For Charles Mingus’s centennial, DownBeat asked me to do a deep dive on the composer, bassist and singular American cultural figure. In this package of three pieces, I explore the place Mingus occupies in the popular imagination, by all accounts well-deserved, as a force of nature, an iconoclastic truth-teller, a volatile, emotional man with a violent streak. But his many friends and fellow musicians, people who knew and loved him, remember a different side: the spiritual seeker, poet, esthete and philosopher; the bandleader who took pains to treat his musicians fairly; and, above all, the artist he was right down to his bone marrow. Among the artists and critics I interviewed: Christian McBride, Charles McPherson, biographer Brian Priestley, and Jazz at Lincoln Center’s Vincent Gardner, who served as musical director for JALC’s Mingus centennial tribute. The main article is here. A sidebar on the making of “Epitaph,” Mingus’s magnum opus, is here. Another piece about new Mingus recordings and tributes is here.
Category Archives: Jazz at Lincoln Center
Imagine if Sarah Vaughan played saxophone like Dexter Gordon. That’s approximately the effect when the 35-year-old singer and tenor saxophonist Camille Thurman performs. She told me about her struggles with sexism and crippling self-doubt in my interview with her, from the March 2022 @DownBeatMag.
It was quite a night: Harry Connick, Jr., Jon Batiste, Catherine Russell, Sullivan Fortner, Wynton, Branford and Jason Marsalis, among others, in “The Birth of Jazz: From Bolden to Armstrong” at the annual Jazz at Lincoln Center gala on April 17. My review for DownBeat.com.
At 56, Marsalis is among the youngest living artists ever inducted into the DownBeat Hall of Fame. If he had only been the leading trumpeter of his generation, there’s little doubt he eventually would have made it into the hallowed hall. But it’s his tireless work as an educator, bandleader, fundraiser, non-profit executive, and advocate for jazz and American culture that probably sealed the deal so soon. My interview with him, from the December 2017 DownBeat.
Pianists Sullivan Fortner (above), Aaron Diehl, Dan Nimmer, and two excellent student pianists from Julliard (Micah Thomas and Joel Wenhardt) rocked the “House of Swing” in “The Fantastic Mr. Jelly Lord,” the JLCO season opener at Jazz at Lincoln Center last weekend. My review in DownBeat.
Today I had the privilege of sitting down with Wynton Marsalis in his dressing room at Jazz at Lincoln Center for a DownBeat interview, five years after our first meeting. We talked about his career, his evolution as a musician and a human being, his hopes for the future. Article coming soon.
How 89-year-old Dick Hyman and 13-year-old Joey Alexander brought the house down at Jazz at Lincoln Center (along with five other brilliant pianists) – here’s my story, as published in DownBeat.com.
Can you call a 13-year-old a piano master? The question came to mind during last weekend’s season opener by Wynton Marsalis and the Jazz at Lincoln Center Orchestra (known more simply as the JLCO). The show, entitled “Handful of Keys: A Century of Jazz Piano,” featured spectacular performances by 89-year-old piano master Dick Hyman and the astonishing Joey Alexander, now barely a teenager. It also included memorable performances by five other exceptionally talented pianists – Helen Sung, Myra Melford, Larry Willis, Isaiah J. Thompson, and the JLCO’s own Dan Nimmer – an embarrassment of riches.
Since the whole glorious history of jazz piano cannot fairly be assayed in a single evening, the concert was more of a grab-bag than a survey. The game plan seems to have been to allow the pianists to play some of their favorite music, with the result roughly representing many of the major styles of jazz piano.
Marsalis and company were celebrating the 29th season of the JLCO, which, since 2004, has performed its ambitious programs in the plush digs of the Rose Theater, part of Jazz at Lincoln Center’s three-venue complex in the Time Warner Center on Columbus Circle. During intermission, the sold-out crowd was invited to toast the anniversary with champagne in the recently renovated Atrium named for Ahmet Ertegun and his wife Mica. The new season will include centennial observances of Dizzy Gillespie, Thelonious Monk, Buddy Rich, and Ella Fitzgerald.
Marsalis kicked off the evening with the Milwaukee-born Nimmer, introducing him as someone who “was born and lives to swing… We have embraced him and love him and we won’t let him go anywhere.” As he entered from stage right, the orchestra echoed those sentiments, greeting the boyish-looking 33-year-old with a standing ovation. Nimmer, choosing the upbeat “Temperance” from a 1960 album by one of his idols, Wynton Kelly, proceeded to emulate what he described as Kelly’s “happy feeling and driving swing.” Accompanied by a sparkling arrangement by JLCO trumpeter Marcus Printup that showcased the piano beautifully, Nimmer showed why he is one of today’s most versatile and under-appreciated pianists. It comes down to two words: great feel.
The next pianist, the preternaturally confident and proficient Isaiah J. Thompson, a Marsalis protégé, is only 19 and a sophomore in Julliard’s jazz studies program. He began with a fine homage to Monk, eloquently riffing on Monk’s off-kilter take on “Lulu’s Back in Town,” artfully arranged by trombonist Vincent Gardner. Afterwards, Marsalis observed, “He’s gonna get a good grade this semester.” On Oscar Peterson’s “Hymn to Freedom” from the 1962 Night Train album, Thompson displayed a light touch and solid swing feeling that conjured the master.
The rising piano star Helen Sung followed, impressing with her physicality and polish at the keyboard and her stylistic range. She brought that whole-body approach to McCoy Tyner’s fascinating, rhythmically challenging “Four By Five,” in her own arrangement for the JLCO. The high-energy arrangement featured Victor Goines burning through an intense, Coltrane-ish tenor solo, and Ali Jackson, having a field day in one of his typically melodic drum solos. After that bracing excursion into modernism, Sung made a 180, with a beautifully nuanced, pleading blues piano solo on Percy Mayfield’s R&B classic “Please Send Me Someone to Love.” Played as a trio with drummer Jackson and bassist Carlos Henriquez, it felt like a warm bath.
