November 1, 2016
This year’s
Detroit Jazz Festival was absolutely phenomenal!! I took in the first three
days and on all three, I went to one venue and spent the entire evening.
On night one,
actually there is only one venue, the JPMorgan Chase Main Stage at Cadillac
Square. We got to the venue, which since this was the only one, was teeming
with over a crowd of over 20,000, to hear final two tunes from Artist-in-Residence, Ferndale
native world renowned bassist, Ron Carter and his Nonet. Next up, The Soul Rebels, an eight piece,
brass heavy aggregation from New Orleans. Their high powered R'n'B influenced
New Orleans style jazz had the crowed pumped. The act that the crowd seemed to
be clamoring for finished the night. Legendary guitarist and singer George
Benson was in rare form. To be honest,
his voice is far from his heyday, but his guitar was as magnificent as it ever
was. He infused his jazz classics, “Bad Benson”, “No Sooner Said Than Done”,
with his rhythm and blues hits, “Love Times Love”, Gimme The Night”, and had
the crowd eating out of his hand all night. Whether you prefer his jazz or his R’n’B,
you jammed and grooved the night away.
We arrived
at the Wayne State University Pyramid at Hart Plaza around 3:45. Playing was
the act listed as ‘Yokohama Jazz Promenade Presents “Hakuei Kim-Trisonique”. It
was a trio from Japan, and we heard some of the best straight ahead jazz in a
long time. The group, Haukuei Kim, piano, Tomokazo Sugimoto on bass and
drummer, Hidenobu “Kalto” Yotsuki absolutely blew us away. As my brother Greg
commented, “This cat is on a Keith Jarrett vibe”. Hard hitting trio jazz reminiscent of Strata
East recordings of the 1970’s (theme) and the slender, baby faced Kim was a
revelation. Fluid, smooth articulate and nest level, Kim drove his trio. In their nearly 80 minute set them some really
swinging progressive originals by the group. Sugimoto played upright and
electric bass and kept the groove tight. While “Kalto” on drums steadied the
ship with this deft stick work. Their
final tune was a frenetically witty homage to actor Jackie Chan titled, “Jackie
on the Run”.
Then came
the act my brothers and I so highly anticipated. The Stanley Cowell Quintet featuring Billy
Harper and Charles Tolliver, referred to by Cowell as “the Strata East
All-Stars, Cowell and Tolliver founded Strata East Records in 1971 and it was
the main purveyor of their brand of advanced hard bop. (https://en.wikipedia.org/wiki/Strata-East_Records)
. This was a dream session. Watching
them as they warmed up, pianist Cowell, 75, saxophonist Harper, the baby of the
“All-Stars’ at 73 and 74 year old trumpeter Tolliver, looked vibrant and ready.
We were saying among ourselves, “this could get ugly, quick”, and boy did it!
First Cowell performed with just the rhythm section, bassist Jay Anderson and drummer Carl Allen. Then onto
the stage came, as Cowell introduced, “Charles Tolliver and Billy Harper, the
Strata East All-Stars”. And they got to
it straight away. The set began with the tune Tolliver is well known for the
classic, “On The Nile”. Tolliver did the signature intro and the crowd went
wild. Tolliver at 74 has understandably
lost a tad of his facility, but on the solos of “On The Nile”, “Ruthie’s Heart”
and other classics the fire and
intensity was still very much in play. Harper, whose signature tune, “Capra Black”,
showed Harper in excellent form. Cowell played with the deft, gentle, driving
touch he has always been known for. Bassist Anderson and Allen on drums rounded
out this historic quintet.
Closing out
night two, still at the Wayne State University Pyramid Stage, the Ron Carter
Quartet took the stage. Pianist Renee
Rosnes (wife of pianist Bill Charlap), Peyton Crossley on drums and
percussionist Rolando Morales-Matos and Ron Carter, took the stage on this
perfect early September night in formal wear and for as wonderful as they
looked, their music also hit the heights. Starting with the Miles Davis/Bill Evans
penned classic, “Flamenco Sketches”, this dynamic quartet played a range of
standards, classic and Carter originals, and Carter and his compatriots were
more than ready. Rosnes showed a light, articulate style and she and Carter
seemed to be simpatico. It seemed that the drummer, Crossley, was in constant
motion throughout the set. Whether soloing or just keeping a steady backbeat,
Crossley was definitely “on”. And Morales-Matos, surrounded by his instruments of choice was incredible.
On Sunday,
we arrived at the Carhartt Amphitheatre about 5 minutes before the day’s
opening act, the Kirk Lightsey-Louis Hayes Trio, featuring Bob Hurst, took the
stage. The legendary pianist Lightsey and drummer Hayes, both aged 79 and the
“youngster”, 52 year old Hurst is all Detroiters and they really represented.
The
group played a mix of standards and originals from members of the trio.
Sprightly and lithe, Lightsey still displays the same articulation I remember
from his work with Chet Baker. Hayes, as volcanic as ever truly betrayed his
age. Hurst, a music professor at the University of Michigan, was as always,
ever steady. A very lively, hard driving set from some of Detroit’s
finest.
The evening
ended with artist-in-residence, Carter and his trio with Donald Vega on piano
and the dexterous Russell Malone on guitar. The Nicaraguan-born Vega, a member of
Carter’s regular trio, whether comping or solo, was on fire. Malone, who
regularly plays with Carter and Vega to form this team, is also leader of a
quartet bearing his name, is a brilliant player in the mode of the hard bop era
guitarists, Green, Burrell, Montgomery. Carter, as usual defying age was
masterful.
A big shout
to festival chair and Mack Avenue Records founder, Gretchen Carhartt Valade and
Chris Collins, artistic director for doing what they do every year, outperform the previous
year. I’ve been to 5 of the past 6 years of the Detroit Jazz Festival and this
was the best yet. Can’t wait for 2017!!
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