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VArioUS ArTiSTS<br />
Walkin’ & Swinging:<br />
Highlights from <strong>the</strong> Kennedy center mary Lou<br />
Williams Women in <strong>Jazz</strong> festival no. 2<br />
KenneDy cenTer JAzz recorDS<br />
One centerpiece of <strong>the</strong> <strong>Jazz</strong> program that <strong>the</strong> Kennedy<br />
Center initiated a number years ago under <strong>the</strong><br />
direction of <strong>the</strong> late Dr. Billy Taylor is <strong>the</strong> annual Mary<br />
Lou Williams Women in <strong>Jazz</strong> Festival. At <strong>the</strong> 2010 festival,<br />
held May 19-21 in Washington, Kennedy Center<br />
<strong>Jazz</strong> Records issued “Walkin’ & Swinging: Highlights<br />
From <strong>the</strong> Kennedy Center Mary Lou Williams Women<br />
in <strong>Jazz</strong> Festival No. 2.”<br />
The CD compiles performances from <strong>the</strong> 2010<br />
Festival which celebrated <strong>the</strong> centenary of <strong>the</strong> birth of<br />
Mary Lou Williams. Williams was a renown jazz pianist,<br />
composer and arranger whose career spanned <strong>the</strong> territory<br />
big bands to modern jazz where she befriended<br />
numerous visionary jazz artists including Herbie Nichols,<br />
Thelonious Monk and even played duets with Cecil<br />
Taylor. Last year’s festival celebrated Williams in a<br />
program devoted to her music (with <strong>the</strong> exception of<br />
<strong>the</strong> closing Ellington “Cotton Tail”).<br />
The recording opens with a rendition of “Walkin’<br />
and Swingin’,” <strong>the</strong> Williams composition that was <strong>the</strong><br />
<strong>the</strong>me for Andy Kirk and His Clouds of Joy, <strong>the</strong> Territory<br />
Band that helped Williams gain prominence. It is one<br />
of three performances by Sherrie Manicle & The DIVA<br />
<strong>Jazz</strong> Orchestra and <strong>the</strong> contours of <strong>the</strong> performance<br />
are not far removed from <strong>the</strong> Clouds of Joy original.<br />
The o<strong>the</strong>r two selections featuring this Big Band have<br />
<strong>the</strong>m fronted by <strong>the</strong> wonderful vocalist Ca<strong>the</strong>rine<br />
Russell on “What’s Your Story, Morning Glory?” (Pha<br />
Terrell sang on Kirk’s 1938 original recording), and<br />
“In <strong>the</strong> Land of Oo Bla Dee.” The latter number was<br />
an amusing original that she composed during <strong>the</strong> hey<br />
day of bebop and Ms. Russell provides a fine treatment<br />
that I am sure Dizzy Gillespie would have approved of.<br />
One o<strong>the</strong>r performance employs a big band and that is<br />
Ann Patterson’s Maiden Voyage on “Scratchin’ In <strong>the</strong><br />
Gravel/ Truth.” Scratchin’ was originally for a septet<br />
and <strong>the</strong>n arranged for Duke Ellington in 1966 and <strong>the</strong><br />
performance here is a medley of <strong>the</strong> two treatments,<br />
wonderfully scored and played with a very impressive<br />
tenor saxophonist (Ms. Patterson?).<br />
A couple of performances showcase pianists. “Miss<br />
D.D.” showcases some wonderful playing by Geri Al-<br />
Pa g e Tw e n T y Tw o<br />
May • June 2012 • Issue 342<br />
len as part of The Women in <strong>Jazz</strong> All-Stars, joined by<br />
Esperanza Spalding on bass and Terri Lynn Carrington<br />
on drums, while Carmen Staff interprets “Aries” from<br />
<strong>the</strong> ambitious “The Zodiac Suite” with <strong>the</strong> incorporation<br />
of boogie woogie and strides in this intriguing<br />
solo showcase. Tenor saxophonist Virginia Mayhew<br />
transcribed several Williams solos that Mayhew employs<br />
in her performance of a hot <strong>blues</strong>, “Medi II.” The<br />
phenomenal young saxophonist Grace Kelly, displaying<br />
her somewhat incisive, dry tone, is featured on <strong>the</strong><br />
Women in <strong>Jazz</strong> All Stars as <strong>the</strong>y play Terry Lynn Carrington’s<br />
arrangement of “Pisces,” <strong>the</strong> last movement<br />
of “The Zodiac Suite.” Kelly’s playing shows a maturity<br />
far beyond her years while displaying <strong>the</strong> influence of<br />
Lee Konitz with whom she has recorded with.<br />
This disc concludes with Dee Dee Bridgewater joining<br />
<strong>the</strong> All-Stars for a rousing “Cotton Tail,” a feature<br />
in <strong>the</strong> Ellington Band for Williams’ friend, Ben Webster.<br />
It is a remarkable performance with Bridgewater leading<br />
with a stellar scatting performance with a rousing<br />
piano solo from Allen and solos from <strong>the</strong> o<strong>the</strong>rs. Its <strong>the</strong><br />
longest performance here and a moment of musical<br />
magic including trading fours with Kelly that ends this<br />
terrific celebration of <strong>the</strong> 2010 Festival and <strong>the</strong> music<br />
of Mary Lou Williams. It is available from <strong>the</strong> Kennedy<br />
Center, http://www.kennedy-center.org/giftshop/html/<br />
itemDetail.cfm?item_sku=1023989&categ_id=200309<br />
2214202595. Ron Weinstock<br />
WHiTeBoy JAmeS<br />
AnD THe BLUeS eXPreSS<br />
extreme makeover<br />
riP cAT recorDS<br />
Whiteboy James and <strong>the</strong> <strong>Blues</strong> Express is a <strong>blues</strong>,<br />
boogie, rockabilly and rock party machine from Sou<strong>the</strong>rn<br />
California. On this newly recorded version of <strong>the</strong><br />
band’s 1992 debut, <strong>the</strong> band takes on an unapologetically<br />
retro view of life dominated by lust for a Big Butted<br />
Woman, a taste for cheap wine, Night Train Wine, an<br />
ear for Johnny Cash, Zerg, Shotgun and You, jazzy<br />
late night jams, The Big Man, and much deserved wild<br />
Friday nights at <strong>the</strong> bar, Gold Brick Bar.<br />
James leads <strong>the</strong> charge with big vocals that sound<br />
uncannily like Phil Alvin on early Blasters discs and are<br />
delivered with such conviction that it is almost easy