John Ellis and his Quintet take their "Heroes" seriously.

John Ellis: Heroes: Blue Room Music

The talented multi-woodwind artist John Ellis originally hails from North Carolina.  He is a much sought after musician with over one hundred and fifty album credits as a sideman to his name. Besides his work as a leader, his horn work has often been heard in the orchestra of Darcy James Argue, and on projects with Kendrick Scott, Helen Sung, Dr. Lonnie Smith, Charlie Hunter, John Patitucci and Sting to name just a few. 

Ellis studied in New Orleans in the 1990s with the pianist Ellis Marsalis and worked with drummer Brian Blade and trumpeter Nicholas Payton while studying there. The NOLA sound is a important aspect of his unique musical voice on the saxophone. Now based in both New York and New Orleans, Ellis's last recording as a leader was his 2023 release, Bizet: Carmen in Jazz, a wonderful album inspired by the music of Georges Bizet. Ellis's album was named one of Notes on Jazz's Best of Jazz for 2023 for its skillful execution of using jazz and some New Orleans influences to bring Bizet's opera into a new light with vivacity and reverence.

Ellis's latest project is titled Heroes, released in March of this year on Blue Room Music. Despite being a first call musician whose work has been predominantly in large ensembles, Ellis has always had a special connection to the classic jazz quintet format, two horns, in this case trumpet and tenor saxophone, and a piano along with bass and drums. On this outing, Ellis enlisted the expressive pianist Gary Versace, and a long time collaborator and superb bassist Reuben Rogers, both of who were on his Bizet album. The group is rounded out with the trumpeter Mike Rodriguez, a fiery horn player that is also part of the star ensemble SF Jazz Collective, and the sought after traps master Kush Abadey, who also works frequently with Ethan Iverson and Melissa Aldana.

With this exceptionally talented group, Ellis presents eight compositions on Heroes whose themes are derived from people-mentors, friends, family or inspirations- who have had an impact on Ellis's life. The unifying factor that makes this album so rewarding is the empathetic playing that these five gentlemen find in expressing Ellis's music so decisively and with passion. The interplay is so  intuitive as to make the whole of this band so much more as a unit than as the individual parts. There are notable individual performances on this album to be appreciated, but the cohesiveness of this group and the subtle direction of the leader is the magic potion here. 

"Slingshot" is a reharmonizing of the chords of pianist Ron Miller's "Small Feats," a mentor/teacher to Michael Rodriguez while he was at  University of Miami. Miller's song was in turn a take on Coltrane's "Giant Steps." Here Ellis's brand offers some beautiful synchronized trumpet/tenor playing and a stellar piano solo by Versace.

"Beautiful Day" is a song that borrows from the theme to Fred Rogers old show Mister Roger's Neighborhood, a favorite of Ellis. There is joy in this song and you got to love the booming bass work of Rogers as he prances through this one. Ellis's tenor solo is deep-throated and reminiscent of some of Sonny Rollins' work. Abadey has his turn to add his own percussive acuity to the mix.

"El Cid" is a cinematic feast that features Rodriguez's clarion trumpet. The music recalls the movie of the same name that featured Charlton Heston as the Castilian knight Rodrigo Diaz de Vivar who grappled with Christian and Muslim armies. The music transports the listener to the medieval majesty of the period.

"Fort Worth" is an Ellis tip of the hat to two Texans of influence, Ornette Coleman and Dewey Redman. The music has that jumpy, walloping attitude that brings the world of hoe-down sensitivity to this one. The two horns fluently play off each other-Versace has an inspired take here- and Abadey's drum work shows his  skillful percussive play off these lines.  I am sure these guys enjoyed playing this one.

"Three Jewels" brings sensitivity and some contemplation to the music. This could be inspired by some of Coltrane's more meditative pieces. There is some probing, beautifully resonating bass lines by Rogers as Rodriguez soars majestically on the first solo. Ellis's deep-throated tenor navigates the shifting and turning line with expressiveness and aplomb. Versace's accompaniment is subtle and on point, and Rogers' solo is facile and inventive.

