Monterey 52

[Mike Schwartz]

Thanks for putting up the review Valerie!

I was waiting to see when there would be a band that was you cuppa!

I give you credit, because you'll sit there and take in acts that you appreciate that might not be the most appealing to you personally.

I like the comments on Lizz Wright; reminded me when she played San Jose Festival a couple of years ago. She practically apoligized to the audience explaining that her set wasn't a jazz act, and proceeded to put on a "beautiful performance in every way" just as you described.

[Valerie]

Originally Posted by Mike Schwartz

Thanks for putting up the review Valerie!

I was waiting to see when there would be a band that was you cuppa!

I give you credit, because you'll sit there and take in acts that you appreciate that might not be the most appealing to you personally.

I like the comments on Lizz Wright; reminded me when she played San Jose Festival a couple of years ago. She practically apoligized to the audience explaining that her set wasn't a jazz act, and proceeded to put on a "beautiful performance in every way" just as you described.

Lizz "apologized" at the beginning of her set in Monterey as well! it was a mite awkward, actually.

i'm still trying to be more "open," Mike! you know how i can get stuck in that bebop world!! but i still couldn't take more than 20 minutes, tops, of some of the groups that weren't my cuppa!!

believe it or not, there was lots i left out of my cumbersome review! i had some great "hangs" but really missed you! i was actually standing on the steps of the Coffee House Gallery (is that the name of the venue where we met last year?!?) and calling you from my cell on Sunday - mourning your absence!!

did you hear that Dianne Reeves will be the Artist in Residence next year? don't know how you feel about her but i'm really looking forward!!

xoxo

[Mike Schwartz]

Originally Posted by Valerie

Lizz "apologized" at the beginning of her set in Monterey as well! it was a mite awkward, actually.

i'm still trying to be more "open," Mike! you know how i can get stuck in that bebop world!! but i still couldn't take more than 20 minutes, tops, of some of the groups that weren't my cuppa!!

believe it or not, there was lots i left out of my cumbersome review! i had some great "hangs" but really missed you! i was actually standing on the steps of the Coffee House Gallery (is that the name of the venue where we met last year?!?) and calling you from my cell on Sunday - mourning your absence!!

did you hear that Dianne Reeves will be the Artist in Residence next year? don't know how you feel about her but i'm really looking forward!!

xoxo

I did hear about Ms. Reeves. I love her voice; it's become somehow richer with age. I don't always like her delivery, but have enjoyed every show I've seen her do over the years overall.

The publicist for MJF sends me all the updates, and is a pretty fair musician in his own right.

[Ron Thorne]

Originally Posted by Mike Schwartz

I did hear about Ms. Reeves. I love her voice; it's become somehow richer with age. I don't always like her delivery, but have enjoyed every show I've seen her do over the years overall.

I had the pleasure of being in the front row (along with son, Justin) at a Blue Note panel discussion earlier this year, with Joe Lovano, Dianne Reeves, Michael Cuscuna and Bruce Lundval, also moderated by Ashley Kahn. I was very impressed with Ms. Reeves comments, both in terms of her passion for the music and her ability to articulate her thoughts in that setting. There was also a gentle though forthright style to her approach.

The next evening, Justin and I were treated to an amazing display of her virtuosity while singing in front of a terrific trio and the Oregon Symphony Orchestra. That performance brought smiles and tears to my eyes more than once. I have a great deal of respect and appreciation for the considerable talents and warmth displayed by Dianne Reeves.

What is it about her "delivery" that you don't enjoy, Mike? Is it phrasing, overall style, or something more elusive?

[Valerie]

Originally Posted by Ron Thorne

I had the pleasure of being in the front row (along with son, Justin) at a Blue Note panel discussion earlier this year, with Joe Lovano, Dianne Reeves, Michael Cuscuna and Bruce Lundval, also moderated by Ashley Kahn. I was very impressed with Ms. Reeves comments, both in terms of her passion for the music and her ability to articulate her thoughts in that setting. There was also a gentle though forthright style to her approach.

The next evening, Justin and I were treated to an amazing display of her virtuosity while singing in front of a terrific trio and the Oregon Symphony Orchestra. That performance brought smiles and tears to my eyes more than once. I have a great deal of respect and appreciation for the considerable talents and warmth displayed by Dianne Reeves.

What is it about her "delivery" that you don't enjoy, Mike? Is it phrasing, overall style, or something more elusive?

my overwhelming reaction to your post, Ron: all the more reason why you and Patti must be at Monterey next year!!

