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Live Performance Reviews – June 1999 – Anton Schwartz
Anton Schwartz
Live, April 17th, 1999
Jazz DeOpus, Portland, Oregon
by S. H. Watkins, Sr.
We first found out about Anton Schwartz when we reviewed his debut release When Music Calls in our Dec. 1998 Issue. Recently we had the opportunity to hear him live when he visited Portland, the home of JazzUSA.
The mood was lively. We arrived at 7:20 to attend the 8:00 set and Jazz DeOpus was already filling up, so we ordered something to eat and a bottle of wine and sat back to enjoy the show. At 8:00 Anton Schwartz came on, introduced the members of the ensemble and began to play.
After covering ‘Too Much Pepper’, ‘Tidepool’ and a few other tunes from his release When music calls album, Schwartz then treated us to a couple of great new tunes as well. Anton’s performance was every bit as vibrant and melodious as the album, capturing the attention of the crowd and holding them in his spell. Although he did not bring his regular troupe with him, he was ably accompanied by a trio of local musicians, most notably keyboardist Darryl Grant whose improvisational stylings added even more punch to the already popping tunes.
If you ever get the chance, be sure to go and see Anton Schwartz, whomever he is playing with. For schedule information visit the Anton Schwartz Website.
Anita Baker
Allen Toussaint
Stanley Jordan
Dane Vannatter
Slimpocket – Live @ McGanns
SMV – Live @ House of Blues
Jane Monheit 
Steve Griggs Quintet 
Barbara Montgomery
Like Fine Wine
Like A Kiss That Never Ends
Anne Drummond
Carnegie Hall Presents
Rippingtons
by Raymond Redmond
Yellowjackets featuring Mike Stern
Carl Burnett
Ellynne Plotnick
John Pizzarelli / Various Artists
Let’s Get Lost
Elaine Lucia
Rippingtons
Taylor Eigsti
Lester Bowie
A talk with
Ramsey Lewis
Hiroshima
Tributes and More Tributes
Natalie Cole
Regina Belle
Layla Angulo Sextet
Paul Jackson, Jr.
Soul Ballet 
Latin Spirits
The Afro-Rican Ensemble
Various Artists 
Gabriella Anders
Tony DeSare 
McCoy Tyner
On this particular evening, over 23 awards were given out to groups and individuals ranging from “The Best Gospel Performer” to “The Best Overall Performer in a Stage Play.” Of course my main reason for being there was to see who would hold down the title as “The Best Jazz Instrumentalist” 
The LA Black Music Awards also took time out to induct four very well known legends into their “Black Music Hall of Fame” category. The four were Chaka Khan, The Caravans (Inez Andrews), Marvin Gaye and Nancy Wilson; two of which (Khan and Wilson) are known for their prowess in the jazz arena. Many great words were spoken of these wonderful entertainers. 
On this night, the stars did indeed come out and lend their support. Of the notable stars on hand, Evelyn “Champagne” King, Leon Isaac Kennedy and Earth Wind and Fire are just a few. 
David Lahm
Warren Hill
Kurt Elling 
Luba Mason
Wayne Krantz
With the recent passing of saxophone great Grover Washington, the jazz-pop world will have to turn elsewhere for that soulful sound that Grover gave us for so many wonderful years. Cornelius Bumpus is certainly a contender for that honor. His new CD known fact is warm and melodic the way that Grover’s tunes were. With a sprinkling of background vocals and the ocassional blues influence, Bumpus saxophone sings to the listener in sweet, sensuous tones.
Kisses In The Rain
The titles of both of Kirk Whalum’s new albums, Unconditional and The Staff, say a lot about the make up of the 42 year-old musician. The popular saxophonist is currently touring the country in a package with bassist Waymon Tisdale and the group Kombo. 
Roland Kirk
King on the Road
King of the B-3′ Wears a Tarnished Crown 
There is an assertiveness you feel once it starts turning. It says “Listen.” The bass doesn’t walk – it swaggers. The drums, recorded with no echo, nail the beat to the wall. And then he arrives. A loud tough riff, reserved for the hardest of bop. You see the fresh-faced kid on the cover, and you wonder. And you listen. It could be from the early ‘Sixties: the sax twists its pungent tone through a series of convolutions – not rehearsed, but felt. The solo’s a minute long, and it’s enough. He’s ready. The band might be slightly older than he, but not much. They stand tall, from warm piano to dry trumpet, and you don’t buy it for the players’ “future potential” – it’s worth hearing now. And if you think I’m hyping Elias, wait ’til I tell you what others are saying.
