Since a swing beat is the very heart of jazz, it was only fitting that Buchman opened the program with the Freddie Green-penned Count Basie Orchestra staple “Corner Pocket.” While there were hot moments here and there, the late afternoon program was breezy for the most part, matching the weather.
The program ran nearly 90 minutes. It also included Slide Hampton’s “Frame for the Blues,” the Middle Eastern-tinged “Miserlou,” bassist Ron Carter’s “Little Waltz” (honoring the impact Vienna’s 3/4 dance beat has had on jazz) and Juan Tizol’s Ellington band staple “Caravan.” Buchman’s playing throughout revealed his musical artistry as an inventive pianist with solid, swinging chops.
“Frame for the Blues” was a splendid choice, since the blues form has influenced so much of the world’s music, including jazz and rock. Velez, whose percussive accents and enthusiasm can steal a show, dug into this one with back-to-back solos that featured vocal scatting and harmonica.
The band’s take on “Miserlou” shifted from its traditional exotic rhythm to double-time bebop then back to the original tempo. “Caravan” was an explosive percussion feature for Parr and Velez, with both tandem playing and solo space. They made the most of it.
The afternoon concluded with an encore. “All The Things You Are,” in title and possibilities, summed up the many things that fall under the jazz umbrella.
|The Art of Jazz Quintet|
|Chuck Parr, Gerardo Velez, Rick Aaron, Bill Buchman, Rob Fors|
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