[Scott Yanow]

Nice review Valerie. You saw most of the great things that took place that weekend.

In about a week I'll post here the review that I'll be writing for the L.A. Jazz Scene.

[Valerie]

Originally Posted by Scott Yanow

Nice review Valerie. You saw most of the great things that took place that weekend.

In about a week I'll post here the review that I'll be writing for the L.A. Jazz Scene.

will most definitely be looking forward to reading it!

[jaz4life]

Monterey was so wonderful! I wish it didn't go by in a nanosecond.

I loved the Monterey Jazz All Stars! If it wasn't for Chris Heaney (hardbop from the good old JCS days) I probably wouldn't have found out about Regina Carter until much later because he took me to Sweet Basil way back when to catch her when I came to visit the Bapple over 10 years ago.

The conversation with Michael Cuscuna, Bobby Hutcherson and Joe Lovano was so great in many ways, informative, interesting and Bobby Hutcherwson being hilarious with some of the stories he told. Also Michael Cuscuna talking about Francis Wolff trying to get a good photo of Hank Mobley in the studio recording session and Alfred Lion going 'Where's Frank? Where's Frank?' He was so afraid of anyone touching the mike as one would expect. And then him yelling at Francis not to touch the mike. This was a constant scenario between the 2. Another funny story about Bobby, Andrew Hill, Joe Henderson and Woody Shaw playing at Mount Fuji right b4 a typhoon. Valerie - keep me straight if you remember this. After arriving there, someone passed out the music and Andrew told them, 'I already wrote it'. Once on stage a huge gust of wind came and blew away all of Bobby Hutcherson's music. As the night wore on, Andrew kept getting up and walking over to the other members of the band. At one point when Michael Cuscuna appeared, Joe Henderson and Woody Shaw came up to him and Joe who apparently was very soft spoken was extremely upset and said to Michael 'Can you do something about it? Andrew's rewriting the music as we go!'

I also enjoyed Liz Wright who has a wonderful voice but wasn't doing jazz as V said. Other great shows included the Cannery Row Suite movie being shown and at the end we were asked to turn around because Dave & Iola Brubeck were at the back of the theatre. What a treat to see them up close and personal. Dave Brubeck and Chick Corea concerts were great. Also a great singer that was with the Monterey Next Generation Jazz Orchestra. Toshiko and Lou Tabackin smoked and Esperanza Spalding. I know I'm forgetting lots of other great stuff. The Blue Note exhibit was good.

It was great to say hello to Lois since I've never met her b4.

Dory

[Valerie]

Originally Posted by jaz4life

Monterey was so wonderful! I wish it didn't go by in a nanosecond.

I loved the Monterey Jazz All Stars! If it wasn't for Chris Heaney (hardbop from the good old JCS days) I probably wouldn't have found out about Regina Carter until much later because he took me to Sweet Basil way back when to catch her when I came to visit the Bapple over 10 years ago.

The conversation with Michael Cuscuna, Bobby Hutcherson and Joe Lovano was so great in many ways, informative, interesting and Bobby Hutcherwson being hilarious with some of the stories he told. Also Michael Cuscuna talking about Francis Wolff trying to get a good photo of Hank Mobley in the studio recording session and Alfred Lion going 'Where's Frank? Where's Frank?' He was so afraid of anyone touching the mike as one would expect. And then him yelling at Francis not to touch the mike. This was a constant scenario between the 2. Another funny story about Bobby, Andrew Hill, Joe Henderson and Woody Shaw playing at Mount Fuji right b4 a typhoon. Valerie - keep me straight if you remember this. After arriving there, someone passed out the music and Andrew told them, 'I already wrote it'. Once on stage a huge gust of wind came and blew away all of Bobby Hutcherson's music. As the night wore on, Andrew kept getting up and walking over to the other members of the band. At one point when Michael Cuscuna appeared, Joe Henderson and Woody Shaw came up to him and Joe who apparently was very soft spoken was extremely upset and said to Michael 'Can you do something about it? Andrew's rewriting the music as we go!'

I also enjoyed Liz Wright who has a wonderful voice but wasn't doing jazz as V said. Other great shows included the Cannery Row Suite movie being shown and at the end we were asked to turn around because Dave & Iola Brubeck were at the back of the theatre. What a treat to see them up close and personal. Dave Brubeck and Chick Corea concerts were great. Also a great singer that was with the Monterey Next Generation Jazz Orchestra. Toshiko and Lou Tabackin smoked and Esperanza Spalding. I know I'm forgetting lots of other great stuff. The Blue Note exhibit was good.

It was great to say hello to Lois since I've never met her b4.

