud applause and standing ovations. She came back out and gave us a flavorful rendition of "Salt" and sent us home seasoned with her music and beauty. Lizz has a new band that has been with her since November 2003. I hope they will be recording with her when she goes back into the studio this year for they compliment each other so well. By the way, today she celebrates her 24th birthday! Happy Birthday Lizz! If you have not done so already, don't forget to pickup some Salt.Originally posted on j-notes.com Music11948@blogcritics.org Thu, 22 Jan 2004 17:47:16 EST http://blogcritics.org/archives/2003/12/12/060100.php James KnoxMidnight is the right time for love and good music. On her third release for Concord Records, Midnight, jazz vocalist Diane Schuur sets the mood for romance. For this album, she works with hitmaker Barry Manilow and his longtime collaborator, Eddie Arkin. The result is a beautifully crafted album of 13 songs that showcase Diane at her best. She open the evening swinging on the title track "Midnight" complete with a big band. "When October Goes" is one of my favorite Nancy Wilson songs and Diane has given me reason to love this song even more. Each of her duets are exquisite. She pairs with jazz vocalist Karrin Allyson on the playfully naughty "Stay Away From Bill", teams with R&B crooner Brian McKnight on the Latin flavored mid-tempo "I'll Be There" and closes out the evening with Barry Manilow on the intimate ballad "Anytime." Diane has the ability to convey so much emotion in her songs. She glides effortless with her three and half octave range through her reading of "Consider The Point From Both Ends", floats on the cool bossa nova tunes "What Is Love?" and "Our Love Will Always Be There", and reflects poignantly on the well-orchestrated "He Loved Me", a beautiful tale of a love that has ended. Definitely a heart wrenching as is the powerful "Good-bye My Love." Diane lets go of her troubles as she catches the "Southwind" to take her away from the blues. "No Heartache Tonight" is another swinging tune as she shakes off the blues and soars vocally like an eagle in flight. Diane accompanies herself on solo piano as she sings the lush ballad "Life Is Good", which gives us a self-portrait of her wonderful life. This gem will definitely be in her repertoire for years to come. Diane is joined on this wondeful musical journey by a host of spectacular musicians including Alan Broadbent, Randy Kerber, Anthony Wilson, Paulinho Da Costa, Peter Erskine, Bill Liston, Warren Luening, Andy Martin, Chuck Berghofer, Eddie Arkin, and Dan Higgins, and Harvey Mason. Midnight is sure to be a part of many of your evenings.(Originally posted on j-notes.com) Music10906@blogcritics.org Fri, 12 Dec 2003 06:01:00 EST http://blogcritics.org/archives/2003/12/09/091304.php James KnoxChestnuts roasting on an open fire, Jack Frost nipping at your nose, Yuletide carols being sung by a choir, And folks dressed up like Eskimos. Everybody knows a turkey and some mistletoe, Help to make the season bright, Tiny tots with their eyes all a-glow, Will find it hard to sleep tonight.They know that Santa's on his way He's loaded lots of toys and goodies on his sleigh, And ev'ry mother's child is gonna spy, To see if reindeer really know how to fly. And so I'm offering this simple phrase, To kids from one to ninety-two, Although it's been said Many times, Many ways Merry Christmas to you. For as long as I can remember, Nat King Cole's "The Christmas Song" has been a part of my holiday season. It does not feel like the holiday season to me until I hear those first few bars of "The Christmas Song." Even in the midst of the season's consumerism, I still enjoy the music the most. "The Christmas Song" was introduced to Nat in May 1946 by singer/songwriter Mel Tormé. Nat loved the song and wanted to record it in a larger setting than his trio but Capitol Records was very reluctant about having strings on the recording. Nat convinced Capitol (aka "The House That Nat Built") to let him record "The Christmas Song" with strings. The song was released in November 1946 and reached #3 on the pop and R&B charts. Capitol reissued it every holiday season for the next 7 years, and each year it would chart in the top 5. In 1953 Nat recorded it again, this time with Nelson Riddle conducting, and, of course, with many more than the four original strings. This version was reissued for the next 8 years. Then, in 1961, Nat recorded the stereo version, with Ralph Carmichael