Mimi Fox
Kickin’ it with Joe McBride
Gerald Albright
Kickin’ It
Jazz Crusaders
An Interview with filmmaker
Nick Colionne 
Joyce Cooling
A Moment with 
G.F. Mlely helps Kaimuki Kids Compose Music
Newport Jazz Festival
Newport Jazz Festival
When asked to cover the benefit in support of Art’s two young sons my response was: “Sure! I’d be glad to.” Well, I had no idea that many of my deeply entrenched musical attitudes were about to be pulverized, and my perceptions of smooth jazz headed straight for the edge! That Thursday afternoon when I enthusiastically agreed, I knew precious little about Art Porter’s music. By Saturday night Art’s music had gained my deepest respect and admiration. I had come in contact with the spirit of a man who had contributed immensely to the sophistication of contemporary music. My introduction to the life and music of saxophonist Art Porter came five years after he left the earth. I missed out on any possibility of experiencing his immense creativity and enthusiasm in performance…and what a pity for me. As I ventured out to the Park West where the folks were gathering like birds awaiting the imminent morn, I was soon to discover an artist who was actually a much greater part of my musical experiences than I realized. 
After the opening comments and an introduction of Art’s mother, the show began with Jeff Lorber (who produced two of Art’s albums) opening with Straight to the Point. Saxophonist Steve Cole joined him in this number as they broke the darkness of the theater into a million volts of summer beach light and energy. The listeners immediately fuse into one spirit, rocking back and forth together in a gentle, yet insistent pulsing motion. The room is bathed in splendorous sound, evoking images of summer… an air-conditioned club, an outdoor concert, or maybe just an evening gazing at the lake. The electric bass buzzes underneath the charge of the keyboards and horns, leaving not a single detail of the experience unspoken. And the musicians bring the number to a brilliant close punctuated by a musical crescendo of applause and cheers. 
Moving with a heartbeat tempo, On Eagles Wings evoked memories of peacefully smooth octaves so characteristic of the great Wes Montgomery. Jackson’s soaring solo unfolded with power and nobility in a series of mesmerizing ascents in chords and phrasing. The number exhilarated the audience. Paul becomes airborne as he rolls into Rock Steady, rocking without shame. You know how you pull up to a stoplight and your windows are rolled up, right? And you’re rocking fiercely to an irresistible beat when you glance out window and see the folks in the next car rocking right along with you? Well, Rock Steady was that kind of tune. Everyone in the place was pumpin’ those neck muscles without mercy to the same tempo, heads jerking like the ever-popular bobble-head dolls. 
I am recognizing much of the music. I start out grooving with it because the number is familiar, then I get really involved because Cole’s saxophone is wailing! Cole was not content to let the place rest until he had the audience reeling and squirming in their seats. He then ventures up to the mike…”I’ve got to say something…” he quips in a modest tone “…this Art Porter music is hard!” Well, the audience just breaks up behind this. Steve continues: “And growing up in Chicago, I remember saying… ‘Wow, I wanna play like that.” He then follows up with an original that courses gently into the air drifting, floating, stirring up deep-seated emotions and feelings. More than once during Cole’s improv, an unidentified listener enhanced the mood by intoning … ‘Well all right!” – overcome by the elevated energy of Cole’s solo. 
Energized by the ocean of unidentified echoing voices the two hurl musical jewels at one another like tennis champions relentlessly vollying in a match. Cole and White play, and play, each pressing the other a step further; pressing the level a notch higher as they feed off of one another’s musical ideas. Singing, wailing as the rhythm section steadily fuels the duel with sizzling ammo of their own. The ballad that has created such tension in the room now transmutes to the point of a cleansing thunderstorm. As it trinkles to a ringing conclusion, the audience by now is actually part of the music, sending unending waves of positive vibrations to the performers on stage. 
original band. Alan Burroughs explains that the next song “is just a conversation, and we’d like you to just eavesdrop on it”. He continues “Before every performance Art always made us take a moment and pray. I remember we didn’t get to pray in Thailand, and that was the last time we performed together. ” (The next day Art died in that tragic boating accident.) Then he launches into a beautiful vocal tribute, accompanying himself on guitar and supported by the bass. The tribute song was a duet to entitled Call You A Beacon and it had a strong Sam Cooke feel to it. The room was quiet, like a meditation session… 
out and hugged each and everyone in the audience. “This song is from my new CD about women who fall in love.” in jest, she adds “What an unusual subject.” Ms. Russell then lets an airy laugh escape to open She’s In Love, a soothing, caressing piece that wafts out into the audience like an exquisite perfume. The room is filled with the fragrance of the number, weaving a dreamy mood, enrapturing the musicians on stage as well as the audience. She then introduces She Walks This Earth, 
a song written for Sting that went on to win a Grammy. Her performance of this mesmerizing composition is enhanced by her rich, deep and encompassing vocal style. The audience has been highly appreciative of the music and musicians to this point, and because they knew Brenda so well they are unable to stifle their collective emotion, responding with shouts and cheers and great approval. As Brenda comes full circle on the number, she performs some mind-bending, dream-like sequences of images with her voice before closing her segment of the show. 
