Review: Julie Dexter & The HC3 | The Smiling Hour
There is an inherent understanding of individual artistry I bring to this listening experience. I am filled with anticipation, expectation and a curiosity of what this ensemble will do with the compendium of genius represented in part by Carmichael, Ellington, Lins, Shorter and Higginbotham.
The true measurement of a vocalist is the musicians encircling her and this storyteller has chosen well. With minimalistic accompaniment, they cajole the melody along with a voice that undeniably understands what the lyricist penned. Her interpretations are pure and simple statements from the emotional depths of her soul. Of course, I speak of Julie Dexter, who brings to bear a jazz sensibility reminiscent of the legendary jazz vocalists of the last century.
But do not be deceived. This is far from a project of solo amplitude but a synergy of rhythmic voices that speak volumes. The subtleties in their playing do not bemoan their complete lack of ego as they unfold the story in each song. Like children passing notes in school, this rhythm section comprised of pianist Nick Rosen, bassist Kevin Smith and the anchor Henry Conerway III on drums, easily play off one another, keeping the improvisation of the story vibrant while maintaining the integrity of the composition.
They begin the set with an up-tempo swing invitation to come along to the Black Nile interjected with a bit of scatting on her interpretation of a Vanessa Rubin lyric. Turning to a light-hearted lament, Julie relates her loss of words that’s more a compliment that a complaint with You Leave Me Breathless. The quartet reaches back some forty years to remind the listener that Thom Bell and Linda Creed are still relevant in this modern day world of strife with People Make The World Go Round.
There are three moments of quiet during this session where the ballad takes the spotlight: Jay Livingston’s Never Let Me Go, Hoagy Carmichael’s The Nearness Of You and Good Morning Heartache by Irene Higginbotham. Kevin’s refreshing bowing and plucks, Nick’s offerings of piano accents and Henry’s brush setting tempos compliment Julie’s heartfelt interpretations.
Returning to the fun, we have Nat Adderley’s composition The Old Country, an easy romp with That’s Livin’, a tribute to Duke Ellington that showcases the trio’s interaction on the lone instrumental, Cotton Tail. Well placed in the lineup is the gentle Ivan Lins’ bossa title track The Smiling Hour giving you to sway to the rhythms before closing out the set with the classic Mongo Santamaria’s Afro Blue.
In a world where the milieu seeks style over substance, this formidable foursome is notorious for the honesty of their sound, thus proving substance is their style. There is sparseness in their articulation exhibiting a maturity that echoes less is more. Within this offering lies an unscripted collective intimacy that captures the discipline and freedom in each performance and they have given a new bloom to the classics that will stand the test of time. But what I like most about this expose they’ve aptly titled The Smiling Hour is… the promise of things to come.
carl anthony | notorious jazz | may 19, 2015
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Stafford James was born April 24, 1946 in Evanston, Illinois. As a young man he enlisted in the Air Force and after his discharge he studied at the University of Chicago. In 1969 he moved to New York City and studied at the Mannes College for Music. Here he met Pharoah Sanders, with whom he played his first jazz concerts in New York. He played with Monty Alexander, Sun Ra, Alice Coltrane and Albert Ayler.
James did the first road tour of the Broadway show Hair through Canada, met Melba Moore in 1971 and played the David Frost Revue with her, and went on to Rashied Ali, Roy Ayers, Al Haig, Barry Harris, Andrew Hill, Andrew Cyrille and Chico Hamilton.
In 1973 Stafford toured Europe for the first time with Gary Bartz, then became a member of Art Blakey’s Jazz Messengers. At the same time he met Woody Shaw, began a lifelong friendship with Betty Carter and started teaching at the United Nations International School in NYC. He recorded his debut album as a leader in 1975 with Enrico Rava, Dave Burrell and Beaver Harris. A year later he founded a quintet and toured Europe.
He met Dexter Gordon while on tour with Al Cohn and recorded Homecoming with him upon his return to the United States. He continued to tour through the 1980s, arranged compositions by Ellington, and composed sonatas. By the end of the decade and into the next James moved to Paris, collaborated with Pharoah, Barney Wilens and Lavelle, formed the Stafford James Project, played with his trio and continued to compose for large ensembles.
