Evan Christopher & David Torkanowsky Live at Luthjen's

Evan Christopher & David Torkanowsky
Live at Luthjen's

I have been a fan of clarinet wizard Evan Christopher for many years. This live recording at the New Orleans venue, Luthjen's, pairs him with the highly regarded pianist David Torkanowsky. I had the pleasure to see them some years ago as part of a band backing Germaine Bazzle that included Jason Marsalis on vibes. This set of duets is a thoroughly captivating set of performances of classic jazz songs and originals that showcase their instrumental talents and the empathy they have for each other.

The bluesy, velvety tone pf Christopher's clarinet is matched by Torkanowsky's sleet, fluid piano playing that ranges from traditional jazz to bop-accented. The performances are often imaginative as what starts out as a wistful rendition of "Way Down Yonder In New Orleans" segues into a choro-inspired interpretation. On "Sid's Biz," which I believe is inspired by Sidney Bechet, Christopher's spirited playing is supported by Torkanowsky channeling the spirits of Professor Longhair and James Booker. A wonderfully paced "Make Me a Pallet on the Floor" showcases Christopher's singing playing while "Rollin' the Jent" sounds like a boisterous reworking of "Ballin' the Jack." Then there is the beguiling "Melody For Jaco," with the woody clarinet tone complemented by a delicate piano backing.

Among the other performances is a reflective "Jitterbug Waltz," and a hauntingly beautiful rendition of Billy Strayhorn's "A Flower is a Lonesome Thing." It was a marvelous evening of music at Luthjen's, the evening this was recorded as can be heard from the audience applause. Its availability is very welcome. It is available as a download from Bandcamp, https://evan-christopher-clarinet-road.bandcamp.com/album/live-at-luthjens, and as a CD from the Louisiana Music Factory (louisianamusicfactory.com). Evan Christopher's website is www.clarinetroad.com.

I purchased this recording as a download. Here the two perform "Jitterbug Waltz."

Chris Washburne Rags and Roots

Chris Washburne
Rags and Roots
Zoho Music

From the opening moments of Joplin "Maple Leaf Rag," trombonist Chris Washburne's new recording provides a fresh take on some ragtime and the roots of jazz. His co-producer, Kabir Sehgal observes that this album "is a bi-hemispheric ragtime revival that marks the centenary of both Joplin’s passing and the first noted jazz recording. By reimagining ragtime and the roots of jazz, Chris Washburne has created a path for new audiences to discover this quintessentially American music. His Rags and Roots is both a tribute to and triumph of ragtime and a sounding out of the truly global roots of jazz." And he does so with this reinvention of Joplin's classic that shifts from traditional jazz to a more modern take only hinting at the melody as well as having Sarah Elizabeth Charles sing the rarely heard lyrics. It is a performance full of surprise and joy.

This performance opens a wondrous and fresh take on other songs from Joplin, Brazil, Haiti, Cuba and Mexico. The leader has brought together a terrific band that includes his trombone and vocals; Alphonso Horne trumpet, vocals; Evan Christopher clarinet, vocals; Andre Mehmari piano, vocals; Hans Glawischnig bass, vocals and Vince Cherico drums, vocals. In addition to Charles, other featured vocalists on this include Thelonious Monk Competition finalist, Vuyo Sotashe and Gabriela Anders.

"Maple Leaf Rag": sets the tone for this outstanding recording. It is followed by a mashup of W.C. Handy's "St. Louis Blues" and Moises Simons "El Manicero (The Peanut Vendor)," that was initially joined together by the Cuban big band, Los Hermanos Castro. This performance fascinates with the interweaving of the two numbers, including the vocals from Charles (on "St. Louis Blues") and Anders (of "El Manicero'), along with solos from the leader and pianist Mehmari. There is the lively Caribbean-Crescent City rhythmic mashup for Louis Moreau Gottschalk's "Bamboula," with Evan Christopher's joyful, serpentine clarinet initiating this with more marvelous piano and some marvelous brass before Christopher with a pensive, woody solo, and playful brass and woodwind riffs.

"Here's One," originally pioneering Harlem Renaissance giant William Grant Still's arrangement of a spiritual, is wonderfully sung by Sotashe followed by a lovely rendition of Joplin's "Solace (A Mexican Serenade)" and then Ernesto Nazareth's buoyant "Odeon," from Ernesto Nazareth's with choice solos from bassist Glawischnig and trumpeter Horne.    Charles' lovely vocal on Joplin's "Picture on Her Face," is followed by the exuberance and invention of "Mildly Entertained," a transformation of "The Entertainer," into a fresh composition. "Ala Cote Gen Fanm," was composed by Haitian composer Gerard Dupervil but the original misogynistic lyrics were adapted by Candice Hoyes and Sarah Elizabeth Charles transforming this into a Haitian feministic anthem with Charles singing in Haitian Creole against a spirited backing. "Lisete," evolved into a popular Haitian folk ballad which Washburne interprets as a charming piano, clarinet, and trombone trio.

Danish-American ragtime composer, Jens Bodewalt Lampe, penned "Creole Belles," that some may know from Mississippi John Hurt's lilting recording. Christopher's ebullient arrangement provides a contemporary take on traditional New Orleans Jazz with a fine vocal from Sotashe. The album closes with a somber "Strange Fruit." Charles delivering the first verse backed solely by Glawischnig's bowed bass before the full band enters with sober horns set against a funeral march tempo on a Charles' compelling rendition of the anti-lynching song made famous by Billie Holiday.

