A solo treat, brief but solid

Every once in a while, it is good to revisit the earliest  jazz piano styles to reinforce one's appreciation for the bedrock upon which today's jazz developed. An opportunity to do that took place today in Venice, FL - and it drew hundreds of listeners.

Dick Hyman

Pianist-composer-arranger Dick Hyman gave a free 40-minute performance that opened a weekly music series through June to celebrate Venice Presbyterian Church's acquisition of a fine, new K. Kawai grand piano.

During this afternoon's mini-concert, Hyman performed a bit of ragtime (Scott Joplin's "Heliotrope Bouquet" and "Maple Leaf Rag,") "Basin Street Blues" and boogie-woogie pianist Meade Lux Lewis's "Honky Tonk Train," the latter tune bringing the set to a rollicking finish.

CDs of Note - Short Takes

Taking a closer look at new CDs from Louise Van Aarsen, Lisa Hilton, Hailey Niswanger and Jared Gold....

Renee Rosnes on jazz, family

Renee Rosnes

Pianist Renee Rosnes has developed quite a musical family since arriving on the New York jazz scene from Canada 25 years ago. My profile of Renee is published in the June issue of Hot House. As usually happens with these conversations, not everything fits in the magazine article.


Rosnes also told me how thrilled she was that drummer Lewis Nash was honored in April by having a building named in his honor in his native Phoenix AZ. She and Nash have been working together for almost 20 years and are sidemen in each other’s bands. 

Keeping the beat in southwest Florida’s extended summer

The formal concert scene pretty much dries up in southwest Florida once most of the snowbirds have begun their return to northern climates. But the music certainly isn’t gone ‘til autumn. Here are just two examples of things to check out.

Jazz and crime fiction mix well

I’m a sucker for a good mystery. I’ve pretty much devoured the outpouring of crime-related  fictional works by Sue Grafton, J. A. Jance, and Tony Hillerman, as well as Nora Roberts’ J.D. Robb series about homicide detective Eve Dallas, who solves crimes set about 40 years in the future and is married to the richest man on the planet. Once I get my hands on a new one, it’s pretty much uninterrupted read time. That goes for the jazz-related mysteries as well, which got me to thinking this week about why jazz and fictional crime blend so well together.

Honors set for Montreal

The Montreal International Jazz Festival  has announced the award winners that it will honor this summer for their exceptional contributions to music. The awards will be presented during the 33^rd edition of the festival, which runs June 28 to July 8.

CDs of Note - Short Takes

Taking a closer look at new CDs from Kat Edmonson, Louis Armstrong, Shawnn Monteiro and Tony Monaco...

One step at a time

Sérgio Mendes

The Punta Gorda Wine & Jazz Festival, a local Chamber of Commerce production with a loyal following from near and far, continues to evolve. This is a good thing.

A wonderful tradition - 22 years and counting

Frank Ascone

Drummer Al Hixon wound up the 22nd season of his Monday night jazz jams last night at 15 South  on Sarasota's St. Armand's Circle.
Hixon and bassist Mark Neuenschwander were joined by a special guest on keyboards: Boston's Chris Neville, whose hefty jazz credentials include working with the late Benny Carter on the alto saxophonist/composer's last seven albums.

Labor Day Weekend will feel different

Tanglewood is celebrating its 75^th season as summer home of the Boston Symphony Orchestra. But the summer season just won’t be the same for jazz fans in western Massachusetts.

Ozawa Hall at Tanglewood

There will be no silver anniversary for Tanglewood’s  long-running Labor Day Weekend jazz festival.

Special moments

The South County Jazz Club's jam session on Tueday nights at Valenti's Allegro Bistro in Venice FL is always a treat, and the reasons vary week to week. It's always packed. And it goes on year-round despite the snowbirds' return to points north this time of year.

Sometimes the musicians seem to be lined up out the door hoping to get a moment on stage. The Tuesday, May 1 edition had fewer sitters-in, which meant more playing opportunities for all participants.

A special day for jazz - globally

Naysayers who claim jazz is dead or dying will find a lot of contrarians today at Congo Square in New Orleans and the United Nations Headquarters in New York City.

This is the first International Jazz Day, an official designation that was made last November by the United Nations Educational, Scientific and Cultural Organization for each April 30.