The album continues with "Color Wheels," a modal piece that has a circular feel and features telepathic trumpet/saxophone synchronous playing. There is a sense of reverence to this music that seems to emote from the way these guys play on this one. Ellis is particularly fluid and expressive. Versace 's piano is delicate and warm. The music is purportedly inspired from Bill Evans' "Blue in Green." Clearly  a musical Hero for many.

"Linus and the Lyre" takes its theme from Greek mythology. Linus of Thebes was a notable musician, poet and teacher who was assigned to teach music and letters to young Hercules, son of deity Zeus and his mortal mother Alcmene. The legend has Linus berating and beating a young Hercules so severely for his unscholarly behavior, that Hercules in a rage took a Lyre and beat Linus to death. The music opens with a syncopated bass line before the two horns spell out the gorgeous melody line. Ellis plays a compassionate tenor solo that ebbs and flows with grace and style, one of his most expressive on the album. Rodriguez follows with his own more staccato, searching trumpet solo. Gary Versace's piano unfolds with a emotionally strong solo that dances as Abeday's set work accentuates the music with a percussive delight. The drummer's talent is featured in front of the last section as the two horns, piano and bass fade in a synchronous coda.

"Other Saints" has a distinct NOLA feel, accentuated with a Caribbean vibe that Reuben, who originally hails from St Thomas, carries off so well on his bass. It's hard not to claim some influence from Sonny Rollins's "St. Thomas" or from other island inspired classics. There are plenty of heroes that could apply to this song. As you metaphorically follow this cheerful group as they make their way down a boisterous and gay Bourbon street, there is no denying that the music makes you want to move your feet and puts a smile on your face. 

The Biamp PDX Portland Jazz Festival: Sullivan Fortner Trio, Dianne Reeves & Band and John Patitucci Brazilian Trio

Yotam Silberstein, John Patitucci and Rogerio Bocacato at the Old Church

The Biamp PDX Portland Jazz Festival brought an amazing gathering of some of jazz music's most talented, diversified, and celebrated lineups to Portland this year. The festival ran from February 16 through March 2, 2024, and included a variety of venues -The Jack London Revue, The Old Church, Revolution Hall, Arlene Schnitzer Concert Hall, Alberta Street Pub, Newmark Theater, and the Roseland Theater [place a myriad of smaller locations to name just a few. True jazz fans should tip their collective hats to the producers of this year's festival. This year truly met and exceeded all reasonable expectations for supporters of this marvelous music. 

The festival included esteemed headliners-pianist Jon Baptiste, guitar master Julian Lage, trumpeter Nicholas Payton, modernist guitarist Mary Halvorson with drummer Tomas Fujiwara, piano master Bob James with guitar wizard Lee Ritenour, and some fine local artists that include guitarist Ryan Meagher and Dan Balmer, drummer legend Mel Brown and saxophonist Nicole Glover plus too many others to mention. Check the total lineup here. Suffice it to say, if there was music that you favored in this ever-accepting genre there was something to please almost any taste.

As a fan, it was a plethora of almost too many riches. The offerings were scheduled over a relatively short period, and the weather didn't always cooperate. I was lucky enough to pick and choose my events (with some help from a friend) and attended three superb events.

Sullivan Fortner and Tyronne Allen at the Old Church

The Sullivan Fortner Trio at Old Church:  February 27, 2024

I have been a fan of the pianist Sullivan Fortner for quite some time. He was born in New Orleans and started piano at the age of four. Blessed with perfect pitch, Fortner rapidly advanced with his keyboard skills. At age seven he began playing organ publically in his mother's Baptist Church. Gospel music made a permanent impression on the young man. Fortner went on to study music at Oberlin Conservatory in Ohio and later received his master's degree from the Manhattan School of Music. The musician made his bones as a sideman with the likes of vibraphonist Stefon Harris and trumpeter Roy Hargrove. In 2011 Fortner came under the influence of the pianist master Barry Harris. He has been tapped as an astute accompanist for vocalists like Lauren Henderson and the recent sensation Samara Joy. He is most celebrated for his collaboration with the amazing vocal chanteuse Celine McLorin Salvant. He has received numerous awards including the prestigious  Lincoln Center Emerging Artist Award in 2016.