Dory

hi, Dory!! i cannot believe that i forgot Joe Lovano was on the Blue Note panel!! shame on me! he was so great in every context during the entire weekend.

sorry but really can't remember many of the details of Bobby's "typhoon" story except i think Andrew had stayed up all night re-writing complicated music and then the sheets blew away! i think you got it right about Joe H.'s great comment about Andrew Hill's playing! too funny.

it's always great to see your sweet face! btw, i already have bought tickets for the Monterey All-Stars at UCLA for next April!!!

[jaz4life]

I am really looking forward to seeing them as well!

[Scott Yanow]

Okay, you asked for it. (Actually no one did but nevertheless....)
Here is the Monterey Jazz Festival review that I just wrote for the Los Angeles Jazz Scene.

THE 2009 MONTEREY JAZZ FESTIVAL

Arguably the finest annual modern jazz festival in the United States, the Monterey Jazz Festival is a must for jazz fans, particularly those living in California. Only a 5 1/2 hour drive from Los Angeles, Monterey is quite scenic and picturesque. The same can be said for the Monterey Fairgrounds, an area that houses not only the five major venues of the festival but dozens of vendors plus an indoor theater on which one can watch live what is happening on the main stage. One comes away from the Monterey Jazz Festival knowing that, at least artistically, the modern jazz scene is very healthy.

Although I skipped some of the repeat performances, I did see 50 different sets (counting a few panel discussions and films) during the 2 1/2 days, including every band (other than the high school and college groups) that performed.

The festival actually began slow, with a set by tenor-saxophonist Roger Eddy that was tepid, smooth, and dull. He managed to put people to sleep at 7 p.m. on a Friday night, no mean feat. But this was just a false start.

At 8, things really got going. Bassist-singer Esperanza Spalding was a hit as she seems to be everywhere, performing her originals with charm, wit and high musicianship. Trombonist Conrad Herwig's Latin Side All-Star Band is a septet with trumpeter Michael Rodriguez and tenor-saxophonist Craig Handy. On a set billed as “Celebrating Kind Of Blue and Giant Steps,” trumpeter Randy Brecker and tenor-saxophonist Joe Lovano were well featured guests. The four-piece rhythm section with drummer Steve Berrios and Pedro Martinez on congas gave a Latin spin to such familiar tunes as “Giant Steps,” “Naima,” “So What” and “All Blues,” making those warhorses sound fresh and new.

The trio of bassist-leader John Patitucci, tenor-saxophonist Joe Lovano and drummer Brian Blade was as brilliant as one would expect, performing such tribute numbers as “Joe Henderson,” “Nascimento” and “Monk/Trane.” Forro In The Dark,
a group consisting of flute, guitar, electric bass and two percussionists, set mysterious Mid-Eastern grooves. Pianist Jonathan Baptiste performed some intriguing inside/outside music, improvising on “Maple Leaf Rag,” using New Orleans parade rhythms on another piece, and at times mixing together Charles Mingus, Thelonious Monk and stride piano. His quintet with saxophonists Eddie Barbash and Matt Marantz seemed ready for anything. The Berklee Monterey Quintet displayed plenty of energy and high musicianship while stretching the tradition, particularly altoist Michael Sachs. Global Noise had some fine playing by Jay Rodriguez on flute and saxophones that was sometimes buried beneath the groove set by DJ Logic on turntables. Lizz Wright displayed a beautiful voice during a gospel and folk-oriented set that contained no real jazz. Drummer Scott Amendola led a trio with guitarist Jeff Parker and bassist John Shiflett that showed a lot of versatility and created unpredictable and colorful music. They began one piece as funky soul jazz before taking it outside, and another as a rockish one-chord vamp that utilized electronic outer space sounds from Amendola. At that point, a man entered the nightclub wearing a T-shirt that said “Once There Were Songs!”

This year's version of the Monterey Jazz Festival All-Stars is a sextet starring violinist Regina Carter, guitarist Russell Malone, pianist Kenny Barron and singer Kurt Elling (who acted as the emcee and directed traffic). Carter was very expressive on an emotional “You've Changed.” Malone paid tribute to Wes Montgomery on “Road Song” and played beautifully on a slow “Time After Time.” Barron's “What If,” with its eccentric bass line, inspired some humorous ranting by Elling that was echoed by the musicians. The singer was featured on Jon Hendricks' funny lyrics to Horace Silver's “Home Cooking” and led the ensemble through an explorative “Nature Boy.” Everything worked.

