Tag Archives: Chick Corea

GEORGE GARZONE at Bennetts Lane

GIG: August 15, 2010

George Garzone, saxophone
Paul Grabowsky, piano
Phillip Rex, bass
Niko Schauble, drums

Garzone, Grabowsky, Rex and Schauble
Garzone, Grabowsky, Rex and Schauble

Courtesy of the Western Australian Academy of Performing Arts, tenor saxophonist George Garzone passed through Melbourne, playing three gigs. This was the first. He played at Uptown Jazz Cafe on Tuesday and Wednesday evenings, with Craig Simon on drums and Phillip Rex again on bass, and guests Stephen Magnusson on guitar and Scott Tinkler on trumpet.

Publicity material on Garzone mentions that in more than 35 years he has performed with artists such as Chick Corea, Ron Carter, George Russell Orchestra and John Patitucci. He leads one of the longest running groups in jazz history, The Fringe, which has a cult-like following in the US. His former students include Joshua Redman, Branford Marsalis, Teadross Avery and Australian saxophonists Julien Wilson and Jamie Oehlers.

Grabowsky and Garzone
Grabowsky and Garzone

Garzone & Rex
Garzone and Rex

There was a good crowd in the large room at Bennetts. The quartet opened in robust fashion with Like Someone In Love (Jimmy Van Heusen). I’m never comfortable with labels lest I am completely wrong, but this was upbeat hard bop, with heaps of energy from all, especially Grabowsky, Schauble and Garzone. There was some banter between Garzone and “my bodyguard” up the back (Scott Tinkler) before I Love You (Cole Porter), in which the sax and drums played off each other in a nice duel.

Phillip Rex
Phillip Rex

Grabowsky
Grabowsky

Next came Coltrane’s ballad Say It (Over and Over Again), which I really enjoyed because it gave us a chance to hear the grace and elegance to Garzone’s tenor rather than just its strength and his virtuosity. Thelonious Monk’s Pannonica followed, with a great bass solo from Rex, some angular “stick clicks” from Schauble (he is so expressive with dynamics), drama in Grabowsky’s spatially isolated chords and plenty of bounce and verve in his ensuing solo. The rhythm section took over before a great Garzone solo and then Schauble treated us to rapid runs and stops which grew gradually and organically into a solo and eventually into an end to the piece. Garzone seemed happy, reminding us that “I think about this guy (Grabowsky) all year” and “I rave about you guys in America, where taxes are high and jobs are none”.

George Garzone
George Garzone

George Garzone
George Garzone

A “blues” piece by Garzone, Hey Open Up, ended the set, exploding out of the blocks and setting our feet tapping with some rapid-fire contributions and Garzone over playing into the drums again. Top solos from Grabowsky and Garzone took us to the break.

Phillip Rex
Phillip Rex

Niko Schauble
Niko Schauble

Set two opened with free improvisation flowing into Equinox (John Coltrane), with long solos by Garzone and Grabowsky. By this time I was in the mood for whatever this band produced and it seemed as though every track was another highlight.

George Garzone
George Garzone

One of the standouts for me was next, Garzone’s ballad Alone, which he “wrote a long time ago when I was alone … I’m still alone”. This was beautiful and seemed to capture the “aloneness” of being alone so well. Towards the end there was a familiar melody, maybe Girl From Ipanema. Then came a return to the physicality, which Garzone seems to enjoy and to epitomise in his playing, in Have You Met Miss Jones (Richard Rodgers). He seems to feel the music in his body and it pours out with that forcefulness and power. Schauble added some explosive brilliance to this.

Grabowsky & Garzone
Grabowsky & Garzone

Phillip Rex
Phillip Rex

Coltrane’s Theme For Ernie came next, a moving and slower piece. Then Garzone showed his appreciation to an enthusiastic audience” “I love coming here. No one really listens except you guys.” Yeah, I bet you tell that to all the audiences, George. His “tune I wrote for everyone”, Head Now, began with a frenzy and kept going, adding to that sense from the night that music is truly felt either in the bones and fibres of our being — muscular music — or in the emotions which it can awaken and which can plumb our depths if the moment is right.

I’m glad I’ve heard George Carzone and sorry I did not make it to either of the Uptown Jazz Cafe gigs. But I’m sure plenty did and were amply rewarded.

Advertisements

WANGARATTA JAZZ 09 — JOHN McALL’S BLACK MONEY

John McAll on piano, Jordan Murray on trombone, Tim Wilson on flute and alto sax (David Rex broke his arm), Adam Simmons on reeds, Philip Rex on acoustic bass, David Jones on drums at Jazz on Ovens

I loved Black Money, John McAll’s first album as bandleader and composer, so I relaxed and enjoyed as the septet played tracks including Atlantis, I Should Care, Behind the Bushes (think sinister, think silly swaggering cowboy elements in America), Melbournology, the superb Glitter and Dust (“melancholy meets brilliant thoughts”) and Chick Corea’s Humpty Dumpty.