NEA Jazz Master Dick Hyman, who must be tired of seeing his age in print, showed his ageless artistry in the first of his two appearances in the program. In a Benny Carter arrangement of “All of Me,” Hyman’s fleet, two-handed runs displayed undiminished skills and imagination. Marsalis and other band members seemed to hang on his every note.
The program’s second half began with the extraordinary Myra Melford, whose radiant, energetic presence and sense of humor belie her serious composing chops and a sheer physical domination of the piano that sometimes recalled Cecil Taylor. Of the seven pianists, Melford was the only one to perform her own composition; it was “The Strawberry,” from her acclaimed Snowy Egret album, in a daring, accomplished big band arrangement by saxophonist Ted Nash. After a gospel/bluesy intro, the piece segued into jaunty, Latin-inspired modernism that recalled Leonard Bernstein’s dance music in West Side Story. She followed up with a rhapsodic rendition of Andrew Hill’s “Images of Time.”
Journeyman pianist Larry Willis was greeted with the orchestra’s second standing ovation, in recognition of his long career as a musician’s musician. He continued the concert’s emphasis on the percussive side of the piano with another Monk tune, “Rhythm-A-Ning,” in a brilliant arrangement by saxophonist Sherman Irby that began with a glorious Ali Jackson drum solo, then showcased a dense, discordant, frenetic Willis solo and a wild trombone solo by Elliot Mason.
The stage was set for the evening’s most highly anticipated performance. Mr. Alexander may be diminutive, but he is like a stealth weapon. Introducing him, Marsalis proclaimed his genius, noting, “You will never hear another 13-year-old ever play on the progression he’s about to play.” The progression was that of “Very Early,” the first of two tunes written by or associated with Bill Evans. The idea that a pianist so young would embody the spirit of the great Evans was hard to wrap one’s head around, but he successfully evoked the master without sacrificing his own keen originality. In this, and a breathtaking version of “Who Can I Turn To?,” here at last was the celebration of elaborate and exquisite jazz harmony needed to round out the evening’s portrait of jazz piano history.
Perhaps the only finale that could credibly follow Alexander’s bravura performance was the return of the serene, Yoda-like Mr. Hyman, striding onstage with erect posture and a vigor that belied his 89 years. He proceeded, Samson-like, to destroy the place with James P. Johnson’s supremely challenging “Jingles.” In the finest rendition of a Johnson stride masterpiece that I ever expect to hear, he also made the 1930 masterwork sound like it had been written yesterday.
Last weekend’s season opener by Wynton Marsalis and the Jazz at Lincoln Center Orchestra, entitled “Handful of Keys: A Century of Jazz Piano,” included
performances by 89-year-old piano master Dick Hyman and the astonishing Joey Alexander. Can you call a 13-year-old a piano master? Joey begs the question. The show featured memorable performances by five other pianists – Helen Sung, Myra Melford, Larry Willis, Dan Nimmer, and Isaiah Thompson. My review soon in DownBeat Magazine (I’ll post a link here).
Saxophonist/arranger/bandleader Andy Farber is a New York treasure. I caught him at Dizzy’s Club at Jazz at Lincon Center recently, leading his 17-piece orchestra in a program that included two old favorites – “Seems Like Old Times,” and Neal Hefit’s theme from “The Odd Couple.” My report in Downbeat.
Here’s my report in DownBeat on the launch of Jazz@Lincoln Center’s new record label, Blue Engine. The first release will be the Jazz at Lincoln Center Orchestra w/Wynton Marsalis – Live in Cuba, coming in August.
What a swell party last night (6/30/15) at Jazz at Lincoln Center for launch of a new JALC-branded jazz record label, to be called Blue Engine Records. The turnout included these jazz masters and many more of the greatest musicians in New York, among them Christian McBride, Aaron Diehl, Nilson Matta, Ted Nash, Toshiko Akiyoshi, Lew Tabackin, and Catherine Russell. My report will be posted at DownBeat.com tomorrow (July 2).
…with a 10-piece band; I’ll review for DownBeat. See the live webcast @ 7:15 http://ow.ly/tWp5Z
Saxophonists Ted Nash and Joe Temperley are two of the instructors in Wynton Marsalis’ latest venture to make jazz more comprehensible to musicians and fans alike: Jazz at Lincoln Center’s new — and free — online Jazz Academy. You can read about it in my article from the January 2014 DownBeat.
“The idea that art “moves forward” is misleading anyway; art doesn’t move, art is. Is there a living soul in Jazz more advanced than John Coltrane? Who is beyond Duke Ellington?” – Eric Reed, from his website,www.ericreed.net. I had the pleasure of interviewing Eric for an upcoming article in DownBeat about JALC’s forthcoming collection of free jazz education videos that feature him, among many other jazz artists and historians.
Alto sax master Paquito D’Rivera resurrects “Charlie Parker w/Strings at Jazz at Lincoln Center. My review in DownBeat: http://ow.ly/kgRhH
With an hour to go before a sold-out concert at Jazz at Lincoln Center’s Rose Hall, the Wayne Shorter Quartet had no idea what they would be playing. Talk about being in the moment… Here’s a link to my review in DownBeat. http://www.downbeat.com/default.asp?sect=news&subsect=news_detail&nid=1907
Luciana Souza brings Brazil to New York’s Jazz at Lincoln Center, covers songs from Jobim to Leonard Cohen http://bit.ly/AAPMSO