And that was just Friday night. Saturday afternoon in the past has been traditionally dedicated to the blues but this year it was more of a potpourri. Guitarist John Scofield and the Piety Street Band featured vocals by pianist Jon Cleary on spirited gospel tunes and New Orleans songs. Veteran Pete Seeger, who turned 90 this year, made his debut at the festival. He had a great time leading the audience in sing-alongs including a heartwarming version of “This Land Is My Land.” Susan Tedeschi had tenor-saxophonist Ron Holloway in her band but mostly performed folk music. A Charles Brown Tribute Band put the spotlight on pianist-singer Martin Headman, who brought back Brown's good-humored spirit. Ruthie Foster sang some bluesy soul music. The New Orleans All-Stars mixed together several idioms with vocals by pianist Henry Butler and Cyril Neville.

If one looked around, there was also a bit of jazz to be enjoyed on Saturday afternoon. The 18-piece Monterey Bay Jazz Orchestra, directed by Paul Contos, performed some fine swinging jazz. Guitarist Hironobu Saito's quartet was often blazing on uptempo pieces. Pianist Weber Iago's trio was tight on a variety of post bop originals. A very informative and often-humorous panel discussion on the Blue Note label was moderated by Ashley Kahn and featured vibraphonist Bobby Hutcherson, producer Michael Cuscuna and Joe Lovano. Hutcherson in particular told hilarious stories such as the experience of playing seven sets a night in a club with a group that only knew four songs. George Duke, on a Blindfold Test supervised by Downbeat's Dan Ouelette, was cheerful but often contradicted himself. He bemoaned the fate of several young singers who had been signed to contracts and had compromised themselves and sung beneath their potential in the studios, bowing to commercialism. While Duke said that it was important for artists not to sell their musical souls by making pop recordings, it made one wonder when was the last time that he followed his own advice?

Saturday night began with the Rodriguez Brothers, an excellent Latin jazz quartet featuring trumpeter Michael Rodriguez and pianist Robert Rodriguez. Trumpeter Ambrose Akinmusire, an important voice of the future, headed a quintet with tenor-saxophonist Walter Smith III. and pianist Gerald Clayton, performing advanced high-powered originals. Guitarist-singer Raul Midon played unaccompanied during a set of Brazilian jazz and folk music. Trombonist Wayne Wallace's Rhythm & Rhyme put on a spectacular show with seven singers and five horns that should have been on the main stage. Conrad Herwig's Latin Side All-Stars performed the music of Wayne Shorter and Herbie Hancock. The Monterey Jazz All-Stars were unfortunately booked into a smaller inside venue, resulting in ridiculous lines, and ushers who totally lost their cool. The musicians repeated the same set they had played the night before. John Scofield guested with Soulive, performing heated soul jazz. The Alan Pasqua Trio with bassist Darak Oles and drummer Peter Erskine proved to be a sensitive group and even turned “Wichita Lineman” into creative jazz. Dee Dee Bridgewater was in prime form, romping on “Afro Blue” and “ A Long Time Ago,” dancing with the percussionists and clearly enjoying the playing of pianist Edsel Gomez. The combination of Joe Lovano and John Scofield (substituting for an ailing Hank Jones) was explosive, intense and fiery. And to top it all off, Wynton Marsalis and the Lincoln Center Jazz Orchestra played a particularly inspiring repertoire that included an uptempo raging blues, “Blues Waltz,” “Free For All,” “Shades Of Jade” and a Ted Nash alto feature on “Ceora.” Marsalis only took two solos but he did take 16 blazing choruses on the blues. Altoist Sherman Irby, trumpeters Ryan Kisor and Marcus Printup and trombonist Vincent Gardner were among the other stars.

After taking a deep breath, it was time for Sunday. Since Sunday afternoon is dominated by college and high school bands, things were not quite as hectic. Marsalis sat in with the MJF Next Generation Orchestra but the big news was the very impressive singer Ben Lusher whose deep voice was reminiscent of Billy Eckstine and Johnny Hartman. He earned a standing ovation on “Don't Worry 'Bout Me” and scatted well on “Just Friends.” Another standout was lead trumpeter Josh Gawel..

