Thursday, April 20, 2017

Nate Smith Brings it Home with "KinFolk: Postcards from Everywhere"


Nate Smith is one of those modern drummers, on the scene, making music that speaks to the present while still having a foundation in the past. His drums have been the backbone of groups led by bassist Dave Holland and saxophonist Chris Potter. The two journeymen play it back here with appearances on three of the albums twelve compositions.

I had the opportunity to see Smith recently while he was on tour with the vocalist Jose James. Smith was the sole musician backing James and the two did a commendable job recreating the complexities of James’ studio album Life in a Time of Madness. The act required Smith to seamlessly mix his live drum work in tandem with some trap and dub step canned music from the album.

On Smith’s latest Kinfolk Postcards from Everywhere we get the best of both worlds. A hip, contemporary compilation of music that has sophistication and creativity for the most demanding, while maintaining a connection to groove and melody that will grab even the most nonchalant listener.  The core group is made up of Smith on drums, synth sounds and Fender Rhodes and providing most of the cd’s compositions- either solo or in collaboration; Kris Bowers is the principal pianist and Rhodes player, Fima Ephron is on electric bass, Jeremy Most on guitars and Jaleel Shaw on alto and soprano saxophones.

The music undulates freely between compositions, with Smith’s drums being singularly unifying element. For the most part it is gentle easy listening music that entertains you without creating a lot of tension and bombast. But for the careful listener there is a wealth of nuance that is joyful to the ear and up lifting to the spirit. 

The album starts off with the wistful “Wish You Were Here” and plows right into the pulsing “Skip Skip,” a rhythmic ode with guest artists Dave Holland on bass, Lionel Loueke on guitar and Michael Mayo on vocals and percussion.

“Bounce Parts 1” starts off with a funky beat that folds into a complex dual horn line with guest Chris Potter on tenor and Jaleel Shaw on alto. Guitarist Jeremy Most lays on some funky licks to the mix and Ephron’s bass is elastic but firmly grounded. “Bounce Part II” changes to an airy cosmic groove that offers the ebullient tenor man Potter some room to expand one’s consciousness, and he does so with an earnest solo that elevates impressively.

As this is an album about a traveling musician and his recollections on the road, Smith often finds himself nostalgically thinking about home and loved ones while on tour. He interjects sound bites of conversations with his mother and his father on the two sections “Mom: Postcards from Detroit/ Floyd/Salem” and “Dad: Postcards from Isaac Street.” The album is touchingly dedicated to the memory of Smith’s father Dr. Theodore R. “Mike” Smith.

The lyrical “Retold” is a repeated theme to which Smith has added some rich, choir-like vocal overlays by Michael Mayo. Kris Bowers adds a strikingly sensitive piano solo. All the while orchestrator Smith adds rhythmic variety and percussive touches that bring this one skillfully together.

On “Disenchantment: The Weight,” Smith and company introduces a lush Bowers string arrangement to the enchanting voice of Amma Whatt. Ephron’s tactile bass lines and Smith military cadenced drum rolls create the sturdy backbeat of this composition until the shimmering end. Whatt is also heard on “Morning and Allison,” a new voice to me, she shows great promise.

A probing Dave Holland bass line starts off “Spinning Down.”  One by one the instruments enter, with Loueke’s guitar delicately making an appearance as Bowers plays hushed chords in faded background.  Shaw’s wispy soprano enters for another layer of color and Bowers once again gets a chance to show his pianistic prowess.  About three quarters through guitarist Loueke offers a synth-like solo that is inspired. Ephron and Smith have a kinetic connection that is supple but always tightly aligned.
Nate Smith
The breathy voice of Gretchen Parlato is featured on Smith and Whatt’s composition “Pages.”  Despite the nostalgic sentiment of the lyrics, Smith’s orchestration is bright, uplifting and unapologetic. There is a Bruce Hornsby quality to this one, with Most’s fingerpicking, Bowers celeste sounding piano and Shaw’s airy soprano solo all adding to the vibe.  To his credit Smith never lets himself get lulled too deeply into a sappy prettiness, before he peppers the song with his own subtle rhythmic diversity. “From Here -Interlude” and “Small Moves -Interlude” are probably improvisational forays by the band that feel like brief ideas that the band hasn’t fully fleshed out yet.

“Spiracles” features the guitar work of the talented Adam Rodgers and has Bowers using a vibraphone like sound from his keyboards. Smith utilizes a shuffling, agonizingly slow beat while Shaw and Bowers play an undulating melody line. With the pace of this one, Rodgers solo is the epitome of understatement.


The final song titled “Home Free” (for Peter Joe,) is a ballad. From its poignant string introduction, this song carries a special meaning for Smith. The drummer employs a string quartet that he has arranged as the band plays this with almost dirge-like solemnity. Shaw’s alto has a delicate air and Bowers’ piano is a deeply reverent. It is apparent from this heartfelt music that for Smith home is where the heart is.


Thursday, April 13, 2017

Interview With Bassist Christian McBride as He Brings His "Tip City" Trio to the Variety Theater, Atlanta

Bassist Christian McBride
Forty-four-year-old bass virtuoso Christian McBride was born in the musical city of Philadelphia back in 1972. It didn’t hurt his musical education to have a father, Lee Smith and a great uncle Howard Cooper who both played bass professionally and he acknowledges them as early influences.

