DAY ONE - Meilana Gillard

By conditioning, I don’t believe girls can play or maybe shouldn’t play saxophones. They are best left to playing flutes and clarinets. And if by chance they play Alto or Bass Clarinets, maybe even bassoons, that is as close as they should get to the “saxophone”.

I promised myself I would spend the year seeking out new jazz artists attempting to push the envelope and keeping the flame - you know preserving the art. I have done a piss poor job because I find myself locked into my likes. Not that my heroes aren’t still producing forward thinking music but that is what is expected of them, being my heroes and all. But I have been less inspired by some of the “new” music by less proven artists being released.

Recently, I ran across a very mild mannered request from an artist, on a website that I frequent, to listen to her record. The request wasn’t directed at me specifically but when I realized it was a jazz recording, I felt it my duty to give it a listen. And WOW, I like this record!

Introducing, MEILANA GILLARD and her debut record entitled, DAY ONE on Innercircle Music. The label is the brainchild of master saxophone player, composer, educator Greg Osby - another hero of mine.

After trading a few emails with Meilana, she sent me the download of her record. After I downloaded it, I intended to begin my first listening while I was doing other things. It proved to be an impossible task as I was immediately interested from the downbeat of the first song. As I stated earlier, I was conditioned to believe girls can’t/shouldn't play saxophone. I had preconceived notions that this might be some candy shop or Candy Dulfer type jazz recording. The reason I couldn’t stop listening intently is because all my preconceived notions were most immediately eradicated.

The group consists of Gillard on Tenor Saxophone, Bass Clarinet, Flute; Nir Felder: Guitar; Sam Barsh: Fender Rhodes, Nord & Korg keyboards; Marcos Varela: Bass; and Tyshawn Sorey: Drums. By virtue of the use of Fenders, Nords and Korgs it is apparent that this would be a different type of recording. The use of the electronic instrumentation gives the record a phenomenal sound. The songwriting and arrangements fit this personnel extremely well. Knowing that Gillard penned every song except one makes her play that much more interesting. The only thing that concerned me was some of the tempo/feel changes. It sometimes feels a bit rushed. But this is my own bias. I am not a fan of that particular effect in most recordings.

Gillard’s improv skills seem to be more learned than natural. By no means would I suggest that this is a bad thing. In fact, I believe that it was probably just a case of the “I wanna do this right on the debut record” jitters. Because in the end, she sounds really good.

I judge all saxophone players abilities by how they handle ballads. Ballads expose you like nothing else. The ballads “SEMISWEET” (please follow the link to the hip hop remix of semisweet...it too is quite funky)and “A SPIRIT REMEMBERED” are handled with great dexterity and feeling. The fact that she exposed herself by playing the first 12 or so bars of the latter sans accompaniment, proves she’s confident in her ability and rightfully so.

Drummer Sorey is a groove machine. His ability swing inside his grooves were masterful. Felder, Barsh, and Varela hold the ensemble together quite nicely. Their dedication to the melodies and to the grooves made the lead work that much more interesting. They always played with each other and never seemed out of sorts.

This record mostly reminded me of the hybrid jazz-funk fusion of the late 60s and 70s by bands like CATALYST. Or even more recent funk offerings by CHRISTIAN McBRIDE and his work with THE PHILADELPHIA EXPERIMENT. However, it’s not quite as avant garde so it will be a more palatable for music listeners who don’t enjoy the challenge of more free form jazz.

I like Meilana Gillard’s music and this band. I think DAY ONE is just the start of many more days to come.

John Making His Legend Known

I know that my Liner Notes have been dedicated to Jazz recordings. Occasionally, I will recall a live performance. But it’s always about Jazz - until now…

On Sunday evening I heard one of the most remarkable voices attached the neo soul era I’ve ever heard. John Legend blew the doors off the Morton H. Meyerson Symphony Center in Dallas on the last stop of his North American tour.

I will give a courtesy nod to the opening acts. Legend’s brother, VAUGHN ANTHONY signed to Legend’s HOME SCHOOL RECORDS and LAURA IZIBOR. It’s not that they were not good. I was just not prepared for what the headliner brought to the stage.