"Rags and Roots" has fresh takes on ragtime and early jazz classics that is wonderfully arranged, as well as superbly played and sung. It is a superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). 

 

Tom McDermott's Bamboula

While thought of a ragtime and traditional new Orleans jazz pianist, Tom McDermott is a pianist who resists such easily categorization. Certainly his performances of a Scott Joplin rag or a Jelly Roll Morton stomp as well as his playing in various classic New Orleans ensembles might foster that view  However, we are talking about a person also conversant with the classical-blues-funk fusion of one James Carroll Booker and very adept at the Brazilian cousin of ragtime, Choro. To the previous items,  add that McDermott is as intriguing a composer as a marvelous pianist. Some of you may be aware of him from his appearances on the HBO drama Tremé.

This leads us to a marvelous retrospective of recordings by McDermott over a span from 1994 to 2011, Bamboula (Minky Records). This was curated by Van Dykes Parks, a person of certain fame himself. In his brief appreciation of McDermott, Parks compares McDermott to the pioneering New Orleans composer Louis Moreau Gottschalk. In the manner the rhythms of Congo Square marked that composer's work, the rhythms of Cuba and Latin America similarly infuse the work of McDermott. This recording contains 16 selections from albums by McDermott. They include solo selections, duets and marvelous ensemble recordings with his close musical associate Evan Christopher, trombonist Rick Trolsen and several Brazilian musicians.

I can't think of a better McDermott recording to make casual listeners better take note than the title track, his marvelous arrangement of Gottschalk's most famous composition. It is performed at a brisk tempo with with an irresistible hot rhythm with McDermott's fluid and clean ragtime-laced playing along with marvelous trombone and clarinet. Opulence contrasts with its stately classical flavor with some lovely soprano sax. This track is followed by a playful ragtime-flavored duet with Christopher, Irresitîvel. On Scott Joplin's Heliotrope Bouquet, McDermott steps away from the piano as Christopher and Trolsen are supported by the Brazilian string players (Caio Marcio is outstanding on seven-string guitar). Patrick Harison's accordion supplies a gypsy jazz flavor to Musette in A Minor.

For Brenda is a lovely original rag on which McDermott, with his lovely playing, evokes the graceful charm of Joplin.  The interplay with Christopher on another duet, La Manege Rouge, displays their empathy for each other. Its back to Brazil for a rendition of Joplin's The Chrysanthemum with fresh rhythmic accents, while another duet with Christopher, Tango Ambiguo, (translated as ambiguous tango) with its subdued tempo is especially lovely. Lost Rio is a wistful solo piano performance, while the closing Santa Teresa is another spirited original choro with wonderful playing by his Brazilian and New Orleans associates (Henry Lentino is scintillating on bandolin). 

Van Dyke Parks has curated a terrific introduction to Tom McDermott's recordings on Bamboula. The sixteen selections provide listeners a chance to experience the depth and range of McDermott's piano playing and compositions. I would not be surprised if this leads many to delve further into his recordings and music. Highly recommended.

I received my review copy from a publicist. Here is a video of Tom McDermott & Evan Christopher performing duets at the New Orleans Record Store, Louisiana Music Factory.

 

Chicago Festival Provided Some Hot Jazz

Hamid Drake - Artist in Residence at the 2013 Chicago Jazz Festival

Circumstances led me to Chicago this past Labor Day weekend where I had the opportunity to sample the 35th Annual Chicago Jazz Festival. This was my first time at this event which was for the first time in Chicago’s Millennium Park. In prior years it had been in Grant Park, which is where the fabled Chicago Blues Festival is still held. This festival, while having several performance stages, attracts smaller audiences than the June Blues Fest, which I understand was one reason for the change. The festival is curated by the Jazz Institute of Chicago which also produces and programs other concerts and events and produced by the City of Chicago. 

During the daytime, there are two substantial tent stages that house performances (The Jazz & Heritage Pavilion and the Von Freeman Pavilion) with the evening headline performances featured in the Jay Pritzer Pavilion, a marvelous facility with several thousand seats and then plenty of lawn seating. There were a variety of events including a solo piano concert series that took place prior to the main Festival kickoff. On the main festival site, Chicago Jazz Magazine operated a CD tent

There was plenty of music to be heard covering a range from traditional styled Chicago jazz to hard bop and to free jazz. Drummer-percussionist Hamid Drake was the Artist in Residence and was heard in four different settings. I heard a fair amount of music as well as did not get to hear some acts that I would have liked to but whether and other factors prevented, so I have provided just some few observations of the performers that stood out to me.

Fat Babies at the Chicago Cultural Center

Fat Babies is a traditional band playing in what may be called Chicago style. Influenced by King Oliver, the Austin High Gang and Jelly Roll Morton, this band played crisply and delightfully in this older style of jazz at the Chicago Cultural Center . High points of their set included King Oliver’s “Snake Rag, Eddie Condon’s Sugar, and Jelly Roll Morton’s The Crave. They have assimilated the style of twenties jazz well that even originals come across as songs from that era.

