{"id":10977,"date":"2022-07-28T08:47:27","date_gmt":"2022-07-28T07:47:27","guid":{"rendered":"https:\/\/aata.dev\/?p=10977"},"modified":"2022-07-28T08:47:28","modified_gmt":"2022-07-28T07:47:28","slug":"jazz-turn-over-2022","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/07\/28\/jazz-turn-over-2022\/","title":{"rendered":"JAZZ TURN-OVER 2022"},"content":{"rendered":"\n

Norman Warwick hears those in the know Paste together<\/strong><\/p>\n\n\n\n

JAZZ TURN-OVER 2022<\/strong><\/p>\n\n\n\n

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Those who were once the Young Lions of jazz are now the old cats\u2014hep cats, perhaps, but old just the same. Wynton Marsalis, (left)<\/em><\/strong> described by Paste as \u00b4the public face of the Young Lions movement in the 1980s and 1990s\u00b4, is now 60. He seems to recognize his altered position, for when he led the Jazz at Lincoln Center Orchestra at this year\u2019s Montreal Jazz Festival, he made a point to tell the audience that the 15-piece ensemble included three recent college graduates.<\/p>\n\n\n\n

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\u201cAnd Immanuel Wilkins, (right)<\/em><\/strong>,\u201d Marsalis added, \u201cis someone else you need to pay attention to. He\u2019s playing somewhere at this festival.\u201d<\/p>\n\n\n\n

Wilkins, only 24, performed three times in Montreal: twice leading his own quartet and once playing in drummer Makaya McCraven\u2019s group. The alto saxophonist provided some of the most thrilling music of the festival, technically accomplished enough to get Marsalis\u2019 stamp of approval, but also free and wild enough to thrive in McCraven\u2019s boundary-pushing free improvisations. He\u2019s a central figure in the new generation about to remake jazz as profoundly as Marsalis and his comrades did at the end of the last century.<\/p>\n\n\n\n

Wilkins and McCraven joined four other bandleaders from this new movement at the Montreal Festival: trumpeters Christian Scott aTunde Adjuah and Marquis Hill, vibraphonist Joel Ross and vocalist C\u00e9cile McLorin Salvant. These six musicians, all under the age of 40, are no longer promising youngsters starting out on their careers; they are at a stage where they are fulfilling that promise and emerging as mature, major artists in the genre.<\/p>\n\n\n\n

Like Wilkins, they are all technically accomplished, able to exert precision control over pitch, time and dynamics. Unlike some of their predecessors, though, this new generation uses that virtuosity as a license to test limits, not as an excuse to erect fences around \u201creal jazz.\u201d This new movement grew up in the hip-hop era and in the Black church, and they can command both vocabularies when it suits their purposes, but they are just as willing to venture into the disorienting realms of avant-garde jazz. They are fashioning an unprecedented synthesis.<\/p>\n\n\n\n

And for us in the audience, those mechanical skills make us more comfortable during their most daring escapades. Because we know that every note choice is intentional and accurate, we can trust that the artistic logic will reveal itself. And when it does\u2014even far beyond the boundary of the familiar and expected\u2014that can be thrilling.<\/p>\n\n\n\n

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On the festival\u2019s opening day, June 30, McCraven (left)<\/em><\/strong> led a quartet that included Wilkins, Hill and electric bassist Junius Paul at a downtown Catholic Church called Gesu. The drummer\/leader is a big man who wears a gold medallion over black T-shirts and sports an expansive afro. He possesses not only the physical power to play fast and loud across the entire drum kit, but also the skill to land every hit in the right place. He can perfectly replicate a hip-hop drum loop or the rousing march of a church processional.<\/p>\n\n\n\n

On this occasion, however, he opened the door to free improvisation. At first, there was a lot of groping in the form of rattling percussion and squeaking horns, but Hill settled on a catchy two-bar theme. He repeated it so emphatically that Wilkins added a harmony on top, Paul on the bottom, and the motif shape-shifted till Wilkins was wailing ecstatically over McCraven\u2019s rampaging drums.<\/p>\n\n\n\n