saxophonist Marion Meadows. The on stage musicians cook up a slow burning, juju-inspired rhythm that is intensified by Meadows who presents a dramatic picture in his near-fluorescent white outfit, broken only by the thick, rubber-band-segmented ponytail reaching halfway down his back. He crescendos into wave after wave of charm-type expressions that scream and lilt in an upper register, spurring the audience into a growing, frenzied response. The musicians then bring the charm-music to a soft, bluesy close, leaving the listeners in yet another near-dream state. Meadows 
peppers the audience with musical ‘dust’ from overheard as he flies away through his saxophone. As Meadows later said… “This is in the spirit of the Art Porter that I remember, because once he got you going, once he got you locked in there was no stopping…” Meadows performance was unstoppable, carried to new heights by the nearly dizzying percussion layers laid down by Kevin Patrick. 
His guitar virtuoso alternately enthralling and moving the crowd. Then, he called Steve Cole back on stage for yet another rollicking number. The name Grover Washington came up underneath the opening strains of the introduction, and the number definitely proceeded like a Grover Washington expression. It swelled, it dwindled, it lingered. Completely 
caught up in the energy, a zealous Peter White danced sprightly to the rear stage to play some serious chords to percussionist Kevin Patrick, who promptly replied with some rhythmic magic that had the place hopping. 
corner of the room, every corner of the audience. Brenda Russell stretching her powerful, far-reaching vocals over the simmering gumbo of sound. The stage a solar system of activity, Peter White in a Chuck Berry knee bend, doing this hot-foot dance as a result of the heated chords he’s sprinkled all over the stage floor, Steve Cole and Marion Meadows wailing away, Lorber stroking the ivories and Paul rocking the rhythm. 
Brenda spices the air with some belting riffs and nearly superhuman musical calls. The audience does another solo of its own as the musicians all line up on stage before them, the audience sending its energy up to rush over and break through. The final number didn’t so much close the show as it graciously released us from our collective spell, after which the audience responded with its own thunderstorm of music using their hands, feet, whistles and whatever other sounds they could muster. 
Eric Darius 
Michael Manson 
Just Doing What I Do
Nick Colionne
Just Before Spring
Formed fourteen years ago, Other Dimensions In Music has hidden in the shadows of the New York avant-garde movement. Trumpeter Roy Campbell Jr., saxophonist Daniel Carter, bassist William Parker, and drummer Rashid Bakr are true underground warriors of the free jazz revolution. Producer Steven Joerg is their commander in chief and the quartet prepares to battle all major label “whores” who have sold-out their musical integrity for gimmicky marketing schemes with their release on AUM Fidelity, Now!
The revolution is in full swing, the Latin jazz revolution that is. With the discovery of Ruben Gonzalez, the growing popularity of Poncho Sanchez and Los Van Van, and the new partnership between Chucho Valdez and Blue Note, the evolution of Latin jazz into the musical fabric of America is complete. David Sanchez, a former member of Dizzy Gillespie’s United Nation Orchestra, has been at work on “Obsesion” for the past two years. Gillespie, who helped pioneer the birth of Latin jazz in America, started the cycle that continues to the young tenor saxophonist. The Puerto Rican native, since moving to the mainland in 1988, has studied at Rutgers University under the fine tutelage of Kenny Barron and has developed considerable chops working with Eddie Palmieri, Paquito D’ Rivera, and Claudio Roditi. Presently, when Sanchez is not carving his own name into the jazz history books, the tenor has been spotted with Roy Hargrove’s Crisol band, with Tom Harrell, and with McCoy Tyner’s Afro-Cuban All-Stars. Sanchez refers to “Obsesion” as “the most important recording of his career” and invited an impressive line-up of young guns to come to his aid. Bassist John Benitez, drummer Adam Cruz, pianist Edsel Gomez, and a slew of percussionists and strings all make worthy contributions.
