Celebrate International Jazz Day April 30th This Wednesday with Giacomo Gates & Trio at the Stamford Palace Theatre

Giacomo Gates and Ed Howard photo by Ralph A. Miriello 2013

In Novemeber 2011, the United Nations Educational, Scientific, and Cultural Organization (UNESCO)

officially designated April 30th as International Jazz Day in order to highlight jazz and its diplomatic role in uniting people in all corners of the globe.

Jazz has a long history of successfully bridging the gap between various cultural and ideological differences. The United States, through its State Department, has sponsored jazz artists to tour foreign countries as good will ambassadors. The music has been an invaluable vehicle for sending positive images of our national intentions to other countries.  Jazz artist like Dave Brubeck, Dizzy Gillespie and most famously Louis Armstrong have all been instrumental in improving relations  with other countries through the positive vibes offered through the performances of their music abroad. The artists sent strong  messages of peace, friendship and goodwill through the all the powerful medium of their music. Jazz has proven to be an international language that accepts no political or geographic boundaries. This year in Osaka, Japan a stellar line-up of top jazz musicians will celebrate this special day with an All Star Global Concert from the Osaka Castle Park in Japan.

In keeping with this celebratory and spiritual undertaking of uniting people around the globe through jazz, I have been working with the creative and receptive people at the Stamford Center of the Arts  to introduce a regular jazz series to the Palace Theatre in Stamford.  The people at SCA have graciously received this notion as one that is keeping with their mission to provide artistic performances to the community. To that end and in celebration of International Jazz Day, the SCA will present  an evening of jazz this Wednesday April 30, 2014 at 8pm at the Palace.  The evening will feature the great jazz vocalist Giacomo Gates and his trio. Mr. Gates is a Connecticut native and longtime resident of Bridgeport. He is a frequent nominee in both the Jazz Journalist Association and Downbeat  magazine annual awards for best male jazz vocalist.

Gates has a smoky baritone that resonates in the ears like a fine glass of single malt smoothly tantalizes the mouth.  He is a master of the art of vocalese and scat and is a direct descendant of the great Eddie Jefferson, whom he credits as one of his influences. More than anything else Gates is a master storyteller who engages his audience with a nonchalant appeal. His delivery has a cool, hip cadence that somehow draws you into the story he is telling, and oh what stories! Gates repertoire is filled with nuggets that lay just outside the great American songbook. His most recent albums, both critically acclaimed, include the Revolution Will Be Jazz the Music of Gil Scott Heron and Milestones the Music of Miles Davis. Giacomo Gates, a cat who lies just outside the boundaries of what you might expect, and that, along with his wonderfully resonant voice, is what makes his performances unpredictable and so appealing. And the cat can swing, no lie.

I will be holding an impromptu Q & A session with Gates at intermission, so be sure to come and see a true jazz master and maybe ask him a question or two. Get into his head. It will be a trip for sure.Join us in celebration of great music on International Jazz Day, Jazz Appreciation Month and the return of real jazz to Stamford, CT at the Palace Theatre this Wednesday at 8pm. You can get your tickets by linking here. 

Here is a sample of Gates recent music and if you want to read more about Giacomo Gates see my recent interview with him by linking here, See you at the Palace.

Jazz in July Series Finale at Stamford's Columbus Park Presents: Chick Corea and the Vigil

Chick Corea photo by Ralph A. Miriello c 2103

This past Wednesday August 7,2013, as a truly fitting ending to a talent packed Jazz in July concert series in Stamford's Columbus Park, the creative pianist Armando "Chick" Corea played a stirring set of music with his latest touring group the Vigil. Mr. Corea is a world class pianist and keyboard artist whose presence has been at the forefront of the contemporary jazz scene for nearly half a century. It's hard to believe that I first heard Mr. Corea play almost forty years ago in a now defunct venue in New Jersey. Mr. Corea was initiating a new guitar player to his then fusion band Return to Forever. The guitar player then was a young Al Di Meola, who amazingly sight read the incredibly complex and as yet unfamiliar charts as band mates Stanley Clarke, Lenny White and Chick put him through a baptism of fire. The music was
eye-popping and hit you like a mainline shot of adrenaline. It was part of a trend that was then blurring the lines between rock and jazz, creating a wild variant that boasted, incredibly complicated musical lines and unprecedented synchronous virtuosity, all executed at blazing, mind-numbing speed. Mr. Corea, along with the drummer Tony Williams and his band Lifetime, the guitarist John McLaughlin and his Mahavishnu Orchestra, the pianist Herbie Hancock and his Headhunters and the saxophonist Wayne Shorter and co-founder Austrian keyboardist Joe Zawinul's group Weather Report were all major proponents of this new and energetic music. These artists, among others, were all alumni of the trumpeter Miles Davis' foray into electronic music. Davis had taken jazz by the scruff of it's neck and daringly thrown it on it's ear by delving into the newly developing world of electronic instrumentation, first with his 1969 album In a Silent Way and later with his landmark album Bitches Brew. For many its was a sacrilegious experiment, but for Mr. Corea the die was cast and despite maintaining a love of both traditional and avant-garde jazz,  Mr. Corea has seemingly found the use of electronics as an effective tool, a bridge that allows him to reach his audience, expand his base and create some marvelous music along the way.

Mr. Corea started the evening's set by  introducing his fellow musicians to the packed audience. On guitar from Berkeley, California, Charles Altura; on saxophones, bass clarinet and flute from London, England, Tim Garland; from Queens, New York, on drums, Marcus Gilmore; on percussion, from Caracas,Venezuela Luisito Quintero and for this performance -replacing regular Vigil bassist Hadrien Feraud-on acoustic and electric bass from Philadelphia, PA the inimitable Christian McBride.