Anthony’s performance was good and his sound is a lot like his brother’s. However, he does lack the vocal control that Legend wields almost effortlessly. I became less interested when he removed his shirt to bellow a song entitled “Yell” in which he advises his would be lover that this would be his goal whilst lovemaking.

Izibor would best be described as the Irish Alicia Keys. I generally find it disingenuous to compare one artist to that of a contemporary. And if you find my reviews useful, it is primarily a disservice to you. But I only do so in this case as Izibor will probably receive little to know press in America even with opportunity to perform with John Legend. She did a bang up job engaging the crowd as I’m sure most of the diverse audience was unfamiliar with her work. However she found a way to weave in Mary J. Blige’s “Real Love” into one of her tunes “From My Heart to Yours” that captured the crowds attention.

After a brief intermission, the lights dimmed and I was disturbed by stirring on my right side. As I turned to investigate the rustling, it was the Legend in the making. One Legend belting out a special tune from The Legend, BOB MARLEY. John opened his show with a stirring rendition of "Redemption Songs".

As John Legend performed hit after hit, I had the feeling that some of my discontent with popular music was beginning to subside just from listening to this one performance. Most of the reason that I enjoy Legend’s music so much is that he has not allowed himself to be pigeon-holed into his hit song formula. He just keeps making good records and takes chances musically that seem to capture the attention of the “music” lover.

Not only did he pay homage to the legacy of Bob Marley, he also found ways to weave in offerings by legends Michael Jackson and Prince. During his performance of "It’s Over" he vamped in Jackson’s "Remember The Time" complete with a photo montage of the King of Pop’s performances. Also, during the performance of “This Time” he added in Prince’s “Adore”. Legend also found was to pay homage to some of the biggest hits of the soul era like, “Rock Creek Park”, “Heaven Must Be Like This” and “Feel Like Making Love”.

Legend ended the show by performing “Green Light” - apropos as the lyrics include the verse, “I’m ready to go right now…” The thunderous applaud coaxed him back to a solo performance of his most well known hit, “Ordinary People” in which he engaged the audience to assist with part of the chorus, “Take it slow, this time we’ll take it slow.”

John Legend’s voice and music are unique and inspirational. I enjoyed this concert as much as any other of the great concerts I’ve seen. And I’ve seen Miles and Prince. And they were both great. Though I don’t suggest that John Legend is there yet, I have little doubt that he is on the right track.

I look forward to being a fan of his work for a long time to come.

Set List:
Redemption Songs
When I Use To Love You
Alright With Me
Satisfaction
It’s Over
Quickly
When It’s Cold Outside
Lifted
Where Did My Baby Go
Do It Again
Magnificent
If I Was In Your Shoes w/Vaughn Anthony
Slow Dance
Save Room
Good Morning
I Can Change For You
One More Try
This Time
Cloud 9
Green Light

Encore:
Ordinary People
Stay With You

Roy Hargrove Big Band

Bias acknowledged.

I’ve been waiting for this for a long time. Roy Hargrove Big Band.

I realized I hadn’t written anything on my blog since Michael Jackson’s demise. I won’t act like I was just so hurt I stopped listening to music. But I will say up until that point I had become a tad bit uninspired about what was been offered. Not to suggest that there were no good releases, I just wasn’t feeling much.

I received an alert that I had new messages on my Facebook page. And as I perused my wall, I saw it! A video of Hargrove’s Big Band and the announcement of his new album, EMERGENCE. Attached was the video for a performance of “SEPTEMBER IN THE RAIN”. Hargrove also recorded this tune on his sophomore effort, PUBLIC EYE. I was so excited about seeing this that I watched and listened to it no less than 5 times in a row.

Roy Hargrove Big Band - "September in the Rain" from doug yoel on Vimeo.

Since his debut, DIAMOND IN THE ROUGH, Hargrove has had major success and critical acclaim as a featured soloist and small group leader. Even his foray into fusion with RH factor earned him a Grammy nomination. There is no doubt that his ability to place himself in this context would produce this amazing record.

Grove’s ear seems to be classic. He took compositions from previous records and arranged them for this big band offering. I won’t suggest that there is anything new and or innovative. But I will say this is an awesome sounding record and really has a different sound than any of the popular big ensembles, like Marsalis’ Lincoln Center Jazz Orchestra.

