Jazz Currents

Charnett Moffett has had a connection to the elite artists in jazz for a very long time. His father, Charles, was a drummer for Ornette Coleman in the 1960s, so he's more than accustomed to being around the legends of jazz. This year, Saturday evening's performances on the Garden Stage featured the artists of the  Moté ma  Records label. Moffett's fourth CD on Moté ma , Spirit of Sound, was released on July 9th. Together with label founder Jana Herzen, Moffett hosted a showcase of  Moté ma artists, and anchored many of the ensembles on bass.

You don't have to have a ticket for the shows in the Arena to have a great time at the Monterey Jazz Festival. Of course you have the many artisan vendors and the great food booths. There are also seven other performance venues. Six of them feature live performances from a large variety of artists. The seventh, the Jazz Theater, shows simulcasts from the main Arena performances.  Several of the artists make an encore performance in one of the grounds venues. Both the festival's artist-in-residence and showcase artists perform in multiple ensemble formats, most of which are in the grounds venues. Big Sam's Funky Nation on the Garden Stage

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "Phase Dance", ECM Records release "Pat Metheny Group", 1978 This track quietly catapulted Pat Metheny from a relative unknown to a profound presence on the jazz scene. Forget about "rising star"; he pretty much bypassed that whole period. At the time of a lot of emerging rock-flavored jazz releases, Metheny's new band split right between straight-ahead and fusion. This was a completely new and distinctive sound. First of all, it's a seven minute track. It starts out gently, quickly comes to a simmer, and before you know it, they're cooking at a rapid boil pace. I remember first hearing it in a Berkeley, CA record (yes, record) store. It crept up on me and a dozen other people in the store at th

The Relatives were formed in 1970 by veteran Dallas gospel singer Rev. Gean West and his brother Tommie. Their sound bridges the gap between traditional gospel, soul, and psychedelia. They've always been known for their powerful original songs and searing stage show, and released three singles to limited success. They also recorded a session that was never released.  The group disbanded in 1980, but that was not to be the end. In 2009 an anthology comprised of the three singles and the previously unreleased session was released under the title "Don’t Let Me Fall". The release of the anthology brought The Relatives back together as a band, planting the seeds for their 2013 Yep Roc release, The Electric Word, which was recorded and produced by Jim Eno of Spoon.

Even serious Jazz fans find themselves forgetting about big bands. That is, until they hear a good one. The is much more than that; this is a great big band. In 1985, drummer Jeff Hamilton joined bassist John Clayton and saxophonist Jeff Clayton to form the Clayton-Hamilton Jazz Orchestra. It's comprised of a group of Los Angeles based veteran musicians who bring a big, big sound. Make no mistake, these guys swing; hard. The orchestra performed a special suite of music, commissioned by the Monterey Jazz Festival. In keeping with the festival theme, the commission piece was titled "Sweet Suite: The Brubeck Files".

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "Earth Tones", Kudu Records release "Mister Magic", 1974 The title track of this 1974 release, Grover Washington Jr.'s fourth on Kudu records, is easily the most memorable of his career. The vast majority of the tracks on Washington's releases to date had been covers of popular songs and movie themes. They all had the distinctive style, edge, and funk that differentiated Kudu Records from Creed Taylor's prime label CTI records. The arrangements weren't as tight, controlled, and elegant on Kudu, making them very radio friendly to the stations that were bridging the gap between straight R&B and the more hard core jazz stations. The latter were fighting the ideological wars between straight ahead j

Each year, the Monterey Jazz Festival's Artist-in-Residence is featured in a number of ensembles. One of those is typically a group of all-stars from the Berklee College  of Music. The 2013 Artist-in-Residence, Joe Lovano, helped open Friday night on the Garden Stage with a group from Berklee dubbed the Global Jazz Ambassadors. The Berklee Global Jazz Institute (BGJI) is a performance program designed to foster creativity and musicianship through various musical disciplines, with pianist and composer Danilo Pérez as its artistic director. The BGJI provides a comprehensive contemporary music environment where students are given opportunities to explore their creativity to the highest level possible, advance the power of music as a tool for the betterment of society, and connect musical creative thinking with the natural environment.

