Tanglewood Jazz Festival 2009: Come Sunday
Kenny Barron and Mulgrew Miller, Vanguard, Jon Faddis, Dave Holland
By: Charles Giuliano - Sep 07, 2009
Following the first glorious and totally dry weekend in recent memory the Sun finally set on the 2009 Tanglewood season. The challenges of bad weather and a terrible economy had a negative impact on cultural tourism. Nobody has hard figures but a reasonable estimate is a decline of 15 to 20 % from the norm. But for arts groups in general, including Tanglewood, there was evidence that inventive and popular programming resulted in capacity audiences.
Because of a late Labor Day weekend this year Tanglewood hit the jackpot with a five day, sold out run of concerts and events built around Berskhire resident James Taylor. There was also good luck that the now traditional Labor Day Jazz Festival benefited from a superb program and wonderful weather. Compared to last yearÂ’s rainout there were lots of walkups for the lawn which appeared to be as packed as Ozawa Hall.
After an aesthetic glitch, the disappointing “Dreaming the Duke” with Nnenna Freelon paired with Harolyn Blackwell, in an ill conceived and enervating program on Saturday night, the Festival got back on track on Sunday. It was a day of flat out, straight no chaser jazz.
The music began at 2 pm with the duet of pianists Kenny Barron and Mulgrew Miller trading riffs. It ended at 11 pm with the final notes of the sizzling Dave Holland Octet. In between we enjoyed the Vanguard Jazz Orchestra anchoring the afternoon. The Jon Faddis Quartet opened the evening program. In between we met with friends for a picnic dinner and caught a bit of the violinist Ben Powell and his Quartet in the Jazz Café.
Covering a festival takes stamina. Over three days we attended five concerts as well as catching the flavor or several performances by emerging artists in the tent. This is now our third report for Berkshire Fine Arts. So we are a bit cooked after all that grooving and commuting. There is an ancillary benefit from taking in so much jazz. After a while you just kick back and take in the groove. It also tends to raise the bar of critical focus. In a blur of three days of performances the nuggets and high points take on a sharper focus. Now and then we bolt up in our seats as an individual artist cuts loose and provides that special surge that is unique to the context of a festival.
The day started with Kenny Barron and Mulgrew Miller facing each other seated at Steinway grand pianos. Each took a turn performing solo. In terms of style they were quite well matched as nimble, inventive, straight up players. But the fun kicked in when they combined on the familiar phrases of the Thelonious Monk composition “Blue Monk.” From there the melody was sliced and diced. Mulgrew would lay down a line and look up in affectionate admiration as Kenny laid on his own licks. This went back and forth to the delight of the audience. Then they came back and closed out in unison returning to Monk’s refrain. They appeared to enjoy the cutting contest as much as it delighted the audience. It recalled those famous Harlem rent parties when James P. Johnson dueled with Fats Waller.
Some 40 years ago Thad Jones and Mel Lewis founded the tradition of Monday night gigs with a big band of New York based musicians at the Village Vanguard. The leaders and side men have come and gone but the music continues through some 30 recordings. In 2008 the group won a Grammy for the double CD “Monday Night Live at the Village Vanguard.”
The trombone player, John Mosca, who has played with the group since 1975, has taken over as leader and MC. He informed us that through grants they are attempting to restore the charts some of which have been lost and damaged. It is an expensive project and he appealed for support. In addition to performing from the book they also introduced fresh material including new works composed by Bob Brookmeyer. In an interesting contrast they then performed one of his compositions now decades old. There was a remarkable comparison between the freshness and vitality of the material.
It was a wonderful set as they laid down a kick ass wailing wall of big band jazz. With an emphasis on the experimental end of the spectrum drawing on the writing of Jones and Lewis as well as the influences of Stan Kenton, Woody Herman and Don Ellis. ItÂ’s a full sixteen piece band. In addition to the rhythm section, there are four reeds, four trombones, and four trumpets. There is also a lot of doubling on instruments from soprano sax and flute to flugelhorn.
The musicians took turns stepping up front for solos. There were many highlights as they are all superb players. We took particular note of Gary Smulyan on the difficult to master baritone sax. It was interesting to see him return in the evening program with the David Holland Octet. It featured him in a different context.
The afternoon program ended at 5. We wandered up to the tent where CDs and merchandise were on sale. There was a clearance on official Tanglewood t-shirts and hoodies. It is when I acquire an annual wardrobe picking up those five dollar items marked from down from $25. I should be set until next year.
Jon Faddis, opening the evening program, was in a playful mood. He bantered with a woman down front. The agenda was to provide a mini history of jazz trumpet from Louis “Satchmo” Armstrong and his Hot Five and Hot Seven combos in Chicago in the 1920s, through the Bop of Dizzy Gillespie, Groovin’ High, followed by the cool, laid back, full toned style of Miles Davis. Faddia proved to be a remarkable mimic matching Satchmo note for note and even reproducing his unique, gravel toned, guttural singing style.
Joining him for the set were two brilliant young trumpet players Wallace Roney and Sean Jones. They took turns on solos and interpretations and kicked out the jams when they played together on choruses. They were backed by the superb Dion Parson on drums and the remarkable Kiyoshi Kitagawa on bass.
The set started with Faddis soloing on the Armstrong theme song “When It’s Sleepy Time Down South.” He captured the sharp, articulate, bluesy, whole tone and unique vibrato. From 1928 he performed the classic “West End Blues.” Jones joined him and slid off on a bit of “Stormy Weather.” They were both faithful to the source while providing their own flourishes. From Armstrong’s first wife and pianist with the Hot Seven they played her composition “Strutting with Some Barbecue.” Then Faddis camped it up with Satchmo’s vocal style on “What a Wonderful World.” From there they moved on to Dizzy and “With Alma” “Easy Living” “Body and Soul.” Emulating Miles, Roney was featured on Monk’s “Round Midnight.” They all joined in on the Davis anthem “Milestones.” It started with that familiar catchy, rhythmic riff that opens the tune and somewhat later the closed it out with a repeat of the refrain.
Opening the anchor leg of the set that would end the Festival we once again were reminded of the legacy of Miles Davis. The bass player and leader of the octet, Dave Holland, asked if anyone recalled the 1969 appearance of Miles at Tanglewood? There were a few who responded Then Holland reminded us that he had been a part of that performance that occurred just after the release of the seminal fusion album “Bitches Brew.” With an edge he stated that it took “40 years between gigs” to be invited back to Tanglewood. Yes, that is a lapse.
Joining him on stage were some wonderful musicians. There were several exceptional drum solos by Nate Smith. The other musicians included Chris Potter on tenor, who was featured on several arrangements, Robin Eubanks, trombone, Steve Nelson moving back and forth between vibraphone and marimba, Alex Sipiagian trumpet, Jaleel Shaw on alto, and Gary Smulyan on baritone.
The set was mostly brisk and fresh with Holland marking off the time of “Pathways” and “Now Is Never” then slowing down into a moody “Sea of Marmera” that opened with Nelson on vibes. The following “Ebb and Flow” was so loud and brassy that Astrid quipped it should be titled “High Tide.” The set concluded with “Blue Jeans” and “Shadow Dance.”
Well, thatÂ’s all folks. Live from Tanglewood until next year. Later. And thanks to all the cats at the BSO.