Later that evening, a short walk away, Wilkins reunited with his regular quartet (pianist Micah Thomas, bassist Daryl Johns and drummer Kweku Sumbry) in a public park for one of the festival\u2019s free concerts. With a neon sculpture in the shape of a playground jungle gym flashing red and blue behind them, the quartet focused on their latest release, The 7th Hand<\/em>, one of this year\u2019s very best albums.<\/p>\n\n\n\n

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These seven new compositions from Wilkins (left)<\/em><\/strong> \u00a0are rooted in the church, and the saxophonist captures that sense of devotion and inquiry with an attentiveness and curiosity that are the best sides of religion. But this is not a music of simple questions and simple answers; these are instrumentals as complicated as the world outside the sanctuary, where faith and doubt go to the mat in a wrestling match.<\/p>\n\n\n\n

In Montreal, the foursome translated that studio tension into live drama, not by playing loud and fast, but by creating a patient, transparent atmosphere where each nuanced shift of accent or tone could register. With his thin braids falling to his waist, his dark-frame glasses sliding down his nose and his gold-and-black coat hanging open, Wilkins relied on understatement, allowing the resonant tone and punctuating pauses of his alto sax to tell the story.<\/p>\n\n\n\n

As a result, when the band suddenly shifted gears at the end of the set into a fast, hard romp, we in the audience felt the jolt and went along for the ride, even as the music crossed over into atonal wailing and aggressive clanging. This band knew what they were doing, and we would follow them anywhere.<\/p>\n\n\n\n

The next day, July 1, McCraven was back at Gesu, this time with a quintet that included Hill, Paul, Ross and guitarist Jeff Parker. This was the core band on McCraven\u2019s latest album, last year\u2019s Deciphering the Message<\/em>, an ambitious attempt to refashion 13 tunes from Blue Note Records\u2019 catalog, emphasizing the hard-bop heyday of Art Blakey, Horace Silver, Kenny Dorham and others in the \u201950s and \u201960s.<\/p>\n\n\n\n

That was a period when acoustic jazz returned to bluesy grooves after the bebop innovations of the \u201940s and \u201950s, and McCraven smartly connects hard-bop to the hip-hop and funk emphasis of today\u2019s jazz. He not only remixes the original tracks to muscle up the beats with reverb, loops and bass synth, but he also has his musicians play along with the original recordings, as if the two centuries were collaborating.<\/p>\n\n\n\n

For the live performance at Gesu, McCraven stripped away most of the samples and effects from the arrangements and allowed his quintet to play the tunes on their own. But they managed to suggest both eras without the help of special effects.<\/p>\n\n\n\n

McCraven\u2019s steady hands and wrists sounded like a drum machine one moment and like Blakey the next. Hill demonstrated his knack for distilling themes to their two-bar essence, and Ross could elaborate on those motifs. His blue-tipped felt mallets alternated high and low notes on the vibraphone to add a kind of mad, modern math to the vintage material. It was the kind of set that could make young heads check out the music of 60 years ago while sparking old heads to check out what\u2019s happening today\u2014a crucial jazz era in its own right.<\/p>\n\n\n\n

Ross led his own quartet the following evening in a free concert at Le Studio, in the same downtown arts district as the rest of the venues. Ross is best known for spearheading\u2014along with Warren Wolf\u2014a welcome revival of the vibraphone in jazz, but Ross used this show to prove that he is as capable on the piano as on the vibes. With his long braids tied into a big knot behind his black cap, he bounced back and forth between the ivory\/ebony keys and the golden aluminum bars, bringing different colors to different sections of the songs.<\/p>\n\n\n\n

He avoided playing any songs from his brilliant 2022 album, The Parable of the Poet<\/em>, preferring to rely on his 2020 record Who Are You?<\/em>, which featured drummer Jeremy Dutton and bassist Kanoa Mendenhall. Those two now rejoined Ross at Le Studio, and replacing Wilkins, who had played alto sax on that album, was Godwin Louis, a lyrical soloist in his own right.<\/p>\n\n\n\n