The audience loved it and queued to buy the album later. Shades of the wonderful Way Out West gig at Ovens the previous year.

I’m hoping there’ll be another album from the “lesser known McAll” soon, with this line-up or similar.

Pics to come

Oh to hit the right note

Linda Oh
Bassist Linda Oh

Two strangers will meet on stage at Wangaratta, writes Roger Mitchell

THEY seem so different. She plays bass — electric and upright. He plays trumpet. She is 25, was born in Malaysia and grew up in Perth listening to Red Hot Chili Peppers. He is 67, was born in Jacksonville, Florida and grew up listening to his parents’ 78rpm Jazz at the Philharmonic records.

Both live in New York, but they have never met. In a few days they will share a stage at the Wangaratta Festival of Jazz, in a quartet with pianist Mike Nock and drummer Tommy Crane.

One of the joys of this festival, which this year celebrates its 20th anniversary, is that Linda Oh and Charles Tolliver, who are from such different generations and genres in jazz, can link up.

Yet they have much in common. Each was inspired to play when given an instrument — Tolliver’s grandmother, Lela, gave him a cornet; Oh’s uncle gave her an electric bass. Both were initially self-taught and both considered other careers— Tolliver as a pharmacist, after working for a local apothecary, and Oh as a lawyer.

Both musicians like challenges and both are perceptive, intelligent and thoughtful.

Asked about the importance of music in people’s lives, Oh says, “It’s a shame these days that everything is so overrun by TV and advertisements and reality TV that a lot of people don’t have the energy to go out to live music or put an album on and listen to it from start to finish.

“If Brad Pitt and Angelina Jolie said to everyone ‘You should go and see a jazz show’ everyone would go. We need more spokespeople.”

Tolliver’s view, fittingly, is borrowed from Art Blakey: “He would come up to the microphone and, in that inimitable voice of his, say ‘Good evening ladies and gentlemen, we are here to wash away the dust from your everyday lives’. I think that’s it.”

Linda Oh says her entry to jazz was “a little backwards”, beginning with the fusion of Jaco Pastorius, Stanley Clarke and Chick Corea and then being turned completely around by Ray Brown and Oscar Peterson on the album Night Train.

Driven by the desire to “do something that I didn’t know much about and to learn as much as I could”, she studied bass at the WA Academy of Performing Arts, graduating with honours. Oh says Perth had many talented musicians who were “very honest about what you need to do to get better”.

Winning a Sisters in Jazz competition in 2004 gave her a chance to visit New York. She was “pretty blown away, but not just in awe of it — I checked out local musicians and universities and saw there was so much stuff to be learned out here and I knew I had to do it”.

Oh won a scholarship to Manhattan School of Music, where she completed a Masters in Jazz-based Performance and met trumpeter Ambrose Akinmusire and drummer Obed Calvaire, with whom she recently released her acclaimed debut album, Entry. With Oh and Crane, Akinmusire will perform tunes from that album at Wangaratta.

Oh has never played with Tolliver, though she has heard a lot of his music. “Tommy went to New School University, where Charles has an Art Blakey Ensemble, so it will be a very interesting mix, especially with Mike Nock — I’m a huge fan.”

Tolliver recalls playing with Blakey’s Messengers “for a minute, replacing Lee Morgan, a long time ago”, but as other names of jazz identities from his past tumble out there is no self-promotion.

He says it was “an act of providence of miraculous proportions” that the young dropout from Howard University met bandleader Jackie McLean and within six months was making his first recording.

Labels such as hard bop, bebop and post bop meant little, Tolliver says. “We understood that was just print journalism. We were just trying to expand on what Charlie Parker, Dizzy Gillespie and Thelonious Monk had laid out there.”

Tolliver admits to many influences on his sound, including Gillespie (“He’s the go-to guy for inspiration”), Charlie Shavers, Freddie Hubbard, Kenny Durham, Donald Byrd, Lee Morgan, Clifford Brown, Booker Little, Fats Navarro and Roy Eldridge.

But Tolliver’s improvising involves taking risks. “You’re really trying to make a statement of your emotional self on that instrument and the only way I can see to do that is to get busy exploring something right away. I need to have that little bit of danger there that I might not be able to get out of what I’m trying to do.”

Tolliver will perform twice with Sydney’s Jazzgroove Mothership Orchestra, playing tunes from With Love and the recent Emperor March. With the quartet he’ll play a selection from the Mosaic Select box set.

Wangaratta Festival of Jazz starts on Friday, October 30

An edited version of this article appeared in the Herald Sun newspaper, Melbourne, on October 28