By now, the thirty-seven-year-old pianist has become a revered master of his instrument being one of his generation's most promising artists. I named his recent 2023 release

Solo Game as one of my Notes on Jazz Best of Jazz for 2023. I was most interested in seeing this impressive artist play live and in the moment. His February 27th concert at downtown Portland's intimate Old Church was the perfect venue to see him perform his magic up front and personally. 

Fortner casts a short, sturdy, but graceful presence at his piano bench. He is soft-spoken and when he does speak, there is an unassuming confidence in his voice, a voice that also projects a wry sense of humor and a deep sense of joy about what he does. Fortner was joined by his working band of Tyrone Allen on upright bass and Kayvon Gordon on drums. There is an immediate sense of connection between these three. A connection of respect and of the kind of familiarity that is built slowly from being exposed to many hours of woodshedding together, honing their skills as a unit, and creating that level of simpatico that usually only is seen in working bands. 

The Maryland-born Tyrone Jackson studied upright and classical bass at the Eastman School of Music in Rochester and later attended Berklee in Boston where he was mentored by local giants like saxophonists Jerry Bergonzi and George Garzone and the late drummer Ralph Peterson. Drummer Kayvon Gordon hails from Detroit. He was mentored by trumpeter Marcus Belgrave and attended the University of Michigan where he studied with bassist Robert Hurst and pianist Benny Green. With this pedigree, there is no doubt this trio has the firepower and finesse to make this a memorable evening of music.

The trio entered the stage and immediately went to work on what sounded like a Monk-inspired piece of music. Jagged, angular and edgy. There was little doubt that Fortner's music would be inspired by his study and mastering of the music's history. Despite his familiarity with the material, he is like a bubbling caldron of creativity that never settles for using well-worn musical cliques. He is expressive and surprising and there is a spontaneity to his approach that is quite refreshing.

The group played for two sets and covered some fourteen compositions, a few of which were originals and some music from composers Thad Jones, Cedar Walton, and Bobby Hutcherson. Two highlights were Charles Trenet's "La Mer" which was played in a stunning calypso style and the gorgeously embroidered take on Hoagy Carmichael's "Stardust," which was like hearing the well-healed classic in a new light. Throughout the performance, Fortner showed some amazing double-handed, Shearing-like block chording work. He has an impressive facility but he uses his skill to tell a story. Fortner's piano takes you time traveling. You can hear the art of Thelonious Monk, Erroll Garner, Eubie Blake, and even Art Tatum in his playing without it ever becoming mimicry. His bandmates are attuned to his changing directions and inventive excursions. Both are excellent soloists when called on. The set ended with the local tenor saxophonist, Nicole Glover, as a guest. She joined the trio for one ballad and two more energetic post-bop songs that added a new voice and some local flavor to the evening's music.

Diane Reeves and Reuben Rogers at Revolution Hall

Diane Reeves and her Band: Revolution Hall February 29, 2024 

One highlight of this festival was the chance to see Dianne Reeves and her band at the Revolution Hall. The Detroit-born Reeves is perhaps the ruling queen of current-day jazz singers in the world. Critic Scott Yanow called her "A logical successor to Dinah Washington and Carmen McRae..." In 2018 she was named a prestigious NEA Master. Her last album Light Up the Night: Live in Marciac was released back in 2016.