Montreal is full of surprises - again

For 32 years, the Montreal International Jazz Festival team has been showing the world how to produce a music festival that is filled with programming innovations, draws from genres and artists from around the globe – and runs like clockwork.
The 33^rd edition, which runs from June 28 to July 8, is just around the corner and the tickets for the 180+ indoor concerts went on sale this weekend. This six-square-block musical party is always a treat, no matter whether you go just for the 400 or so free outdoor shows at 10 stages in and around Montreal’s Place des Arts, or you also pony up to see some of the formal indoor concerts.

Jazz is always the core of the festival, but you’ll also find plenty of blues, folk, afro-pop and world music. It’s always a treat to hear some of the formidable Canadian musicians who never seem to garner much attention here in the U.S.

It's all about musical art in an artsy place

The South County Jazz Club concluded its 2011-12 concert season this afternoon with a concert spotlighting cabaret singer Kitt Moran, who has become an entertainment staple in Southwest Florida over the past eight years. She was backed by her husband, pianist and arranger Mike Moran, and bassist Dominic Mancini
at the Venice FL Art Center.

Building for the future

George Wein

How do you ensure the granddaddy of jazz festivals will be around for a long time? Producer George Wein has been running the Newport Jazz Festival since it was first held in 1954. That's 58 years ago, and Wein, now 86, is a realist.
He knows he won't be around forever, but wants to ensure the festival will be. So he's taken a multi-faceted approach to sustain the event, showcase newer generations of musicians, and help build the future talent base and audience for jazz.

A Royal event

The Southwest Florida music community rallied on Sunday to support pianist Michael Royal and his wife Julie with an event that brought together more than 50 area musicians and scores more music fans. The 3 1/2-hour jazz jam packed the Floribbean Restaurant & Lounge in downtown Sarasota.

Hug the ones you love

I never had a brother by blood and missed out on all of those brotherly things that happen in families. Thanks to jazz, I developed brother-like friendships with a couple of people over the past 20 years. And now, one of them is gone - way, way, way too soon.

The jazz world lost one of its great accompanists and yesterday I lost a friend who was indeed like a brother. Pianist George Mesterhazy died in his sleep yesterday - four days after his 59th birthday - at home in Cape May, New Jersey. 

He was a revered player on the South Jersey jazz scene, who also toured the world as accompanist to Shirley Horn in her later years, Rebecca Parris, Paula West and Mark Murphy, among many others. He worked as pianist and musical director for both West and Murphy right up to his passing, accompanying Murphy to London, Paris, Berlin and Istanbul a couple of months ago. And now he's jamming - no doubt leading the festivities and cracking most of the jokes - in a heavenly jazz club.

George Mesterhazy

His talent was over the top as a player and arranger. But his genuine warmth and essence as a human being was more amazing. George had a zest for life and an ability to connect with people that seems beyond compare. His many friends have been filling his Facebook page with their memories over the past 15 hours or so. Such an impact on so many people.

I cherish the memories, the phone calls, the trips, and his dash to Rhode Island 50 weeks ago to play a few tunes when Kathie and I married on a beautiful day in a Japanese garden. George celebrated with us for a few hours and then headed right back to New Jersey the same night. He was always busy but always made time for the important stuff - his friends.

This image by San Francisco photographer Pat Johnson truly captured George's spirit.

My heart aches for his longtime companion/girlfriend, Victoria Watson, his dad, his kids, his extended family.

The only other words right now are those with which George ended every one of our phone calls.

"Love ya, brother."

Jamming for a super cause

There’s an event scheduled Sunday, April 15 that should be top of mind for anyone in the jazz community near or far who has enjoyed hearing pianist Michael Royal in concert or via recording – or has had the pleasure of working with him.

Michael Royal

The South County Jazz Club has organized an afternoon jam session at Floribbean Restaurant & Lounge’s new upstairs banquet room to benefit Michael and his wife Julie in a time of overwhelming financial need.

Julie was diagnosed with breast cancer, has had three surgeries and faces significant radiation and medication treatments. The estimated cost for all of this is into six figures and – as sometimes the case with musicians and their families – the Royals have no health insurance.

The benefit runs from 1:30 to 4:30 p.m. at the Floribbean, 1400 Main Street in Sarasota [Phone (941) 365-2266]. The South County Jazz Club and the Jazz Club of Sarasota are among those spreading the word. The suggested minimum donation for attendees is $20 apiece. The restaurant is also kicking in a percentage of proceeds from its food and beverage sales.