conducting. This was the last time he recorded it, and to the present time, this is the rendition that Capitol reissues regularly. The Christmas Song, the album, came to life in 1960 but not without some resistance. Nat was very happy with just having "The Christmas Song." He did not want to compete with the other popular holiday music of the day. He finally gave in to Capitol's persuasion and recorded the album which we love today. I have always been fanscinated by the rich orchestrations and the 20 angelic voices that accompanied Nat's honey-toned baritone voice. The album was reissued in 1999 and includes "God Rest Ye Merry, Gentlemen" and "O Come All Ye Faithful" which were never previously issued. It also includes the carefully engineered duet on "The Christmas Song" with his daughter, Natalie, which features a host of strings and other wonderful instruments from the London Symphony Orchestra. Dick LaPalm, who traveled with Nat for 13 years, provided the excellent liner notes for the reissue which were my personal history lesson about the making of this classic album. Enjoy your music.(Originally posted on j-notes.com) Music10789@blogcritics.org Tue, 9 Dec 2003 09:13:04 EST http://blogcritics.org/archives/2003/12/09/090257.php James KnoxEvery year during the holiday season, I look for new music to add to my holiday music collection. We only get to enjoy this music for a short time and then it is time to put it away until the next year. This season I am enjoying the second release in the MAXJAZZ Holiday Series: Merry Magic by Eric Reed. Eric brings fresh new approaches to these holiday classics and swings hard on piano on such favorites as "God Rest Ye, Merry Gentlemen" which features Steve Nelson on vibes and "Winter Wonderland." He sings excellently on "Santa Claus is Coming to Town" and contributes his own swinging composition "Angels in the Snow" which includes Barak Mori walking the bass and Rodney Green keeping time on the drums. Eric is also joined by upcoming MAXJAZZ vocalist Erin Bode on wonderful renditions of "I Wonder As I Wander" and "What Are You Doing New Year's Eve?" Popular jazz and cabaret singer Paula West sings a playful rendition of "Santa Baby" and the reflective "After The Holidays." His early roots of playing gospel music in his father's storefont Baptist church are evident on "Lo, How A Rose E'er Blooming" and "The Christmas Blues" which features Eric on solo piano and "Oh Come All Ye Faithful (Adeste Fidelis)" with him on organ. "The Christmas Song" has a bit of a breezy and tropical feel but is very solid. Merry Magic will definitely make your spirits bright this holiday season and for years to come. Enjoy your music.(Originally posted on j-notes.com) Music10788@blogcritics.org Tue, 9 Dec 2003 09:02:57 EST http://blogcritics.org/archives/2003/11/14/181628.php James KnoxSomeone to live for Beg, steal, and die for Eat humble pie for Fly to the sun and the moon and the sky for Someone to dance with Laugh with and cry for And that someone is you... Just the words from "I'm All Smiles" sets the mood for romance but add to that Dianne Reeves passionately singing and scatting this tune and it raises the romance to another level. This is my favorite track from her new Blue Note release, A Little Moonlight, which contains 10 songs drenched in love.Dianne brings warmth, beauty, and grace to each lush note of these classic gems. I first heard the opening track "Loads of Love" on an early Shirley Horn album. "I want my dinner, some smart conversation, and loads of lovely love." Now those are words to live by and Dianne delivers them quite well. Her fervent reading of "I Concentrate on You" has a bossa nova flavor. She is full of wise on "Reflections" as she poignantly reflects on her life and the lessons she has learned along the way. She calls on the "Skylark" to lead her heart to the love it has lost. Her beautiful phrasing tugs at your heart. She brings the tempo up and scats in her playful rendition of the title track, "What A Little Moonlight Can Do" and then simmers down with "Darn That Dream" which features Romero Lubambo on solo acoustic guitar caressing her every note. He also joins her on the sweet "Lullaby of Broadway."She lovingly smolders on the wistful "You Go to My Head" as trumpeter Nicholas Payton adds just the right touches to this romantic melody. She closes out with a promise to return on "We'll Be Together Again" and that is enough to keep us enchanted forever. Carefully crafting their notes and