Reeves was joined this evening by the dynamic rhythm section of Reuben Rogers on bass and Terreon Gulley on drums, the talented pianist/arranger John Beasley on piano, electric piano and melodica, and the Brazilian master guitarist Romero Lubambo. 

Ms. Reeves is an eminent professional who captures the audience with her conversational rapport. Although the concert at Revolution Hall amazingly did not sell out, Reeves's buoyant stage presence never showed signs of being affected by the smaller but enthusiastic audience. She skillfully engaged with her fans and her warmth and ability to make the interaction personal made the event all the more special.

The band was exquisite. Keyboard artist John Bealey opened the set on a melodica, an air-activated keyboard device that created the closest thing to an electric saxophone sound. Beasley, himself an eight-time Grammy nominee, has won a Grammy for a song on his big band album Monk'estra Plays John Beasley released in 2020. Bassist Reuben Rogers hails from  St. Thomas in the US Virgin Islands and plays both electric and upright acoustic bass on the set. He is a prolific sideman and has been a long-time member of Diane Reeve's band and Charles Lloyd's trio. Terreon Gully is presently an Atlanta-based musician and Reeves's longtime drummer. Gully also holds down the drum chair in Beasley's Monk'estra Orchestra and has worked with Christian McBride and Stefon Harris among others. Romero Lubambo is a superb guitarist from Brazil. He came to NYC in 1985 and is known for his fluidity and inventiveness on both acoustic and electric guitars. He first played in the US with singer Astrid Gilberto in the early eighties and met and played with flutist Herbie Mann shortly thereafter. In 1992 he formed the Brazilian Trio La Paz with bassist Nilson Matta and drummer Duduka da Fonseca. Subsequently, Lubambo became a prolific recording artist and in demand as a top-flight studio musician. This world-class group of musicians complimented Reeves's magnificent voice at the show with a seamless interaction that was smooth as silk.

The show started off with Fleetwood Mac's popular number-one single "Dreams."  Reeves has the depth, timbre, and strength to let this one soar.  

Gigi Gryce's  "Social Call" with Jon Hendricks lyrics came next. It was popularized by Betty Carter in 1980. Reeves and the group made it all their own with the vocalist's facile scatting strongly accenting the music. 

Horace Silver's "Peace" is a ballad that was released by the pianist in 1959. It is a meditation on finding inner peace and tranquility, often through contemplation of nature's beauty. Reeves's soulful interpretation here transforms the ballad into a moving prayer with her Gospel-inspired performance.

The Brazilian master composer/vocalist Milton Nascimento's "Ponte de Areia" was first released in 1975 on his Minas and famously reimagined on Wayne Shorter's seminal Native Dancer of the same year, with Nascimento singing this mournful song. Reeves beautifully pliable voice and her talented band recreate this breezy song- a nostalgic story about the loss of a railway station as a metaphor for lost personal connections and its emotional effects. Reeves's commanding vocal acrobatics deftly replaced Nascimento's high-pitched falsetto to great effect.  Lumbaro's authentic guitar playing and the added jazz sensibilities transformed the audience into being part of a true Brazilian experience.

Reeves with Lumbaro on acoustic guitar played as a sensational duet, one on Reeves's composition "Nine" and the other on the Gershwin standard "Love Is Here to Stay," both intuitively presented in a way that captivated the audience with a feeling of intimacy. Lumbaro's guitar work never fails to emanate with intelligence and sensitivity.  

The set included another beautifully delivered Gershwin standard "Someone to Watch Over You" and the more challenging Wayne Shorter masterpiece "Footprints," which featured this group's musical acumen. After receiving a sustained and admiring applause from the audience, Reeves returned for her encore with her endearing composition "Better Days." If there was any doubt that Dianne Reeves's enormous stage appeal and upper-tier vocal talent were diminished in any way by her recent disappearance from the public's spotlight, this evening's performance put any doubts firmly to rest. She remains the ruling queen of vocal jazz.

