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Miles' and Coltrane's "Kind of Blue" and
"Giant Steps": a 50th Anniversary at Jazz at Lincoln Center
Jazz and Cabaret Corner
Frederick P. Rose Hall
Rose Theater
Home of Jazz at Lincoln Center
by Dr. Roberta E. Zlokower
February 12, 2009
The New Yorker Hotel
The New Yorker Hotel is a historical,
first-class, landmark hotel.
481 Eighth Avenue
New York, NY 10001
(866) 800-3088
Jazz at Lincoln Center
www.jalc.org
Featuring:
The Mulgrew Miller Trio
Mulgrew Miller, Piano, Music Director
Ivan Taylor, Bass
Rodney Green, Drums
Special Guest: Jimmy Cobb, Drums
Giant Steps:
Ted Nash, Alto Saxophone
Sherman Irby, Alto Saxophone
Walter Blanding, Tenor Saxophone
George Garzone, Tenor Saxophone
Kind Of Blue:
Take 6, Vocals
Wendell Pierce, Host
Script by Steven Rathe and David Marash
Scott Thompson and Bridget Wilson: Press
To celebrate the 50th Anniversary of two renowned recordings,
John Coltrane's
Giant Steps and Miles Davis'
Kind Of Blue, Jazz at Lincoln Center
assembled a first-rate ensemble of artists for the Valentine weekend series.
Mulgrew Miller brought his piano trio, adding Ivan Taylor on bass and
Rodney Green on drums. Jimmy Cobb, who performed live with Davis and
Coltrane, was tonight's special guest, on drums. To feature the brash saxophone,
evocative of Coltrane, Jazz at Lincoln Center presented a rare saxophone quartet,
two altos and two tenors: Ted Nash, Sherman Irby, Walter Blanding,
and George Garzone. To feature the surreal trumpet, evocative of Davis, Jazz
at Lincoln Center presented a vocal sextet,
Take 6:
Cedric Carl Dent, Joey Kibble, Alvin Chea, Claude V. McNight III, David Thomas,
and Mark Winston Kibble.
Wendell Pierce, tonight's charismatic host, introduced
most of the works and the stage artists and gave the audience insights that enhanced
the listening. His humor and warmth were contagious. The first set blasted though
seven selections from Giant Steps, starting with Ted Nash's smooth
arrangement of "Syeeda's Song Flute". With three of the saxophonists introduced
on flute, excepting George Garzone, a bouncy, swinging melody warmed the
crowd. Mulgrew Miller's Trio played background with effervescence. Nash arranged
"Cousin Mary", with three echoing notes. George Garzone's spirited
solo was exceptionally enticing. "Countdown", arranged by Sherman Irby,
was introduced by Rodney Green's drums, and the music turned dissonant. Saxes
and drums were busy and rapid, before a frenzied finale.
"Spiral", arranged by Ted Nash, had a big band sound, and the drum
ruffles defined the mood. Next was Victor Goines' sensuous arrangement of
"Naima" (titled for Coltrane's wife), with Ivan Taylor's rippling
bass. Sherman Irby arranged "Mr. P.C.", and Jimmy Cobb was
now onstage. His energy is still strong and his sound is enthused and detailed.
Walter Blanding took a solo, kicking up the momentum. This was propulsive
big swing, and Sherman Irby's solo, as well, was raucous and rambunctious.
Jimmy Cobb was a riveting presence, and the audience loved having him there.
"Giant Steps", Walter Blanding's arrangement of the title track, finally
gave Mulgrew Miller an opportunity to shine. His solo was bluesy and billowy,
ending in a whisper. Throughout this set, Wendell Pierce kept the interest
keen and the music meaningful.
The second set, a tribute to Miles Davis' Kind
Of Blue, one of my personal favorite recordings (I had the fortune
to see and hear Davis at Tanglewood years ago), featured
Take 6,
part vocalize, part sound effects, with a few anecdotes, lots of scat, and nasal-vocal
ornamentations. This was fairly disappointing, as I had hoped for true trumpets
here. Jazz at Lincoln Center has no shortage of trumpet virtuosos, including, of
course, Wynton Marsalis, and the decision behind a casually presented vocal
ensemble, re-creating Kind Of Blue, was a letdown, especially after the superb
saxophonists in the first set. "All Blues", arranged by
Take 6,
had one vocalist standing as the bass, one sitting as the trumpet, and so on. Their
arms and fingers were poised for the instruments they were vocally creating.
Take 6
is not short on vibrancy, and they added pulse and punctuated rhythms.
In "Blue and Green" (This and the following three recreated tracks were arranged
by Mark Kibble) one vocalist played the keyboard, and they improvised through
the song. For "So What",
Take 6
had a human trumpet, with Mulgrew Miller's Trio and Jimmy Cobb returning,
thankfully, and Miller and Taylor gave us a piano-bass riff of melancholy elegance.
"Flamenco Sketches" included a chant, like near Eastern exoticism, reminding
me of a trip to Turkey. At this point,
Take 6
interrupted the program to present one of their own recordings, "Seven Steps
To Heaven", in vocalize. "Freddie Freeloader", the final Davis piece,
brought the saxophone quartet back onstage, with
Take 6
plus Miller's Trio. This finale was surely a highlight of the event, adding brilliance
and panache. Kudos to tonight's artists and host, and kudos to Miles Davis
and John Coltrane
for creating such profound music that's still celebrated after a half century.
Take 6 on Vocals
with the Mulgrew Miller Trio
and Jimmy Cobb on Drums
Courtesy of Frank Stewart for Jazz at Lincoln Center
George Garzone, Ted Nash, Sherman Irby,
and Walter Blanding on Saxophones,
with the Mulgrew Miller Trio
Courtesy of Frank Stewart for Jazz at Lincoln Center
Jimmy Cobb, Special Guest, on Drums
Courtesy of Frank Stewart for Jazz at Lincoln Center
George Garzone, Ted Nash, Sherman Irby,
and Walter Blanding on Saxophones,
with Jimmy Cobb on Drums
Courtesy of Frank Stewart for Jazz at Lincoln Center
| 14/02/2004 | Jazzitalia intervista in esclusiva i Take 6 a New York: "...Amiamo tutta la musica, e abbiamo cantato praticamente tutti i generi musicali, inclusi jazz, gospel, doo-wop, latin, R&B, hip-hop, opera, pop, e persino country western." (Sandra Kimbrough) |
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Publishing Date: 22/03/2009
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- Marco Buttafuoco