If you can attend and help, I will see you there. If scheduling conflicts or geography are issues, I encourage you to help by writing a check. 

Checks should be made out to Michael Royal, and mailed to:
Michael Royal
c/o South County Jazz Club
1435 East Venice Ave #104-172
Venice, FL 34292

(Michael Royal photo by Gary F. Humes)

New Orleans comes to Newport in an ideal way



Dr. John

There may be no better way to open the Newport Jazz Festival than what founding producer George Wein is doing this summer.

 

New Orleans is widely acknowledged as the birthplace of jazz. The opening night concert at Newport Casino and International Tennis Hall of Fame - the birthplace of the Newport Jazz Festival back in 1954 - is going N'awlins in a big way.

CDs of Note - Short Takes

A closer look at new CDs by Esparanza Spalding, Omar Sosa and Paolo Fresu, Edmar Castaneda and Stacey Kent....

The apple didn't fall far from the tree



Billy Marcus

Billy Marcus has been a fixture on the Florida jazz scene for more than 30 years. After an extensive club reign in Miami, where he was named the city's Best Musician by Miami/South Florida Magazine in 1982, he moved about three years ago to St. Petersburg, where his two sisters live. He's the son of the late Marie Marcus, a stride pianist who worked in New York, Miami and was a fixture on the Cape Cod music scene in Massachusetts for decades.

SCJC's Tuesday jam session settles in at Allegro Bistro

Just three weeks into its new home the South County Jazz Club's Tuesday night jam session feels fully entrenchedat Valenti's Allegro Bistro in Venice. The music remains strong and the dining options are wonderful, to say the least.

One of the treats when he stops by - which is most Tuesdays - is the opportunity to hear saxophonist Jim Wellen.

At last - a real gig together



Dick Reynolds and Ira Sullivan

Multi-instrumentalist Ira Sullivan cut his jazz teeth on the vibrant jazz scene in Chicago in the 1950s. Pianist Dick Reynolds was house pianist at Mr. Kelly's in the Windy City for more than a decade. They crossed paths and became friends, but only sat in with one another one time - about 30 years ago during one of Sullivan's trips back to Chicago from Miami, where he has been based for more than 50 years.

CDs of Note - Short Takes [updated]

A look at new CDs from Lynne Arriale, Jeff Hamilton and Jonny King....

Jake Pinto in Sarasota

Jake Pinto does spring break a bit differently than most of his college peers. He headed home from New York University to Sarasota FL for a week mixing beach time and several music appearances. The pianist brought at least five of his frequent musical collaborators and other friends along for the ride.

Swinging with silk

Dave Pruyn brought his Jazz Legacy Big Band to Port Charlotte FL last night for a concert that revealed the all-around excellence of the unit. It's 16 fine ensemble players are also excellent soloists. The five-member saxophone section provided a silky smooth sound that enhanced the overall group sound immeasurably.

Trumpeter-vocalist Pruyn (who also plays drums) had a ringer aboard for the night. Old friend Mike Renzi, a longtime fixture on the New York jazz and popular music scene, was at the piano. Renzi now lives back in his native Rhode Island but tours regularly and spends several months each winter in Florida.

Newport Jazz Festival lineup is set

Founding producer George George Wein today announced the lineup for the Saturday and Sunday programs of the 2012 Newport Jazz Festival on August 4-5 at historic Fort Adams State Park. The Friday August 3 opening night program at the International Tennis Hall of Fame at Newport Casino will be announced later..

Wein also announced that Natixis Global Asset Management, which sponsored the 2011 Newport Jazz Festival, will return as presenting sponsor for three additional years.

Veterans Pat Metheny, Jack DeJohnette, Bill Frisell and others share the billing with Miguel Zenón (pictured), Jason Moran, Ambrose Akinmusire, Darcy James Argue, Dafnis Prieto, John Hollenbeck and others. In addition, award-winning artists Dianne Reeves and the Tedeschi Trucks Band will be a major part of the festival, along with Maria Schneider, Kurt Elling and Joe Lovano.

Tickets go on sale on Thurday, March 15. The full day-by-day schedule will be posted at the festival website.

Ron Drischel at the Venice Art Center

Saxophonist Ron Drischel, whose main axe is the tenor, has a brawny style and a robust tone that serve him well. He put them to good use Thursday, March 8 at the South County Jazz Club's concert at the Venice Art Center. He also knows how to rein them in on the occasional mellow ballad.

