Miguel Alvarado sax, Darren English trpt, Louis Heriveaux Keys, Craig Shaw bass, Dave Potter Drums. |
Last Friday night, as part of the “Jazz on Fridays” series
at Atlanta’s High Museum, patrons of the museum were treated to some of Atlanta’s
finest jazz musicians as they performed standards from the American songbook
and some original music. The featured group
was The Dave Potter Quintet with Louis Heriveaux on keyboard, Craig “Shawbox”
Shaw on upright bass, Darren English on trumpet, Miguel Alvarado on saxophones,
and drummer/ leader Dave Potter.
Potter is an Atlanta based drummer who studied music at
Florida State University under the mentorship of the pianist Marcus Roberts. He
received his master’s degree from FSU in 2008. Besides sharing the stage with pianist
Roberts, trumpeter Marcus Printup and others he has been an integral part of Jason
Marsalis’s Vibe Quartet and recorded with the vibraphone artist on several albums
including his latest, highly received The
Twenty-First Century Trad Band.
On this early evening, there was a line of people anxiously awaiting the opening of the atrium where Potter and company would perform. The atrium area at the High Museum is a soaring, light filled expanse that is surrounded by an exposed stairwell that coils its way to the upper floors of the museum and offers a view of the City. The architectural firm of Richard Mier and Partners consciously designed the High museum with Frank Lloyd Wright’s Guggenheim in mind. The glass exterior wall floods the area with natural light, which in the designer’s plan is a symbol of the enlightenment an institution of art and culture brings to its community and to all who enter the museum’s doors.
On this early evening, there was a line of people anxiously awaiting the opening of the atrium where Potter and company would perform. The atrium area at the High Museum is a soaring, light filled expanse that is surrounded by an exposed stairwell that coils its way to the upper floors of the museum and offers a view of the City. The architectural firm of Richard Mier and Partners consciously designed the High museum with Frank Lloyd Wright’s Guggenheim in mind. The glass exterior wall floods the area with natural light, which in the designer’s plan is a symbol of the enlightenment an institution of art and culture brings to its community and to all who enter the museum’s doors.
The Light Filled Atrium at the High Museum |
There were by some counts upwards of one thousand patrons
enjoying the music. Some were seated, some stood, others milled around the
atrium enjoying the diverse, cosmopolitan community that is Atlanta in all its
splendor, while being thoroughly entertained by these top-notch musicians. For
the uninitiated, it was a time of discovery as most of these musicians are all
based in Atlanta and can be seen fairly regularly in local venues as well as with nationally touring acts. Lest anyone fear they have to go to New York
or New Orleans to see great jazz, these gentlemen shot an arrow into that balloon
of nonsense.
After a brief introduction by WCLK Jazztones DJ Jay Edwards,
the group started the set off with a quick paced, hard bop blues composed by
the trumpeter Freddie Hubbard. Mr. Potter resplendent in his white suit with
dark shirt and light tie leading the way. Mr. English and Mr. Alvarado charging
into the melody in synchronous precision. They moved into the Jimmy Van
Heusen/Johnny Mercer standard “I Thought About You” followed by another Van
Heusen song “Polka Dots and Moonbeams,” where Heriveaux enchanted the crowd with
his marvelous keyboard work. If there is one criticism I can levy it is the disappointing
lack of a real grand piano in this space. For such a marvelous musician as Mr.
Heriveaux not to have a suitable piano here is a crime.
The band followed with the contemporary sound of Wayne Shorter’s “Night Dreamer.” After a spell I took off my journalist’s hat and just listened to and enjoyed the music, paying less attention to what songs they were playing and more into how well they were being played. The front line of trumpeter Darren English and saxophonist Miguel Alvarado was sensational. They often stated the melody line in crisp unified form before each taking robust and creative solos. The rhythm section, driven by Potter and anchored by Shaw and Heriveaux was superb. The pace of the music was often double time, with the rhythm section driving the two horn soloists to step up their game not to be left behind
.
The band followed with the contemporary sound of Wayne Shorter’s “Night Dreamer.” After a spell I took off my journalist’s hat and just listened to and enjoyed the music, paying less attention to what songs they were playing and more into how well they were being played. The front line of trumpeter Darren English and saxophonist Miguel Alvarado was sensational. They often stated the melody line in crisp unified form before each taking robust and creative solos. The rhythm section, driven by Potter and anchored by Shaw and Heriveaux was superb. The pace of the music was often double time, with the rhythm section driving the two horn soloists to step up their game not to be left behind
.
This was my first exposure to the saxophonist Miguel
Alvarado who now hails from Nashville, Tennessee and what a pleasant surprise
he was. His tenor had a rich, deep tone reminiscent of sax legend Houston
Person, but when the pace was pushed by Potter and company he became an incendiary
soloist of the highest order. The young South African, now native Atlanta
trumpeter Darren English did an admirable job trading solos with Alvarado. English
used mutes effectively to change up the sound of his open bell trumpet and intensify the exchange with
Alvarado. Not enough can be said about the stabilizing influence of “Shawbox” Shaw’s
bass who kept an unerring pulse to the often-frantic proceedings and offered some
nice solo work of his own invention.
The second set was more exploratory in that it offered some
original tunes by Potter’s mentor Marcus Roberts, a Thelonious Monk composition
and a rendition of “The Nearness of You” that had Alvarado ‘s tenor sounding
very Dexter Gordonish. The group also did a Potter original “The Ratio Man”
with Alvarado picking up the soprano saxophone for this one. “Letting Loose” was an off to the races sprint
that had Potter pushing the tempo with Elvin Jones like flourishes.
While I did not stay for the third set, the atrium was still SRO by the end of the second set. It is clear that Atlanta’s sophisticated listeners appreciate a good time and good music and will support highly cultural experiences like “Jazz on Fridays.” My only wish is that the crowd be a little quieter in respect to the musicians. The din was some times distracting. The High Museum, in association with WCLK, should be proud for presenting such a community service that obviously fills a need and at the same time preserves our only truly all American art form.To paraphrase a famous saying from an endearing baseball movie “If you present it , they will come.”
A view from above
The Dave Potter Quartet
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