Chick Corea & the Vigil photo by Ralph A. Miriello c 2013

Mr. Corea has always been able to attract top talent to perform with him around the world.  On this overcast evening in Stamford, that threatened but never produced showers, he certainly didn't disappoint bringing with a top notch group. Mr. Corea started the set with a beautifully ruminative acoustic piano introduction, reminiscent of his early acoustic work on Now He Sings, Now He Sobs from 1968. This morphed into a driving ostinato bass groove by Mr. McBride opening the song.  Mr. Corea's has an orchestra-tor's penchant for creating harmonically and rhythmically rich compositions that make full use of all the timbres available from his band mates.The groove created by the rhythm section allowed for some splendid solos- Mr. Garland on soprano saxophone, Mr. Altura on electric guitar, an unbelievably facile bass solo by McBride and some bombastic percussive runs by both Quintero and Gilmore. The song spanned over twenty minutes without a moment's lull throughout.

Wasting little time for applause, Mr. Corea immediately went into a more mainstream jazz standard on acoustic piano, Jimmy Van Heusen's "It Could Happen to You," where his telepathic interplay with Mr. McBride was most evident. For his part, Mr. McBride beamed delightfully throughout the song and for that matter throughout most of the evening. He has the contented  smile of a Cheshire cat and his playing brings an unbridled enthusiasm to the music. He possesses an amazingly swift pizzicato technique and a sophisticated language based on tradition and invention. Mr. Altura's playing was fairly reserved and a bit pedestrian. A more robust solo by saxophonist Tim Garland on tenor was well received. Mr. Garland is a versatile reed man who plays with a fiery attack that is visceral and liquid is a welcome voice in this group. Mr. Corea, for his part, was content in accompanying his fellow musicians and enjoying their creative forays on the well worn melody.

Mr. Corea  has been a longtime follower of  L. Ron Hubbard's Scientology and over the years his music has frequently incorporated themes about space and time undoubtedly influenced by his readings.The next tune, a Corea composition titled "Portals to Forever," builds from the music that he once created for his fusion band "Return to Forever."  Creating an electronic keyboard generated ostinato that leads into another McBride bass line, the song features a repeating vamp played synchronously by Garland and Altura,  as Gilmore and Quintero lay down the groove. Mr. Corea is now a sprite seventy-two years old and his trim figure in t-shirt and jeans gave him the appearance of being a much younger person, especially when he stood to play synthesizer, a keyboard instrument that seems to be a like a fountain of youth for this man. When Mr. Corea uses the instrument's other-worldly sounds to communicate in conversation with his fellow musicians- in one case with the responsive Mr. Garland on tenor saxophone, and then with an equally compliant Mr. McBride on electric bass-he seems to be tapping into some invisible energy field that invigorates his creative juices. When the song allows for a drum solo, Mr. Gilmore creates a battery of sounds that rumble forth like an exploding fusillade of artillery on display. Mr. Garland introduced the woody, resonant sound of his bass clarinet in support, eventually closing the piece on soprano saxophone. Mr. Altura, who along with Mr. Gilmore are the youngest members of Mr. Corea's current group, was curiously stiff and seemed to be playing in water that was a bit over his head for most of the evening. Mr. Corea has been a good judge of talent and it will be interesting to see how well the young Mr. Altura develops on this tour. On this song, Altura's semi-hollow bodied Gibson ES335 guitar rang out with some sensitivity and he provided his best solo of the night. The song created a blissful trip into the forever of Mr. Corea's fertile mind.

"Royalty" is an homage to one of Chick's early mentor's the great drummer Roy Haynes. Corea played with Mr.Haynes as a fellow sideman in Stan Getz's group and later used Haynes on the seminal Now He Sings, Now He Sobs with bassist Miroslav Vitous. Mr. Corea introduced the song with a romantic acoustic piano solo that was subtly moving. Mr. McBride's warm, bellowing bass added to the lush arrangement. Mr. Garland entered on soprano saxophone as the song ascended like a delicate, bejeweled debutante climbing up a grandly winding staircase. All eyes were on Garland as he soared to new heights. The song then sauntered a bit and Mr. Altura added a flowing guitar solo that fit nicely into the changes. But it was Mr. McBride's upright bass that danced to the delight of the crowd. Interjecting snippets of "My Favorite Things" to his solo, McBride's command of what can at times be a lumbering instrument, was truly a lesson in just how artful a sound the instrument can produce in his skillful hands. He is clearly one of the most talented bassist of his generation.

The finale was a song from the new album, a Corea composition cosmically titled "Galaxy 32 Star 4."
The young twenty-seven year old drummer Marcus Gilmore, who just happens to be drummer Roy Haynes grandson, begins the song. Gilmore demonstrates  that rhythmically, at least,  the apple doesn't fall far from the tree. Mr. Gilmore is a creative drummer whose has a penchant for syncopated rhythmic lines that he plays predominantly on the toms and rims. He created a whirling, circular, poly rhythmic sound before the band joined him back on stage to start the song behind him. With Mr. McBride on a distinctive Jaco-style electric bass, Mr. Garland was on soprano saxophone and Mr. Corea played on synthesizer and Fender Rhodes. The song took on the distinctive flavor of early Weather Report. The song lasted for the better part of twenty-five minutes, with each of the artists having their turn at soloing generously.

Mr. Corea's latest band the Vigil is in fact just that, a representation of keeping the musical flame alive and preserving the magical connection that happens between an artist and his audiences over generations
 and through the cosmos that is life.