In many respects the sounds of the City of Philadelphia was another subliminal McBride influence. The City has a history of the musical tradition. It was a multi-ethnic training ground for early jazz artists like guitarist Eddie Lang and violinist Joe Venuti. Local singing star Ethel Waters was one of the first black female jazz artists to record on Harlem based Black Swan Records. The stable of jazz artists that hail from Philly is a Who’s Who of American jazz – Jimmy, Percy and Albert “Tootie” Health, McCoy Tyner, Clifford Brown, Hank Mobley, Stan Getz, Jimmy Smith, Bobby Timmons, Lee Morgan and of course “Philly” Joe Jones to name a few.


Philadelphia
The tradition is being carried on by the next generation; musicians like Orrin Evans, Stanley Clarke, Uri Caine, Terrell Stafford and of course Christian McBride all hail from the City of Brotherly Love.

Jazz wasn’t McBride’s only influence, just as jazz isn’t Philly’s only music. There was gospel like the Mighty Clouds of Joy. There was the R & B and soul music of the Delphonics, the Stylistics, Teddy Pendergrass, The O’Jays, Harold Melvin and the Bluenotes. There was even the more blue-eyed, rock and roll soul of the popular Hall and Oates. Let’s not forget the airwaves. McBride grew up in a generation where the funkmaster bassists like Larry Graham of Sly Stone’s Band and Bootsie Collins with James Brown and George Clinton all made their imprint. Seeing the Philadelphia Symphony Orchestra with Yo Yo Mah made for a lasting memory. These disparate sources of musical inspiration all formed the musical psyche of Christian McBride. 

Through hard work and an incredible facility, he has been able to incorporate the whole spectrum of these flavors into his own unique approach to the bass, and in the process, he has attracted a legion of followers that anxiously await his next musical move.

Currently McBride is perhaps the busiest man in jazz. The five time Grammy award winning bassist hosts and produces a NPR/WBGO/JALC sponsored weekly nationally syndicated radio show on Sirius XM radio’s “Jazz Night in America” called “The Low Down: Conversations with Christian.” He is the artistic advisor for the jazz programming at the New Jersey Performing Arts Center (NJPAC.) and has been creatively associated with Jazz Snowmass in Aspen, the National Jazz Museum in Harlem, The Newport Jazz Festival and for Jazz at the Los Angeles Philharmonic program.

With all these commitments, it is a wonder he still has time to create and perform music. He is the leader of four distinct groups, his newest trio Tip City, his quintet Inside Straight, his 18 piece Christian Mc Bride Big Band, an experimental group called A Christian McBride Situation and his quartet New Jawn.

McBride’s Tip City will be at Atanta’s Variety Playhouse on April 29, 2017 and features the young pianist Emmett Cohen and the guitarist Dan Wilson. Notes on Jazz caught up to McBride via telephone on April 11, 2017.

NOJ: I am a big fan of your music probably since the late nineteen nineties. It is a daunting task to interview you. I must have gone through- either read or listened to- close to twenty interviews you had and it’s difficult to come up with questions that you haven’t already answered a hundred times. So I’ll try not to repeat what is already on record.

You hail from Philadelphia. We know your father and great uncle played bass and were influences. But there is a deep, across the spectrum wealth Classical, to jazz, to Reggae, to Soul, Rock and R & B and into Hip Hop that make up the Philly Musical experience. Can you share some of your growing up musical experience that are pure Philly?

CMB: When I think of my live musical experiences, that make me think of pure Philadelphia, I actually think of venues as opposed to the actual musicians. My uncle, Tony McBride, he used to be a promotions man at WHAT radio, which was one of two black radio stations in Philly. So he took me to every show that came through. From the time, I was maybe four years old, so my mother tells me, I was going with them to see Marvin Gaye, Gladys Knight or whoever it was. I remember the venues. We went to the Academy of Music quite a bit. I saw Smokey Robinson there, Wilson Pickett there and of course I saw James Brown there and that just changed my life forever. We went to the Robin Hood Dell quite a bit. There used to be an annual festival called the Gospell-rama and I saw the Mighty Clouds of Joy there. I saw Albertina Walker. Then there was the Valley Forge Music Fair which was a theater in the round. That place was legendary, I am sorry to see it go. It closed many, many years ago.

NOJ: Those experiences are impressionable for a young person growing up.

CMB: Yeah. I saw a lot of R & B and Gospel shows growing up. I saw the Philadelphia Orchestra when I was eleven years old. Our string teacher took a bunch of us down on the trolley. I’ll never forget that. It was just wonderful that we had a teacher that would actually take a group of us on public transportation to go see the Philadelphia Orchestra. Yo Yo Mah was the guest soloist and he played the Haydn Cello concerto in D. That it one of my most vivid memories of seeing live music.

NOJ: That’s very cool.

CMB: I can still remember the piece.

NOJ: So you went to Julliard after attending school in Philadelphia?

CMB: Yes. I only stayed for one year. I started to work pretty quickly after I started school. School started in the beginning of September and I started working with Bobby Watson’s group maybe two weeks later. I wasn’t going on the road, I was just making local gigs with him. It became evident by the end of the school year, that I wasn’t going to be able to keep a good balance of school and professional work. So, I had a long talk with my mother and she said I trust you.

NOJ: Did you take private lessons while you were playing professionally after school?

CMB: Well no, I did not take any private lessons after I left Julliard. Any lessons I did take were impromptu.

NOJ: My first time seeing you perform was 2003 when you were on tour with Pat Metheny and Antonio Sanchez at SUNY Purchase in New York. You three had amazing simpatico, creating a thoroughly engaging conversation at crazy

CMB: I first started working with Pat in 1993. When Joshua Redman’s first solo release came out. It is a little confusing, because Joshua Redman recorded his first two cds at the same time. They kind of staggered the release dates.  The self titled cd Joshua Redman came out first and then less than a year later Wish came out with Pat, Charlie Haden and Billy Higgins. When it was time for Joshua to go on the road and promote that album- now you talk about one of the greatest gifts someone could give you- Pat Metheny basically said Josh I’ll lease you my crew, my booking agency and I’ll come on the road as your guest to promote your record.