Granted, Carmen Lundy is not a name that surfaces early in the discussion of jazz vocalists. That especially interesting when you consider her career spans several decades, and she is a noted singer, composer, and actor. In addition to jazz, Carmen has always been open to the influences of R&B, pop, and folk music. Lundy made her debut appearance at Monterey this year in the Night Club before a packed audience. Many were already familiar with her work, as she has had a rather prolific recording career which started in 1985. Her debut release was on Justin Time Records, entitled "Good Morning Kiss". Working with a very tight trio consisting of Kenny Davis on bass, Jamison Ross on drums, and the incomparable Patrice Rushen, Lundy delivered a scintillating set demonstrating both her seasoned vocal skills, and very broad repertoire. #montereyjazz

It's been a number of years since George Benson last appeared on the Main Stage at Monterey. He was one of the headliners in the Saturday Afternoon set in the Arena. He also appeared on the Sunday afternoon panel discussion featuring recent NEA Jazz Masters honorees. Benson's 90 minute set was had plenty for the fans of George Benson the singer, and George Benson the critically acclaimed bebop guitarist. He opened the set with two burning instrumentals before launching into crowd favorites and several songs from his latest release, "Inspiration: A Tribute to Nat King Cole". His closing with "On Broadway" brought f ans from both sides of his career to their feet. All in all, a great way to cap off Saturday Afternoon.

There's nothing like the Monterey Jazz Festival. To begin with, it's truly a Jazz Festival. A few years ago, Branford Marsalis told the festival audience just how luck they were. As Marsalis put it, "...there is more jazz, than non-jazz, than any other festival in the world". Here, the legends of the music oar honored, the rising stars are recognized, and the emerging new artists are introduced to the jazz world at large. Over the next couple weeks,the "Faces of Jazz" pieces will highlight the images from this year's festival, along with mini reviews of the performances. Gregory Porter in his second appearance at the Monterey Jazz Festival, first time on the main stage.   Jeff Clayton - Clayton-Hamilton Jazz Orchestra Carmen Lundy - Monterey Jazz Festival debut   Patrice Rushen w/Carmen Lunday

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "My Favorite Things", from the brand new Mack Avenue Records release "Out Here" True, this segment normally features jewels from the treasure chest of Jazz. However, this track need not wait for the passage of time. I'll save the rest for the review of the CD, but, it's suffice to say you have to hear this track! Okay, a teaser. For the first 30 seconds or so of the track (I wasn't watching the titles), I was set for another interesting version of "Take Five". When the first melody verse was the signature opening of "My Favorite Things", everything stopped to listen to where this was going. That's enough. Go find this track and listen to it.

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "Young Rabbits", originally from the 1962 Pacific Jazz release, "Lookin' Ahead", most recently available on "Way Back Home" This is easily one of the best known tracks from the early days of the Jazz Crusaders. At the time, the group consisted of Wayne Henderson on trombone, Stix Hooper on drums, Joe Sample on piano, Wilton Felder on sax, and Buster Williams on bass. It was also one of the most challenging compositions of it's time. Every jazz band in High School in the late 60's and early 70's was on a mission to master this tune. It was fast moving, intricate harmonies, and very tight melody and chorus lines. You really had to be on top of your game to play it. If you could master Young

If there were such a thing as "comfort music" for jazz lovers, it would have to be the idiom(s) loosely known as straight ahead jazz, bop, hard bop, or post bop. Christian McBride is more than comfortable in all those formats. He stays busy as a sideman in constant demand, his big band, the “Situation”, and a number of other projects.  This is his combo alignment, Inside Straight, and he serves up healthy portions of it on his latest release "People Music". The quintet features saxophonist Steve Wilson, vibraphonist Warren Wolf, pianist Peter Martin and drummer Carl Allen. Pianist Christian Sands and drummer Ulysses Owens, Jr., who have performed extensively with the band, also perform on selected tracks. That comfort feeling sets in from the opening track, "Listen To The Heroes Cry". On this sophomore release the band demonstrates just how well they connect with each other. Solo turns compliment and carry each tune on a joy ride. Yes, the leader play

Every jazz journalist knows they will eventually write about the passing of a great artist. Needless to say it is not something we look forward to. We also realize eventually that artist will be one of our own favorites. I received the news in the modern day equivalent of the 4:30AM phone call. You know, the phone call telling you a family member had just died. The text message, from a friend who is never up that early, simply said, "Brother Duke has left the planet". Walking down the street, I was stopped in my tracks for more than a few minutes while the magnitude of the void sunk in. Next, the images flowed through my mind, then the music, back to the images, finally to the times shared with this gentle giant. There was watching him perform at many of the outdoor shows when he came "home" to the Bay Area. His introduction of 15 year old superstar in the making, Sheila Escovedo", in his band at the long lost Circle Star Theater. Catching up with hi