George Duke played the only commercial music of the festival, forgettable funk plus some Brazilian jazz. Toshiko Akiyoshi, in a discussion with Yoshi Kato, talked at length about what it was like to be a female jazz pianist in Japan in the 1950s. A panel discussion by veteran disc jockeys covered many humorous topics including what was the best lengthy song to put on the air when they had to make an emergency run to the bathroom! Trumpeter Scotty Barnhart played nice laidback jazz with a quartet. The recent Cuban discovery pianist Alfredo Rodriguez was a hit performing unpredictable music and really digging into “Body And Soul.” Guitarist Terrence Brewer in a trio with organist Wil Blades and drummer Micah McClain, purposely brought back memories of Wes Montgomery. Trumpeter Dominick Farinacci displayed a mellow tone and a melodic style in a set with a rhythm section. Buried in the lineup was Buffalo Collision, a quartet with altoist Tim Berne, cellist Hank Roberts, pianist Ethan Iverson and drummer Dave King that created passionate free improvisations that were among the most adventurous music of the festival. And performing near the entrance throughout the weekend was the delightful husband-wife duet team of tenor-saxophonist Greg Fishman (inspired by Stan Getz) and pianist-singer Judy Roberts. Their version of a rapid “Billie's Bounce,” which had Ms. Roberts scatting in unison with the tenor, was a highpoint.

But the highpoint of Sunday afternoon was the filmed version of Cannery Row Suite from the 2006 Monterey Jazz Festival, featuring the Dave Brubeck Quartet, eight singers (including Roberto Gambarini, Kurt Elling and Chris Brubeck) and a wonderful script written by Dave and Iola Brubeck. When the film ended, the speaker introduced the Brubecks, who were sitting in the back of the theater and were given a long standing ovation.

Sunday night kept the excitement going until the end. Lew Tabackin (on tenor and flute) and Toshiko Akiyoshi in a quartet performed “The Long Yellow Road” and the haunting “Autumn Sea.” Pianist Jason Moran debuted a commissioned piece, the somewhat eccentric “Feedback.” Joe Lovano led Us Five, a group with Esperanza Spalding (who sounded quite at home with the complex music), pianist James Weidman and two drummers. Pianist Vijay Iyer and his trio performed advanced explorations. Completely out of place was a rap group, Shotgun Wedding, that was largely unlistenable.

But Monterey finished with two of the best sets of the weekend. The Dave Brubeck Quartet (with altoist Bobby Militello, bassist Michael Moore and drummer Randy Jones) was outstanding on a Duke Ellington medley, “Yesterdays,” “Take Five,” “The Lamp Is Low” and some newer material. Brubeck at 88 played with more energy than I have heard him in several years, clearly loving being at Monterey and still stretching himself. Closing the night was the trio of pianist Chick Corea, bassist Stanley Clarke and drummer Lenny White. Their set was totally acoustic with Clarke's extraordinary solos competing with Corea's usual brilliance. On such songs as “Waltz For Debby,” “Bud Powell” and “500 Miles High,”the trio performed jazz of the highest order, and made it look easy.

All that was missing was some dixieland and a swing band, both of which I recommend producer Tim Jackson add next year. Quite a weekend!

[Ron Thorne]

Thanks for the reviews, overviews and general enthusiasm for this festival, which I must attend ASAP!

Originally Posted by Scott Yanow

Closing the night was the trio of pianist Chick Corea, bassist Stanley Clarke and drummer Lenny White. Their set was totally acoustic with Clarke's extraordinary solos competing with Corea's usual brilliance. On such songs as “Waltz For Debby,” “Bud Powell” and “500 Miles High,”the trio performed jazz of the highest order, and made it look easy.

I've played 2 of the 3 tunes many times (minus BP), and can say that 500 Miles High is easily one of the most fun pieces I've ever played. It's not particularly difficult, but it's such a passionate groove ...

[Valerie]

yes, thanks, Scott for the amazingly comprehensive review. i actually did miss some of the folks you really liked but, on the other hand, i also got to experience more of some of your favorites as well. "trade-offs" must certainly be embraced at this wonderful, somewhat "unwieldy" festival. i'm already counting the months . . .

[Mike Schwartz]

Originally Posted by Valerie

yes, thanks, Scott for the amazingly comprehensive review. i actually did miss some of the folks you really liked but, on the other hand, i also got to experience more of some of your favorites as well. "trade-offs" must certainly be embraced at this wonderful, somewhat "unwieldy" festival. i'm already counting the months . . .

I was tired by the end of reading about it.....hard to imagine actually taking that much in (not that I haven't tried)

[Scott Yanow]

I'm still out of breath. But with just a couple of exceptions, I wouldn't want to have missed any of those groups.

When people in December ask me how come I don't exercise, I just say that I already exercised at Monterey!

[Valerie]

if i got the exercise on a regular basis that i get while at the Festival, i would most definitely have a different body!! just another one of the perks, along with the great music, fresh air, good food and wonderful "hang"!