NOJ: Wow!

CMB: Yeah, but Charlie Haden couldn’t go on the tour so they called me. The minute we finished all the US tour dates under Joshua’s name, the band just reverted back to Pat Metheny’s.  It was the same exact band except he now called it the Pat Metheny’s Special Quartet. That was me, Billy Higgins and Joshua Redman with Pat.
After that I stayed in close touch with Pat. I played with him sporadically, you know a gig here and there. Then he started the trio with me and Antonio exactly ten years later in 2003.

NOJ: That’s when I saw you. You guys were amazing.

Christian McBride, Pat Meheny, Antonio Sanchez
CMB: Thank you, man. That trio stayed together, we played a good six years of gigs maybe even seven.

NOJ: Pat is obviously a virtuoso on his instrument, but he has turned out to be a pretty durable composer also. What did you take away from playing with such a creative force as Pat for all these years?

CMB: I think of Pat along the same lines as Chick Corea, in terms of their both being so prolific. I mean it is hard to compare anyone
(to Chick),if you think of the body of work that Chick has created over all these years. Certainly, Pat is no slouch. I love the fact that he is always challenging himself. He is always coming up with new groups to play with and he is always coming up with new music for those groups. I think that is admirable.

NOJ: I have the album Live at Tonic from 2006. That was a phenomenal, jazz/funk/fusion group and featured some of my favorite musicians including keyboardist Geoff Keezer, saxophonist Ron Blake and one of our local Atlanta homies, badass Terreon Gully on drums. What was the genesis of that group?

CMB: Around 2000, I didn’t really know where I was as a band leader. My first quartet, which I went on the road with after Gettin’ to It , my debut album, came out in 1995. I had Tim Warfield on tenor saxophone. I had a couple of different pianists. I had Anthony Wonsey, I had Joey Calderazzo, Charles Craig, Shedrick Mitchell, but Tim Warfield was always my guy. My drummers were Carl Allen, Gregory Hutchinson and Rodney Green. Between 1995 and 1999 my quartets revolved around those particular players. Tim Warfield left to go with Nicholas Payton’s group. All the rhythm section guys, by that time, had different gigs. Joey Calderazzo went to work with Branford Marsalis and Greg Hutchinson went to work with Joshua Redman and so I was kind of juggling and struggling to find guys that could simply make the gig.

"I decided, what music was I thinking of doing? And what musicians would be best suited to play that music? For me it all starts with the drummer."

The kind of music which I wanted to play, was a hybrid of straight ahead jazz, a little funk, avant garde you know a little bit of everything. Whose is my prototype of a drummer for music like that. The answer, for me was Jeff ‘Tain Watts. I said let me call ‘Tain and ask him for a recommendation, because I know he’s not going to do it, and I wasn’t going to ask him. He is one of my big brothers, I wouldn’t ask him to join my band. I said ,“‘Tain whose is the little you? I need somebody that plays like you basically.”  He said you should hear this guy, he’s been playing with Diane Reeves, he’s a bad dude. His name is Terreon Gulley. I pretty much hired him sight unseen just because of the recommendation from ‘Tain. We met and we played together and I fell in love with him. The hard part was the piano chair. I wanted somebody that loved Joe Zawinul and Keith Emerson just as much as Art Tatum and Oscar Peterson. I though man there really isn’t anybody who can do all that. Only person I could think of was Geoff Keezer. I knew he was playing with Ray Brown. Geoff is somebody I ‘ve know since Julliard, he is dear friend of mine. We all are from the same generation and we all played the same gigs when we moved to New York. After playing with Art Blakey and playing with Ray Brown, I thought, man this is going to be a significant step down in his career, asking him to join my group. But I have to ask him because he is the only person I can think of. I talked to Keezer and he said I’m not working with anybody right now so I would be honored to be in your band. That was the nucleus of putting that group together. When Tim Warfield left to go to play with Nicholas, the other saxophonist that I loved working with was Ron Blake. Ron was just finishing working with Roy Hargrove and so he was available. Before I knew it I had a brand new working band. It was tight, everybody liked each other, and we stayed together for eight years.

We made the Live at Tonic record and we made the Vertical Vision record. Funny how things work out. The Live at Tonic album was supposed to be my second Warner Brothers release and it was going to be Live at Yoshi’s. But I’m glad it worked out, in terms of what that band did, Tonic was the more appropriate place.

NOJ: It was a hipper place for sure.

CMB: Andy Hurwitz from Rope a Dope records said let’s blow it out and invite some special guests. I called up my buddies DJ Logic, Charlie Hunter and Eric Krasno and those were two memorable, memorable nights of music.

NOJ: Have you ever considered getting that band back together, just for the hell of it?

CMB: Oh yeah. At some point, we will get back together. It’s kind of hard though. The main reason that band broke up was Ron took the job with the Saturday Night Live Band, and that pretty much jams up his Friday and Saturday to work with anyone else but NBC. It’s kind of hard to have a band when one of your main guys can’t work on Friday and Saturdays. Then Geoff Keezer got married and moved to San Diego. Terreon got married and moved to Atlanta. I said oh man, everyone’s leaving me.



ut it worked out, because I think between 2000 and 2008 when that happened, I had that band which we called the CMB band. I was working with Pat’s trio and touring with Sting. There hadn’t been at particular band that I played in that was all acoustic, straight ahead. Kind of what I did when I first moved to town and I missed that. I thought maybe this is a sign that I should try another project and that became Inside Straight.