The John Patitucci Brazilian Trio with Yotam Silberstein and Romero Boccato at the Old Church March 2, 2024

It is always a treat to get to see one of the world's finest electric and acoustic bass players in the world and John Patitucci rises to that level. I have seen John play twice before. Once with Chick Corea and his Elektric Band in Tarrytown, NY, and recently with the Jon Cowherd Quintet at Portland's now-defunct 1905. Each time you see this master musician in his milieu, his artistry and love for playing transpose you into a happy place. As the music critic, Rick Mitchell said, Patitucci is "...both a master of tone on the double-bass and the best electric bass guitar soloist since Jaco Pastorius."  Praise that I certainly concur with wholeheartedly.

The evening at the Old Church, the fittingly closing concert of the festival, took on the rhythmic sway and lilting beauty of Brazilian music. The accomplished Israeli guitarist Yotam Silberstein, who had previously performed as a leader in one of the festival's other concerts, played beautifully. Brazilian master percussionist Rogerio Boccato offered exquisite authenticity to the trio with his understated but timely drum and percussion rhythmic work. To watch this artist provide the most subtle but powerful accompaniment was a real treat.

The group played a series of Brazilian compositions from artists like Ivan Lins, guitarist Garoto, Milton Nascimento, and singer-songwriter Djavan. One highlight of the evening was the fluid Brazilian piece "Nilopolitano" from master accordionist Dominguinhas, which showcased the rapid-fire synchronous playing of Patitucci on his six-string electric bass along with Silberstein's equally blinding guitar lines. Another treat was Chico Buarque and João Bosco's composition "Sinhá" which was opened by a facile solo on Patitucci's custom electric bass. Toward the end of the performance, there was a Silberstein composition, "Requiem for Armando," a dedication to pianist Chick Corea, which highlighted the guitarists' most sensitive skills and Boccato's brilliantly subtlety. Patitucci did a solo encore and chose to play a hard bop piece on his double bass that showed just how liquid this inventive master can be.

Trolling for Jazz at the 40Th Annual Atlanta Jazz Festival

Legends Stage 

This year’s Atlanta Jazz Festival marks the fortieth year of one of the largest free jazz festivals in the country. With strong corporate and community support the festival is a celebration of music, a drawing together of neighborhoods near and far and a kick off to the summer season here in Atlanta. To celebrate this milestone, the Mayor’s Office of Cultural Affairs commissioned a book of pictures, photographs taken from the Festival’s forty-year history, that best captures the spirit of this tremendous yearly spectacular. The coffee table book features the work of photographers Jim Alexander, Ernest Gregory, Susan Ross, Michael Reese and Julie Yarborough and can be purchased by linking here.

So far, the weather has cooperated and the festival seems to be enjoying record crowds. I was able to  attend part of Friday night’s session. The evening started out with the Pedrito Martinez Group at 7:30 pm on the main stage which by all accounts had the house rocking. I got there in time to catch the genre bending Robert Glasper Experiment which was the headliner on the Main or Legends Stage at 9 pm.

Robert Glasper

Glasper is a contemporary pianist and keyboard artist who often plays in a modern trio format as well as his more progressive, electronic group The Experiment. He recently won the Grammy for his work on the soundtrack to Don Cheadle’s Miles Davis movie Miles Ahead as well as for his fifth studio album from 2012 Black Radio. His work is an amalgam of R & B, Hip/Hop, Groove based music with jazz oriented improvisations.