rhythms to accompany to her to perfection are Peter Martin on piano, Reuben Rogers on bass, and Gregory Hutchinson on drums. Continuing to smile....I have had the pleasure of seeing Dianne Reeves three times in concert but this night was extra special. The lights were low, the mood was just right, romance was in the air, and the couples were cozy as Dianne looked radiant and crooned majestically throughout the evening.She opened with the "12th of Never" and moved to her scatting tribute to Sarah Vaughan, "I Remember Sarah" which featured some great rhythms from her drummer, Gregory Hutchinson. She scatted note for note with pianist Peter Martin on this wonderful tune. Dianne used a Joan Armatrading song line to describe her new album, A Little Moonlight."I'm not in love, but I am open to persuasion." She continued to woo us with a lush, warm, passionate rendition of "Skylark." The acoustics were perfect so every note was clear and crisp. She held you on the edge of your seat with every word. I heard the opening bass notes from Reuben Rogers on "I'm All Smiles" and I thought I would either melt or elevate from her playful, magnificent delivery of this song.Dianne shared childhood stories of her singing songs that did not know the meaning of at family gatherings and how the adults would just laugh in enjoyment. Accompanied by a down home, bluesy solo piano, she took us back to the early days with "I've Got Rock In My Bed" where she told us of having the "blues from roof to ground" and a naughty little twist on the end where she sang "I've got Rocks Johnson in my bed" which indicates she may have found a cure for those old blues.She reflected a bit more on childhood with the jazzy, breezy "I Remember Nine" and made us starry-eyed once again as she sang the first couple of verses of "You Go To My Head" acappella. It was definitely a highlight of the evening. "Blue Prelude" opened with Reuben's bass solo and Dianne gave a serious moan on the end of the song. She closed with "Show Me Your Heart" filled with chants and Latin rhythms. As she bid us goodnight, she reminded us to "tell our stories." I felt so good after the concert that I had to sit there for a few minutes, as the crowd cleared, just to soak it all in and reflect on this powerful musical experience. Thank you Dianne!(Originally posted on j-notes.com) Music10136@blogcritics.org Fri, 14 Nov 2003 18:16:28 EST http://blogcritics.org/archives/2003/11/14/180812.php James KnoxPicture this: You arrive at J&R Music World on Saturday, Nov. 15 a little after 4:00 pm. You browse through the CD titles, make your selections and stand in line to make your purchase. You have this great jazz tune in your head but can't quite figure out where it's coming from. Then you realize, it's not in your head, it is live music!Trumpeter Jeremy Pelt performs live from J&R Music World, Saturday, November 15 at 4:00 pm and joins Saturday Afternoon Jazz host Monifa Brown. Jeremy will be playing tunes from his most recent CD, Close To My Heart, which is now available on MAXJAZZ Records. Jazz88 broadcasts the "Live from J&R" series on the third Saturday of each month.Currently Pelt is a featured performer in the Mingus Big Band, Ralph Peterson Quintet, Lewis E. Nash Ensemble, Cannonball Adderley Legacy Quintet and the Frank Foster Loud Minority Band. You can hear him broadcast live, or listen in person at J&R Music World, located on Park Row, adjacent to City Hall Park in NYC.The performers for this show includes:Jeremy Pelt - trumpet/flugelhorn Vicente Archer - bass Danny Grissett - piano Israel Bannerman - drums Music10135@blogcritics.org Fri, 14 Nov 2003 18:08:12 EST http://blogcritics.org/archives/2003/10/11/135011.php James KnoxJazz trumpeter Jeremy Pelt is blazing a trail with his hot new release, Close to My Heart on MAXJAZZ Records. The music industry is giving the album much well-deserved praise. It is a must have for your music collection. I had the opportunity to ask Jeremy a few questions about the new album and his music. Please welcome Jeremy Pelt to the j-notes Jazz Lounge. j-notes: Your music has been classified from neo-bop to straight-ahead jazz. How would you describe your sound? Jeremy Pelt: "Well, my sound comes out of the trumpeters that I admired the most (i.e.. Miles, Freddie, Booker Little, Lee Morgan, Chet Baker, etc.). At this point, I'm interested in finding ways to manipulate my sound as to reflect the nuances of the human voice."j-notes: You have played in every setting from big