One of the live set\u2019s highlights was Ross\u2019 original \u201cMellowdee,\u201d a nod to his emphasis on tunefulness, even amid the most ambitious harmonic and rhythmic constructions. This number began as a romantic ballad on the piano over brushes, accelerated to an aggressive alto sax solo and then subsided into a ballad again. In every phase, the melody was present not merely as an ear-grabber, but also as a reservoir of emotion, a longing that rose to ecstasy and then slipped into reflection. It was a reminder that jazz, at its best, is music for the heart as well as the head.<\/p>\n\n\n\n

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A few blocks away, following Ross\u2019 set, Salvant (left)<\/em><\/strong> \u00a0entered the large proscenium stage at the National Theatre School of Canada. Wearing a leopard-print, white beret, orange-plastic sandals, and a crumpled party dress of gold and green streaks, Salvant seemed a figure stranded outside of time. At first, she seemed a time traveler from the 1920s cabarets of Paris, then an ironic performance artist from 2020s New York, and finally like a visitor from another planet sampling from the history of Earth fashions to pick what she wanted.<\/p>\n\n\n\n

Her music had the same time-defying quality. She had begun her career by singing pre-World War II show tunes with such irreverent newness that they seemed unprecedented. It wasn\u2019t that she was treating those songs as camp, but that she employed them as channels for strong feelings\u2014feelings that were at last fully released by Salvant\u2019s odd phrasing and note choices.<\/p>\n\n\n\n

Her new album, Ghost Song<\/em>, also one of the year\u2019s best, features more of her original writing, as well as some modern covers: Kate Bush\u2019s \u201cWuthering Heights\u201d and Sting\u2019s \u201cUntil.\u201d But the effect is similar: Songs are thrown out of their historical context to mix vintage theatricality with contemporary irony, vocal\/piano recitals with push-and-pull small-combo jazz, anything to shake the song loose from the fashions of its day to make us confront the timelessness of human nature.<\/p>\n\n\n\n

This was as true of her live show as of her recording. She began the concert with that album\u2019s \u201cObligation,\u201d by asking the audience in a half-spoken, half-sung, theatrical voice, \u201cWhat happens when the foundation of a relationship is guilt, not love?\u201d And with a punctuating chord from her pianist Sullivan Fortner, she answered her own question: \u201cObligation.\u201d And what does obligation lead to? \u201cPromises,\u201d she sang, which \u201clead to expectations, which lead to resentment.\u201d<\/p>\n\n\n\n

It\u2019s a witty stanza, but Salvant wasn\u2019t singing it only for comedy; she was also digging into the tart truth of it. Yes, sometimes you have to laugh at the absurdity of romance, her emotional ambiguity suggested, but that doesn\u2019t nullify the damage. And this ambiguity was only heightened when the song flowered into melody, returned to monologue and ended with a rumbling, discontented coda played by Fortner, drummer Keita Ogawa and bassist Paul Sikivie, all of whom contribute to Ghost Song<\/em>.<\/p>\n\n\n\n

With this bittersweet approach to singing, it\u2019s no surprise that she sang two songs by the Bertolt Brecht-Kurt Weill team: \u201cBarbara Song\u201d and \u201cThe World Is Mean,\u201d the latter from the new album. She gave equal weight to Brecht\u2019s bitter lyrics and Weill\u2019s sweet tunes, and then made them even more disorienting by shifting certain notes from their previous, accustomed placements to somewhere new. Salvant got away with this because her pitch and phrasing are so unerring that the new notes acquired their own logic. She does this to many of her songs, and it\u2019s why she\u2019s the most transformative female jazz vocalist since Cassandra Wilson in the 1990s.<\/p>\n\n\n\n

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One of the highlights of Salvant\u2019s new album (though she didn\u2019t sing it in Montreal) is \u201cNo Love Dying,\u201d written by Gregory Porter (right)<\/em><\/strong>, the most important male jazz vocalist in decades. He\u2019s not only a robust baritone singer who manages to bridge the gap between Luther Vandross and John Coltrane\u2019s vocalist Johnny Hartman, but also the best writer of jazz songs since Bob Dorough and Oscar Brown Jr. Porter provides such sharpness of detail and freshness of perspective that his song catalog should be a resource for many others than just Salvant.<\/p>\n\n\n\n