Jack DeJohnette’s Special Legacy Edition Chicago was a special band assembled to celebrate the great drummer-composer and bandleader’s career. With Thursday, August 29 declared by the Mayor Jack DeJohnette Day in Chicago, he brought together legendary Chicago figures pianist Muhal Richard Abrams and multi-instrumentalists Roscoe Gordon and Henry Threadgill. These three, all associated with the AACM all played roles in DeJohnette’s musical development. Bassist Larry Gray completed this group with the ensemble playing a composition by each of the members. The music was demanding and free with a mix of fervor and abstraction in the performance. Compositions by Abrams and DeJohnette struck this listener as the most realized performances and Abrams was especially impressive throughout as was the leader. This performance was professionally recorded so those of you who were not at this performance will have a chance to hear it at some point.

George Freeman played at the dedication of the
stage dedicated to the memory of his brother Von

Guitarist George Freeman was part of the Friday celebration of his late brother Von for whom a stage was dedicated at the Festival. George is perhaps the last living Chicago jazz musician to have played with Charlie Parker. He displayed his considerable chops on an unaccompanied guitar instrumental. He was followed by a band led by saxophonist Christopher McBride for a set of hard bop infused music. I should mention that heavy rain early Friday evening led me to miss Wadada Leo Smith’s performance of selections from his Ten Freedom Summers. Of the performances I did not attend, this was probably the one I missed the most.

Having heard about saxophonist Ernie Krivda for so long and having enjoyed his recordings, I really enjoyed seeing him perform. With a robust attack and a fine band, he would be well better known of he had not chosen to stay in Cleveland. I remember bassist Stafford James from seeing the Louis Hayes-Woody Shaw band in 1976. Having returned from Europe in the past few years, James led a String and Percussion ensemble that included a string quartet, a reed player and M’Boom, the percussion ensemble the late Max Roach founded. While James played arco throughout, his mentor Richard Davis was also part of this fascinating ensemble. James’ compositions and the ensemble’s execution of the arrangements was a fresh listen. 

Gregory Porter and is Great Band

Gregory Porter followed and was spectacular. This was my second time to see him live and the first with his exceptional band. His rich voice with echoes of Donny hathaway and Marvin Gaye, his marvelous original material and his ability to tell stories with his voice were enthusiastically received. He previewed a couple songs from his forthcoming Blue Note recording along with rousing renditions of Painted On Campus, On My Way To Harlem, Be Good, Nat Adderly’s Work Song and 1960 What? He is probably my favorite male vocalist in any genre now. He is that good!

Fast Citizens

Having been impressed by the most recent recording by the post-Ornette group, Fast Citizens, I was impressed by their live performance that exhibited the same mix of composition, improvised playing and empathetic ensemble playing that made that recording so memorable. Saxophonist and Juli Wood gave a standout performance with her robust sax playing and her strong singing backed by some fine players. I enjoyed her so much that I purchased her CD.

Evan Christopher on clarinet and Don Vappie on guitar

Evan Christopher also delights with his clarinet playing as reflected by the fact he was a finalist in the Jazz Journalists Associations Voting. He brought an exceptional quartet of Don Vappie on guitar and standup bass (Vappie is usually associated with the banjo), keyboardist Joe Alpher and drummer Ocie Davis, that provided bright interpretations of songs associated with Duke Ellington (Alex Hill’s Delta Bound) and originals including a number inspired by the creole traditions in Haiti as well and his own boogie woogie number. He received a particularly warm reception from the Von Freeman Pavilion audience.

Hamid Drake, Joshua Abrams, Jeff Parker and Jason Adasiewicz

The final act I wish to highlight was Hamid Drake & Bindu: Reggaeology. Hamid Drake, a drummer and percussionist of note, was the Festival’s Artist in Residence and while his other Festival shows were likely more in the manner of free jazz, Reggaeology was notable for his mix of groove and lively musical textures and colors that likely made this performance more accessible to more casual listeners. His ensemble included trombonists Jeb Bishop and Jeff Albert, guitarist Jeff Parker, bassist Joshua Abrams, vibraphonist Jason Adasiewicz and vocals and beat box by Napoleon Maddox. The performance reprised his 2010 recording (Rogue Art) and all of the persons on that recording were present with the addition of Adasiewicz who provided a solo voice in addition to Parker, Bishop and Albert as Drake was marvelous in his roles as composer, leader and drummer. 

This was ann uusual Jazz Festival that included a significant amount of free jazz m ixed with more mainstream, straight-ahead offerings. The sound was quite good, especially in the Pritzer Pavilion. With a heavy dose of exceptional local talent mixed with its internationally know headliners, the Chicago Jazz Festival was part of a vacation that I ended my summer on a high note.

These informal comments were written for Jazz & Blues Report.

Notable recordings of 2012 - Part 1

The first of several days recapping some of the finer jazz and blues releases that came out recently. Today I focus on recordings I reviewed in the first half of 2012.

New Jazz Recordings

Bass clarinet specialist Jacob Stein had a marvelous Delmark release, The Story This Time. "Stein has put together a fine band for the musical explorations heard on this very absorbing recording." 

Catherine Russell had another album of musical treats with her latest album, Strictly Romancin’ (World Village). It is the vein of her well received Sentimental Streak and Inside This Heart Of Mine, with a similar program of mostly long forgotten blues, ballads, love songs and swing from the twenties to today.

