A forum for jazz reviews, discussion of new jazz, blues music, the musicians, reviews of recent and historical releases, reviews of live performances, concerts, interviews and almost anything I find of interest.
by Ralph A. Miriello
A relatively new jazz club has quietly carved a place out for itself in the otherwise shrinking world of jazz music venues. The Side Door Jazz Club is located a
stone’s throw from Interstate 95 off exit 70 at 85 Lyme Street in Old Lyme,
CT. It is part of the Old Lyme Inn, a
beautifully restored bed, breakfast and restaurant that was originally built as
a family homestead in 1856.
Left in relative disrepair, the Inn was purchased and
renovated by Owners Ken and Chris Kitchings in 2011. Ken, a lifelong jazz fan
who had been previously involved bringing artists to the Garde Theater in New
London, CT., decided that an unused “side door” space would be the perfect spot
for a jazz club. Seeing his vision through, the Side Door Jazz Club was
opened in May of 2013. Since then Ken and his booking manager Jan Mullen have
brought some amazing top-tier talent to their strategically located club along
the Connecticut shoreline. It surely doesn't hurt that the club is almost
equidistant for musicians who are traveling along the Boston to New York corridor, two
major jazz hubs. The the club is comfortable and well appointed, the vibe is welcoming with reasonable acoustics and a generous stage and Ken’s
exuberance is infectious. I don’t doubt that many performers find the venue
a welcome respite.
On Friday night January 10, 2014 Janis Siegel played two sets of music,
much of it from her latest album Nightsongs: A Late Night Interlude, her tenth
solo release. Janis’s emotive voice, somewhere between a mezzo-soprano and a contaltro, has been heard for the
last thirty-two years as the part of the Grammy Award winning group Manhattan
Transfer. Her recent cd is her first self-produced album and is a great collaboration
with the pianist/arranger John diMartino, a first call artist who has great sensitivity working with vocalists. The songs include selections include Billy Strayhorn “A
Flower is a Lovesome Thing,” Rogers & Hart's “Lover,” Brenda Russell, Will
Kennedy and Russell Ferrante’s “Love and Paris Rain” along with a song penned by Bob Belden with lyrics by Siegel herself “Sweet
September Rain.”
On this evening, during the first set, she was joined by her pianist/arranger
diMartino and the bass player, the talented Boris Kozlov, who also is part of the pianist's working trio.
The set started off with Ms. Siegel, a Brooklyn born chanteuse, appropriately
singing the campy Lorraine Feather song “I Know the Way to Brooklyn.” The song initiated the crowd to brief but
potent solos by both Mr. di Martino and Mr. Kozlov. Ms. Siegel can navigate through multiple genre’s, from cabaret to bossa to torch to scat with ease and agility, and on Friday night before a receptive crowd she did just that.
Before the start of the second song, Ms. Siegel introduced the Brazilian percussionist/vocalist
Nanny Assis, who joined her and the band for most of the first
set. Mr. Assis, originally from Bahia, Brazil and now a CT native, can make a panderio
( a small, round-shaped hand drum with jingles native to Brazil) sound like a full drum kit. His presence lent the proceedings a genuine rhythmic element that was infectious.
John di MArtino, Boris Kozlov, Janis Siegel and Nanny Assis
Ms. Siegel introduced Ann Hampton Callaway’s “Slow,” a lilting, breezy
bossa with Mr. Assis on congas. The song
captivated the crowd with Ms. Siegel’s sensuous vocals deftly accompanied by
Mr. diMartino’s delicate piano fills and Mr. Kozlov’s warm bass lines. Ms. Siegel
introduced the next tune, another bossa-infected treatment of the Rogers & Hart song “Lover.” Ms. Siegel sang with Mr. Assis, who was now on panderio. The two seemed to have fun
with the music. Playing off each other in a joyful interaction that worked off
the intimacy of the lyrics. They demonstrated a stage simpatico that had the audience
smiling approvingly.
Following the Brazilian theme, Ms. Siegel commissioned Mr. Assis to sing a duo
on the sultry Jobim tune “If You Never Come to Me.” Mr. Assis has a soft, unassuming tenor that perfectly
complements Ms. Siegel’s tawny mezz-soprano. The two showed a vocal and stage
chemistry that was palpable and they charmed the audience with their subtle
harmonies and moving interplay. Ms. Siegel is a competent scat artist and she
used it to great effect as Mr. Assis sang softly in Portuguese.
The next song of the set was of personal significance to Ms. Siegel. She related that she wrote the lyrics with her
boyfriend Harry Levine to a cinematic instrumental by Bob Belden, that begged for words. The title “Sweet September Rain,” a slow ballad, featured Ms.
Siegel, in a slightly higher register, poignantly describing memories of a past love affair. Mr. diMartino’s solo was
particularly moving and Mr. Kozlov’s arco-bass at the coda was sublime.