I find myself not wanting to rundown every track and what I think of said tracks. I just want to encourage all my readers to just really listen to this record. I think what I love the most about this record is the incredible amount of musicianship and technicality in the arrangements. While the music might seem to sound difficult and arranged with such dexterity, it never loses the song in the music. I read another writer call it safe. I think I'll just call it organic...

Enjoy.

In addition to Hargrove on trumpet and flugelhorn, the ensemble consists of four other trumpet players (Frank Greene, Greg Gisbert, Darren Barrett, Ambrose Akinmisure), four trombonists (Jason Jackson, Vincent Chandler, Saunders Sermons, and Max Seigel on bass trombone), five reedists (Bruce Williams, alto saxophone and flute; Justin Robinson, alto and flute; Norbert Stachel, tenor sax and flute; Keith Loftis, tenor and flute; and Jason Marshall, baritone sax and flute), as well as pianist Gerald Clayton, bassist Danton Boller, guitarist Saul Rubin, drummer Montez Coleman and percussionist Roland Guerrero. Vocalist Roberta Gambarini contributes her vocal charms to two tracks. Emergence was recorded at Capitol Studios in Hollywood.

Dallas Record Covention

Fellow OKP SP1200 hipped me to an event of EPIC proportions: THE DALLAS RECORD CONVENTION. I can't wait to get there. It will be Sunday, August 16, 2009. It will be the first held in 3 years. Please support this convention as it will continue to bring the Art of Crate Diggin to Dallas.

Click the link go to the website and be added to the email list.

It will be held at the Westin Park Central at 12270 Merit Drive, Dallas.

Be there - beef up your lab...I'll be the cool kid in the jazz section...I need something new to write about.

Michael Joseph Jackson (1958 - 2009) Rest In Peace

This album cover sums Michael up for me...I thought I should post a long story...but I just didn't have the words...

Peace Balance & Light

20 STANDARDS

Okay, the first time I ever tried to listen to this record I stopped after the first song. The tune ALL THE THINGS YOU ARE clocks in at just over 20 minutes. Uh…the shortest tune on the record is 8 minutes; I don’t have this kinda time right now. This was 2003 during one of my record buying binges and ANTHONY BRAXTON’S – 20 STANDARDS was on the list. The fact that it was a four CD set should have set my expectations for the length but I guess I just didn’t pay attention at the time. And it was a record full of standards- we’ve been here before.

The entire recording clocks in at just less than 5 hours. It’s not background music; you will actively listen and attempt to digest it all.

I promised myself that I would spend this year searching for new artists. But I was going thru a crate and rediscovered this recording again. I had a long day ahead, sitting at my workstation and decided that this would be a chance to listen to this recording to keep my sanity because of the tedium I was about to embark upon.

On this date Braxton’s quartet didn’t include a piano. But he never had an opportunity to lose the melody due to the Guitar play of Kevin O’Neil.

I had a special affinity toward the tune, ON GREEN DOLPHIN STREET. Although this was arranged for this quartet, it is the same arrangement that my high school jazz band played. Those years are when I first learned to love this song. Over the years, I’ve heard many arrangements, but I love this one most.

While listening to APRIL IN PARIS, it struck me how deft a sax player Braxton is. Of course ballads are much harder to play because of the tempo; the improviser is much more exposed. But without missing a chord change he hangs in there with much bravado.

I’m not sure which axe he is using on the tune FREEDOM JAZZ DANCE. I can’t really tell if it’s a Soprano or Sopranino. He improvises throughout in the highest register of the horn and it almost sounds like a varitone of some sort. I’m not sure that I can really appreciate his play on this song. The interpretation of the melody from the beginning wasn’t immediately recognizable to me and just didn’t really like the output. But of course, I stand by my assessment of his ability and deftness.

As Braxton improvises throughout this record, he touches all jazz sensibilities. He does everything from swinging as hard as possible to the percussiveness associated with avant-garde or free form jazz.

The breadth and depth of this recording will make it necessary to listen too more for years to come. I know that I don’t have the ability to digest all the music here in one sitting. Maybe if I had started in 2003 I would just about have it now.