NOJ: Yeah with Steve Wilson, great player.
It is well documented that Ray Brown was a primary musical influence and a father figure to you. You have his bass, the good one, as I understand it.

CMB: ( Laughing) John Clayton has a good one. We each have a good one.

NOJ: If you were teaching a young student the bass today, what would you tell him to look for in Ray Brown’s playing that is so important to absorb?
Christian McBride and  Ray Brown photo credit unknown
CMB: The feel. The feel and the clarity. As a bassist, particularly an acoustic bassist, I am a stickler for clarity. The bass is a very hard instrument to play with clarity, just because the frequency of the instrument. Especially in jazz. It’s easy   to play out of tune and kind of slip under the radar to the ear. Sometimes notes will run into each other. When there’s drums going and piano going and saxophone going, a lot of what the bass does gets lost. You can still feel the bass but you can’t always hear details of that particular player is playing.

NOJ : So Ray’s clarity is what is really important?

CMB: Yeah. When I listen to Ray Brown playing I hear every single note clear as a bell and they are always in tune, which lets me know his focus never wanes. That’s the first thing I would tell my students.

NOJ: I want to continue that thread and name a few bass players and get your response. What would teach a student was the most important stylistic feature of the playing of a Bootsie Collins or Larry Graham?

CMB:  I would kind of hold off on talking about them to students. To me, Bootsy and Larry Graham were the innovators of the electric bass. I would make sure that my students would understand something a little more simple and basic before I would get them to Boosty and Larry Graham. 

Bootsy Collins photo credit unknown
The story goes, which is true, that the whole time Bootsy was in James Brown’s band, James Brown was always trying to get him to play simpler. He’d say “Bootsy these bass lines that you’re playing are too busy, they move around too much, I just need something simple and in the pocket.” Boostsy would say “yes sir Mr.  Brown” and come up with this complicated but funky bassline, and James Brown would just shake his head. It just meant that Boosty’s talent was so big, not even James Brown could hold him down. As hard as he tried.


I would just tell a student to try to pay attention to the simplicity. The same is true when listening to Ray Brown, because although Ray Brown was a virtuoso, your prime directive as a bassist is to be the best supporting instrument you can be. Play simple and always pay attention to the groove.
NOJ: How about Paul Chambers or Scott LaFaro?

CMB: I think they all have the same qualities that I love in Ray Brown. Paul Chambers had a more relaxed beat than Ray Brown. Ray Brown was always pushing and I kind of like that personally. He always kind of had his foot a little bit on the gas pedal, whereas Paul Chambers was on cruise control, you know what I mean.?

You could set the tempo and he just laid there and the groove was so, so good. He was just as much of a virtuoso as Ray Brown. Had just as big a sound as Ray Brown, his note choices were just as clear as Ray Brown. I think the only difference between the two of them was their beat. Ray was a little more forceful and ahead and Paul Chambers was more right in the middle.

Scott LaFaro, well we all know what his contributions were to the acoustic bass in terms of being a more interactive player, as opposed to just simply being a four to the bar kind of player. Of course, he could do that too. If you listen to very early Scott La Faro recordings, particularly what he did with Hampton Hawes. The album with Harold Land and Frank Butler, For Real it’s called.  He sounds like Ray Brown. Also on Introducing the Victor Feldman Trio with Victor Feldman on piano, Scott LaFaro on bass and Stan Levey on drums.


It’s clear Scott LaFaro knew the basics of what it meant to be a bass player. He could hold it down with the best of them, but then when he got to Bill Evans, he found his perfect musical partner where he didn’t need to be just playing bass lines. He was interacting with Bill Evans quite a bit and his technique was such that he sort of broke the mold. In the sense that every bass player thought “I want to develop my chops too, I want to play fast.” I am sure if Scott La Faro had lived he would have said “Hey guys, learn how to walk first, develop your sound, before you try to play fast.”  

NOJ: With all the many hats that you wear, you have a very serious, kickass big band, which I saw one year at The Caramoor Jazz Festival in 2011. You have written for this band as well as for other large ensembles. 

Most modern big band arrangers like Maria Schneider, Ryan Truesdell, Bob Mintzer or James D’Arcy Argue all have been under the tutelage of a former master arranger like Gil Evans, Gerald Wilson or Bob Brookmeyer.

Who do you consider your mentor when it comes to arranging for a multi-piece ensemble and how did it start for you?

MCB: A lot of people. I think I have gotten a lot of help from everybody that has written for a big band. I’ve spent a lot of time with Jimmy Heath. My big brother John Clayton is one of my biggest heroes. I’ve spent time with Maria, picking her brain about certain things. I love Maria so much because she has a lot of her own great ideas, but also she studied under Gil Evans. She would tell me somethings that Gil told her. 

"You almost physically feel your body change when someone gives you some useful information that you know is going to help you."

Maria and John and the great Patrick Williams, Johnny Mandell and Lalo Schifrin, who I’ve been on the road with many times with his Jazz meets the Orchestra projects. I’ve spent a great deal of time with many great arrangers.Yeah.

NOJ: So you have absorbed all these ideas of different arrangers from your experiences with them?

CMB: Absolutely.

NOJ: Any arranger that you are particularly fond of?

CMB: There is Ellington of course, he goes without saying. But I think the first arranger that I really started to pay attention to was Oliver Nelson.

NOJ: I saw your trio with Christian Sands and Ulysses S. Owens Jr. at a small supper club called Alvin & Friends in New Rochelle, NY back in June of 2014. You were a bit under the weather that night, but somehow you rose to the occasion and that trio was simply mind blowing. What do you have in store for that trio?

