The Augmented Ear

One of the coolest things about Steve Vai is that he is committed to his love of the instrument and music. Many artists have enjoyed artistic freedom, controlling their output and being able to maintain their visions thanks to his Favored Nations label.
Several years ago, Vai greenlighted a movie bio-pic about the legendary Hank Garland, called Crazy. I hadn’t heard of this movie before coming across it on Netflix, and enjoyed it immensely.

Granted, it’s a fictionalization, and gives short shrift to Garland’s terrific jazz playing, but the first 30 minutes are a delight for fans of jazz guitar, western swing, or rockabilly playing. The opening shots of a room filled with Gibson and Gretsch archtops are a players’ dream sequence.

For those unfamiliar with Garland, check out his recordings with Gary Burton. Burton says he went to Nashville to record with Boots Randolph, a local Evansville, Ind., hero when Burton was growing up, hired to play on Garland’s jazz album.

The result is magic — some of the best, hard swinging small combo music you’ll hear. Garland reminds me of Barney Kessel at times, playing with that easy swing not matter the tempo, with a touch of blues every now and then.

His chord knowledge is just astounding, though. He jumps into quick chord stabs in the middle of a melodic run, then slips back into the run. Other times, he uses chains of chords to embellish a melody.

Check out Crazy if you like movies about musicians and great music. Watch for real-life guitarist Tony MacAlpine’s screen debut as Wes Montgomery!

Oh, and producer Vai slips in for a moment Hank Williams.

I subscribe to several music services, including Napster and eMusic, for accessing music for my listening enjoyment, for work and for teaching. All of these sites offer their helpful “picks” or recommendations, but there’s a huge difference between the recommendations made by the sites.
Compare Napster’s top picks to eMusic’s:
Napster:
Lyla by Avishai Cohen
The Architect of Modern Bossa Nova (Antonio Carlos Jobim)
The Best of Dizzy Gillespie
Ultimate Big Band Collection: Glenn Miller
Body and Soul, by Louis Armstrong

eMusic:
Pathways, by the Dave Holland Octet
Kind of Blue, by you know who
Lush Life, by John Coltrane
Half the Perfect Word, by Madeleine Peyroux

This a list of really great and important work done half-a-century ago … and three new releases. Making Kind of Blue
one of your picks on these sights is analagous to “phoning it in”: you’ve obviously not heard anything new so you’re falling back for the obvious.

In fairness, both sites are pushing Esperanza Spalding on the eve of her new release, which is great. Scroll down a little bit to find my opinions of Ms. Spalding.

But as wonderful as she is, she is but one of hundreds of hugely talented people recording and touring today. Most of whom are getting the short end of the stick because record companies — and their apparent proxies, the music services — are beholden to their back catalogs of classic recordings.

If jazz is in trouble, it’s because these companies have decided the marketplace only has the capacity to grow by one or two new names each year (this year’s additions are Michael Buble and Spalding). There’s more money to be mined in what was recorded 50 years ago, so why bother?

It’s got to be extremely difficult for musicians to get their names known and to build any kind of music sales — it’s not right to make them compete with Miles Davis and Dizzy Gillespie.

Made it to Somerville in time to catch all of Louis Hayes’ set — the set list included some Monk, some Coltrane, some Adderley … Hubbard and Shorter tunes. Terrific!
I took a Bloggie, hoping to capture at least one performance but forgot to change the settings — after getting about 2 minutes of the opening tune, the memory card was full and the camera jammed up … but I did get this video of the mayor of Somerville, Brian Gallagher, declaring Sept. 12 as “Louis Hayes Day” in Somerville.


Here’s Louis showing off his proclamation:

Wouldn’t it have been great to have captured a bit of the performance — especially since Hayes brought Javon Jackson out! What a great treat!

This weekend offers local jazz fans a feast and a festival … Princeton’s Jazz Feast on Saturday, and Sunday’s Somerville Jazz Festival. Both have great lineups — can you make both?

Princeton’s feast opens with the Princeton University Jazz Ensemble — a top notch group — and follows with the New Legacy Jazz Band. Bucky Pizzarelli returns at 2:30 to help accompany Nicki Parrott — that will be a great treat.

The afternoon is rounded out with The Fins and Vince Giordano and the Nighthawks will wrap things up.

Sunday’s fun begins at 1 p.m. and has a fabulous lineup: The Curtis Brothers, “Sweet Papa” Lou Donaldson, Melissa Walker and the great Louis Hayes to close it. Last year, the festival ended with Jimmy Heath — do I see a pattern here? If so, it’s a good one!

Both events are downtown and outside, so plan on getting in early for the best spots.

If you’ve a taste for jazz delivered fresh, head to Casa Dante in Jersey City, Friday. Laura Hull will be joining Vic Juris and Steve LaSpina for a set starting at 7:30 p.m.
If you’ve not heard Ms. Hull, be sure to visit her website; ditto for Mr. Juris, one of the best guitarists in the area. They should make a great combination.Ms. Hull is not only one of New Jersey’s busiest performers, she’s also the current president of the New Jersey Jazz Society.
Casa Dante is at 737 Newark Ave.

New Brunswick is an often-overlooked oasis of terrific jazz, much of it safely cocooned within Rutgers’ scattered venues.

Recently, a group of in-town jazzbos launched the New Brunswick Jazz Project, aimed at increasing the visibility and awareness of jazz in the Queen City. Headed by Rutgers prof – and Posi-Tone Records artist — Ralph Bowen, the group has emerged as a solid source of jazz performers around town. I had a chance to review Bowen’s Due Reverence for AllAboutJazz.com recently – you can read the review here.