BOSS Productions Volume One: The Beginning of an Era

Have you ever seen an old picture of yourself and become immediately horrified? It’s happened to me. But it happened to me most recently when I heard myself play.

I was searching for the email address of a local artist that I’m acquainted with. I couldn’t find his card and for some reason his addy isn’t in my address book anymore. After I Googled his name, one of the entries took me to a blog on NPR. Apparently, this DJ EGON is also acquainted with the artist I was seeking out, ROGER BOYKIN. Roger is a legendary jazz/soul artist in Dallas, TX. Legendary meaning, if any jazz or soul record was recorded in Dallas in the 60s and 70s, if he didn’t play on it…he knew about it. Thus he has an incredible collection of records as well as an encyclopedic knowledge of the music at the time. I always refer to him as Dallas Jazz Royalty.

Apparently, Egon was on his way to SOUTH X SOUTHWEST Music Festival in Austin, TX and stopped off in Dallas on the way. He went by to see Boykin and raid his record collection. When Boykin decided on which records to give him, BOSS PRODUCTIONS VOL. ONE was on the list.

BOSS PRODUCTIONS VOLUME ONE, is the sole recording of the 1983 – 84, OLIVER WENDALL HOLMES MIDDLE SCHOOL BAND under the direction of local pied piper/musician/educator S. DEAN HILL – the “S” stands for Sweetness…so he’ll tell you. DJ EGON critiques the recording as bizarre. But I will tell you it is an important point in history. First, it is the first wax recording of ME playing alto sax and secondly, maybe a tad bit more important, it is the first known recording featuring ROY HARGROVE AND KEITH ANDERSON on the same date. If you are a connoisseur of jazz, you know that Anderson became Hargrove’s wingman on alto and tenor saxophones for the dates that produced THE RH FACTOR and he also toured with this group. Okay, maybe "important piece of history" is a reach, but - you know.

The song featured on the NPR Blog is titled “Break Out”. The alto solo is me – thus my horror! HOW in the world did THAT end up on NPR and the WWW for the world to critique?

As I’ve gotten older and revisited that record it makes me laugh to no end how extremely out of tune we were as well as how rhythm-less the solo was. I vividly remember being scared to death of recording that solo. I wanted to do it again after we played the song the first time, but we didn’t have the time or the money to re-record any of the record…call us “One Take Masters”. The trumpet duet features Hargrove and Jesse Fudge.

Follow the link and listen to “Break-Out”. Remember, I was only 13…try not to be too brutal or amused too much.

Nicolay got the Jazz

Dutch-born NICOLAY first hit my radar when I started listening to his random music postings on okayplayer.com. There were times when I listened to those joints thinking to myself, I wish I had his ability. His largest claim to fame to date, as far as I know, is his unique collaboration with PHONTE of the Hip Hop group LITTLE BROTHER. They formed a group, THE FOREIGN EXCHANGE, bi-continentally having never met each other in person – Nicolay was in the Netherlands, Phonte in North Carolina. They recorded and released an incredible record titled, CONNECTED in 2004.

Nicolay’s hip hop tracks are birthed from the traditions of A TRIBE CALLED QUEST’S classic record, PEOPLES INSTINCTIVE TRAVELS. He uses hard bass line grooves, funky drums and the lush-est of melodies and “he Got the Jazz”. It’s no wonder Bob James’ people tapped him to do a tribute record.

BOB JAMES has been sampled quite a bit by the Hip Hop community. Everyone from PUBLIC ENEMY to ERIC B and RAKIM to THE ROOTS to Run DMC have sampled from James. His music has been revered by the hip hop elite.

NICOLAY did a funky remix of NAUTILUS from James' debut album titled ONE (Tappan Zee). Nicolay didn’t deviate much from the original recording. He just dusted it a bit with his own magic and loved it for what it is – a classic.

Check for Nicolay - Click the link NAUTILUS for free download. I guess the Dutch have soul too!

Thanx to Aimee @ Nicolay Music

RIP Wayman Tisdale 6/9/64 - 5/15/09

Basketball Player, Bass Man, Man of God, Wayman Tisdale dies at the age of 44 after a battle with cancer. In August 2008, Tisdale had part of his right leg amputated because of bone cancer.