Sanchez caresses the Cuban melody “Los Aretes de la luna” backed by strings arranged by Carlos Franzetti. Sanchez’s recitation of the Cuban fantasy is teeming with sentiment and passion. With a rousing vocal introduction, Sanchez enters the Puerto Rican composition “Lamento Borincano.” Sanchez’s moderate flights of exploration are aided by conspirators Benitez and Cruz. Sanchez, at this point in his career seems to have an uncanny command of the technical aspects of his instrument, and to his credit the young tenor’s composing skills should not be taken lightly. 
Franco Ambrosetti has about as much economic need to play jazz as Steve Young does to play football. As an executive at Ettore Ambrosetti and Sons, his family-owned producer of automotive steel wheels, Ambrosetti has the luxury of purely enjoying jazz music for what it is. Ambrosetti’s new venture “Light Breeze,” his latest in a long line for the German-based Enja label, has him on flugelhorn throughout and joined by guitarist John Abercrombie, pianist Antonio Farao, bassist Miroslav Vitous, and drummer Billy Drummond.
While other bands celebrate anniversaries with brutally large and overpriced box sets, the nine-piece group Sierra Maestra celebrates their 21st anniversary with this humble release “Tibiri Tabara” on Nonesuch, a collection of their “best of” material in the two decades they have been playing authentic Cuban music together. The repertoire ranges from guaracha to descarga. 
D. D. Jackson’s Paired Down, Volume I was a shining moment in an already burgeoning career. The duo collaborations featured James Carter, Hamiet Bluiett, and David Murray. The sequel might have been an anticlimax, had it not been for the impressive cast Jackson selected. Saxophonist David Murray, bassist Santi Debriano, and violinist Billy Band reprise their roles and are joined by trombonist Ray Anderson, clarinetist Don Byron, and flutist Jane Bunnett. 
The most celebrated pianist to record at The Village Vanguard was Bill Evans. Add Brad Mehldau to the list. Like Evans, Mehldau records The Art of the Trio, Volume Two: Live at The Village Vanguard in a trio format (with bassist Larry Grenadier and drummer Jorge Rossy). That is where the comparisons end. 
Rahsaan Roland Kirk, who was blinded soon after he was born on 1936, in Columbus, Ohio, has been an enigma. He was often accused of gimmickry for playing three instruments simultaneously, a notion he got from a dream. Kirk played the tenor saxophone, the manzello, and the stritch together, producing three part harmony using fingering techniques he developed. He also operated sirens, whistles, gongs, cymbals, and bells, and was fluent on the clarinet, flute, piccolo, and English horn. Kirk mastered the technique of circular breathing thirty years before Kenny G. In 1976, Kirk had a stroke that nearly paralyzed the left side of his body, but he still valiantly managed to perform using only one arm, until he died of a second stroke in 1977, at the age of 41. He was agile in the abstract and avant-garde forms of jazz, yet he still studied and was fluent in swing and bebop.
new release worthy of its name, Awakening. Performing alongside such talents as David Sanchez, Dewey Redman, and Tom Harrell has helped Parker develop into a “talent deserving wider recognition”, but it is as the foundation of the Jacky Terrasson Trio that he has molded himself into a percussive demigod.
Recently, Wynton Marsalis has received just as much criticism as he has praise. Marsalis’ Blood on the Fields may have been awarded the 1997 Pulitzer Prize for music, but in jazz circles he is better known for his much- publicized feud with Keith Jarrett and his often-maligned relationship with Stanley Crouch. As much as he has done to bridge the gap between classical music and jazz, Marsalis is also vilified for spawning a movement of younger musicians to acquaint themselves with the roots of jazz music. These double standards have taken away from Marsalis’ music. That is a shame, considering Marsalis has arguably done more to promote jazz music, than any other musician in history. 
Pianist Oscar Peterson is one of the most influential piano players of our time. Sidelined by a stroke in 1993, Peterson has fought valiantly to return to form. When asked to name a protégé Peterson nominated Benny Green, another Berkeley High School alumnus (Joshua Redman also went to Berkeley High). Oscar & Benny teams the legend and the heir apparent together at the piano along with current Peterson trio members, bassist Ray Brown (Green is a member of Brown’s trio) and drummer Gregory Hutchinson. Peterson’s recovery is amazing, as displayed on the album’s opening number “For All We Know.” As Brown and Hutchinson provide the foundation, Peterson doesn’t miss a step, confidently shaping the song with his signature swinging style. 