The Planet D Nonet, a group of musicians from the Motor City who perform a range of music issued a terrific double CD, We Travel The Spaceways: The Music Of Sun Ra (East Lawn Records).

The Rick Germanson Quartet had one of several excellent Live at Smalls recordings on the clubs Smalls Live label. Pianist Germanson was joined that night by the trumpet of Dr. Eddie Henderson, the bass of Paul Gill and the drums of Lewis Nash for some sterling hard bop. 

Saxophonist Paul Carr, who produces the annual Mid-Atlantic Jazz Festival in Maryland each February, had a terrific recording, Standard Definition (PCJ Music), on which he was joined by  Terell Stafford (trumpet), Joey Calderazzo (piano), Mike Bowie (bass) and Lewis Nash (drums). It was selected by Capital Bop as among the best 2012 jazz recordings by DC area artists.

Saxophonist and composer Dan Blake has a new release on BJU (Brooklyn Jazz Underground) Records, The Aquarian Suite, where he leads a piano-less quartet with Jason Palmer on trumpet, Jorge Roeder on bass and Richie Barshay on drums. "The mix of Blake’s stimulating writing with the high level of the performances, both in terms of the intelligent and spirited solos, and high level of the ensemble playing result in this excellent release."

Evan Christopher had a new release in his Clarinet’s Road series, In Sidney’s Footsteps(STR Digital Records). As indicated by the title, the music of Sidney Bechet is inspiration for the music here, although not all the performances are of songs recorded by Bechet. "There is a presence to his clarinet and the performances on this wonderfully recorded album that continues to delight after repeated listening. In Sidney’s Footsteps may be Evan Christopher’s most exceptional recording yet. Given the high level of his prior albums, that is saying something."

Harmonica wizard Gregoire Maret had an eponymously titled debut recording for Entertainment One. Maret’s playing is delightful and captivating. This is music that should have a wide appeal given the wonderful playing as well as the lyricism evident throughout this. Wonderfully recorded, Grégoire Maret’s self-titled debut should bring him well-deserved recognition.

Another release by the SmallsLive label in its Live at Smalls series of recordings was by the trio of tenor saxophonist Ralph Lalama, Bopjuice. This excellent location recording evoked the classic Sonny Rollins Live at the Village Vanguard.

New Blues

About Heritage Blues Orchestra, And Still I Rise (Raisin’ Music) I wrote "The foundation of the Heritage Blues Orchestra are the voices of Junior Mack, Bill Sims, Jr., and Chaney Sims who bring such a range of moods and emotions in the marvelous vocals here. This trio could do a recording without instrumental accompaniment and be as compelling as they are here. And I Shall Rise is an compelling, contemporary exploration of African-American musical roots.

Mark Hummel’s Blues and Lonesome: Tribute to Little Walter (Rockinitus Records) is an excellent compilation from recordings he has made over the years in homage to Little Walter.

Michael Roach and I had an association with the DC Blues Society two decades ago, and I had been following his maturation as a performer over the years after he left his native Washington and moved to England. He has also become important as a blues educator and historian. Innocent Child is his most recording on his Stella Records label. The varied repertoire here is matched by Michael’s natural, heartfelt vocals and adroit and thoughtful guitar. The result is the marvelous music on Innocent Child. 

Fifty years after Big Bill Broonzy’s passing, Billy Boy Arnold recorded a tribute album, Sings Big Bill Broonzy on Electro-Fi.  "This recording was heralded in Bob Riesman’s Broonzy biography, and its release has met the expectations for it. Today, one might find it hard to appreciate how significant Big Bill was in the history of the blues. Along with Riesman’s book, this tribute recording addresses that in a fine and spirited manner."

Guy Davis issued a memorialization of his one-man show, The Adventures of Fishy Waters: In Bed With the Blues, on his Smokeydoke Records with assistance from Bob Porter which enables those who haven’t had the pleasure of seeing Davis perform this show to enjoy it. The music and stories are about 91 minutes and therefore spread over two CDs.

Quintus McCormick, Delmark release Still Called The Blues. Delmark's Steve Wagner recalled his reaction when he first heard Quintus McCormick when recording his 1st Delmark album, Hey Jodie. “Wow this cat could be the next Johnnie Taylor!” I might suggest a bit of Tyrone Davis and Artie ‘Blues Boy’ White as well after hearing McCormick’s new Delmark release Still Called The Blues. This will appeal to a very wide grouping of blues lovers and is proof that Quintus McCormick is among today’s finest blues and soul performers.

Nathan James had an excellent Delta Groove CD, What You Make Of It, with his touring band, The Rhythm Scratchers. " I was not familiar with Nathan James’ music prior toWhat You Make Of It, but I was impressed to already acquire one of his prior recordings. There is some seriously good, original blues by Nathan James and The Rhythm Scratchers here."

Reissues or Newly issued Vintage Jazz and Blues Recordings

Dr. Robert E. Sunnenblick produced for his Uptown label a Dexter Gordon live album, Night Ballads Montreal 1977. Gordon was with his band of Eddie Gladden on drums, Rufus Reid on bass and George Cables on piano. This CD has over 70 minutes of ballads which might  be a bit much for some in one sitting. Still the terrific music makes this a highly recommended addition to the body of Long Tall Dexter's recordings. 