His list of collaborations, recording sessions and tours is extensive and in recent years he has recorded The Stafford James String Ensemble, taught master classes at the university level, had a two-hour program on his life and compositions, founded the Top Hat Music Society, performed with Max Roach’s percussion ensemble M’Boom and continue his tradition of performance, composing, recording and touring around the world.
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James Edward Rowser was born on April 18, 1926 in Philadelphia, Pennsylvania. As a professional jazz bassist he played with Philly Joe Jones from 1954, with Dinah Washington in 1956-57 and from 1957 to 1959 with Maynard Ferguson, as well as Red Garland.
By 1963 he was touring Mexico with Benny Goodman and followed with a stint in 1964 accompanying Friedrich Guida in South America. He would go onto play out the decade with Al Cohn, Zoot Sims and Les McCann, with whom he recorded frequently.
The consummate sideman, bassist Jimmy Rowser can list 97 recording sessions to his name. He has played or recorded with Ray Bryant, Yusef Lateef, Junior Mance, Hank Mobley, Lee Morgan, Illinois Jacquet, Hilton ruiz, Eddie Harris, Cannonball Adderley, Herb Ellis, Sonny Criss, Ben Riley and Albert “Tootie” Heath.
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Hassan A. Shakur, born J.J. Wiggins on April 15, 1956 in Los Angeles, California, is the son of pianist Gerald Wiggins. He learned to play bass standing on a chair at age four and with his father as a guide developed a high sensitivity and wide range of expression in jazz.
By age twelve he became the bassist for the Craig Hundley Trio, appearing on television shows, such as, the Today show, Johnny Carson, Jonathan Winters, Ted Mack Amateur Hour and the Della Reese show. The Trio recorded an album for World Pacific Records. At eighteen, he joined the Duke Ellington Orchestra under the direction of Mercer Ellington and to this day continues to perform with the Orchestra.
Shakur has performed with not only his father but Ella Fitzgerald, Dizzy Gillespie, Milt Jackson, Billy Eckstein, Al Grey, Sarah Vaughn, Joe Williams, Pearl Bailey, Louie Bellson, Herb Ellis and many others. He was bassist for the Broadway show “Me and Bessie” with Linda Hopkins, “Black and Blue” with Ruth Brown and Linda Hopkins, and the Duke Ellington shows “Sophisticated Ladies” and “Queenie Pie”.
Hassan is a longtime member of the Bill Easley Quartet, recording several albums, and also performs regularly with Monty Alexander on tours in the United States, Europe and Japan. He is a favorite on the cruise lines and has played Montreux, Kool, North Sea Nice, Concord, Hollywood Bowl and Saratoga jazz festivals.
He is adept at playing several instruments but Hassan Shakur’s remarkable technique, flexibility and talent for creating improvisational styles on the bass that are uniquely identifiable with him as a musician.
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Victor Bailey was born on March 27, 1960 in Philadelphia, New Jersey. He attended Boston’s Berklee College of Music after being disqualified from naval service due to asthma.
Bailey has been extremely active on the jazz scene recording seven albums as a leader. However, he has been more prolific as a sideman recording and touring with the likes of jazz legends and musicians such as Sonny Rollins, Miriam Makeba, Larry Coryell, Lenny White, Kenny Garrett, Roy Haynes, Kenny Kirkland, Sadao Watanabe, Hamiet Bluiet, Kevin Eubanks, Bobby Broom and Steps Ahead among numerous others.
Victor has also worked with Mary J. Blige, LL Cool J, Sting, Madonna, Lady Gaga, Tom Brown, Najee, Olu Dara and Patrice Rushen. He has a Victor Bailey Signature acoustic bass released by Fender, as well as the Victor Bailey Jazz Bass (Artist Series), available in 4, 5-string, fretted and fretless versions. Jazz bassist Victor Bailey, best known for his contributions to Weather Report during their final years from 1982 to 1986, continues to perform, record and tour.
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