CMB: That was a good show, I remember that. That trio is sort of officially non-existent at the moment. Christian is about to embark on his own solo tour.  I am extremely happy for him, he wound up signing a solo deal at Mack Avenue records. His new cd will be released in two weeks in fact. He’s going on the road this year with his own group. I’m just happy to be a part of that young man’s life, because he is a very special guy.

NOJ: The Sands, that’s quite a family. I saw him in New Haven and I think he has a brother who is a helluva drummer.

CMB: That’s right, a younger brother Ryan, who plays drums. The family unit is a tight unit.

Ulysses is doing quite a number of different projects with a lot of different people so I don’t know when that trio will ever get back together again. I already know that Christian will be one of those people who will never be out of my life. Even when Oscar Peterson and Ray Brown no longer played together in an actual trio they still played together all the time in various All Star projects and things like that. I see Christian and I doing that.

NOJ: You’ve won five Grammies and been on over 300 hundred recordings as a sideman, thirteen recordings as a leader. What’s missing for you musically? What do you feel you haven’t yet accomplished as a musician?  

CMB: I hope one day to be able to…I feel like I am always composing on the fly. I haven’t really had a chance to sit down and actually focus on writing music that I would like to write for me. I’ve been doing a lot of commercial writing, in terms of like there is a big engagement coming up at NJPAC or Jazz Museum of Harlem or Jazz House Kids and I have to get some arrangements for specific events.

In terms of my own groups, I’d like to maybe once a year go on a writing retreat. I actually spoke to Metheny about that. He said, even when he’s off the road and at home, he can’t write at home, because he has got kids and there is too much going on in his home to concentrate and write. Pat takes a moment where he gets away to his second place and gets to write. I talked to JJ Johnson’s wife and she said JJ used to do that too. I need to go somewhere for like a week and just bang out some new music. I would like to do that one day.

NOJ: They do have artist’s colonies where they allow and subsidized artists of worth who need a place of quiet to work. I know there is one in Connecticut and one in Vermont.

CMB: Yeah. Melissa and I took a vacation on Vancouver Island and the place we stayed, it was beautiful. They call it a Bed and Breakfast, but it was huge. They had a grand piano in middle of the lobby and I thought oh man this is perfect. The perfect atmosphere for me to sit down and write some music. But, you know, I couldn’t use our vacation as a writing retreat. That wouldn’t be fair to Melissa.

NOJ: That would put you in hot water pretty quickly, I think.

CMB: Exactly!

NOJ: You have played bass behind singers like Diana Krall, Queen Latitfah, Sting and I actually got to see you play with Dianne Reeves a couple of years back. How is it different from playing without a singer and is it a format that you like?

CMB: I love playing with great singers. Playing with Dianne is no different than playing with a great instrumentalist. For me Dianne is sort of like the greatest living jazz vocalist. Everything she does is awe inspiring. She is very musical.

 
Dianne Reeves and Christian M
Diana Krall, we both come from the same Ray Brown School. Dee Dee Bridgewater, not only is she a great singer, but she is also one of the great performers I’ve been on stage with. It can get distracting watching her. She’s so bad, she is so badass that I sometimes almost forget it’s my cue. Cyrille Aimee, that young lady is killing it. I love working with her. Man, there are too many people I can name.

NOJ: Speaking of vocalists, I did a recent interview with the fine vocalist Jose James and he told me he was trying to get you to do a record with him in the near future. If Jose is reading this, is that something we can expect?

CMB: That’s my man too. Yes. We have worked quite a bit in the past and I love working with Jose.  I’ve always felt there hasn’t nearly been as many male vocalists that we’ve been excited about as there have been female vocalists. I have been thinking where are all the guys? All the guys that are really kind out there doing it, they all eventually just start to sing R & B. Or they kind of go for some sort of hybrid, which is cool, but I miss somebody like a Joe Williams or….

NOJ: But even Jose is trying to break out of that jazz crooner pigeonhole. His new album is much more R& B and neo soul.

CMB: Even though Jose is not wedded to straight ahead jazz, he can do it so well. It is a pleasure to see a guy with so much diversity. 
Jose and I have a couple of things possibly in the pipeline. We just have to figure out the when, that’s always the hardest part. Jose is one of my favorite musicians in the world. That’s a guy who can go a lot of different ways. I mentioned how I miss the guys, I don’t see a lot of guys out there singing a lot of jazz.  I wrote some big band arrangements for him a couple of years ago, we did a thing at NJPA, and he sang my arrangement of “Moanin’”and oh man he killed it.

NOJ: He had a great album with that Billie Holiday material. When we spoke, he indicated it was a sort of pinnacle for him in the jazz genre.

CMB: Yes, he did. Man, I was so proud of him when he did that record. That was an amazing project.

NOJ: On a philosophical note, you seem very driven, what could you see yourself dedicating the rest of your life to if for some reason you couldn’t play music again?

CMB: Sleep. (Laughs) No education.
"I think it’s important to share your knowledge."
It weirds me out when I meet people who are tight with their information. I know some musicians who don’t want to impart some of the wisdom that they have gotten from older musicians, because they think that someone may take it and it will no longer be special to them specifically anymore if they share it. If I tell you a story or share something with you that Ray Brown told me, then 'am going to be afraid that you’ll take that story and try to make it yours? To me that is sort of selfish.

If I couldn’t play music anymore, then I would dedicate my life to of these young musicians that are coming up. More than I do now.

NOJ:  You’ll be playing with your group Tip City here in Atlanta on April 29, 2017. What do you like or don’t like about playing in Falcon, Braves and Hawks territory?