The self taught bassist began his professional music career while playing for the Phoenix Suns. His debut album in 1995 was titled, POWER FORWARD. Since his retirement in 1997, he's hit Number 1 on Billboard's Contemporary Jazz charts several times. In 2002, he was awarded the Legacy Tribute Award by the Oklahoma Jazz Hall of Fame.

CIRCUMSTANCE is my favorite song by Tisdale. It always made my dinner music and cool out playlists.

I pray God's blessings, comfort and peace to Waymon's family.



Thanks for nice dunks and funky play.

Discography:
Power Forward (1995)
In The Zone (1996)
Decisions (1998)
Face to Face (2001)
Presents 21 Days (2003)
Hang Time (2004)
Way Up! (2006)
Rebound (2008)

McBride is Live

I know of few things that can produce the feeling you get when you hear a solo for the first time that completely captivates you. The artist pulls away from the microphone and you realize all in that moment, that you just heard something incredible that will almost never be reproduced the same, unless someone had the forethought to record it. But even then, if you heard it live, the recording does it no justice. But if you hear the recording first and you feel that way, you know you’ve heard something special.

That’s exactly how I felt when I heard the opening piece of CHRISTIAN MCBRIDE‘S LIVE AT TONIC. The opening piece is titled TECHNICOLOR NIGHTMARE. Its violent from beginning to end. I can’t ever recall listening to a Jazz piece that was so loud and percussive from every instrument on the stage - and then finding out it was just four musicians. But never does it become obnoxious and too loud.

The beginning of the song finds McBride bowing a solo on what I believe to be an upright bass with electric pickups. Though I can’t see him playing, I imagine that he is throwing his entire being into the instrument.

McBride is joined on this date by keyboardist, GEOFFREY KEEZER, reedman RON BLAKE and drummer TERREON GULLEY. The core is just four. Wow! Blake is becoming more a force to be reckoned with. This album is 2 years old, so imagine what I must be thinking of him now. This set also features appearances by CHARLIE HUNTER on Guitar, JASON MORAN, JENNY SCHEINMAN, DJ LOGIC, and SOULLIVE’S ERIC KRASNO AND RAHSAAN PETERSON. This on any night would make for an all star jam session. Thankfully - it was recorded!

You won’t meet anybody who purports to know enough about jazz to write about it to say they don’t like MILES DAVIS’ foray into Rock and Fusion. However you may find one or two so called purists who would dare suggest that Davis’ fusion period may have been lacking. I’m not one of those writers. I loved BITCHES BREW and I love McBride’s take on it. Keezer’s integrity to the melody gave Blake plenty of room to play.

This 3 disc set was released in 2006, and it was buried amongst many of the recordings I had acquired in those years - I forgot I had it. Now I hate I didn’t listen to it then. But I’m glad I found it. It is truly a gem.

Even if you had never heard his music, McBride’s resume is unreal and I wouldn’t be afraid to say unparalleled by any of his contemporaries. He’s played with WYNTON, STING, GEORGE DUKE, ROY HARGROVE, PAT METHANY, BILLY HICKS, ?UESTLOVE of the hip hop super group THE ROOTS, and BOBBY WATSON. Playing with as many different musicians as possible has made him even more brilliant.

Musically, everything is here - “From bebop to hip hop to funk to fusion”. I’m not that clever I quoted that lyric from SY SMITH. Sonically, its loud where it needs to be and soft where it needs to be.

More than unearthing this from my collection, I wish I had been there to hear it!

Blade on the Beat

The word fellowship invokes a certain spiritual sensibility in me. In fact, I can’t say it, think it or spell it without singing the tune, “What a fellowship, what a joy divine, leaning on the everlasting arm…”. I got the same feeling the first time I heard BRIAN BLADE AND THE FELLOWSHIP BAND.

My introduction to the THE FELLOWSHIP BAND was during an NPR/WGBO broadcast of a set at the Village Vanguard in New York. Somewhere around the first 6 bars of a tune called, “Rubylou’s Lullaby”, I was reintroduced to that slow, spiritual place in my mind that speaks to my ears and reminds me that I’m hearing soul music. This set was a remembrance of the warm feeling that music can bring. Sometimes in jazz, other than on ballads, we forget how pretty saxophones are supposed to sound. You’re reminded in this set.