It was an afternoon for covering more than a dozen pages of the American Songbook and for digging into several jazz instrumental chestnuts. The latter category included Lee Morgan's "Sidewinder," Paul Desmond's "Take Five" and Earl Hagen's "Harlem Nocturne," which has become an R&B staple.

Drischel is known in southwest Florida as "Dual Sax Ron" because he likes to play tenor and alto simultaneously at times to thicken the harmonies in his solos or comping. He used that technique sparingly in this concert - as an introduction on "Blue Skies" and a brief interlude midway through "I'm a Fool to Want You." He doesn't belabor tunes, unlike some soloists who stretch them to the point of exhaustion. He enjoys brevity, sometimes opting for abrupt endings because he's ready to move to the next tune he wants to share.

The Cincinnati native had superb support for this concert: pianist Tommy Goodman, bassist Dominic Mancini and drummer Johnny Moore. The two-hour concert drew a crowd of more than 90 people.

Snook Haven's final jam session

Just wanted to share a photo from Tuesday night's South County Jazz Club jam session at Snook Haven, where there's been jazz every Tuesday night at the end of the dirt road for the past 18 months or so.

Beginning March 13, the jazz club's jams are moving about four miles west to Valenti's Allegro Bistro, 1740 E. Venice Ave. in Venice FL. An overwhelming majority of club members voted for the change. It may be a great step in the jams' evolution.

Still, as a Florida newcomer, I'll miss the "Old Florida" rustic charm of Snook Haven, mere steps from the scenic and wild Myakka River. I know of no other place offering jazz on a regular basis that has taxidermist-prepared critters (a bear, two skunks, a coyote) on or alongside the stage - and a skinned alligator on the ceiling.

Valenti's seems to have a bit more seating, which should be a great enhancement going forward. Snook Haven's jams were packed to the gills most Tuesday nights.

Pictured: drummer Dane Hassan, clarinetist Dr. Bob Felman, bassist Dominic Mancini, pianist Tommy Goodman and valve trombonist Jim Fitzpatrick.

CDs of Note – Short Takes

I’m a big fan of jazz CDs that have the Hammond B3 at the heart of the action. The leader doesn’t have to be the organist for the recording to stand out. The sound enhances the music regardless. Here are a few gems.

Gary Smulyan,Smul’s Paradise (Capri)

Gary Smulyan’s brings his baritone sax to the world of the jazz organ combo here. In part, it is a tribute to late organist Don Patterson. It includes the Patterson compositions “Aries” and “Up in Betty’s Room,” as well as Smulyan’s “Blues for DP.” The band, with B3 player Mike LeDonne, guitarist Peter Bernstein and drummer Kenny Washington, also tackles “Pistaccio," the Pee Wee Ellis tune that organist Rhoda Scott liked to play; George Coleman’s “Little Miss Half Steps” and Bobby Hebb’s 1960s pop hit “Sunny,” as well as two more Smulyan originals. Smulyan is best known for his extensive big band work. It is a treat to hear him in the organ combo context.

James Carter Organ Trio, At The Crossroads (EmArcy)

The gregarious saxophonist James Carter seems to get most earthy and exuberant with his organ trio, which he formed more than 10 years ago. The core band, with B3 player Gerard Gibbs and drummer Leonard King Jr., is augmented by guitar, vocals and/or horn section on five tracks. Among the many treats: the way Carter cuts loose on “My Whole Life Through,” which was written by veteran B3 player Sarah McLahler and guitarist Eddie Durham, as well as Julius Hemphill’s “The Hard Blues” and Big Maybelle’s “Ramblin’ Blues.”

Cinque, Catch A Corner (Alma)

This quintet, anchored by B3 player Joey DeFrancesco, includes drummer Steve Gadd and three fine Canadian players - bassist Peter Cardinali, pianist Robi Batos and saxophonist John Johnson. The band collaborated in writing six of the eight tracks, adding Cedar Walton’s classic “Bolivia” and Paul Simon’s “Still Crazy After All These Years” to close things out. It’s soulful and impressive. At varying points, it’s bluesy, gritty, warm, subtle and soulful. There’s a lot to love.