MCB: (Laughing.) There is nothing that I don’t like about playing in Hawk or Braves land. I hate to see the Braves going through such hard times, but you guys have had such a long run, so maybe I really don’t feel so bad for you.


I know a lot of people in Atlanta, a lot of musicians and I don’t feel like a stranger there.

NOJ: Tell us about Tip City, who is in that band and what we can expect at the concert.

CMB: There is young pianist by the name of Emmett Cohen and the guitarist is Dan Wilson, he plays with Joey DeFrancesco quite a bit. I’m looking forward to working on this new project. A group that is nothing like my previous trio, but also nothing like my New Jawn project either. I like to stay as fresh as possible.


NOJ: What do you expect these young musicians will bring to the table?

CMB: The first time I played with Dan Wilson, he knocked me out. He comes form that lineage of George Benson, Pat Martino, Kenny Burrell school. He’s got such great technique with great ideas and he swings real hard.

Emmett Cohen I sort of watched grow up. He is from the Montclair area and was one of the students that we had at Jazz House Kids. This will be sort of like a good hometown story.

NOJ: I know you are also very involved in your home community of Montclair, New Jersey, where your wife Melissa founded Jazz House Kids, a nationally recognized community based arts organization. Tell us about what you guys do there and how this started?

CMB: She started this fifteen years ago because most of these school, not just in New Jersey, but nationwide, were getting rid of their music programs. She was getting hired to put together musicians to come into public schools in Newark to do some music programs. She realized she should her own organization to put bands together to come into these schools. Next thing she knows Jazz House Kids turns out to be a big hit.

NOJ: That’s very commendable. It’s what we need more of now-a-days as it is clear that the present political climate is not too favorable to promoting the arts in our public education system.

CMB: Between grants and private donations, we are able to keep this thing going qand we serve over a thousand kids in the State of New Jersey during the school year. We have up to two hundred and fifty students come to our summer program. It’s been real fulfilling to watch some of these young people to get to express themselves.

NOJ: Christian, I look forward to seeing you and Tip City at the Variety on Saturday April 29th here in Atlanta and will continue to follow your multi-dimensional career, which I am sure will have a lot of surprises ahead. Thanks for spending the time with us.






Tuesday, April 4, 2017

Randy Brecker graces the stage of Cafe 290 with the Joe Gransden Big Band



This Monday night at the Café 290 in Sandy Springs, the Joe Gransden Big Band featured a very special guest artist. The six time Grammy award winning Randy Brecker came to play his distinctive trumpet with Joe’s Big Band on this very special evening of song. Randy's sound can be heard on a generation of iconic recordings from Bruce Springsteen, Horace Silver, Parliament Funkadelic, Mark Murphy, the Brecker Brothers and his own recordings as a leader,


Randy Brecker with The Joe Gransden Big Band at Cafe 290
Joe Gransden frontinghis Big BAnd at Cafe 290
The Joe Gransden Big Band is one of the best big band jazz ensembles in the Southeastern United States if not the entire country. This well-oiled machine has been making Johnny Scatena’s Café 290 their home on the third Monday of every month. While the cast of musicians at times rotate out of scheduling necessity, the core group and its leader has remained intact and showered the Atlanta and surrounding area with the glorious sounds of a jazz big band for nearly a decade. Joe Gransden is an indefatigable presence on the local jazz scene and his dedication and sheer will power has been the glue that has kept this group together. Many of the area’s top musicians and musical educators have played their part to make his big band a viable entity. Joe is the perfect front man. His ability to woo a crowd with his Sinatra-esque voice, his charming stage presence and his facile trumpet work has made him a local favorite and an astute spokesman for the music. Some say the hardest working musician in the Atlanta area.

The house was packed and there was a palpable excitement brewing in the air. The audience was surprisingly diverse with many younger listeners in attendance to hear one the most familiar sounds on the trumpet in the last forty years. The sound of Randy Brecker. The musicians were equally pumped at the possibility of sharing the stage with one of their musical heroes and Brecker did not disappoint.

The band started out with their own, Wes Funderburk arrangements, blowing through a stirring version of “Miss Fine” with a soaring trumpet solo by Gordon Vernick. They moved onto a heart thumping rendition of “Cherokee” with precision and polish that had the audience bopping. Superb solos by Sam Skelton on alto, Joe Gransden on trumpet and Mike Walton on tenor just added savory spice to this already simmering stew. Joe crooned on “Pick Yourself Up” from the Sinatra songbook, with a silky alto saxophone solo by the young rising star Akeem Marable and Joe added his own mellow flugelhorn solo.

“My Blue Heaven” was another classic, this one featuring Joe’s hip vocal and a burly tenor solo by John Sandfort. The band brought it down a notch with a Chet Baker ballad “She Was Too Good To Me,” which Joe sang with a tender honesty that shared Baker’s poignant approach. Joe made good on a promise to sing another Sinatra favorite “I’ve Got You Under My Skin” for a female patron in the crowd. The band purred through the powerful arrangement with trombonist and arranger Wes Funderburk offering a raucous solo midway through.

Now that the band and the crowd was sufficiently warmed up, Joe introduced Mr. Brecker. The trumpeter had just arrived shortly before, after his plane was delayed for three hours due to the turbulent weather. Brecker is in town for a week of jazz educational sessions at the invitation of Dr. Gordon Vernick at Georgia State’s Jazz Department. He graciously accepted to fly down, meet and talk with the students in the jazz program; his visit culminating in a performance at the Rialto Theater playing in front of the Georgia State University Jazz Band under the direction of Dr. Vernick this Thursday evening. You can get tickets to what surely will be a memorable event by linking here.
I am a huge fan of Randy Brecker  and his music and had the opportunity to interview him last August for my blog, which can be accessed by linking here. He is an affable soul, a generous spirit and a tremendous talent whose prolific studio work has penetrated the airwaves to the enjoyment of almost everyone.

