JAZZ AT LINCOLN CENTER ORCHESTRA with … SEPTEMBER 2015 | THE NEW YORK CITY JAZZ RECORD When...
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22 SEPTEMBER 2015 | THE NEW YORK CITY JAZZ RECORD When vocalist Alexis Cole met master guitarist Bucky Pizzarelli for the first time she felt as if she “had met a soul mate.” And when two soul mates happen to be musical performers, what better way to express that connection than to record together? This CD is a selection of their favorite songs with a band of Frank Vignola (rhythm guitar), Nicki Parrott (bass and vocals) and guest appearances by Warren Vaché (cornet) and Anat Cohen (clarinet). Cole possesses warm vocal tones, great diction and distinctive phrasing and because of the light instrumentation, all of these qualities are on ample display. The tracks that she does with just the guitar(s) and bass, such as “East of the Sun”, “I Thought About You” and “These Foolish Things” (where she sings and scats), especially show off her talents. Her poignant interpretation of “Stardust”, which she sings with the verse, is a standout. Pizzarelli, in his late 80s, is still in top form. His fills are there to accent the vocalist and when it comes to his solos, the fluidity of his technique and wealth of his musical ideas is incredible. Parrott and Vignola are solid all the way through the CD, the former also as a vocalist, singing harmony with Cole on some of the tracks and a spotlight of her own in a medley of “Blue Moon” and “Moonglow”, where she sings the chorus of one song and the bridge of the other in a seamless fit. Vache does his usual fine cornet work while Cohen’s smooth clarinet skills embellish several tracks, really wailing on the rousing “Stompin’ At The Savoy”. One soon realizes that this album not only expresses the relationship between Pizzarelli and Cole but the “beautiful friendships” between all of the players as they gather to have fun and make fine music. For more information, visit venusrecord.com. This project is at Dizzy’s Club Sep. 15th. See Calendar. Andrew Hill is a distinguished musician with a singular voice. Black Fire resulted from the first of four recording sessions in five months from November 1963-March 1964, a career-defining period for the pianist. Bassist Richard Davis is the only supporting musician that appears on all four records. Tenor saxophonist Joe Henderson and drummer Roy Haynes round out the Black Fire quartet. In the original liner notes, A.B. Spellman recognizes Hill as part of the second wave of the avant garde. “His conception,” Michael Cuscuna later clarified, “was so unique that he was categorized with the avant garde … but it was anything but free form.” Five of these seven original compositions consist of an AABA form, though they are not otherwise conventional. Hill’s idiosyncratic angularity and characteristic counterpoint, present throughout, are particularly pronounced on the title cut, an upbeat waltz on an AABA made up of 16-bar sections. On the opening, “Pumpkin”’s mysterious atmosphere is created by Davis’ loose triplet figure against the fast 4/4 swing on the hi-hat. This is the trickiest form in the set and may be interpreted as a 10-bar A section, the first seven bars in 4/4 and the final three counted in 5/4, 4/4 and 3/4. Henderson lays out on the dark and funky “Subterfuge” and “Tired Trade”, another AABA with a B section of just four bars. “Subterfuge” and “Cantarnos” each consist of a modal, 32-bar AABA form. Many find the somewhat rubato ballad “McNeil Island”, a trio feature without drums, reminiscent of “Monk’s Mood”. Like “Canatarnos”, “Land Of Nod” exhibits a Latin influence, but the former is airier while this number has a harder, earthier groove. They blow over a 21-bar form made up of an 8-bar A and a 13-bar A-prime with an extended ending in which the final bar is the same as the 8th measure of A. This must have been a challenging session given such unconventional music; but feeling comes through more than thought. While everyone is in fine form, Davis stands out with a masterful performance. Not a dull moment on this extraordinary classic. For more information, visit bluenote.com. Hill tributes are at Greenwich House Music School Sep. 12th and 17th. See Calendar. JAZZ AT LINCOLN CENTER ORCHESTRA with Wynton Marsalis Carlos Henriquez: Back in the Bronx September 12 • 8pm Lehman Center for the Performing Arts Featuring selections from Henriquez’ forthcoming album, The Bronx Pyramid, in stores 9/18 PHOTO BY FRANK STEWART Jazz at Lincoln Center jazz.org Lehman Center for the Performing Arts 250 Bedford Park Blvd. W. Bronx, New York 10468 Subway: to Bedford Park Boulevard station Center Charge: 212-721-6500 A Beautiful Friendship Bucky Pizzarelli/Alexis Cole (Venus) by Marcia Hillman Black Fire Andrew Hill (Blue Note) by Anders Griffen
Transcript of JAZZ AT LINCOLN CENTER ORCHESTRA with … SEPTEMBER 2015 | THE NEW YORK CITY JAZZ RECORD When...