This set opens with the first four tunes from their third recording SEASON OF CHANGES (Verve), their first for Verve. This is the first recording from the group for eight years. The first two recordings were on the Blue Note Label. It appears as tight as they sound on stage together, they are kindred musical spirits.

I listened to the recorded versions of these songs after I heard the concert, and I loved the songs just as much. I like this band because it is attempting to carve out a place in a new jazz idiom. The music swings and allows itself to find its place not within the context of interpretations of the Golden era but attempts to establish a new place.

Blade has spent the last eight years touring with WAYNE SHORTER and as a studio musician for the likes of BOB DYLAN, JONI MITCHELL, SEAL and PAT METHANY. In listening to these avant-garde arrangements it is apparent that his musical sensibilities have certainly been piqued by a range of performers and performances. Also during this hiatus from the band, he began recording and released a folksy jazz vocal document titled MAMA ROSA. I can’t wait to hear this recording. As a matter of fact, I’m going to be watching this artist quite closely for years to come.

Click the title to hear the concert on NPR

Sean Jones is searching...

So my bias toward the trumpet playing of Roy Hargrove is documented. I have unapologetically been biased toward his music for the last 20 years. On an earlier blog, I didn’t hold back proclaiming my affection for his last offering “Earfood”. But I grew up playing with him and his sound is stuck in my head. It’s like being able to distinguish a sibling’s voice in a crowd because you’ve heard it for years.

But I have been a quest to find artists that I’m not familiar with and find new voices to enjoy. I haven’t done a good job because some of my favorites have released incredible records. Most notably this year was B. Marsalis’ latest, Metamorphosen.
Enter Sean Jones. His new record is titled, THE SEARCH WITHIN. The title alone strikes me because it is a true jazzman’s eternal quest. Maybe it is a bit narcissistic for any artist to believe that they have something “within” that they haven’t already offered. Or maybe it is a directive for the listener to “search within” while listening. I took it as personal challenge to find another trumpet player that I would give more than a cursory listening. But this is my blog so I don’t necessarily have to be objective.

This record I like! I won’t search for eloquent language about how this recording is far reaching into jazz’s future because it’s just not that record. But THE SEARCH WITHIN is a solid outing by this artist. It reminds me of some very competent cats getting together to teach a master’s class at a college competition and at the end showing the kids how to do “it”. This may be because Sean Jones is a professor of music as well as a recording artist. The old saying goes, “Those who can do and those who can’t teach”. Let me be clear, Jones can and he does and he teaches.

I got a glimpse of his work from a suggested clip, SEAN’S JONES COMES DOWN. From the downbeat, he comes right at you. He’s studied his bebop well and interprets it with veracity. Also, throughout the recording, Jones’ approach to Flugelhorn leads you to the pure beauty of sound. His compositions and arrangements will immediately put you in the mind of a Terrance Blanchard scored movie. Sometimes is improv feels a bit tedious, but it’s never drawn out and inappropriate. But I’m not sure that’s just not my bias.

After this, his fifth studio record, I believe that Sean Jones’ search within will yield great music. This document is proof that he just might be on his way. I encourage you to listen.

Brandford Marsalis - Genius

I can’t deny it. I love the music of Branford Marsalis. His music moves me to no end. Because I was a saxophone player, I much more familiar with the intracacies of the horn and how difficult it can be to make it sing like Marsalis does. And Marsalis is one of the great ones in the lineage of great tenor players. He was born of the same tribe of the most proficient soloist with Coltrane and Rollins. Even with his avant-garde improvisations, arrangements and compositions he can still swing as hard as any reedman from the golden era.

I don’t own Marsalis’ entire catalog, but I will suggest that I own the best of what he has offered over the years. And this new record, Metamorphosen, will stand up next to anything else he as recorded.

Metamorphosen finds Marsalis in unusual surroundings. Meaning that for the last few years he’s been basically recording in the trio format sans piano. With this recording he’s added the piano back and is no less adventurous and astute in his improvisations as he would be in the more free jazz format. Tapped to join him on this date is Joey Calderazzo on piano, Eric Revis on Bass and longtime collaborator and time keeper, drummer Jeff “Tain” Watts.