The band started an obscure arrangement that Randy brought along of the classic “Green Dolphin Street.” The band had to sight read, which they did brilliantly, to great effect. Brecker’s horn was strong, sharp and distinctive as he maneuvered through the changes with an ease and sensitivity that had both the band and the audience marveling. He had marvelous control and could navigate the slurs and high notes without any degradation in his sound. John Sandfort had a steaming tenor solo that had Mr. Brecker nodding his approval appreciatively.

On Wayne Shorter’s “Infant Eyes” Brecker’s trumpet work was wonderfully soulful. The band devoured the Shorter piece like a hungry lion at feeding time. This band elevated their game for Mr. Brecker and it became clear that the admiration was reciprocated. The finale of Mr. Brecker’s first set performance was a blues that featured dueling trumpets of Mr. Brecker, Mr. Vernick and Mr. Gransden. It was like a scene from High Noon, each player respectively showing off their respective prowess. The contrast in style and tone was interesting to observe with each artist having their own distinctive strengths.  
Randy Brecker, Gordon Vernick and Joe Gransden
As Brecker left the stage to an ovation the band continued with Sinatra’s “That’s Life,” and ended the set with a blazing version of Dizzy Gillespie’s “Things to Come.”

The second set featured Joe singing a lusty “Teach Me Tonight” and a beautiful version of “Body & Soul: featuring the sensitive side of Mr. Brecker. The band tackled Monk’s quirky “Well You Needn’t” with a solo by the energized Brecker and a bellowing baritone blow by multi- reed man Don Erdman.  The set ended with a new composition and arrangement by saxophonist Mike Walton “Merging Lanes,” which was inventive, but still unfamiliar in all its intricacies to the band, who was reading it for the first time.  The audience was appreciative of the effort and the evening was a resounding success.

Mr. Brecker is a world-class artist and should be commended for going out of his way to join this spirited band and bring some of his artistry to Atlanta. There is no doubt he thoroughly enjoyed himself and for anyone who was there it was a night to remember.


Check out Randy Brecker at the Rialto this Thursday evening, April 5, 2017  as he plays with  the Georgia State University Jazz Band under the direction o Dr. Gordon Vernick you can get tickets here. Also check out the Joe Gransden Big Band coming to the City Winery in Atlanta with his “Songs of Sinatra” show on Thursday May 18 th you can get tickets here.

The Joe Gransden Big Band on this evening featured Joe Gransden trumpet/voice/leader; Dr. Geof Haden on keys; Neal Starkey on bass, Justin Varnes on drums; Dr. Gordon Vernick, Kevin Lyons, Chip Crotts, Clark trumpets; Mike Walton, ts; Don Erman bari/clarinet; Akeem Marabel, as; Sam Skelton,as; John Sandfort, ts; Wes Fundeburk arranger/trombone; Tom Gibson, trombone; Devin Witt, Trombone. Derrick Jackson trombone. 

Sunday, April 2, 2017

Jenny Scheinman's "Here on Earth" Simple Music for Stressful Times

Jenny Scheinman photo  Erik Jacobs

The violinist Jenny Scheinman has made her mark in the world of jazz, avant-rock, Gypsy jazz and Americana. On her latest offering, Here On Earth, she takes on the “fiddle” music of Appalachia, sprinkles it with Irish folk music and renders it into its essence- pure, unadulterated honest music of the working class who find solace from their daily drudgery in the joyful, bittersweet bows of a violin.

Born and raised on the western coast of California, the child of back-to-the-land, folk musicians, Scheinman has been playing music from an early age. Since moving to New York in 1999, Scheinman has steadily made her mark on the music scene. Her career has and continues to be as eclectic as one could imagine. When not leading her own collaborations, her violin sounds have graced the work of Norah Jones, Marc Ribot, Jason Moran and Bill Frisell to name a few.

On Here on Earth she has chosen to portray what she calls “fiddle’ music with spare instrumentation, mostly using an accompanying guitarist, at times adding accents of banjo and resonator guitar and tuba, mostly eschewing the use of any purely percussive instrument.  The rhythms of the songs are instead delicately filigreed with repeating finger-picked lines and sustained bowing techniques. The music evokes chilly nights, hovering by blazing campfires with slightly inebriated friends in the middle of the woods somewhere. There is a simple, quiet joy to this music. The honesty and passion with which it is played is infectious.Like the resonator guitar work of Ross Hammond's recent  Follow Your Heart, this is simple music, played beautifully-and anitdote for these stressful times.

Scheinman has penned all the compositions on this album, all fifteen of them. All are relatively short pieces ranging from the 37 second “Bug in the Honey” to the almost five minute “The Road to Manilla.” They have homey names like the evocative “Hive of Bees,”dance-like  “Don’t Knock Out the Dog’s Teeth,” the shit-kicking, hoe-down sound of “Deck Saw, Porch Saw,”  the droning "Broken Pipeline"and the Celtic inspired “Annabelle and the Bird.”

The musicians are all excellent, each lending their own texture to this raw, emotional music. Bill Frisell’s filigreed guitar work is woven through Scheinman’s songs like fine threads of gold spun into a tapestry.  Accompanying guitar, tuba and banjo work by Danny Barnes and guitar and banjo work by Robbie Fulks are seamlessly intertwined to create Scheinman’s musical vision. Robbie Gjersoe’s delicate resonator guitar adds another voice on "Broken Pipeline" and “Deck Saw, Porch Saw.”