Porter sang those songs himself during the Montreal Jazz Festival at the Maison Symphonique. On his second number, \u201cOn the Way to Harlem,\u201d he name-dropped Duke Ellington, Langston Hughes and Marvin Gaye as inspirations, and even sang a bit of Ellington\u2019s \u201cTake the A Train\u201d and Gaye\u2019s \u201cWhat\u2019s Going On\u201d at the end. The jazz underpinnings of his R&B-drenched material were brought to the fore by his excellent jazz sextet, featuring the Harrold brothers\u2014trumpeter Keyon and drummer Emanuel.<\/p>\n\n\n\n

As always, a centerpiece of the set was his protest against \u201cMusical Genocide,\u201d the abandonment of Black musical history. On this night, he offered two Temptations songs, \u201cMy Girl\u201d and \u201cPapa Was a Rolling Stone,\u201d as well as Sam Cooke\u2019s \u201cA Change Is Gonna Come\u201d as evidence of what might be lost. And the first of those songs, written by Smokey Robinson, was done as an unaccompanied duet with acoustic bassist Jahmal Nichols, who took a long jazz solo to point out what else might get left behind.<\/p>\n\n\n\n

The whole Montreal Jazz Festival was a showcase for endangered musical forms. Wynton Marsalis\u2019s Jazz at Lincoln Center Orchestra gave strong renditions of pieces by Thelonious Monk, Billy Strayhorn and Charles Mingus. The Ravi Coltrane Quintet tackled compositions by the leader\u2019s parents, John and Alice Coltrane.<\/p>\n\n\n\n

These deceased composers are all grandmasters of the music, and for many casual jazz fans, that era of the 1950s and 1960s is all they know of the music\u2014and all they care to know. But such nostalgia deafens many listeners to the golden era of jazz that\u2019s happening right now.<\/p>\n\n\n\n

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Perhaps the strongest set of the festival\u2019s first week, for example, was delivered by Allison Miller\u2019s Boom Tic Boom. Leading the most powerful band of her career, Miller attacked her drum kit with as much as ferocity as McCraven, with as much musicality as Wilkins and as much history-defying originality as Salvant. Her bandmates (pianist Myra Melford, saxophonist Dayna Stephens and bassist Scott Colley) followed her lead in a triumphant set that reconfirmed her as one of the giants of modern jazz.<\/p>\n\n\n\n

McCraven, Wilkins, Ross, Salvant, Hill and Scott are at the core of this new era, but they are far from alone.<\/p>\n\n\n\n

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On air sign background<\/figcaption><\/figure><\/div>\n\n\n\n

Thinking back to jazz, where this article all began: It must be very flattering and rewarding for any radio broadcaster to be thanked on social media by an artist he has played on his show. So at the top of the Steve Bewick facebook postings today is one such vote of thanks.<\/em><\/strong><\/p>\n\n\n\n

A great surprise for me today to be included in this broadcast by <\/em><\/strong>Steve Bewick<\/em><\/strong><\/a> with a track from our recording Coltrane\u2019s Colours with great musicians and great friends <\/em><\/strong>Tito Mangialajo Rantzer<\/em><\/strong><\/a> and <\/em><\/strong>Massimo Pintori<\/em><\/strong><\/a>. Lovely memories! Thanks Steve!<\/em><\/strong><\/em><\/strong><\/p>\n\n\n\n

If you\u00b4d like to hear the programme being referred to, Mr Bewick offers the following guidance.<\/em><\/strong><\/p>\n\n\n\n

Hot Biscuits offers this week a live set from the <\/em><\/strong>Tom Thorp<\/em><\/strong><\/a> Quartet with <\/em><\/strong>Patrick Hurley<\/em><\/strong><\/a>, keys, <\/em><\/strong>Grant Russell<\/em><\/strong><\/a> Bass, and <\/em><\/strong>Luke Flowers<\/em><\/strong><\/a> drums. The broadcast also includes music from <\/em><\/strong>Simone Manunza<\/em><\/strong><\/a>, <\/em><\/strong>Adam Fairhall<\/em><\/strong><\/a>, <\/em><\/strong>Maur\u00edcio Soulz<\/em><\/strong><\/a>, <\/em><\/strong>Matt Carmichael<\/em><\/strong><\/a> and <\/em><\/strong>Daniel Karlsson<\/em><\/strong><\/a>. If this sounds interesting tell your friends and catch Steve Bewick at<\/em><\/strong><\/p>\n\n\n\n

