The Jazz Voyager

As I say farewell to Indianapolis, I’m looking out the window of the plane heading to the great northwest of Portland, Oregon to pay a visit to the Jack London Revue. The venue is rooted in the original American tradition of jazz and the underlying principles of freedom through improvisation, however, they feature a wide range of music that has been inspired by jazz’s world wide diaspora.L

Saxophonist Lakecia Benjamin will be getting all the attention of this Jazz Voyager as she fuses traditional conceptions of jazz, hip~hop, and soul in her performance. She has received 3 Grammy nominations for her latest album Phoenix. The far-reaching new album finds her poised alongside a curated all-star cast of Wayne Shorter to Dianne Reeves, Georgia Anne Muldrow to Patrice Rushen, and Sonia Sanchez to Angela Davis. The album is produced by the multi-Grammy winner drummer and activist Terri Lyne Carrington.

The club is located at 529 SW 4th Avenue 97204 For those requiring more information go to  https://notoriousjazz.com/event/lakecia-benjamin.

CALIFORNIA JAZZ FOUNDATION

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Intermission Riff ~ Sonny Criss | By Eddie Carter

In 1951, producer Norman Granz, the founder of several jazz labels and the chief architect behind the Jazz at The Philharmonic concerts, began a tour featuring Billy Eckstine at the Shrine Auditorium in Los Angeles, California. During the intermission, an all-star septet led by alto saxophonist William “Sonny” Criss took the stage. The result of their performance is this morning’s album from the library, Intermission Riff (Pablo Records 2310-929), released in 1988 after archivist Eric Miller discovered the tapes. His bandmates are Joe Newman on trumpet, Bennie Green on trombone, Eddie “Lockjaw” Davis on tenor sax, Bobby Tucker on piano, Tommy Potter on bass and Kenny Clarke on drums. My copy is the original U.S. Mono release.

Intermission Riff by Ray Wetzel and Michael H. Goldsen opens the set. Eddie begins with a robust introduction before the ensemble’s lively melody. “Lockjaw” gets busy first in the opening solo. Joe motors along in the next spirited statement, and then Sonny follows with an electrifying reading that receives a huge ovation from the audience at its climax. Green provides an exclamation point with an exhilarating solo into a thrilling ending. How High The Moon by Nancy Hamilton and Morgan Lewis starts with the trio’s calypso introduction preceding the high-spirited theme. Newman starts things off, and then Davis is remarkably assured on the next solo. Potter gives an impressive reading next. Green excels on the following reading, and Criss cooks with passionate enthusiasm on the closer.

A rocking version of Perdido by Juan Tizol, Ervin Drake and Hans Lengsfelder starts with the septet’s vigorous melody. Criss makes a strong impression on the first solo. Newman shows assurance and confidence in the second reading. Tucker takes over with an energetic performance, followed by Davis’ unrestrained enthusiasm. Green enters the next solo with a vengeance, then Clarke closes with a brisk workout into the reprise and ending. Body and Soul by Johnny Green, Edward Heyman, Robert Sour and Frank Eyton begins with Green’s soothing introduction before the pace moves to mid-tempo for the ensemble’s melody. Newman, Tucker, Criss, and Davis all contribute concise readings that are expressed very well.

High Jump by E. Greene culminates the set in a blowing session as fast as the Road Runner after the septet’s joyous exuberance in the melody. Bennie speaks his piece first with the added horsepower of the front line in one chorus. Sonny meets the challenge on the second statement, and then Newman gives an aggressive reading that dares the rhythm section to keep up with him. Davis infuses his solo with a few bars of Wild Blue Yonder while exchanging a few thoughts with Kenny, who responds in explosive form preceding the closing chorus. George Horn initially mastered Intermission Riff and it was digitally remixed by Danny Kopelson. The album’s sound quality does have a few momentary sound dropouts, but Eric Miller thought the music was too important to be edited, so he didn’t remove them.

Intermission Riff gives a glimpse of Sonny Criss, who possessed a beautiful sound that was capable of creating emotional solos. He had much to offer the jazz world, as demonstrated on his albums for Imperial, Impulse, Muse Peacock, Prestige and Xanadu. In 1977, he was diagnosed with stomach cancer, and on November 19 of that year, at age fifty, he took his own life as a result of the constant pain. Whether you’re just discovering his music or are already familiar with his discography, I offer for your consideration on your next record shopping trip, Intermission Riff. It’s a remarkable live performance by

Sonny Criss that swings with the best of them and is recommended for a spot in any jazz library!