Brian Charette, Music for Organ Sextette (SteepleChase)

There’s a modernist/ classical music approach here, with Charette’s B3 holding its own amid a bright and ambitious horn section and added propulsion from drummer Jochen Rueckert. The horn choir is solid, with Jay Collins on flute, Mike DiRubbo on alto sax, Joel Frahm on tenor sax and John Ellis on bass clarinet. Charette’s writing is clever and whimsical. Dig, for example, “Fugue for Kathleen Anne/Ex-Girlfriend Variations” and “The Elvira Pacifier.” “Prayer for an Agnostic” ironically is one of the most soulful tracks. “Late Night TV” and “Tambourine” are the most robust.

Bob Sheppard, Close Your Eyes (BFM Jazz)

Keyboard players Alan Pasqua and John Beasley use the B3 to great effect on one track apiece on reed player Bob Sheppard’s latest project. Paasqua’s organ work helps set the agenda on the the title track opener, while Beasley cuts loose on Joe Henderson’s “Gazelle.” The CD is a terrific showcase for Sheppard’s instrumental versatility and solid sound. Other key players include trumpeter Alex Sipiagin, guitarist Larry Koonse and drummer Antonio Sanchez.

Mixing wine and jazz – and sunshine

I spent much of President’s Day Weekend covering the seventh annual Punta Gorda (FL) Wine & Jazz Festival for JazzTimes.com. The main event at the city’s Laishley Park along picturesque Charlotte Harbor featured pop saxophonist Mindi Abair (pictured), guitarist Peter White and The Rippingtons.

The festival is evolving beyond a one-day event. This year, organizers added a Sunday program that featured a mainstream jazz brunch in the ballroom of the nearby Isles Yacht Club. It drew a full house of 250. May the festival continue to grow - and evolve.

In addition to jazz, the Saturday program at Laishley Park lets attendees enjoy a huge variety of wines and tapas-sized portions of food from several dizen restaurants. Those are included in the cost of a ticket. All you need to bring are sunblock and your listening ears.

CDs of Note - Short Takes

Wes Montgomery, Echoes of Indiana Avenue (Resonance)

Jazz guitar compleatists will dig this one, which is mandatory listening for anyone who thought they’d heard everything by the marvelous Wes Montgomery during his comet-like impact on jazz before his heart gave out in 1968. These long-lost club and studio sessions with local Indianapolis musicians were recorded in 1957 and 1958, perhaps as a demo tape, before his debut on Riverside Records in 1959 with The Wes Montgomery Trio: A Dynamic New Sound. There is much detail in the accompanying essays about how the tapes reached Resonance Records, and how they were restored beautifully.

Montgomery performs in several settings: with brothers Buddy on piano and Monk on bass; with Melvin Rhyne on piano or Hammond B3 and Paul Parker on drums; and with pianist Earl Van Riper, bassist Mingo Jones and drummer Sonny Johnson. These earliest-known Montgomery recordings show him to be a ferocious, inventive and swinging player from the start. The eight standards explored here in various contexts are followed by an improvised “After Hours Blues” that liner note writer Bill Milkowski says “may be the funkiest Wes Montgomery on record.” I concur. This session reveals Wes Montgomery at his earliest sessions as a leader, and captures the flavor and importance of his hometown’s jazz clubs that were his musical incubator. This will be released on March 6, which would have been Montgomery’s 88^th birthday.

Ahmad Jamal, Blue Moon (JazzVillage)

Consistent excellence. That’s the simplistic accolade for pianist Ahmad Jamal’s music-making. He sustains that level of creativity and inventiveness in every format. At age 81, he’s got a refreshed band and a new recording. Blue Moon explores classic music from American film and Broadway from the 1940s through the 1960s, adding three originals and a fresh take on Dizzy Gillespie’s “Woody’n You.” His band here includes bassist Reginald Veal, drummer Herlin Riley and percussionist Manolo Badrena. This was Jamal’s first recording of the gorgeous title track, which originated in the 1934 film “Hollywood Party” and was popularized by Billie Holiday, Elvis and Mel Torme. Jamal’s version ought to stand without peer for many fans in the way that he has owned “Poinciana” for decades. This is classic Jamal. Dig it.

Wein is gearing up for August 2012 in Newport

The competition for the live entertainment audience has intensified as the number of venues has increased over the years. People only have so much time and money to travel to concerts and festivals. As a result, promotion of those events starts earlier and earlier.