The group has been organizing events in recent weeks, and Thursday, saxophonist < a href=“http://www.toddbashore.com” target=_blank>Todd Bashore and his quartet will perform at Makeda at 338 George St. The show starts at 7:30 p.m., runs to 11 p.m., and there’s no cover charge. The quartet includes pianist Orrin Evans, Yasushi Nakamura on bass, and Chris Brown on drums.

This show is a bit of a tune-up date for the group, which will be recording in August, ahead of Bashore’s departure to hook up with the Max Weinberg Big Band for an upcoming tour.

It’s the middle of the summer, apparently not the best time to release a new CD. For those willing to try, beware of the competition!
According to AllAboutJazz.com’s CD release schedule, this month has been rife with re-issues. From John Coltrane to Charles Mingus, Louis Armstrong to Bill Evans, it’s been a crowded field of big names. Revamped, re-issued, reworked or re-mastered, it’s a tough crowd to go against.
Next month perks up, though, with releases from Dave Liebman, Esperanza Spalding, Brian Bromberg, Vijay Iyer, Kenny Werner and Jeff Berlin.

If you’ve not listened to Esperanza Spalding, you’re missing out on a rare treat.
Spalding is a 25-year-old dynamo, maybe the best thing to happen to jazz in a decade or two because she has the star quality missing from so many young players. Eldar and Julian Lage are exciting players, but Spalding is not only a capable player — she’s also a singer capable of making a song her own.
Check out this video of her performing Stevie Wonder’s “Overjoyed”:

We can thank Pat Metheny for this treat: the story goes Esperanza was ready to quit Berklee after spending two semesters lugging her bass around, and switch to a political science major. But Metheny told her not to, pointing out she has the undefinable quality that can make an artist rise above others.
Need more proof? Here she is Jimmy Kimmel’s show:

How can jazz be dying when it draws someone so full of life?

Choosing to be a musician is a commitment for the long-term, especially if one aspires to be a jazz musician. For every Jamie Callum or Eldar, there are thousands of determined players woodshedding every day and dreaming of having a hit record.
They may have even already recorded the tracks that will break through – and don’t know it. That’s what happened to New Jersey pianist Joel Zelnik.
Zelnik is a regular performer in New York and Northern New Jersey clubs, where he and his wife Francine Evans draw crowds with their tributes to Frank Sinatra, Big Band girl singers and other shows.
His career began in the late 1960s, when he formed the J. Zelnik Trio. The group’s swinging performances earned them lots of fans, including Dr. Billy Taylor, who would feature tracks from an LP recorded by the trio in 1970, Move, regularly on his radio shows.
Turns out, Move is a big hit in Japan … in 2010.
The album wasn’t a big seller initially, in fact, when the son of the trio’s drummer David Rosenburg, who died some years after the recording was made, wanted to hear his late-father’s work a few years ago, the only copy anyone seemed to know about was on Zelnik’s shelf.
Zelnik made a copy of the recording and sent it to Jay Rosenburg (son of David). Jay enjoyed it so much, he began a one-man crusade to spread the music of the J. Zelnik Trio.
Thanks to the Internet, Japanese businessman Keisuke Taniguchi became a fan, investing time and money in producing a CD to release in Japan.
Search online for the J. Zelnik Trio and a handful of Japanese sources pop up – using Google’s translator, a few things were clear: the album is legendary among jazz fans there (and they are a dedicated and informed bunch); it features such tunes as “Tune Up,” “A Minor Thought” and “Will You be Mine”;… and it’s selling out.
It’s such a hit, the Japanese Think! Label has already arranged to release a follow-up, Joel Zelnik Trio Live At Steinway Piano Gallery.
Both recordings are available stateside from Dusty Groove’s American site, dustygroove.com.

I just received a new CD from guitarist Royce Campbell, the third he’s kindly sent me to review. While I owe him a longer writeup on his “Movie Songs Project” with Phil Woods, I wanted to share his name and my thoughts on his music sooner than I’ll be able to do otherwise.
Campbell’s latest release is “Solo Trane” (on Moon Cycle Records), a collection of John Coltrane tunes arranged for the guitar. Most musicians have enough trouble getting comfortable with Coltrane’s often-complex harmonic ideas to skip trying to craft intelligent or creative arrangements — it’s all about the speed of soloing for too many Coltrane-wannabes. I’ve only had a chance to hear about half of the release, but it’s clear Campbell is firing on all cylinders on these cuts. His treatment of “Naima” is magnificent; quietly passionate while still exploring all of the harmonic potentials of the song.
“Trane Track” gets a fun, strummed treatment to bounce melody and solo lines from … I’m anxious to hear it again.
“The Movie Songs Project” (on Philology Jazz), a collection of movie soundtracks with bassist Bob Bowen, drummer Ron Free — and a freelancing Phil Woods — will satisfy bebop fans of such soundtrack faves as “Manha De Carnival” or “Laura.” This group plays with classic cool, easily swinging while soloists tear through. Woods plays with a quiet intensity — you can always count on quality improvisation with him, but he seems to be enjoying this outing a lot. I never thought of “Baby Elephant Walk” as much more than a novelty tune, but in the hands of capable musicians …
The first listen I had of Campbell was his “Art of Chord Solo Guitar,” which I wrote about for AllAboutJazz.com (you can read it here).
I found Campbell’s solo work to be top-notch; it’s great to see he isn’t hindered in a band setting — or by some of jazz’s most challenging compositions.