bands to quartets? Which is your favorite band setting and why? Jeremy Pelt: "When Bird and Diz, and Roy Eldridge and countless other musicians came up, they all came to prominence through the big band experience. I feel that big bands teach you a lot. After you've had enough of that experience, I believe it's OK to start thinking more selfishly. And that's where I'm at. I love playing in the "small group" setting because you have a greater sense of individuality. My previous bands have always been sextets and I still dig that, but with this new recording, I felt like something more personal. All of the greats have done a quartet recording, and I wanted to make my presence felt in that arena. Quartet makes you a stronger player."j-notes: You have traveled extensively this year. Where has been your favorite place to play?Jeremy Pelt: "I always LOVE London. Particularly, Ronnie Scott's. Portugal was great, too."j-notes: Will your upcoming tours feature a string section? Will you be coming to the Bay Area in the next year?Jeremy Pelt: "The thing that I knew coming into this project was that there were certain realities that I'd have to deal with regarding touring with a group of this size and star power! First of all, though I have two past recordings and appear on over twenty others, I'm still not seen as a bandleader by a lot of promoters, booking agents, and club owners. It's truly a frustrating process. My manager and I are working very diligently on making the transition. I'd love to do as many gigs and tours with the string section as possible, but at the end of the day, you still have to pay the band! As for coming to the Bay area, we're working on coming there in April. You can always find out where I'll be on my website, peltjazz.com."j-notes: How do you select the music for your recordings?Jeremy Pelt: "This recording was different in that my previous two CD's (Profile, on Fresh Sound New Talent, and Insight, on Criss Cross rec.), feature original music. For this project, I wanted to do standards that weren't your run-of-the-mill, often performed songs. So, I bought tons of music books from every composer and scanned through them. Also, I listened to a lot of vocalists (Frank Sinatra, Bill Henderson, Carmen McRae, Shirley Horn, are among my favorites) to find songs that were very personal to me. I should also say that, with the inclusion of Frank Loesser's "In Your Eyes", (a song that I don't believe has ever been recorded!) I wanted to make the definitive version of this song. At the risk of sounding conceited, I think I did!"j-notes: Are there any other types of music you would like to record?Jeremy Pelt: "There are always ideas that I have popping in my head. My next record will be a definite departure from the current one."j-notes: Would you consider scoring a film?Jeremy Pelt: "I majored in film scoring at Berklee College of Music, so my answer is a resounding "YES". I'm trying to get into that now. If any filmmakers out there are reading this, I'm your man!!!"j-notes: What are your thoughts on your comparisons to trumpet great Clifford Brown?Jeremy Pelt: "If you are a trumpeter doing a ballads record with strings, Clifford is going to pop in everyone's head! I'm totally comfortable with the comparison. We parallel each other in that, we both REALLY wanted to do this project because of the love of these melodies. Not for reasons of mass appeal, or cashing in. Incidentally, no one ever mentions the great Donald Byrd w/strings album from 1956 (or '57), that Clare Fisher arranged.. That album is GREAT!!"j-notes: Who would you like to play with?Jeremy Pelt: "I'd love to play with Hank Jones, Elvin Jones, Wayne Shorter, Herbie Hancock, and Shirley Horn."j-notes: Would you do a tribute album to a great trumpet legend?Jeremy Pelt: "No. I think those are played out. Do we really need another tribute to Miles, or Dizzy, or Bird album? Did Lee Morgan do a "tribute to Fats Navarro or Clifford Brown album"? I mean, if you want to write a tune I can understand that, but I think the greatest tribute that we can pay is to honor and add to the road that has already been paved for us by those that inspired and influenced us."j-notes: What are the stylistic differences between playing the trumpet and flugelhorn?Jeremy Pelt: "For me, I almost am always more expressive on the Flugelhorn because of the mellowness of the sound. You can manipulate the trumpet."j-notes: If you were not an outstanding trumpeter, which profession would you