Reissue Universal released on its Hip-O-Select label, the four-CD Heart & Soul: A Retrospective, that in its four CDs surveys Etta James recordings from her debut as The Wallflower doingRoll With Me Henry, for Modern Records to the previously unissued 2007 recording of Rodney Crowell’s Ashes By Now. This was issued prior to her passing.

Tom Hoskins recorded and interviewed Hurt at the time of his location of Mississippi John Hurt on March 3, 1963. These recordings, the first since Hurt recorded in the 1920s, were issued on a fascinating new release on Spring Fed Records, Discovery: The Rebirth of Mississippi John Hurt. Wonderfully remastered, the CD has 19 tracks including a previously unissued and lengthy interview where Hurt and his wife talks about his early life and recordings, and life after those recordings.

Barbecue Any Old Time: Blues From The Pit 1927-1942 (Old Hat Records) is a relatively recent compilation of vintage jazz and blues recordings that celebrate barbecue, the distinctly southern American form of cuisine, usually slow--cooked over a pit. "This mix of lively downhome blues and rollicking early jazz and vocal harmony recordings is a definite musical feast well digesting like the delicious culinary tradition the songs salute. WIth the excellent annotation and engineering of the source material, this is an excellent collection."

Ruf Records issued a double CD set by Omar and the Howlers, Essential Collection. This is a career and label spanning compilation that covers the two or so decades of the recording career of Omar Dykes. I noted that nothing on this was less than first-rate.

Among the better reissues celebrating 40 years of CTI was the CTI Masterworks release of Stanley Turrentine’s Don’t Mess With Mister T. The addition of bonus tracks make this even stronger a reissue than a simple reissue of the original album would have been.

An excellent compilation of modern West Coast Uptown Blues is the English Ace collection of Al King and Arthur K Adams, Together: The Complete Kent and Modern Recordings. I wrote that this "is an important reissue of two powerful, if neglected blues artists (although thankfully Adams is still with us and continuing to make strong, original music)."

It is odd to hear Herman ‘Little Junior’ Parker referred to as a fairly obscure figure in the history of African-American music as Dave Penny does in the liner notes of the excellent two-disc, Fantastic Voyage public-domain reissue, Ride With Me, Baby: The Singles 1952-1961.  This is a very welcome, overdue, and highly recommended, reissue of Parker’s singles from the first decade of his recording career. 

Evan Christopher Follows Sidney's Footsteps

Once again nominated in the Jazz Journalists Association’s Awards for clarinet, Evan Christopher has a new release in his Clarinet’s Road series, In Sidney’s Footsteps (STR Digital Records). This edition was recorded in Paris with a band that includes David Blenkhorn on guitar; Julien Brunetaud on piano; Sébastien Girardot on bass and Guillaume Nouaux on drums. As indicated by the title, the music of Sidney Bechet is inspiration for the music here, although not all the performances are of songs recorded by Bechet.

Christopher is brilliant on this recordings from the opening I Got a Right to Sing the Blues through the jaunty rendition of When I Grow Too Old to Dream that closes this recording. His clarinet sings with warmth, bluesy expression, fluidity and melodic invention supported by a fabulous band whose members complement the leader and add their own stamp. Pianist Brunetaud and guitarist Blenkhorn shine on their solos as well as their accompaniments and the rhythm duo get the right groove.

Photo © Ron Weinstock

Delights include Christopher’s driving boogie woogie Cinq Minutes! (Boogie), which allows Brunetaud to display his considerable facility along with some rather hot playing from Christopher and a spotlight on drummer Nouaux as well as Christopher’s lovely and wistful interpretation of Bechet’s famous Petite Fleur, with guitarist Blenkhorn adding embellishments as well as a tasteful solo.

Bechet’s Blues In The Air also displays Christopher and band’s facility with the blues with Brunetaud helping establish the movement with his understated blues playing over which Christopher states the theme and then elaborates. Blenkhorn mixes in single note runs with chords on his own jazzy blues solo. Blenkhorn is also prominent on the delicate and lovely performance of Django Reinhardt’s Manoir De Mes Rêves.

While not as strong a singer as clarinet player, Christopher has a definite charm as he shows on his vocal on James P. Johnson’s Old Fashioned Love, followed by his marvelous clarinet. He and pianist Brunetaud (singing in French) share the vocal on the closing When I Grow Too Old To Dream, with a very lively arrangement of this musical chestnut.

There is a presence to his clarinet and the performances on this wonderfully recorded album that continues to delight after repeated listening. In Sidney’s Footsteps may be Evan Christopher’s most exceptional recording yet. Given the high level of his prior albums, that is saying something.

I purchased this recording. Here is Evan Christopher performing Sidney Bechet's Petite Fleur.

1st Weekend JazzFest Suggestions From One Who Cannot Be There

D.L. Menard
Photo © Ron Weinstock

A comment to a post on this blog requested if I had any recommendations for JazzFest this year and then Steve Kiviat, who is associated with the Washington City Paper, mentioned he was going to JazzFest for the first weekend and it was the first time in six years. He knew most of the funk acts and brass bands so he requested some other suggestions including any idea about Luther Kent and Ernie Vincent. I replied to Steve by email and am using my response to him as the basis for some Festival recommendations and excluding the most obvious big stage and soul acts like Bruce Springsteen and Al Green.