Throughout it all, Scheinman’s violin is a clarion voice. Whether her ostinato bowing simulates eerie urgency, her pizzicato plucking builds rhythmic intensity or her poignant playing is used to state a particularly moving melody line she has complete control of the emotional impact of her music.

There is something about wordless fiddle music like this, despite the obvious differences in the musicality and spirit of each composition, when listened to in one sitting, the songs all seem to melt into each other like separate pads of butter in a hot skillet.  But instead of this being a fatal flaw it is admirable attribute. The music is served up like a suite that has some shining highlights, but it stands as a totally unified piece of art. An honest effort to pay homage to a music born from hardship but never victim to despair. One can listen to this album on repeat mode, as I have, and never get weary of its haunting melodies, nor doubt its underlying message of hope. There is nothing revolutionary about this music, but  Jenny Scheinman’s Here on Earth  is a reminder that sometimes the simplest music can make the greatest impression.



Thursday, March 30, 2017

Virginia Schenck perfroms the music of Abbey Lincoln at Atlanta's City Winery

The Vocalsit Virginia Schenck
This past Monday evening the vocal stylist Virginia Schenck brought the musical poetry of Abbey Lincoln to life at one of Atlanta’s newest venues, The City Winery. This was my first time at The City Winery and it was a pleasant, sophisticated experience . Patrons sit in communal tables that face the generous stage and the venue serves food and libations. The space is on the lower level of a shopping center adhjacent to the newly renovated Ponce City Market  and is a good approximation of what NYC jazz venues like the Jazz Standard  are like. 


Ms. Schenck, whose latest cd release is title Aminata Moseka, a tribute to Abbey Lincoln, is an Atlanta area resident who studied music therapy at the University of Florida and has her own music therapy practice in Macon, Georgia. This is her third album and on each outing she has employed the artistry of pianist Kevin Bales, bassist Rodney Jordon and drummer/percussionist Marlon Patton.
Ms. Schenck poses a lean, agile figure dressed in a black leotard top with leather pants under a full fringe black leather open skirt, the fringes freely swaying with her every movment. She was barefoot and had a large silver choker, resplendent with semi-precious stones that wrapped her neck and held her head aloft in regal posture. She often danced around the stage between solos adding to the visual.
The crowd was diverse, one made of fans, press and curious first timers like myself. Ms. Schenck is an animated vocal stylist. Her voice is pleasantly mid-range and while limited she has learned to stay confidently within its boundaries, utilizing a spirited delivery and an imaginative use of sound effects- a technique probably developed during her studies with Bobby McFerrin. Her performance is theatrical with roots in cabaret and musical theater more than jazz, but she can swing and shows an intuitive reverence for the music, especially the lyrics. She is at heart a storyteller who on this project has found a fascination with the poetic music of the late Abbey Lincoln. Lincoln herself was both a singer, an actress as well as a social activist.

Rodney Jordan, Virginia Schecnk, Marlon Patton
Schenck started off the evening entering the stage solo, singing the opening breezy, calypso phrases of Lincoln’s “The Music is the Magic” a cappella. Drummer Patton entered and sat in first, adding percussion to the song introducing a bongo-like beat played with his hands on his tom and snare. Bassist Jordan was next to enter, laying down a swaying bass line before pianist Bales joined in adding his rhythmic piano accents.  The effect was dramatic as the group all came together with Ms. Schenck, eventually ending in as a unified group in perfect precision. 

Ms. Lincoln’s haunting “Another World,” -which Ms. Schenck told the audience was inspired by the musical tone poem from Stephen Spielberg’s movie about extra-terrestrial contact Close Encounters of the Third Kind - was led off by a sensitive Jordan bass solo. There was a slow percussive rhythm to Patton’s drums that spoke of mysterious distant vistas. Bales offered a delightfully buoyant solo that energetically elevated the entire piece to a new high. Ms. Schenck vocal offered the song’s hopeful lyrics adding her own dramatic facial expressiveness.

The set included Lincoln’s cabaret-like “Wholly Earth,” a bluesy folk song “Throw it Away” based on the magic book the I Ching which featured an extended and impressive bass solo by Jordan, and “Caged Bird” based on the Maya Angelou book, which had Ms. Schenck don some heavy chains to dramatize the captivity portrayed in the song. She fearlessly mimicked bird sounds and strutted across the stage like an angry peacock oblivious to reaction or judgement. The band added to the aural display of the song by offering a bowed bass by Jordan, plucked keyboard strings by Bales and the rattling of some metal conduits by Patton. Ms. Scheck’s commitment to her performance art included a parry of her bird sounds pitted against pianist Bales piano chirps in a display of musical conversation.  



The only song not attributed to Abbey Lincoln was a theatrical version of “If I Only Had A Brain” from the Wizard of Oz. Ms. Schenck’s animated vocal delivery includes her own interpretive body movements and facial expressions that all add to the storytelling quality of her performance.
The set ended with Ms. Lincoln’s uplifting “Talking to the Sun” from her 1983 album of the same name. Ms.  Schenck’s performance and the stellar work of her backing musicians had the audience captivated and she received a standing ovation at the end of the show.


Ms. Schenck should be commended for her inspired tribute of appreciation for the work of Ms. Lincoln. Ms. Lincoln was not content to offer  love songs in her repertoire preferring to speak her mind  as an activist and at the same time embracing a more forward looking vision in her lyrics. The poetry of  this music offers a positive message in a time when positivity is sorely needed and Ms. Schenck's fearless portrayl is a refreshing reminder we should all remember not take oursleves too seriously.