pursue?Jeremy Pelt: "I love Psychology."j-notes: What's next for Jeremy?Jeremy Pelt: "Just writing for my band, Creation. The instrumentation is: Trumpet, Bass Clarinet/Alto Sax, Bass, Guitar, Vibraphone, Drums..."Thank you Jeremy and please keep the good music flowing! Read more about Jeremy on his personal website, peltjazz.com or his MAXJAZZ homepage.Originally posted on j-notes.com Music9085@blogcritics.org Sat, 11 Oct 2003 13:50:11 EDT http://blogcritics.org/archives/2003/10/07/104144.php James KnoxHere are the highlights from the 46th Annual Monterey Jazz Festival (09/19-21) in Monterey, Ca. It is a jazz lover's paradise with over 500 top name jazz artists on 7 stages for 3 days and 3 nights.Jason Moran and The BandwagonMy first music stop Friday evening was pianist Jason Moran and The Bandwagon. His trio included Tarus Mateen on acoustic electric bass and Nasheet Waits on drums. They performed three shows at the Coffee House Gallery. I caught him earlier in the week at Yoshi's and while the shows may have had similar openings, this show was definitely different. Wearing his trademark white felt fedora, he opened with his recorded "Bandwagon" intro and then broke into "Another One" which could scare a jazz purist who is looking for a familiar sound. His music is a journey in which he has a strong grasp on and respect for the past while blazing his own trail with sharp turns and curves along the way. He provides rambucous tremolos that rang out like a bell and rolled thunderously like waves on the ocean yet he is subtle and symphonic in his solo piano moments. He moved from a funk groove to a New Orleans funeral march and then to "Body and Soul" which is from his latest Blue Note release, Jason Moran and The Bandwagon. His set also included "Intermezzo, Op. 118, No. 2", "Out Front", "Planet Rock" and a very nice arrangement of "Estate'." Tarus and Nasheet brought color and texture to the set with their excellent solos. Jason's music challenges the listener's ears in new ways and that is exactly what we want our music to do. Mary StallingsNext up was the incredible vocalist Mary Stallings at the Night Club/Bill Berry Stage. Before she came onstage, there was a buzz in audience. Several people knew her from San Francisco, which is her hometown and where she currently lives. Her band came onstage and opened with "Green Dolphin Street." Mary came out in a sultry, red fitted dress and opened with "Old Devil Moon" with a sassy Killer Joe-like rhythm. Next, she took us down to the "Street of Dreams." She infused the bluesy "Sweet and Lovely" with some scatting and a mellow fade out on the end. Babatunde Lea came in on the drums, then Glen Pearson came in with an excellent piano solo and Mary swung in with "The Gypsy In Me." She slowed down the pace a bit with the Cole Porter ballad "You're Sensational." It was slow samba and she had a call and response with the piano. She delivered a smoldering version of "A Sunday Kind of Love". Babatunde gave gentle brush strokes on the drums and Glen tickled the ivories in a way that could make you shiver and the bass tied them all together. Mary made it her personal testimony. The crowd just ate it up. She closed with a hard swinging "I've Got Rhythm" and after a round of loud applause, she came back out and encored with "I Love Being Here With You." She kept us swaying, clapping, and toe-tapping all evening. Mary's latest recording on MAXJAZZ Records is Live at the Village Vanguard. SouliveAfterward, the Soulive funk was already in session over at Dizzy's Den so I stopped outside to catch a bit of the groove. The jazz funk soul band of Eric Krasno on guitar and brothers Neal Evans, on Hammond B3 organ and Hohner Clavinet D6 and Roland A-33 keyboards, and Alan Evans on drums were just one of the acts brought in to attract the younger jazz fans. The mission was accomplished as young and old alike were moving to their soulful funk groove. If you were sitting in the back, you might not have been able to see the stage as people were up out of their seats and dancing to the music. In addition to playing cuts from their recent Blue Note albums, they included the Sly & the Family Stone classic, "If You Want To Me Stay." Some funk is just meant to be heard while standing so you can just let it move you. Even when they slowed the funk down, it was still hot. They continued jamming until after 12am. Their new release on Velour Records is due out in October. As I was leaving, I overheard a young guy say, "I want