Evan Christopher - Photo © Ron Weinstock

I have not seen Ernie Vincent who is in the Blues Tent as is Luther Kent (who I have seen and is real good). However, Luther is opposite Evan Christopher who will be in the WWOZ Jazz Tent. Evan’s new Clarinet Road CD, In Sidney’s Footsteps (STR Digital) is superb.

Of special note on Friday, Stephanie Jordan and her Big Band is doing a tribute to Lena Horne and will be followed by Pancho Sanchez with Terence Blanchard.The Blues Tent becomes over-crowded but early on Friday it has legendary pianist Henry Grey followed by the former Clifton Chenier guitarist Lil Buck Sinigal. The New Orleans Revue on the Acura Stage Friday has Frankie Ford, Robert ‘Barefootin’ Parker, and Al ‘Carnival Time’ Johnson looks real good and they will be followed by The Dixie-Cups. Frankie Ford remains a terrific entertainer. The Fais Do Do Stage which features cajun and zydeco always has some good music with an exceptional lineup on Friday with Geno Delafose and Beausoleil standing out. Butch Thompson will be doing a Jelly Roll Morton tribute in the Economy Hall Tent and Irma Thomas will be doing her Mahalia Jackson Tribute in the Gospel tent.

Brother Tyrone
Photo © Ron Weinstock

On Saturday, Brother Tyrone (If You Ain’t Cheating, You Ain’t Trying) is soul-blues in Blues Tent and recommend him along with Wolfman Washington at that venue. In the WWOZ Jazz Tent I already have mentioned Evan Christopher and Clarinet Road, but also check out Irving Mayfield's New Orleans Jazz Orchestra features some terrific compositions and soloists. Closing in the Blues Tent will be a Tribute to Wardell Querzergue featuring The Dixie Cups, Robert “Barefootin’” Parker and Tony Owens. D.L. Menard (the Cajun Hank Williams), the Savoy Music Center Jam and the terrific Pine Leaf Boys will be on the Fais Do Do Stage, along with a non-cajun act, the Carolina Chocolate Drops. Shamarr Allen (Meet Me On Frenchmen Street) is on the Gentilly Stage early in the day.The Voice of the Wetlands All Stars (Tab Benoit, Dr. John, Cyril Neville, Anders Osborne, Big Chief Monk Boudreaux, Johnny Vidacovich, Johnny Sansone and Waylon Thibodeaux are on the Acura Stage before Tom Petty.

Stephanie Jordan
Photo © Ron Weinstock

On Sunday, Dr. John and Trombone Shorty are featured on the .Acura Stage but fans of New Orleans funk should also check out Papa Grows Funk on the Gentilly Stage (overlaps Dr. John) as well as The Batiste Brothers whom will be on Congo Square (overlap with trombone Shorty). Must see in Economy Hall is Lionel Ferbos who will be celebrating his 101st Birthday soon, and The Treme Brass Band. In the WWOZ Jazz Tent, Ellis Marsalis makes his festival appearance, the great Diane Reeves will sing and Nicholas Payton leads a fascinating trio which includes Jeff ‘Tain’ Watts on drums. In the Blues Tent Corey Harris & Phil Wiggins make perform some fascinating acoustic blues followed by the JazzFest return of Ironing Board Sam, once a JazzFest mainstay. Also in the Blues Tent is Gary Clark, Jr, who has been getting lot of well-deserved press recently. Kirk Joseph's Tuba Tuba on the Jazz and Heritage Stage sounds really fascinating as he leads a group of New Orleans finest Tuba players. Highlights on the Fais Do Do Stage on Sunday are Steve Riley and Hadley Castille, while guitarist Spencer Bohren performs on the Lagniappe Stage.

So that is my specific recommendations including some you may have not considered. Have a great Fest. I will post recommendations for the second weekend May 1 or 2.

Papa John Gros of Papa Grows Funk
Photo © Ron Weinstock

Evan Christopher Remembering Songs On The Clarinet Road

One of two new albums, clarinetist Evan Christopher had issued in 2010, Remembering Song (Arbors), is another exploration in following the clarinet road he has has embarked on the last two decades or so. A 2011 Jazz Journalist Association finalist for clarinet, and a favorite of Nat Hentoff and the late Ahmet Ertegun, Christopher is joined by a fine quartet with legendary Bucky Pizzarelli on acoustic guitar, James Chirillo on electric guitar and bassist Greg Cohen. As quoted in Larry Blumenfeld’s notes, Christopher observes “By not using drums, the texture is more introspective, more subtle.”

After a brief introduction of The Remembering Song, the group launches into Christopher’s original The Wrath of Grapes” inspired by a wine shop-cum-performance space in the Bywater area which has embedded within a quote from Louis Prima’s Sing Sing Sing. Its a lively performance with Christopher’s warm, fluid swooping tone complemented by the band and Chirillo takes a nice horn like solo. Way Down in New Orleans starts at a languid, dreamy tempo with the interplay between Christopher’s warm woody tone accented by Chirillo’s single note responses, before the performance revives a tango section in the original sheet music before transitioning back to the dreamy mood for the lovely close. Christopher’s The River By the Road is inspired by a quote from Sidney Bechet’s autobiography with bassist Cohen taking a solo on a performance that conjures up a picnic on a delightful spring day.

