Download - Downbeat

Douglas’ “The Presidents,” on through the steamy,
heady closing tune “Blockbuster.” On that climactic
finale, noted Los Angeleno Bob Sheppard
stirred his tenor sax into the band’s collective improvisation
towards the end—not a typical sound
heard in this venue, bless its tasty mess.
Holland continues to hone one of the more
thrilling new big bands on the scene, and it was
great to hear his work before nearly 7,000 listeners
at the Bowl. His set ranged from his expando chart
on an old quintet tune, “The Razor’s Edge,” to
the metrically challenging maze of “Last Minute
Man” and the funkily outfitted “How’s Never?” on
which tenor saxophonist Chris Potter’s commanding
solo was one of the night’s finest.
Two memorable pieces cut a swath between
invention and deep jazz tradition. Douglas’ “The
Jazz À Juan celebrated its 50th anniversary
in July on the French Riviera in Antibes/
Juan-les-Pins.
Bassist Avishai Cohen—who gained experience
with such leaders as Brad Mehldau,
Roy Hargrove, Herbie Hancock and Paquito
D’Rivera—is a powerful player with a wellrounded
arco sound and deft pizzicato. His sextet
has a Middle-Eastern flavor, with a percussionist
in addition to a drummer and a guitarist who
made use of the oud on two numbers. One Asian/
Latin number with a John Coltrane-inspired
chant included some dextrous piano from Shai
Maestro. The set mixed widely varied elements,
particularly in its rhythmic aspects.
Rhythm was also paramount in tenor saxophonist
Joshua Redman’s double trio set. Over a
background of two bassists (Reuben Rogers and
Matt Penman) and two drummers (Bill Stewart
and Greg Hutchinson) the leader rode in on his
original “Identity Thief” with an intensity that
modulated harmonically through hard-bursting
phrases. Then, switching to soprano sax, he unfurled
his “Ghost” over an ostinato. The minorkey
flavor on the bridge underlined the exotica.
Persistence Of Memory” pays tribute to the great
lyrical trumpeter Booker Little, with fittingly
cool and bittersweet airs and a suitably reflective
trumpet solo from Douglas. Holland’s “Blues For
C.M.” (also originally on the 1987 quintet album
Razor’s Edge) nods in the direction of one of Holland’s
heroes, Charles Mingus—with a memorable
solo by vibist Steve Nelson.
Pleasurable though it was to hear the headliner
Count Basie band, the fact that its emphasis is on
classics of old limits the band’s sense of vitality, especially
when compared to more forward-leaning
outfits led by Douglas and Holland bands. Still,
warm nostalgia can wash over you during such
great charts as “Shiny Stockings,” Neil Hefti’s
hypnotic slow-mo jewel “Li’l Darlin’” and “April
In Paris.” —Josef Woodard
Jazz À Juan festival turns A half-Century
Roy hargrove
Redman’s “Hutchhiker’s Guide,” a Sonny
Rollins-influenced line, proceeded at a lively
pace; “Insomniac,” begun with a long, unaccompanied
tenor solo, morphed into busy, choppy
phrases and terse stop-and-go patterns. Thelonious
Monk’s “Ugly Beauty” found Redman lithe
and waltzing. Then he was airborne and cruising,
sent by Rogers and Stewart on his own “Far
Away.”
Hargrove’s quintet was tough, tight and together.
Bassist Ameen Saleem’s ballad “Tamisha”
was marked by his fine, thoughtful solo.
On “Montuno,” drummer Motez Coleman really
had the pots on, and saxophonist Justin Robinson
hasn’t lost the passion he’s shown since the
late ’80s. The leader himself was in great form,
whether flugeling tenderly on Kurt Weill’s “Speak
Low” or tearing it up on trumpet during Cedar
Walton’s “I’m Not So Sure.” When the audience
demanded an encore, the quintet burned through
Sam Cooke’s “Bring It On Home To Me.”
The next night Keith Jarrett’s trio was impeccable.
He floored the French audience when he
magically interpolated the last phrases of “Frère
Jacques” into “Once Upon A Time.” —Ira Gitler
y seVRet/jazz a jUan 2010
NOVEMBER 2010 DOWNBEAT 21