RUSSELL GUNN 
PETE MCCANN 
SONNY STITT 
Ask pianist Ruben Gonzalez about the Latin jazz explosion in Southern California and the rest of the country; he probably would not know anything about it. The seventy-eight year old Gonzalez has just released his debut solo effort, which has been fifty years in the making. Gonzalez, who is considered a national treasure in Cuba, played with virtually every Cuban musician, including Mongo Santamaria, but only recorded once with Arsenio Rodriguez in the early forties. A graduate of the Cienfuegos Conservatoire, Gonzalez only had piano lessons once a month, but he managed to learn over twenty-five pieces in that month’s time. Gonzalez’s sextet includes Guajiro Mirabal on the trumpet, Carlos Gonzalez on the congas, Roberto Garcia on the bongos, Amadito Valdes on the timbales, and Orlando Lopez on bass.
Vibraphonist Stefan Bauer learned to play both the trombone and piano, before he decided on the vibraphone. The Berklee graduate has hints of David Friedmann and has worked with Peter Erskine. Bauer’s quintet includes drummer Adam Nussbaum, guitarist Mick Goodrick, bassist Jim Vivan, and trumpeter Tim Hagans. Bauer asserts himself on a light-hearted “Look Up.” Bauer’s calculating brisk runs and prolific multi-mallet chording accentuate his capabilities as a stylist on vibes. Nussbaum pounds out dazzling fills and his solo seems to gain strength as it progresses. Hagan’s intimate lyricism on “Cafe Orchidee” echoes of Kenny Dorham. Goodrick constructs his riffs with an easy touch and hearty rhythmic verve. Best of Two Worlds is advanced post-bop with implications of ethnic world music. The absence of a piano is augmented by the harmonics of Bauer’s vibraphone fusing with Goodrick’s melodic guitar. Bauer procures a first rate quintet and the result is an exceptionally vivid and swinging album.
Kevin Mahogany is a smart singer. Mahogany understands the nature of advanced vocal technique. Mahogany ahs tremendous power and his large voice has particular ease in the higher register. The vocalist is accompanied by saxophonist Joe Lovano, pianist Cyrus Chestnut, guitarist Dave Stryker, bassist Ben Wolfe, and drummer Clarence Penn. The romantic baritone paces “Goodbye Pork Pie Hat” comfortably, with slight pauses to give Lovano a sultry solo or two. Mahogany avoids overly embellishing his singing, but rather allows the music to unravel by itself. Mahogany gently caresses “In the Wee Small Hours of the Morning.” His verve, accuracy, and tasteful phrasing is irresistible. Chestnut’s logical improvisations linger in the background as Mahogany’s poetic treatment of the words generates a natural musical flow. There is a huge void of male jazz singers. Mahogany stands out because of his confident projection, clear enunciation, and tonal warmth. This robust baritone has a soft timbre all through Another Time Another Place that project dignity, authority, and eloquence. 
Joe Lovano remains one of the busiest saxophonists on the scene today. Lovano, who first gained critical recognition with his contributions to Paul Motian’s quintet and trio, has become an intelligent technician, and one of the most individualistic voices in jazz. The Grammy-nominated Lovano, most recently nominated for his Quartet: Live at the Village Vanguard and Celebrating Sinatra releases, teams up with Cuban pianist Gonzalo Rubalcaba in a rare duo collaboration. Lovano alternates between a soprano saxophone, an alto clarinet, and a straight tenor saxophone, custom-made for him by L. A. Sax, which he showcased in his performance at the Orange County Performing Arts Center last year.
PONCHO SANCHEZ
BRAD MEHLDAU
Jungle Funk
But, is it Jazz? The same question has been asked about GURU or Jazzhole or Quincy Jones performing Acid/Jazz or some of the old stuff by Sun Ra or Pharaoh Sanders. 
Hiroshima is an award-winning ensemble that has continuously experienced and shared their creativity with the world for the past twenty years. With Spirit of the Season, their second release on Heads Up International, the group offers their perspective on the holiday songs and original music written especially to permeate peace around the world. Hiroshima is Dan Kuromoto, Kimo Cornwell, June Kuromoto, Danny Yamamoto, Dean Cortez, Richie Gajate-Garcia, and Terry Steele with special guests The 54th Street Choir on “Thousand Cranes.” This is one of the most beautiful holiday recordings you’ll ever hear…so listen up! 
Jumpin’ With Jonah
Josh Workman
Judith Owen Live 
In a large music library surrounded by just about every kind of music, guitarist John Scofield looks like, to quote George Clinton, a sex maniac in a whorehouse with a credit card. 
A Jr. Walker and the all Stars Revival
Journey
A Few Moments with Joshua Redman
No Bones About It