Glasper came onto the Legends stage in high spirits. It appeared as if he was feeling no pain, amusingly rapping with the audience before he even got started about how they should show their appreciation for him and his group, whether or not they were any good, because the concert was free. This version of the Experience featured Glasper on keyboards, Casey Benjamin on saxophone and vocoder, Mike Severson on guitar, Burniss Travis on electric bass and Justin Tyson on drums. The band started with “Cherish the Day” a Sade tune from his Black Radio album and proceeded with a set of mostly groove based tunes that had the crowd vibing.  Mr. Benjamin has an arresting voice with a high range that he processes along with his saxophone through a vocoder. The eerie sound can be compelling but is best used sparingly. Guitarist Severson whose credits include work with singer/rapper Bilal, showed some gutsy  rock playing that at times recalled Carlos Santana’s guitar work.  Glasper was most effective when he played solo, a dedication of sorts to Miles Davis whose birthday was the day before, on the Cyndi Lauper pop tune that Davis memorialized into the jazz canon “Time After Time.” The crowd sang willingly along and glassy eyed Glasper seemed to have them all in the palm of his hand.

Randy Weston

On Saturday I made my way to the Legends Stage and caught the first few songs of the maestro Randy Weston and the infectious sounds of his African Rhythms Quintet. Mr. Weston, an incredibly vital ninety-one-year old, brought together a stellar group of musicians on the big stage. Joining Mr. Weston was his core group of T.K. Blue on alto saxophone, Alex Blake on contrabass and Neil Clarke on percussion. The tenor saxophone legend Billy Harper, a longtime collaborator also played on this gig. To watch Mr. Weston bounce his feet while playing his piano with such exuberance is a real treat. Harper’s tone is so focused, mellow and penetrating as to be its own reward. The group just played beautifully swinging and deeply soulful music.

I made my way across the throngs of people, past the rows of tents, the spread blankets, the myriad of camper chairs, the parade of porta-potties and countless concession stands to the Contemporary stage in anxious anticipation of Nicholas Payton’s performance scheduled for 5:30pm. The lawn that faces the bandstand was brimming with people for yards and yards. It was a beautiful day and the crowd was into a party. At forty-three, New Orlean’s born trumpeter Nicholas Payton is a force to be reckoned with. He has made his bones touring with such legends like Elvin Jones and Marcus Roberts. He received a Grammy for “Best Instrumental Solo” for his work on the album Doc Cheatham & Nicholas Payton from 1997. While his work is always evolving, his distinctive, rich trumpet is always at his ready command. He is a prolific writer and social commentator who has challenged conventional thinking on racial inequities. 

The Crowds swelled  at the Contemporary Stage

For this concert, Payton brought his group from his recently released Afro-Caribbean Mix Tape album, and sat behind a stack of keyboards, his trumpet was mounted to his right on a bracket that allowed him to both blow and play keys simultaneously. Turntable artist DJ Lady Fingaz deftly maneuvered the scratches and taped vocals into the flow of the music. Bronx bopper Daniel Sadownick laid down the Afro-Cuban groove on percussion, with Joe Dyson on drums and Vincent Archer on bass. Payton’s grooves skillfully integrate musical influences developed from world influenced beats, harmonies and melodic roots. At the same time his signature clarion trumpet utilizes a variety of notes, slurs and trills that complement the music brilliantly. It was especially interesting to listen and watch as the rhythmic patterns developed by Fingaz’s turntable melded so seamlessly with Sadownick’s congas and Dyson’s rhythmic patterns.

Nicholas Payton

I hurried over to the New Gen stage, quite a trek at the far end of the park, to catch the Marquis Hill “Blacktet” which started at 6:30 pm. Marquis Hill was new to me, but he and his group of young pumped up musicians, thrilled the smaller more intimate crowd at this venue. The twenty-nine-year old Hill is from Chicago and won the prestigious Thelonious Monk Trumpet Competition in 2014. He is considered one of the new wave of players to be reckoned with. The group did a set of tight, well-conceived music, mostly standards, but rearranged by Hill and company to better express their modern sensibilities. With Hill on trumpet and, was the formidable Mike King on Fender Rhodes, Josh Johnson on alto sax, an animated Jeremiah Hunt on bass and Jonathan Pinson on drums. I caught a few songs the most recognizable was a potent version of the Herbie Hancock standard “Maiden Voyage.” Hill claims Donald Byrd as a major influence and one can see some similarities, but the young man has a fluid style that is rapidly becoming his own. It was interesting to see Nicholas Payton checking out the younger Hill from the sidelines.