Tommy Ladnier is somewhat forgotten figure these days but he had a close association with Sidney Bechet, and his Mojo Blues is a lovely minor key tune with a bluesy mood and wonderful solos from all four. Bechet is inspiration for You Gotta Treat it Gentle another lovely melody that Christopher develops and caresses. The quartet take what Blumenfeld describes as a deliberate tempo on the rarely performed Jelly Roll Morton ruminative composition, My Home Is a Southern Town followed by the delightfully lazy Serenade. The Remembering Song heard in a full rendition, is an original that sounds so familiar yet new and the performance particularly sings.

Evan Christopher is a thoughtful person who continues to mine what some would consider traditional byways of jazz, yet brings a contemporary approach along with substantial lyricism and soulfulness to his music. Remembering Song is simply amongst the latest recording of his sublime playing and music.

I purchased this recording

Evan Christopher's musical meeting of Django and Sidney Bechet

Evan Christopher has established himself as amongst the premiere clarinet players in jazz today. While associated with more traditional forms of jazz, Christopher has displayed a healthy catholicism in the range of music he plays whether traditional Sidney Bechet numbers or a medley of Ornette Coleman compositions. After Hurricane Katrina, he was briefly based in Paris at the invitation of the French government. Among his various groups is Django à la Créole, which is his effort to bridge the gypsy swing of the legendary guitarist Django Reinhardt and the New Orleans creole tradition. In 2008, they issued their original album Django à la Créole and in 2010 issued their second recording, Finesse (Frémeaux & Associés).

Django à la Créole is comprised of Christopher on clarinet, David Blenkhorn on lead guitar, Dave Kelbie on rhythm guitar and Sébatien Giradot on bass. As the drummer less instrumentation suggests, there is perhaps a bit more intimacy and chamber music quality to the performances similar to that of Reinhardt’s own recordings. While Reinhardt and Bechet lived in Paris for several years and likely their paths crossed, they never recorded, although Bechet recorded Nuages. 12 days after the guitarist passed. A couple of Bechet compositions bookend the eleven performances here, starting with the West Indian flavored Tropical Moon, where Blenkhorn’s guitar weaves single notes and chords around Christopher’s entrancing clarinet lead as the other two deliver a swinging rhythm. The closing Passaporte Ao Paraiso (Passport to Paradise), which is treated as a Brazilian Choro, and again displays Christopher’s warm, woody tone.

The title track was by bassist Billy Taylor and was originally recorded in a trio with Duke Ellington and clarinetist Barney Bigard. Several months later, it was recorded in Europe by Reinhardt in the company of Taylor, Bigard and Ellington trumpeter, Rex Stewart. On this, Blenkhorn states the theme before Christopher enters with a slight touch of vibrato (perhaps a bit more Bechet style on this) followed by a lovely electric guitar solo. A brisk Riverboat Shuffle features some delightful interplay between Blenkhorn and Christopher again, with Christopher’s clarinet evoking some of the charm and heat of Bix Beiderbecke’s cornet, with Blenkhorn particularly nice here.

Christopher’s Django à la Créole, is an original based on Reinhardt’s Improvisation #3 which Christopher says he arranged in the manner of the spanish tinge compositions of Jelly Roll Morton such as The Crave. The guitar accompaniment adds a flamenco accent to the performance. Solid Old Man is a charming performance of a Rex Stewart blues that was originally recorded at the same Paris session as Finesse, and displays Christopher’s warmth, tone and phrasing in his marvelous blues playing.

Evan Christopher at Louisiana Music Factory

Song d'Automne (Autumn Dream) by English composer Archibald Joyce is a waltz transformed into a lively samba and followed by Hoagy Charmichael’s Jubilee that Louis Armstrong introduced in a Mae West film. Armstrong was one of Reinhardt’s idols and in addition to Christopher’s thrilling playing, guitarist Blenkhorn interpolates quotes from Armstrong’s recordings of St. Louis Blues and the famous introduction of Mahogany Hall Stomp, in his delightful playing. Other strong performances include the delightful performance of Louis Moreau Gottschalk Creole Eyes, originally composed for solo piano, and the rendition here  highlights some of the Cuban influences in this 19th Century composition. Féerie is an usual hot tempo Reinhardt original with precise, warp speed playing followed by a lovely gypsy-creole distillation of the Ellington class Mood Indigo which Barney Bigard claimed he was authored the second theme with more lovely clarinet.

The originality and invention that Evan Christopher and his associates bring is thoroughly captivating. I had been waiting for several months for Finesse to be available in the United States and the wait was well worth it. Highly recommended, this is available from www.lousianamusicfactory.com and other sources.

This was a purchase.

After All These Years McDermott and Christopher are Almost Native

It is easy to label both pianist Tom McDermott and clarinetist Evan Christopher as traditional jazz musicians, but both transcend that simple label.McDermott, a pianist rooted in ragtime and Jelly Roll Morton, has also become renown for his interpretations of the Brazilian choro idiom and the music of New Orleans legend James Booker. Christopher has become one of the most highly regarded clarinet players today and is a 2011 Jazz Journalists Association nominee, who has also exhibited abilities to excel beyond traditional jazz as evident by his European gypsy jazz recordings and his intriguing interpretations of modern jazz including a marvelous medley of Ornette Coleman’s Lonely Woman and Ramblin’, and John Coltrane’s After The Rain.

