“Roots” is a word that comes up a lot in jazz circles, but it can refer to a pretty wide variety of things: the roots and rich history of the music; personal ties to places, people, or traditions; geographical or familial roots that continue to emerge even as people move from place to place. All of those emerge in this month’s jazz calendar. Continue reading →
As 2017 gives way to tentative hope for a better (-ish?) New Year, there’s one last bit of misery to report before blocking that appropriately reviled year from our collective memories for good. Just one day after Christmas, singer Michelle Lordi’s Huntingdon Valley home was destroyed in a horrific fire. Michelle, her husband and three children all escaped the flames safely, but everything else was a complete loss. She was back on stage for her regular Wednesday night gig at Vintage Bar & Grill in Abington the next night, so drop by there or for Sunday jazz brunch each week at Walnut Street Café. A GoFundMe page has been set up, and Jazz Bridge is accepting tax-deductible donations to help the family recover. Continue reading →
To some extent, I’ll forever associate David Bowie’s Blackstar with Christmas. The day after it was released was the day we dismantled our Christmas tree that year, so the iconic singer’s magisterial swan song became the soundtrack to the end of the holiday season. Of course, one day more and we’d learn the devastating news of Bowie’s death, but at least there was that brief period where we could enjoy the elusive mysteries of Blackstar without the tragic associations.
Beyond the fact of its late-career brilliance, one of the reasons I was so drawn to Blackstar was my familiarity with Bowie’s band on the album, the members of saxophonist Donny McCaslin’s stellar quartet, including drummer Mark Guiliana. Continue reading →
Not to rub it in, but by the time you read this, I’ll be fleeing the encroaching Philly winter and enjoying the Caribbean sun and sand at the Dominican Republic Jazz Festival. Ok, so there’s really no other reason to mention that other than to rub it in, but it seems that the rest of the Philly jazz scene this month is also looking to warmer climes for inspiration. Continue reading →
Though it doesn’t have the reputation of landmark rock festivals like Woodstock or Monterey Pop, the October Revolution in Jazz was at least as monumental for the free jazz scene. Organized by trumpeter/composer Bill Dixon in 1964, the four-day event was the first of its kind and included pioneering figures in the music like Cecil Taylor, Sun Ra, Steve Lacy and Andrew Hill. Continue reading →
After a slow August (well, slow for live jazz, less so for life in general, but let’s not get into that), September makes up for lost time with a hectic schedule overlapped by competing festivals – both Fringe and Opera Philly’s calendars have plenty of venturesome programming sure to entice the same crowds (modestly speaking) who haunt the city’s jazz venues. This month’s picks feature a feast for jazz guitar fanatics, exciting shows by both veterans and innovators, and is bookended by very different approaches to celebrating the Brazilian influence in jazz. Continue reading →
I hate to lead off a Philly-focused column by touting an event in New York, but last month’s very special Ornette Coleman celebration at Lincoln Center had some definite local ties. The culminating event, a reunion of the late sax icon’s eclectic and electric Prime Time band, of course featured the many Philly greats who served such vital roles in that incomparable ensemble – namely, the off-kilter avant-funk rhythm section of Jamaaladeen Tacuma and G. Calvin Weston, and Charles Ellerbe, a guitarist who always plays on his own wavelength. Sadly absent was Ellerbe’s counterpart, Bern Nix, who passed away in May and to whom the evening was dedicated. Continue reading →
Summer is festival season in the jazz world, and with the city having hosted its few contributions back in April that leaves a pretty sparse calendar for anyone not heading down the shore. There are quite a few standout shows this month, though – and one festival, albeit one with a more local focus. Continue reading →
While it’s certainly not a new trend, it was particularly evident seeing May’s musical offerings in Philly that the lines between what’s considered jazz and classical or new music have never been blurrier. The highlight of last month’s calendar was Bowerbird’s landmark Julius Eastman retrospective; a last-minute program change on the final night led to the reprise of Eastman’s “Thruway” in a version that sounded radically different from its earlier performance and thus revealing the amount of spontaneity and chance in the piece. More explicitly, the first iteration followed Eastman’s instruction that a jazz band play from offstage, leading to scraps of Monk seeping into the music’s quieter portions like a neighbor’s stereo through an open window. Then there was the two-night Ars Nova run that featured Ken Vandermark and Nate Wooley playing a long-form piece inspired by John Cage, followed by John Hollenbeck’s Claudia Quintet playing short compositions that were often complexly through-composed.
A trio of dueling (or harmoniously co-existing, depending on who you ask) festivals means that May begins with a bit of a Jazz Appreciation Month hangover. Local fans won’t have too long to recover, though, as pianist Glenn Zaleski brings his fine trio – featuring bassist Dezron Douglas and drummer Craig Weinrib, the only time the in-demand trio that recorded Zaleski’s new CD Fellowship will reconvene on his current run – to Chris’ Jazz Café on Wednesday, May 3rd, kicking off a run of worthwhile shows that continues the next night at Matt Yaple’s invite-only (shoot him an email) listening-room series @exuberance with Tel Aviv-born pianist Tamir Hendelman and on Friday with the Kennedy Center’s all-star tribute to vocal great Abbey Lincoln at the Merriam, spearheaded by Teri Lyne Carrington and featuring powerhouse singers Dee Dee Bridgewater, Dianne Reeves and Esperanza Spalding.