As an arranger, Marsalis always has a fresh new take on classic music. One of the stand out pieces is Thelonius Monk’s “Rhythm-a-ning”. I can’t tell you how exciting it is to hear the newness of this music.

Calderazzo’s piano is soothing and exciting. Revis’ bass playing is steady and Tain’s drumming and symbol work is as perfect and as interesting as it ever was. The playing on this record just seems to be personal. And to hear Brandford’s soprano, which to me is the hardest saxophone to play well, is just beautiful. All the tunes just turn into playful dialogue between the players.

From Marsalis’ work with Sting to his classical foray, Romances for Saxophone, he always puts in a better than average perfomance. I believe Metomorphosen will go down as one of the best records of this gifted reedman’s career.

Tempo, Tempo

I stood to play my solo and Mr. Hill stopped the band. He said, “Michael, can you please play the tempo we are playing instead of the one you sleep with?” I was actually playing the solo at about a half a beat slower than the band was playing the song. This little anecdote is to illustrate that I was late then, I’m late now.

So again, I haven’t been focused on keeping my blog up to date. And again, I promise to do better. The last time I had something good to write about was almost exactly a month ago and I didn’t do it. However, blog fans, I have written a couple of new critiques and I will add them soon.

Last month, the South Dallas Cultural Center restarted the 3rd Friday night monthly jam sessions. Jammin at the Center is mainstay at the cultural center and most times a lot of fun. Now, the Jam Sessions are headed by one of my most favorite sax players, Shelly Carrol. Anytime I get to hear him play, I go. And to hear him with a two drink minimum would be a treat for you too. The jam sessions start at midnight and go until three in the morning every 3rd Friday nite. And anybody wants to play gets to play. Just bring your books and your ideas and work it out with the best jazz musicians in the city.


February began the new jam sessions for the year. Shelley was on point per usual. The kickoff for the year was to pay tribute to one of Texas’ most favorite sons, Texas Tenor David “Fathead” Newman. The SDCC pulled a coup by having Newman’s son, Dino Newman to sing and play (trap) at the jam session. Dad and Dino. I’ll spare all the details since it is basically ancient history. Enjoy the pics. I’ll be back in a couple of days.


Vicki Meek is the Director of SDCC and founder of Jammin at the Center.

Better than Anything - Nnenna Freelon

Without a doubt, Tears of a Clown, as performed by Smokey Robinson and the Miracles is one of my most favorite songs ever! Its one of those timeless songs that makes me feel like I was born in the wrong space, place and time. Like, I should have been the one at the “Sock Hop” spinning the record or doing the monkey. And if you have any love, admiration or respect for Motown Records, that piano riff will always spark those emotions – bling, bling, bling, baba blingblingblingblingbling… So to hear that riff coupled with the ballad type arrangement and Nnenna Freelon’s vocal integrity makes me love that song in a new way. Unfortunately I can’t say that I feel the same way about her renditions of I Say a Little Prayer or Body and Soul. Whereas the vocals are still incredible, not all popular songs are built to be “jazzed” out. And the arrangements for these two songs left some to be desired.


Better than Anything is a compilation recording which features the best tunes from 5 of 6 discs Nnenna has recorded for Concord Records.

The title cut Better than Anything, is a driving Latin groove that never looses its movement. The thing that I love about Nnenna is that she as much and more than a lot of female vocalist never gets overtaken by the music. With or without instruments, Nnenna finds ease in taken her place as the lead in songs. She takes flight while singing over the complex yet identifiable harmonies of the mega jazz/gospel group, TAKE 6. Straighten Up & Fly Right, done acapella brings you right to a street corner in Harlem in the 40s. It’s a street corner vocal dance that would surely capture the passer-by’s attention.

The thing that is great about this record is the individuality and creativity in song choice and performance. Nnenna stretches her unlimited potential as musicians should. Most especially jazz musicians! Better than Anything is as good as anything I’ve heard so far this year. But I’ve always dug Nnenna; this just makes me want to hear more.