~ Body and Soul, How High The Moon, Perdido – Source: JazzStandards.com ~ Sonny Criss – Source: Wikipedia.org © 2024 by Edward Thomas Carter

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LISA FISCHER & GRAND BATON | BRANFORD MARSALIS

Lisa Fischer set out to take center stage with her own award-winning style after four decades of featured background singing with icons like The Rolling Stones, Chaka Khan, Luther Vandross, Tina Turner, and Nine Inch Nails.  The 2013 Best Documentary Oscar winning film, “Twenty Feet from Stardom,” altered the course of Fischer’s musical journey by telling her story through clips of her legendary duets with Mick Jagger and Sting. The film left audiences eager to hear more, leading to her organic fusion of Caribbean psychedelic soul and jazzy progressive rock which has been exciting fans worldwide! Lisa Fischer will take the stage with Grand Baton, an Afro-Caribbean progressive rock and jazz fusion band. Fischer and Grand Baton have performed at several jazz festivals including The Monterey Jazz Festival, The Newport Jazz Festival, and The New Orleans Jazz & Heritage Festival.

After four decades in the international spotlight, the achievements of saxophonist Branford Marsalis continue to grow. From his initial recognition as a young jazz lion, he has expanded his vision as an instrumentalist, composer, bandleader, and educator, crossing stylistic boundaries while maintaining an unwavering creative integrity. In the process, he has become a multi award-winning artist with three Grammys, a citation by the National Endowment for the Arts as a Jazz Master, and an avatar of contemporary artistic excellence.

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DAVID SANCHEZ & NAJEE

David Sanchez has emerged as one of the most respected jazz musicians of the 21st century, blending Afro-Caribbean rhythms from his Puerto Rican upbringing with jazz influences. He’s garnered critical acclaim and multiple awards for his diverse and innovative compositions. During Jazz Fest his ensemble will consist of a piano, acoustic bass, drums, percussion, and guitar.

Najee, a two-time Grammy nominated saxophonist and flautist has become an international pioneer in the industry by pushing musical boundaries throughout his career and collaborating with legendary artists such as Prince, Quincy Jones, Stevie Wonder and Chaka Khan. His fusing R&B and jazz into a unique and captivating sound has resulted in six #1 albums on the Billboard charts.

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The Rat Race Blues ~ Gigi Gryce | By Eddie Carter

Multi-instrumentalist Gigi Gryce was one of the most exciting jazz musicians during the hard-bop era. In addition to the alto sax, he also played the flute and clarinet. He was also known as a brilliant arranger and composer. This morning’s record from the library, The Rat Race Blues (Prestige New Jazz NJLP 8262), is a splendid 1960 session that was one of the best records he recorded between 1955 and 1960. It’s the quintet’s second appearance together following their previous release, The Hap’nin’s. The ensemble consists of Richard Williams on trumpet, Gigi Gryce on alto sax, Richard Wyands on piano, Julian Euell on bass, and Mickey Roker on drums. My copy is the 1983 U.S. Original Jazz Classics Mono reissue (Prestige New Jazz OJC-081).

Side One opens with The Rat Race Blues by Gigi Gryce. A fiery uptempo smoker that begins with a scintillating introduction by Gigi and Richard soaring over the rhythm section. Wyands begins the first solo with his fingers flying fiercely over the keys. Williams opens the throttle on the muted trumpet next, and Gryce heightens the excitement in the finale. Strange Feelin’ by Sam Finch slows the speed to a medium pace for the ensemble’s relaxing melody. Williams steps up first for a carefree solo. Gryce gets into something good in the following reading. Wyands concludes with a charming interpretation, leading to a perfect climax.

Boxer’s Blues by Gigi Gryce begins with a two-instrument dialogue between Richard and Wyands. Gigi, Julian, and Mickey join them for a mellow theme. Gigi starts the solos with a lovely melodic line. Williams lays down the next elegant groove. Wyands takes over to give a graceful performance ahead of the reprise and slow fade. Blues In Bloom by Norman Mapp begins Side Two with a soft-voiced bass solo by Euell that segues into the quintet’s melody. Gryce goes to work first with an exceptionally tender tone, and then Williams carefully caresses the second reading with sensitivity. Richard delivers the closer with plenty of heart and soul into the theme’s restatement.

Monday Thru Sunday, also by Norman Mapp, is a slow blues that reaches a medium beat for the ensemble’s melody. Gigi solos first with a beautifully conceived interpretation. Williams maintains the therapeutic tempo in the second reading. Wyands is entirely at ease in the third statement, and Euell makes an impeccably polite comment during the ending theme. Esmond Edwards supervised The Rat Race Blues, and Rudy Van Gelder was the recording engineer. Gary Hobish mastered this Original Jazz Classics reissue. The album’s sound quality is excellent, with a superb soundstage placing the listener’s sweet spot in the center, surrounded by the quintet as they’re playing.

The Rat Race Blues is the next to last record Gigi Gryce would make before leaving the music scene to become a beloved music teacher in the Bronx. He continued teaching until just before his death at age fifty-seven on March 14, 1983. Of the eleven albums he recorded in those five years, The Rat Race Blues by Gigi Gryce is one of the gems that hard-bop fans shouldn’t miss on their next record shopping trip. It’s also a superb listening experience I’m sure you won’t be able to listen to just once!

~ The Hap’nin’s (Prestige New Jazz NJLP 8246) – Source: Discogs.com © 2024 by Edward Thomas Carter

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