Marquis Hill,  Jeremiah Hunt and Josh Jackson on the Next Gen Stage

I made my way back to the Contemporary stage to catch a few songs of one of the evenings headliners Macy Gray and take some pictures. Ms. Gray has a distinctive, gravelly voice that can be very engaging. As a seasoned entertainer, she played to the large overflowing audience with aplomb.  She wore a slick, dark gray leather gown with a red and black boa and pink shoes. I surveyed the lawn in front of the stage and it was more overflowing then I had ever seen in in the last two years of being here. A very impressive showing for an artist whose appeal is more pop than jazz. The band was tight and professional and Ms. Gray accommodated the crowd with some of her popular favorites like “I Try.”

Macy Gray

I moved my way to the Legends stage to try to catch some of Rene Marie’s act. Ms. Marie looked elegant in her tightly clipped silver gray hair, wearing a white tunic over black pants. Ms. Marie, a talented singer who writes much of her own music, finally achieved some national recognition when her last album Sound of Red was one of those nominated for Best Jazz Vocal Album for 2016. She brought a stellar cast of musicians with her on the Legends stage including pianist John Chin, bassist Elias Bailey and drummer Quintin Baxter. Inspired performances by the energetic pianist Chin and a masterfully bowed solo by Bailey added to the set.

Rene Marie, Quintin Baxter,ELias Bailey and John Chin on the Legends Stage

Ms. Marie has a beautiful voice with a full range and a sophisticated delivery that is quite compelling. Her bluesy, soulful sound is always a treat and she was warmly received by the enormous crowd.

The evening’s top bill on the Legends Stage was saxophone and flute legend Charles Lloyd who started just before nine pm. The seventy-nine-year old Mr. Lloyd was nattily attired in his signature pork pie hat, blue deck shoes and a white loosely fit blazer under a horizontally stripped deck pullover shirt. Mr.  Lloyd is a west coast musician who has a long and storied history of going his own way. In the sixties, he was musical director for drummer Chico Hamilton’s Group and was with Cannonball Adderley’s Group for Two years.  In 1965, he formed a legendary quartet with pianist Keith Jarrett, bassist Cecil Mc Bee and drummer Jack De Johnette, whose recording Forest Flower was one of the first crossover jazz albums to sell over a million copies. His experiments with fusing psychedelic rock, avant-garde and free jazz were revolutionary.

Charles Lloyd

The always morphing Lloyd still attracts top talent as his most recent rhythm section demonstrates. On the stage, he was joined by the facile Reuben Rogers on upright bass and the ubiquitous Eric Harland on drums. Rogers was in top form as he pushed the pulse along with Harland’s dancing traps. Mr. Lloyd rocked the music, his spindly figure wielding his large tenor as if it was one with his being. Lloyd has a youthful energy that he communicates through his horn and the two younger musicians were visibly prodded on by his enthusiasm. On one tune, Mr. Lloyd picked up his flute and started to play a soulful peppered vamp that Mr.  Rogers countered to with his own staccato response. It was quite entertaining to watch the younger musicians follow the lead of the master.

As the evening wore on the crowd started to dissipate, as many were there from mid-afternoon. For the truly fanatic, there was a sold-out Jazz Jam, hosted by local drummer “Little John” Robert’s and his All-Star Band and featuring trumpet master Russell Gunn and percussionist Mino Cinelu, after eleven pm at the Park Tavern at Piedmont Park.

If you missed the events of the last two days you still have Sunday when the lineup will include local  saxophonist  Frank Houston, trumpeter Darren English, chanteuse Kemba Cofield, Cleveland Jones, singer Julie Dexter, Joe Gransden’s Big Band, trumpeter Russell Gunn and saxophonist Kebbi Williams and the venerable crooner Freddy Cole to name just a few.