 <\/em><\/strong>www.mixcloud.com\/stevebewick\/<\/em><\/strong><\/a> <\/em><\/strong><\/p>\n\n\n\n

24\/07 !!!<\/em><\/strong><\/p>\n\n\n\n

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The prime source for this article was published in a recent edition of Paste online magazine. Jazz is not its most featured art form, but is a highly eclectic and much recommended site that looks at music, cinema & TV, literature and all other aspects of popular culture. Check out the magazine excellent, thought-provoki.ng work.<\/em><\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but that we are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with new genres and practitioners along all the sidetracks & detours we take.<\/em><\/strong><\/p>\n\n\n\n

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<\/em><\/strong>This article was collated by Norman Warwick (right(, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/em><\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/em><\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/em><\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/em><\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/em><\/strong><\/p>\n\n\n\n

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e mail logo The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/em><\/strong>normanwarwick55@gmail.com<\/em><\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Being a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/em><\/strong> in your submission.<\/em><\/strong><\/p>\n\n\n\n

We look forward to hearing from you.<\/em><\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/em><\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

                                                            Steve Bewick<\/p>\n\n\n\n

                                                            Gary Heywood Everett<\/p>\n\n\n\n

                                                            Steve Cooke<\/p>\n\n\n\n

                                                            Susana Fondon<\/p>\n\n\n\n

                                                            Graham Marshall<\/p>\n\n\n\n

                                                            Peter Pearson<\/p>\n\n\n\n

                                                            Catherine Smith<\/p>\n\n\n\n

                                                            Aj The Dj Hendry<\/p>\n\n\n\n

Hot Biscuits Jazz Radio                      www.fc-radio.co.uk<\/a><\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/p>\n\n\n\n

Jazz In Reading                                  https:\/\/www.jazzinreading.com<\/a><\/p>\n\n\n\n

Jazziz                                                 https:\/\/www.jazziz.com
<\/a>Ribble Valley Jazz & Blues                https:\/\/rvjazzandblues.co.uk<\/a><\/p>\n\n\n\n

Rob Adams                                         Music That\u00b4s Going Places<\/p>\n\n\n\n

Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

Rochdale Music Society                     rochdalemusicsociety.org<\/p>\n\n\n\n

Lendanear                                           www.lendanearmusic<\/a><\/p>\n\n\n\n

Agenda Cultura Lanzarote<\/p>\n\n\n\n

Larry Yaskiel \u2013 writer<\/p>\n\n\n\n

The Lanzarote Art Gallery                  https:\/\/lanzaroteartgallery.com<\/p>\n\n\n\n

Goodreads                                        https:\/\/www.goodreads<\/a>.<\/p>\n\n\n\n

groundup music                                  HOME | GroundUP Music<\/a><\/p>\n\n\n\n

Maverick                                             https:\/\/maverick-country.com<\/a><\/p>\n\n\n\n

Joni Mitchell newsletter<\/p>\n\n\n\n

passenger newsletter<\/p>\n\n\n\n

paste mail ins<\/p>\n\n\n\n

sheku kanneh mason newsletter<\/p>\n\n\n\n

songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

And for us in the audience, those mechanical skills make us more comfortable during their most daring escapades. Because we know that every note choice is intentional and accurate, we can trust that the artistic logic will reveal itself. And when it does\u2014even far beyond the boundary of the familiar and expected\u2014that can be thrilling.<\/p>\n","protected":false},"author":2,"featured_media":10989,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[128],"class_list":["post-10977","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-masters-pupils-chnagearopund"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10977","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=10977"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10977\/revisions"}],"predecessor-version":[{"id":10990,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10977\/revisions\/10990"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/10989"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=10977"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=10977"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=10977"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}