The new album by the pair, Almost Native (Threadhead Records) takes it title from the fact that someone asked Tom if he was born in New Orleans, and after he answers he moved there in 1984, they respond, “”Oh, well you’re almost a native then.” This latest recording is a duo recording of originals by the pair, eight by McDermott, and two by Christopher that displays the considerable empathy between them which enhances the lyricism at root of both their styles.

The music moves from the wistfulness of the opening Tango Ambiguo (Ambiguous Tango), the indigo charm of Christopher’s slow Waltz For All Souls which evokes George Lewis’ bluesy playing, the raggy playfulness of Le Manège Rouge (The Red Merry-Go-Round), to the the atmospheric Spooky Blues (For Booker)/Quite Enough Blues, with McDermott’s spare, restrained playing effectively setting the mood. There is a bit of cheeky humor for “The Don’t-Mess-With-My Two-Step, a piano solo, followed by a delightful and playful, Chorando Em Paris (Playing Choro In Paris). The last original recording here is a march, March of the Pony Girls, which exhibits all the warmth and humor the two exhibit throughout this.

A bonus track, the lively Irresistível (Irresistible), derives from McDermott’s New Orleans Duets and concludes a thoroughly charming recording. It is available from www.louisianamusicfactory.com, cdbaby, itunes and other sources. Tom McDermott’s website is www.mcdermottmusic.com and Evan Christopher's website is www.clarinetroad.net. 

Evan Christopher and Tom McDermott doing an in-store performance
at the Louisiana Music Factory on Decatur Street in New Orleans.

Some JazzFest recommendations for Day 3 Sunday May 1

Lil Buck Sinegal

This is the final in my list of recommended shows for the first week of JazzFest, which is the weekend I am attending. I should mention that for those outside of New Orleans, WWOZ (wwoz.org) broadcasts selected concerts from the Festival and Monday May 1, they hold their annual Piano Night Fundraiser at the House of Blues, which is also broadcast.


11:15 AM in the Gospel Tent - Jo “Cool” Davis with guest James “Sugarboy” Crawford. The Gospel Tent features many great performers. Jo ‘Cool’ Davis is a singer that will suggest Bobby Bland for fans of blues and rhythm’n’blues, Special guest is James ‘Sugarboy’ Crawford, who led the cane Cutters and had a major hit with Jock-A-Mo, which folks may know as Iko-Iko. Crawford has given up secular music to sing gospel.

Luther Kent

12:20PM in the Blues Tent - Lil Buck Sinegal. After leading Lil Buck and the Gold Tops which included organist Stanley ‘Buckwheat Zydeco’ Dural, he played fort a number of years with zydeco king Clifton Chenier. A fine blues singer and guitarist, he is part of Buckwheat Zydeco’s band today. Its always a treat to see him play on his own.


12:30PM in the Jazz Tent - Jazz & Blues feat. Luther Kent, Phillip Manuel, and Big Al Carson. An intriguing appearnace together on stage of Bourbon Street staple, Big Al Carson; blues belter Luther Kent who once fronted Blood Sweat and Tears; and the smooth jazz vocal style of Manuel promises some musical fireworks.

Frankie Ford

12:50PM on the Gentilly Stage. Classic New Orleans Revue with Frankie Ford, Jean Knight and others. With the Blue Eyed Soul Band, Ford, who rocked the world with Sea Cruise for Ace Records in the 1950s and Knight, who had a smash hit with Mr. Big Stuff lead a revue to take folks back to the heydays of New Orleans rhythm and blues.

Tom McDermott and Evan Christopher

2:00PM at the Lagniappe Stage - Tom McDermott and Evan Christopher. McDermott is a marvelous pianist who can rag a Bach composition, make you think he studied under Scott Joplin and Jelly Roll Morton as well as mesmerize you with his interpretations of Brazilian choros. Evan Christopher is a Jazz Journalists Association finalist for Jazz Clarinetist. He is rooted in the New Orleans clarinet tradition but also will play in a gypsy jazz context interpreting Ornette Coleman. He and McDermott make magic together when they are paired like at this set.

Deacon John at 2009 New Orleans Jazz & Heritage Festival

3:00PM at the Gentilly Stage. Deacon John. Once a studio regular who grew up with music on the streets and in his home, Deacon John Moore can croon a standard with silky smoothness as well as revive an old The Spiders' classic I Didn't Want to Do It, or play slide guitar and revive Elmore James' Happy Home. A consummate entertainer, superb musican and singer, Deacon John always has tight bands that can jump an older Roy Brown classic as well as rework vintage B.B. King. His annual JazzFest performances are a treat. For recordings, sample Deacon John's Jump Blues. 

Red Baraat

5:55PM on the Jazz & Heritage Stage - Red Baraat. Led by Sunny Jain on the d’hol, hand held drum, Red Baraat superficially might be called Bollywood meets Bourbon Street, but in addition to the infectious grooves built upon Punjabi songs there is some strong solos. In addition to the leader, pay attention to the brilliant trumpeter, Sonny Singh and Mike Bomwell’s baritone sax. I have seen them at the Montreal International Jazz Festival and recently at the Kennedy Center, and I look forward to their joyous music with plenty of heart but also substance.