to be a roadie for Soulive." Me too!!Carla CookIt was about 7:15pm on Saturday evening when I got in line for Carla Cook's 8:30pm show at Dizzy's Den. I think people started lining much earlier because I was way back in the line. Security assured everyone that we would all be able to get a seat for this much anticipated performance. I missed seeing Carla in Chicago last year so this evening was definitely special for me. A few minutes before the show, I got to go backstage and chat with Carla. I stuttered at first from the excitement and eventually got my words together. She looked radiant and was ready to give an outstanding show. She was just as warm in person as she is in her music and it was really fun meeting her. Carla and her quintet opened swinging brightly on "Until I Met You (Corner Pocket)", an adaptation of the Count Basie signature piece and paid tribute to vocalese performer Eddie Jefferson with "Oh Gee" where she demonstrated her innate ability to vocalize as a horn. She told how the popular standard "Where or When" came to her late yet she brought a beautiful freshness to it with her wonderful vocal clarity. She dedicated the jazzy "Strong Man" as a salute to all the strong men. Bassist Lonnie Plaxico switched from upright bass to the bass guitar for Carla's soulful rendition of the Marvin Gaye classic "Inner City Blues" then she took us straight into Sunday morning with "Hold to God's Unchanging Hand." Percussionist Abdou Mboup worked it out on the bongos as Carla sang brilliantly in Portuguese on "Cancao do Sal". She closed with a gospel-tinged, soulful version of Eric Clapton's "If I Could Change the World" on which she gave us a powerful extended note toward the end of the song. Pianist Darryl Ivey framed Carla vocals to perfection and providing outstanding solos throughout the evening. Israel Bannerman kept a fascinating rhythm on the drums. With such clearness, versatility, and style, Carla has the ability to make any song special. Carla's latest recording on MAXJAZZ Records is Simply Natural. Dena DeRoseI popped in to catch the tail end of singer/pianist Dena DeRose's second set in the Coffee House Gallery. She accompanies herself very well and has a smoldering voice that clothes each note. Like Shirley Horn, she uses spacing in her notes and silence to convey a message just as a powerful as when she sings. Her vocals were quite smooth on the reflective "I'm Old Fashioned" and poignant "You've Changed." Dena introduced her own recently composed swinging instrumental, "One for the Road." I definitely want to hear more of her music. Her trio included Michael Zisman on bass and Matt Wilson on drums. After her set, she signed autographs with legendary vocalists Jon Hendricks and Mark Murphy at the Tower Records on the festival grounds.Kurt EllingVocalist/Vocalese Kurt Elling has the amazing ability to glide vocally through air with such ease. He challenges the boundaries of music with his original lyrics set to the compositions of the such jazz greats as Coltrane, Gordon, Zawinul, and Shorter. He breathes new life into these classics and gives the listener a renewed appreciation. Kurt played the late show at Dizzy's Den to a fairly packed house. He was playful and full of energy in his music. He was wonderfully accompanied by the Laurence Hobgood Trio featuring Hobgood on piano, Rob Amster on bass, and Frank Parker, Jr. on drums. I have been a fan of Kurt since first hearing him on a Yellowjackets album several years ago so seeing him live was definitely a treat. His set included the vocal adaptations of "In The Winelight" (Grover Washington, Jr.), "Tanya Jean" (Dexter Gordon), "When Somebody Needs You", "Never My Love" (The Association), "Minuano" (Pat Metheny), and one of my favorites, "Man in the Air" which is also the title track from his latest Blue Note album, Man in the Air. He closed with his vocalese of the Coltrane classic "Resolution." Kurt kept us captivated as he took us through the highs and lows of his vocal terrain. In the middle of his set, he recited a poem from Robert Creely while accompanied softly by his trio. He displays such versatility in his music and has a great sense of humor as well. He is definitely a modern day keeper of the spirited vocalese tradition made popular by such legends as Jon Hendricks and Eddie Jefferson. Before I cover the headliners of the day, here are a few things I checked out as I was moving throughout the festival. Joe Sample, Wilton Felder, and Herbie Hancock