Ms. Siegel offered a vocal version of the funk jazz, Lee Morgan composition
“The Sidewinder,” with lyrics written by Jon Hendricks to describe a philandering
gigolo. With a distinctive ostinato bass line played
expertly by Mr. Kozlov, the song had Ms. Siegel demonstrating her vocalese
technique. She followed the serpentine tune expertly in a display of vocal
gymnastics that was quite impressive. Mr. diMartino’s funky piano lines conjured
up images of the late Bobby Timmons. The first set concluded with a Cuban Bolero inspired
tune and a Stephen Sondheim composition showing the depth and range of Ms. Siegel’s
repertoire.
Ms. Siegel continues to prove that
she is in the upper echelon of vocal performers and at the Side Door she was in
top form. Her fine band was completely in sync with her music. Happily the Side Door Jazz Club is a welcome addition to the CT jazz scene.
The musician/poet/troubadour Gil Scott-Heron, who in the early seventies was influential to scores of people who heard his cool brand of hip music and absorbed the pithy observational wit of his lyrics, was being rediscovered recently when he released a new album "I'm New Here" in February of 2010. His rediscovery was crushingly cut short when Mr. Scott-Heron unexpectedly died in May of this year at the age of 62.
I was strongly influenced by the messages that Mr. Scott-Heron offered in his raspy, baritone voice that spoke with an inner wisdom that was somehow lost to many around him. His music shared a jazz and blues sensibility that I was prone to like to be sure, but it was his lyrics that were poignant and unforgettable. He spoke of things that others would only think and he did so in a beguiling manner that transcended time. I was not alone in my admiration. Producer Mark Ruffin, who is the program director of the Sirius/Xm Satellite channel Real Jazz, as well as a jazz journalist himself, was similarly struck by the music and lyrics of Mr. Scott Heron. Ruffin envisioned an album of the poet's music as a homage to the man whose later years were filled with drug related hardships and conflicts. Mr. Ruffin controversially chose the jazz baritone Giacomo Gates for the project and was anxiously waiting to present the finalized version to Scott -Heron when the singer suddenly died.If anyone had trepidations about Ruffin's choice for this project, Mr.Gates grasp of the music and his performance here has certainly put all doubts to rest.
Giacomo Gates is an authentic jazz vocalist and student of the jazz tradition. He has studied the works of the vocalists like Jon Hendricks and Eddie Jefferson and has absorbed and broadened some of their techniques including scatting, vocalese and mimicking instruments with his voice. Gates has a smoky, slightly gravelly baritone voice and he has an unerring sense of swing. He is a master storyteller, often choosing music that offers some comic relief . It is precisely Mr. Gates storytelling ability that makes him so well suited to the music of Mr. Scott-Heron. Gates wisely chose from Mr. Scott-Heron's repertoire those songs that tell a story, songs that spoke to him.
Giacomo Gates
The opening number is a swinging case in point, "Show Business" certainly speaks to Mr. Gates. He has been plying his trade for some time and knows the sentiments of the song that Scott-Heron sardonically wrote about..."show business.... got you hanging out in places you got no business" . The song cooks with pianist John Di Martino tinkling his keys in deft accompaniment and guitarist Tony Lombardozzi offering a tasty solo.
Gil Scott- Heron's hopeful "This is a Prayer for Everybody to be Free" is sung by Gates in a sauntering, heartfelt and earnest way. Claire Daly's baritone sax solo is deep and raspy and compliments Mr. Gates scatting brilliantly.
Mr. Gates vocal interpretation of "Lady Day and John Coltrane" steals the show. Lonnie Plaxico's plangent bass lines carry the tune beautifully as drummer Vincent Ector holds the rhythm down.Mr. Gates is at top form here as he seems in his element with the inherent flow of this song. Pianist Di Martino intersperses Latin influenced rhythms in his fluid solo.The coda finds Mr. Gates quietly whispering the last of the lyrics.
Another inspired performance is "Legend In His Own Mind". Gates is superlative when he has a story to tell and what better lyrics to work than lines like "...he has more romances than Beverly has Hills." Gates loves to embellish on the story line as he does on this one and the group simply gets off on grooving behind him. This group of veteran players offers top notch accompaniment throughout as Mr. Gates ends the song in a beautifully expressive rising coda.
Seemingly plucked from the scripts of the series Mad Men, "Madison Avenue" is one of those stealthy Scott-Heron songs that lamented about the way American business manipulates people to consume through clever advertisements. With lines like they can "...they can sell tuna to the Chicken of the Sea." its not hard to see why Gates chose this one. His soulful baritone takes this bluesy rendition to the limit with his hip insider take on the sentiment as the band pushes the song nicely.
With Tony Lombardozzi starting the song with a funky guitar line that could have been a lead in for James Brown, Gates relishes the lyrics of Scott-Heron's "Gun". He paces the song beautifully letting the funk seep into the pours of the song while still maintaining his cool delivery of the potent lyrics. You can feel the band having fun with the infectious funky groove.
One my favorite Gil Scott-Heron song's is his great "Winter in America" . Perhaps because the original is so close to my heart I can't bear to hear it played anyway but the way its seared into my consciousness. Gates chooses to slow the song to a crawl which I find a little unsettling.Claire Daly adds some nice flute to the mix.