22 SEPTEMBER 2015 | THE NEW YORK CITY JAZZ RECORD
When vocalist Alexis Cole met master guitarist Bucky Pizzarelli for the first time she felt as if she ldquohad met a soul materdquo And when two soul mates happen to be musical performers what better way to express that connection than to record together This CD is a selection of their favorite songs with a band of Frank Vignola (rhythm guitar) Nicki Parrott (bass and vocals) and guest appearances by Warren Vacheacute (cornet) and Anat Cohen (clarinet) Cole possesses warm vocal tones great diction and distinctive phrasing and because of the light instrumentation all of these qualities are on ample display The tracks that she does with just the guitar(s) and bass such as ldquoEast of the Sunrdquo ldquoI Thought About Yourdquo and ldquoThese Foolish Thingsrdquo (where she sings and scats) especially show off her talents Her poignant interpretation of ldquoStardustrdquo which she sings with the verse is a standout Pizzarelli in his late 80s is still in top form His fills are there to accent the vocalist and when it comes to his solos the fluidity of his technique and wealth of his musical ideas is incredible Parrott and Vignola are solid all the way through the CD the former also as a
vocalist singing harmony with Cole on some of the tracks and a spotlight of her own in a medley of ldquoBlue Moonrdquo and ldquoMoonglowrdquo where she sings the chorus of one song and the bridge of the other in a seamless fit Vache does his usual fine cornet work while Cohenrsquos smooth clarinet skills embellish several tracks really wailing on the rousing ldquoStompinrsquo At The Savoyrdquo One soon realizes that this album not only expresses the relationship between Pizzarelli and Cole but the ldquobeautiful friendshipsrdquo between all of the players as they gather to have fun and make fine music
For more information visit venusrecordcom This project is at Dizzyrsquos Club Sep 15th See Calendar
Andrew Hill is a distinguished musician with a singular voice Black Fire resulted from the first of four recording sessions in five months from November 1963-March 1964 a career-defining period for the pianist Bassist Richard Davis is the only supporting musician that appears on all four records Tenor saxophonist Joe Henderson and drummer Roy Haynes round out the Black Fire quartet
In the original liner notes AB Spellman recognizes Hill as part of the second wave of the avant garde ldquoHis conceptionrdquo Michael Cuscuna later clarified ldquowas so unique that he was categorized with the avant garde hellip but it was anything but free formrdquo Five of these seven original compositions consist of an AABA form though they are not otherwise conventional Hillrsquos idiosyncratic angularity and characteristic counterpoint present throughout are particularly pronounced on the title cut an upbeat waltz on an AABA made up of 16-bar sections On the opening ldquoPumpkinrdquorsquos mysterious atmosphere is created by Davisrsquo loose triplet figure against the fast 44 swing on the hi-hat This is the trickiest form in the set and may be interpreted as a 10-bar A section the first seven bars in 44 and the final three counted in 54 44 and 34 Henderson lays out on the dark and funky ldquoSubterfugerdquo and ldquoTired Traderdquo another AABA with a B section of just four bars ldquoSubterfugerdquo and ldquoCantarnosrdquo each consist of a modal 32-bar AABA form Many find the somewhat rubato ballad ldquoMcNeil Islandrdquo a trio feature without drums reminiscent of ldquoMonkrsquos Moodrdquo Like ldquoCanatarnosrdquo ldquoLand Of Nodrdquo exhibits a Latin influence but the former is airier while this number has a harder earthier groove They blow over a 21-bar form made up of an 8-bar A and a 13-bar A-prime with an extended ending in which the final bar is the same as the 8th measure of A This must have been a challenging session given such unconventional music but feeling comes through more than thought While everyone is in fine form Davis stands out with a masterful performance Not a dull moment on this extraordinary classic
For more information visit bluenotecom Hill tributes are at Greenwich House Music School Sep 12th and 17th See Calendar
JAZZ AT LINCOLN CENTER ORCHESTRA with Wynton Marsalis Carlos Henriquez Back in the BronxSeptember 12 bull 8pmLehman Center for the Performing ArtsFeaturing selections from Henriquezrsquo forthcoming album The Bronx Pyramid in stores 918
pho
to by fran
k stewa
rt
Jazz at Lincoln Centerjazzorg
Lehman Center for the Performing Arts250 Bedford Park Blvd W Bronx New York 10468
Subway to Bedford Park Boulevard station
Center Charge 212-721-6500
A Beautiful Friendship
Bucky PizzarelliAlexis Cole (Venus)by Marcia Hillman
Black Fire
Andrew Hill (Blue Note)by Anders Griffen
