Meet Jason Davis...Again

Latest Project: GREEN

Just before I took a trip to the Dominican Republic, Jason Davis released is latest record, GREEN. On my 5 am flight, I played the record for the first time. No sleep for me. The record kept me relaxed, interested and entertained from beginning to end.

This record is a trio setting which is Davis on Tenor, Lamont Taylor on Drums and Mike League on Bass. The trio setting sans piano is and always has been tough for me to digest. I am harmonically challenged sometimes and when I don’t hear the colors from the chords, I get lost. My first experience with this type trio was Branford Marsalis, Jeff Watts and Robert Hurst – The Beautyful Ones Are Not Yet Born…I still haven’t digested that record. So I won’t waste keystrokes trying to explain how I feel about this record, except to say, I really like it. I will say that this record was a lot easier for me to follow. I don’t know if my ears have grown up or Jason’s record is just that good. Jason’s driving style is reminiscent of the Texas Tenor tradition. His love for the tradition is guaranteed to keep it alive.

If I have one complaint, sometimes during Davis’ improvisation efforts he disappears. I believe it is the gorilla recording coupled with his physical style when he gets into the music.

I had chance to interview Jason.

What’s your main instrument? Tenor Saxophone
What other instruments do you play? Clarinet, Flute, Piano, Baritone Horn, Organ, Harmonica, Vibraphone, Drums, Bass Guitar
When did you know music would be your life? September 1984 @ Pearl C. Anderson Elementary School.
What song do you remember most as a child? Ava Maria
How do you describe the music you play? Husic; it is Healing Music that presents Hues, Shapes, Textures and Spiritual Intentions
What is the name of latest project? Green
Describe that project? When I recorded Green I wrote down a list of the 25 things that I do on sax better than anyone else. Then I called up Mike League and Lamont Taylor and asked them to come record some originals with me. I told them that this session would be very loose and have lots of time a directional changes. Green is an improvised recording that is the way I sound when no one is watching.
If you could pick one song that describes music for you, what would that song be? To God Be the Glory.
What is your favorite moment in your own personal music history? Standing on stage this year in front of my new Jazz Big Band called "Stage Band South" for our first gig.
What do you think about when you are improvising? Nothing
What is your biggest career challenge right now? I need my own music venue (Concert Hall) so that my audiences can see me without reserve.
What are your biggest creative influences?The Texas Music Tradition that comes out of South Dallas and Lincoln High School.
Who is your biggest fan? My dad - James Davis Sr.
Who are you trying to reach with your music? Im trying to reach everyone that dares to listen.
What is your approach to live performances? I want to be vernacular and take an Illinois Jacquet (Texas Tenor) approach.
If it is true that you write what you like to perform over and over, what song(s) have you written that you love to perform? #1 song is called "Put That Meat on The Grill" #2 song is called "Cozumel"
If you only had one song to play before you left the earth, what song would that be? Hymn #162 "Pass Me Not"
What are you doing now? Viral Marketing all over the web with videos, CD releases and blogs. Looking for funding for my Big Band Concept.

Without music, I would be I would be searching for my purpose in life.

Music is a gently twisted tool that can get you through anything

Video links: http://www.youtube.com/watch?v=gt3khwNPEDY
Social Media Links: http://www.facebook.com/wellingtonhancock
Music Links: http://itunes.apple.com/us/album/green/id42723220

Jason Davis' Equipment:
Reeds: Benz-Reeds #3 or Vandoren Java #3
Mouthpiece: Claude Lakey 6*
Ligature: Rovner
Horn: Band Now
Mics: AKG C419
Effects: Presonus Audio Box with Mac Book

Danilo Perez

I don’t remember the first time I heard Danilo Perez. My memory is not serving me well. But if I had to take a good guess, it was when BET had a show called Jazz Central that was hosted by Angela Stribling. Wow…I can remember rare good programming on BET and hosts of those shows, but I can’t remember where I first heard Danilo Perez.

I bought a recording from him around 1998 titled PANAMONK, which featured two drummers that I admire greatly, Terri Lynne Carrington and THE infamous Jeff “Tain” Watts. It also featured bassist Avishai Cohen. Who wouldn’t buy a record with such an interesting title? But I was familiar with Perez’s prowess on the piano. I will say that Perez pulled off this Thelonious Monk tribute with veracity. I appreciated every moment of the record. From the ballads to the Latin flavored reworks of some of Monk’s tunes.

I’ve soaked up a lot of music since listening to that first record. I didn’t really seek out any other Perez offerings. Not that I wasn’t impressed, I just got mired in the work of my old favorites. And during that time, I was only seeking out the work of the artists who created and innovated jazz. But, some years later – a lot of years, I came across Perez again on Wayne Shorter’s ALEGRIA. On this recording, Shorter weaves his way through all of his styles – from classical jazz to the avant-garde. Perez fit Shorter’s musical vision with deftness. I imagine that his time touring with Shorter made that pretty simple. This was another recording that I was familiar with featuring Perez, Brian Blade on the drums and John Patitucci on Bass.

Fast forward to 2010…Every summer I look forward to my wife and me, and assorted friends who join us, attending the Summer Jazz Series in the Park at the Dallas Museum of Art. It’s just us, good food, good spirits and most importantly good music. This year’s headliner and series opener is none other than Danilo Perez. So me being me - I pulled out PANAMONK and ALEGRIA and sought out more recordings/appearances by Perez. I found MOTHERLAND among others – but found myself drawn to this one.

MOTHERLAND speaks of a young composer with seasoned abilities still wanting to provide playfulness inside sophistication in the music he creates. It certainly is a joy to listen too! Sometimes, Latin recordings can be intimidating because the rhythms can be complicated. This isn’t one of those records. This recording is classy, lively and fun. This is definitely one of those “Afro Latin Blue” moments in jazz. I found myself dancing - in my head - rumbas, salsas and starting conga lines. I even considered taking capoeira lessons. Okay maybe not. But I really do dig this record!

I don’t know how many Latin jazz recordings (speaking specifically about South American, African, Cuban influenced Jazz...I mean there was Flamenco Sketches) I’ve heard that have used violins but Perez found the use of one that didn’t take away from the integrity of the theme. But how could Regina Carter ever be out of place? Brian Blade is ever more rapidly moving up on my personal list of young lions who have become jazz heroes. His drumming on this recording is masterful. Much like the all the other music I’ve ever heard him play. The vocals and chants on this record are hauntingly beautiful. The rest of the accompaniment on this date handles Perez’s compositions and arrangements with extreme competence as well as love. In my opinion, Perez really shows his chops as a soloist on the song Rio to Panama.

I really love this record. It’s summertime in the park music. I began to find myself fantasizing about me and my wife on white sand beaches, watching sunsets, snacking on empanadas and sipping red wine.

I can’t wait to see Danilo on Thursday night. If you see us there...come say hello.

Dallas Museum of Art Summer Jazz Series

Motherland Personnel:
Danilo Perez - Piano
Claudia Acuna - Vocal
Greg Askew - Percussion, Background Vocals
Aquiles Baez - Acoustic Guitar
Brian Blade - Drums
Louis Bauzo - Percussion, Background Vocals
Richard Bona - Vocal, Electric Bass
Richard Byrd
Regina Carter - Violin
Carlos Henriquez - Acoustic Bass
Chris Potter - Alto Saxophone, Soprano Saxophone
Luisito Quintero - Percussion, Triangle, Chimes
Kurt Rosenwinkel - Electric Guitar
Antonio Sanchez - Drums
Luciana Souza - Vocal
Diego Urcola - Trumpet
Ricaurte Villarreal - Tamboura, Tambor Repicador

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.