being interviewed before their shows by CNN. Hopefully, my photos will be decent. The Monterey Jazz Festival High School All-Star Big Band with Artists-in-Residence John Clayton, Jeff Clayton, Jeff Hamilton, and Gary Burton. The band was excellent and definitely have a bright future. There were also three big band alumni trumpeters that joined them on "Night in Tunisia" that were absolutely sensational. The legendary pianist Jay McShann and The Duke Robillard Band at the Garden Stage. Saxophonist Dave Ellis also on the Garden Stage. Between the evening shows, I briefly got to hear pianist Jacky Terrasson intertwining a passionate melody with "Body and Soul." The CrusadersThe Crusaders have been making good music since the 50's. The players have changed over the years but they continue their fine tradition of making good music. The band includes Joe Sample on fender rhodes and electric piano, Wilton Felder on tenor saxophone, Ray Parker, Jr. on electric guitar, "Ready" Freddie Washington on bass, Steve Baxter on trombone and Kendrick Scott on drums. They began with the soulful jazz cuts "Viva De Funk" and "Creepin'" from their current Verve release, Rural Renewal. Joe told how The Crusaders' music is played on the Fender Rhodes and the Wurlitzer electric piano and how he purchased his first Wurlitzer in 1963 after being inspired by the music of Ray Charles. He then played the classic "A Ballad for Joe" which featured Ray on an excellent guitar solo. Joe also told a couple of great stories on the band's beginnings and praised each member before they jammed on "Way Back Home" and "Put It Where You Want It" on which Wilton shined on the sax. Even with the heat, people were grooving in their seats and a few were up dancing. The Sunday afternoon crowd in the arena is the diehard Monterey festival goers and you can tell that many of them have been coming for years. Ray's cousin Letitia Body filled in for Randy Crawford, who was out due to an injury, with her soulful rendition of "Street Life." They closed out their show with Ray's "Ghostbuster's" theme song with all of us yelling "Crusaders" as the chant. Afterward, they receive a standing ovation. It was definitely an enjoyable and fun show. Interesting fact: Wilton Felder originally played the electric bass and several members of The Crusaders played on many of Barry White's hits.Nnenna FreelonVocalist Nnenna Freelon has a special way of interpreting the lyrics of a song. We saw and heard how deeply she feels a lyric in her vocalization and spirited bird-like movements as embraces a song note for note. She is truly amazing to watch perform. As I was coming back to my seat, she was singing "Better Than Anything", which in a line gives a nod to "checking in at Monterey." She warmed us under the stars and the autumn breeze as she crooned "I Love You" and "Stella by Starlight." She told us how singing "I Feel Pretty" brightens up any "bad hair" day. Her set also included a reggae flavored rendition of "Body and Soul" and "All or Nothing at All" infused with Latin rhythms. She then took us into the book of "Wonder" with "My Cherie Amour" and closed the evening with "Tears of a Clown." As she glowed in her beautiful gown, she shared with us that tonight celebrated 20th year in the music business. Keep soaring Nnenna! She was accompanied by an incredible band which included Scott Sawyer on guitar, Brandon McCune on piano and keyboards, Wayne Batchelor on upright and electric bass, Woody Williams on drums, and Beverly Botsford on percussion. Nnenna has a new live album coming on 10/07 and advanced copies were available at the festival. Herbie Hancock QuartetThe Swingin' Finale of the festival closed with the Herbie Hancock Quartet featuring the incomparable Herbie Hancock on piano, Bobby Hutcherson on vibraphone, Scott Colley on bass, and Terri Lyne Carrington on drums. Their set included Herbie's classic "Maiden Voyage", "Theme from Dolphin Dance" and Bobby's composition "November." Herbie has played with the great legends of jazz so just watching him play under the stars was a great experience. The quartet succinctly played, each complimenting the other while showcasing their unique talents. Bobby provided rich and glorious tones on the vibes while Scott thumped his bass to perfection and Terri, wow!! Her drum solos were powerful and spellbinding. It was definitely a pleasure to finally get to see her live.Originally posted on j-notes.com. Music8974@blogcritics.org Tue, 7 Oct 2003 10:41:44 EDT