2009 Grammy Winners - Jazz

Here is the list of 2009 Grammy winners in all the Jazz categories. I’m always more than excited to see my favorite female vocalist, Cassandra Wilson win. “Loverly” is by far, a great record!
I can’t say, unfortunately, that any of the other records hit my radar last year. But I’ll be seeking them out.

Contemporary Jazz Album: Randy in Brasil - Randy Brecker
Jazz Vocal Album: Loverly - Cassandra Wilson
Jazz Instrumental Solo: BE-BOP - Terence Blanchard,
Jazz Instrumental Album Individual or Group: The New Crystal Silence - Chick Corea and Gary Burton
Large Jazz Ensemble Album: Monday Night Live at the Village Vanguard - The Vanguard Jazz Orchestra
Latin Jazz Album: Song for Chico - Arturo O'Farrill and The Afro-Latin Jazz Orchestra

Jazz Pianist Allen Toussaint received 2009 Lifetime Achievement Honor. Toussaint composed hits including “Southern Nights,” “All These Things,” “Java,” “Whipped Cream,” “Mother-In-Law,” and “Working in a Coal Mine”. His collaborators are a diverse cross-section of music’s finest, including Elvis Costello, Paul Simon, the Band, Boz Scaggs, Patti LaBelle, and Bonnie Raitt. Mr. Toussaint joined the Rock and Roll Hall of Fame in 1998.

Also, Hank Jones, the 90-year-old jazz pianist and composer who was awarded Congress' National Medal of Arts earlier this year.

Hank Crawford Dies at age 74 on 2/2/09

I cannot say I am very familiar with Crawford's work as a band-leader but I know through my routine readings of various liner notes that he was Ray Charles' big band leader for quite awhile.

The reason his death caught my attention is because when I was in my first Jazz/Stage band at OW Holmes Middle School - shout out Tiger Band - we played a song called Hank's Blues. Named for Crawford, it was the song that introduced me to that type of band format. And, it was the first song I ever tried to improvise too...

Talk about nostalgia...

Rest in Peace...you left your melody in the wind for us.

Jazz for President Obama: Enoch's (Inaugural) Meditation

I was in DC when I ran across this and didn't have the change to post.

Robert Glasper's tribut to our new President...yes and if you didn't vote for him, he's your President too...

http://www.npr.org/templates/story/story.php?storyId=99565794&sc=nl&cc=sod-20090120

Scribal's on a Quest

Today is Tuesday, January 06, 2009.

Today I begin my quest to find MY favorite Jazz Recording of the year.

I’m beginning today, of course, because Tuesday is new release day and this is the first Tuesday of 2009.

No, I’m searching for a classic. No, I’m not suggesting I will hear all the jazz music that is released this year. And no, I’m not suggesting that my choice or list will be the “be all that ends all”.

I realize that I have spent the last few years involved in revisionist history of the jazz. Spending most of my time collecting and recollecting the recordings of the giants of the genre – Miles, Mingus and Monk and so on;

So this year I’m on a quest - more of the young lions and older cubs.

Frederick Dewayne Hubbard – April 7, 1938 – December 29, 2008

Because of the holidays, I found myself a bit busy and not having enough time to write. On December 29, 2008 we lost a legendary Jazz Trumpeter, Freddie Hubbard. He was seventy years old. And the Innovation Era of jazz has a lost another one of its stewards.

Though Hubbard’s music didn’t catch my ear as much as some others, I always respected his virtuosity. It’s impossible not to. I mean, who hasn’t listened to Red Clay until the needle wore down or the tape popped? I will admit that my interest piqued in this tune but the album included one of two of my favorite tenor players, Joe Henderson.

Of all the offspring that Jazz has spawn, the Hard Bop/Free Form movement is one that is the most difficult for most enthusiasts to grasp. I consider myself more a patron who’s enthusiastic about jazz than a true enthusiast, so over the years I have cherry picked music I liked from the era. And Freddie Hubbard tended to be involved in a couple of those tunes that I liked. As I sit here listening to Branford Marsalis’ The Beautyful Ones Are Not Yet Born, I’m reminded of Hubbard’s trumpet playing idealism where he would play long phrases like saxophone players. He changed the way trumpet players approached improvisation.

Rest In Peace Freddie Hubbard…Your contribution makes Jazz what it is!!!