Lonnie Plaxico's walking bass line leads us into "Is That Jazz", a song that is tailor made for Mr. Gates sensibilities as he swings with ease and does his most adventurous foray into vocalese on the album.Gates loves to speak of his jazz heroes. He has been influenced, by his own admission, by horn players like Dexter Gordon, Lou Donaldson and Lester Young, When he uses his voice as an instrument it is clear he has a horn player's mindset. Lombardozzi's guitar accompaniment is especially tasteful as is his solo work.
"New York City" was Scott-Heron's slightly sarcastic homage from someone who loved it the city warts and all. Gates sings it like he too loves the Big Apple. He makes it into a slow love ballad that breaks occasionally into a more frenetic section that is symbolic of the City's own schizophrenic nature."NYC I don't know why I love you, but its real."
On the finale, the uplifting "It's Your World" , Mr. Gates sings with his own sense of promise and sincerity..
"The Revolution Will Be Jazz" is certainly a noble homage to Mr. Scott-Heron and his work. Mr. Ruffin should be proud of the results. With this album Mr. Gates has successfully ventured into new ground. Taking a step back from the classic American songbook that has been his staple and expanding his repertoire-in essence creating a statement of what is to be included in the new American songbook. I for one agree with his choices.
Musicians: Giacomo Gates, vocals; John Di Martino, piano; Tony Lombardozzi, guitar; Lonnie Plaxico, bass; Vincent Ector, drums; Claire Daly, baritone saxophone and flute.
Recorded at Jazz at Lincoln Center, New York, NY Nov 2010-January 2011
On a cold Wednesday night in New York City I ventured into the mecca of jazz to have dinner with a friend in from Atlanta. Trying to kill two birds with one stone I convinced him to join me after dinner and make our way to the Kitano hotel where the jazz singer Giacomo Gates and his trio were performing. Weekday treks into the city are not regular events for me as my day job has me up at the crack of dawn, but when I make the effort I am usually pleasantly rewarded. So was the case on this evening.
I confess to being a fan of Mr. Gates, who I have seen before and who sings and talks in a warm baritone that belies a genuine hipster sensibility. There is no affectation here, he is the real deal. With his craggy looks and his command of the hipster vernacular, he is the consummate entertainer. He is a singer who has studied the quirky side of the American songbook. He has an astounding command of his voice and is a storyteller par excellence who can enthrall his audience.
The Kitano is a first rate hotel on Park Ave at 38th Street and they have been featuring top notch jazz shows in their lounge for some time now. A short few steps up from the elegant lobby, the comfortable lounge seats about thirty with a large bar area. It offers as intimate and comfortable a setting as any jazz venue in New York.
Mr. Di Martino and Mr. Miner started the set off with the standard "Yesterdays" where Mr. Di Martino's superb touch and inventive creativity started the evening on a immediate high note. The duo demonstrated a fluidity and grace that was masterful.
Mr. Gates started his set with Eddie "Cleanhead" Vinson's composition "Four",. where the singer's breathy delivery was complimented by his deft use of modulating his sound by varying the positioning of his microphone. Mr. DiMartino is a particularly complimentary accompanist who seems to have a sixth sense of what to play and when to play it.
Miles Davis' modal masterpiece "Milestones" is a Gates staple that the singer has written lyrics for and which showcases his formidable vocal fluidity . Mr. DiMartino is well versed with the jazz tradition and his playing echoed some sounds from Gil Evans at times. Mr. Gates and Mr. DiMartino's rapport on this number was especially in sync.
On "Lady Be Good" Mr. Gates mimics both a walking bass (which at first somewhat confounded Mr. Miner) and vocalizes a quick paced improvisation that he transposed, note for note, from a Charlie Parker solo. Mr. Gates is at his best as a storyteller, like on his wonderfully jocular take on Bobby Troup's "I'm a Hungry Man", where he has the audience wrapped around his finger as he tells of the gastronomical adventures of the song's protagonist. He was also engaging on the raucous Oscar Brown Jr. tune "Hazel's Hips".
Mr. Gates has recently been in the studio on a project that involves the music of Gil Scott Heron. On this night he gave us a taste of what to expect when he did a masterful version of the poet/singer's song "Show Business" . Mr. Gates doesn't try to imitate Mr. Heron but sings it with his own sense of grit and savvy. It was good to hear someone bravely tackle Mr. Heron's music which deserves wider recognition.
Mr. Gates and his trio ended the set with the Charlie Parker tune "Buzzin'" where Gates can scat with the best of them and the Gershwin classic "Summertime", both done in Mr. Gates inimitable style, ending a thoroughly enjoyable evening. Mr. Gates is a class act not to be missed. My friend from Atlanta, who is not particularly a jazz fan, was a convert to Mr. Gates and his music by the end of the evening. I found myself happily discovering the Kitano as yet another fine venue for top notch jazz in New York City.
in February of 2010. His rediscovery was crushingly cut short when Mr. Scott-Heron unexpectedly died in May of this year at the age of 62.