Announcement of the Newport Jazz Festival lineups used to come in April or May. This time around, producer George Wein will roll them out on March 13, and he is already providing a sneak preview on select artists who will perform at Newport August 3 to 5.

Composer Maria Schneider (pictured, with trumpeter Ingrid Jensen soloing) will be in the lineup with her always exhilarating Maria Schneider Orchestra, which made its Newport in 2010. Schneider will debut the music from her third fan-funded ArtistShare project at Newport on Sunday, August 5.

Sunday’s program at Fort Adams State Park also includes Ryan Truesdell’s Gil Evans Centennial Project. Truesdell will present music from his soon-to-be-released CD of newly discovered, unrecorded works by Evans from the 1930s to the 1980s.

On Saturday, August 4, saxophonist John Ellis will bring his band Double-Wide - featuring sousaphonist Matt Perrine, drummer Jason Marsalis and organist Brian Coogan. Ellis calls the band’s New Orleans-inspired sound “very raucous, kind of festive, wild, carnivalesque, but sophisticated.”

Already, Newport in August is sounding most intriguing.

Hixon & Co. tear it up at the Venice Art Center

Drummer Al Hixon, who at times sounds like he could have a second career as a semi-corny standup comedian, brought his quartet into the Venice Art Center today for a South County Jazz Club concert that drew more than 100 music fans to the venue. The band was joined by two special guests for a few songs apiece - singer Dick Smollins in the opening set and tenor saxophonist Jim Wellen in the second set.

The music was superb, with Wellen synching nicely with trumpeter Bob Switzer's often soft and always elegant soloing. They really clicked on the breezy "Summer Samba." Pianist Dick Reynolds and bassist/singer Vince Evans completed the band.

Hixon is a greater Sarasota fixture who seems to be one of the busiest musicians around.

Hixon is rarely flashy on the drums; his solid accents are often spare and always to the point. Suffice it to say that his drumming is an aural and visual treat. The band's standing ovation was richly deserved.

Catching up with a legend

Ira Sullivan is on his SW Florida annual tour, which stopped last night in Port Charlotte. My coverage of the octagenarian's concert has been posted at JazzTimes.com.

The multi-instrumentalist made his mark initially on the Chicago jazz scene in the 1950s. It seems amazing that he has made Miami his home base for 50 years and counting.

Grammy redux

Another random thought on the Grammys last night. Maybe the voters have begun a course correction for the major categories.

Adele goes six for six. Which, in my mind, is a very strong endorsement for purity of voice and genuine soul. She soundly whack-a-moled the alternatives that have reared their ugly heads for too long: fashions selected for shock value, artists who win more for their dance moves than their voices, and glitz glitz glitz.

That was reinforced when some of the night's flashy entertainers (can you spell Bruno and Katy) walked away empty-handed. I won't even get into the Little Red Riding Hood gets an exorocism nonsense.

Way to go, Adele. You deserve it - and then some.

I must also commend Neil Portnow for his turnabout from 2011. He delivered his remarks about NARAS without talking over anyone's music. Let's hope that, too, starts a new trend.

Congratulations to the jazz-related musicians who won Grammys this year: Pat Metheny, Cachao, Chick Corea, Stanley Clark and Lenny White; Gordon Goodwin, Terri Lynne Carrington, Jorge Calandrelli, Bela Fleck and Howard Levy, Christian McBride, Tony Bennett and the Rebirth Brass Band. And to all of the nominees in those categories.

We now return you to your regularly scheduled programming...

The portion of the Grammys featuring jazz categories and jazz musicians took place hours before tonight’s prime time telecast of the least-common-denominator categories… and it was quite a showing today for Concord Records and its subsidiaries… garnering four of the eight awards.

See the winners here in category numbers 29-33, 42, 57 and 58.

Another shout out goes to the always-funny actress/comedienne Betty White for her Best Spoken Word Album Grammy for If You Ask Me (And Of Course You Won't) [Penguin Audio]. It’s not jazz, but Betty’s a hoot.

Debbie Keeton - Jim Wellen at Venice Art Center

Singer Debbie Keeton and tenor saxophonist Jim Wellen work together frequently. And they work well together, which was evident at the February 9 South County Jazz Club matinee concert at the Venice Art Center, which drew 100+ music fans.

The band included bassist Dominic Mancini, guitarist Dave Trefethen and, for the second set, drummer Dane Hassan. It was an afternoon of standards, mostly performed straight ahead with some rhythmic twists.

Get there early

Get there early - and make a reservation if you want to have any chance of getting in to the South County Jazz Club's weekly jam session on Tuesday nights at Snook Haven in Venice (music from 5:30 to 8:30, home by 9:00). Otherwise, you may find yourself at a table al fresco - out on the deck overlooking the Myakka River. I called first thing one Monday morning and was told all the inside tables for the following night were reserved already, but sometimes folks cancel their reservations and seats open up.

 

In addition to the regulars who sit in most weeks, there have been some treats of late. Rhode Island pianist Mac Chrupcala, who's in the area for six weeks this winter, subbed for Tommy Goodman on February 7 (after sitting in a couple of weeks earlier for a few tunes.) He joined regulars Dane Hassan (drums) and Dominic Mancini (bass) as the house rhythm section. 

 

Mac's wife, singer Nancy Paolino, joined the jam for two tunes. (See top photo). That was a treat, particularly since they have separate Newport-area bands and never work together back home in Rhode Island.

 

For the past two weeks, trumpeter John Willis was one of the new jammers. The resident of Michigan's Upper Peninsula didn't know about the club's Snook Haven jam sessions when he arrived at Venice Campground next door on vacation. Fortunately he brought his horn. He headed back to Michigan on Wednesday, but some jam regulars hope he'll be back with his spirited playing next winter.(bottom photo)

CDs of Note - Short Takes

Gregory Porter, Be Good (Motéma)

Singer-songwriter Gregory Porter is the real deal. This second recording in as many years is a delight in so many ways. Let’s start with his firm, clear voice and uncanny musicality of his phrasing. Then we take a closer listen to the lyrics. He wrote nine of the dozen tunes here. Each is a gem, painting vivid pictures of moments in time, emotions, relationships real or imagined, and values. He’s part poet, part storyteller – both in service to his music. The fact that he created the music from within, and isn’t just covering someone else’s thoughts makes this stand high.

Personal favorites: “Painted on Canvas,” “On My Way to Harlem,” and “Real Good Hands.” The allegory in the title track is quite charming. As far as the covers go, he digs deep to find his own meaning in “Work Song” and “God Bless the Child.” His working band provides excellent support throughout. It features Chip Crawford on piano, Aaron James on bass, Emanuel Harrold on drums, Tivon Pennicott on tenor sax and Yosuke Sato on alto sax, with guest appearances by Keyon Harrold on trumpet and horn arranger Kamau Kenyatta on soprano sax. Five stars. This is a February 14 release.

Jon Gold, Bossa of Possibility (BluJazz)

Pianist/composer Jon Gold is a Renaissance man whose jazz interests dig deeply into the multi-flavored rhythms of Brazil, as well as a clear respect for American popular song, classical music and bebop. This new album leans heavily toward influences and interests absorbed during his time living, teaching and studying music in Brazil from 1990-1995. He’s brought saxophonists Dave Liebman and Jon Irabagon, harmonica player Howard Levy, bassist Harvie S and horn player Tom “Bones” Malone, among others, along for the journey on Bossa of Possibility.

The music is varied and deeply moving. So is Gold’s perspective as shared in his notes: “Making music can be difficult but thinking about it the right way helps. I now understand that when I send a composition out into the world, it is no longer about me or even of me. It is helpful then to remember that the listeners will eventually add their own contribution (or possibilities of experience)…” Everything here is original material.

Wanda Stafford, Something Cool (self-produced)

West Coast singer Wanda Stafford is not a belter. This is a good thing. She celebrates the laid-back side of jazz, reveling in the spaces between notes, on Something Cool. The project is a nod to the path set by June Christy, Chris Connor, Anita O’Day and Billie Holiday. There is much to enjoy in the approach she’s taken and you may find yourself putting the CD player on repeat mode for some time. Standouts among the dozen tracks include “Something Cool,” “All of You,” “The Man I Love,” “Dancing on the Ceiling” and “You Turn the Tables on Me.” Pianist Grant Levin, bassist Chris Amberger, drummer Lorca Hart, saxophonist Noel Jewkes and trumpeter Bob Switzer provide fine support. Levin and Switzer, in particular, really locked in with Stafford’s intent here and helped put the project over the top.