RIP Jazz and Funk Master George Duke  

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "Blue Spirits" title track from his 1966 Blue Note release This was Hubbard's the last of a series releases on Blue Note from the early 60's. This has the feel and sound of what should have become a standard, but somehow didn't. The horn arrangement on the title track is particularly noteworthy for it's density and harmonics. Most recently, this track showed up on a Jazzanova release: "Blue Note Trip: Looking Back", a collection of standout tracks from the label that didn't necessarily make the mainstream.   Personnel on "Blue Spirits" besides Hubbard: Hank Mobley - tenor,  James Spaulding - alto and flute,  McCoy Tyner - piano,  Bob Cranshaw - bass,  Pete LaRoca - drums,  Kian

The afternoon "Conversation" segments of the Monterey Jazz Festival are a hidden gem in the festival's weekend program. The audience takes a rare, personal look at an artist as they reflect on various aspects and moments of their storied careers. This image was captured in one of those sessions with Nancy Wilson. Later that evening, Ms. Wilson would take the stage for the first time since the passing of her husband of 35 years, just weeks prior. She noted that how performing would be very different now. "Whenever U was onstage," she explained, "...no matter where I was in the world, I was always singing to him." She went on to say her signature song "Guess Who I Saw Today" had absolutely nothing to do with the Reverend Wiley Burton.  All ticket options for the 2013 Monterey Jazz Festival are available now. Choose from single day grounds tickets to full weekend subscription packages for the Arena concerts. Go to the Monterey Jazz Fe

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "African Skies" from the Impulse Record release "Tales from the Hudson", 1996 You'd be hard pressed to find a track from Michael Brecker that wouldn't be considered an essential track. This release came after a year hiatus in recordings from Brecker, and was the beginning of a phenomenal run of outstanding recordings. Already an established, though probably under-appreciated giant of the saxophone, this released caused the jazz world to collectively take notice. Personnel on "African Skies" besides Brecker: Pat Metheny on guitar, Jack DeJohnette on drums, Dave Holland on bass, MyCoy Tyner on piano, and Don Alias on percussion. #Jazz

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "Black Nile" from the 1964 Blue Note release - "Night Dreamer" Shorter had been on the jazz scene for quite a while before this debut album on Blue Note. He spent quite a bit of time in Art Blakey's Jazz Messengers, Lee Morgan and Miles Davis before Alfred Lyons opted to sign him to his own record deal. The personnel on this album is a star-studded list for future legends. McCoy Tyner is on piano, Lee Morgan on trumpet, Reggie Workman on bass, and Elvin Jones on drums. On "Black Nile", everyone gets to stretch and jam out; typical of sessions of time. Despite it's age, this one will be easy to find online, and should also be available on CD. A worthy foundational selection.

Amongst jazz enthusiasts, any discussion on legendary saxophonists will eventually turn to Wayne Shorter. When it does, the tone of the voices speaking will become reverent in nature. This year, the 1998 NEA Jazz Master enters his 80th year. The Monterey Jazz Festival celebrates that milestone at their 7th Annual Jazz Legends Gala, Thursday evening, September 19th, where Wayne Shorter will be the guest of honor. He is also featured as the 2013 Commission Artist. Shorter and his long running quartet featuring Danilo Perez on piano, Brian Blade on drums, and bassist John Patitucci take the stage Sunday evening. All ticket options are available now, from single day grounds tickets to full weekend subscription packages for the Arena concerts. Go to the Monterey Jazz Festival Site for details and to purchase tickets. #montereyjazz 

The sensational Raul Midó n is the feature artist this Thursday, July 25th, 7:30PM. The SFJAZZ Center's Miner Theater is a perfect venue to enjoy this spectacular vocal talent. Midó n serves up a seductive mixture in influences from jazz, soul, flamenco, Latin and West African. This solo performance is one of the standouts from SFJAZZ's Great Americas Songbook II program.

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. This segment is also meant to inspire readers to seek out foundational tracks from the various sub-genres of this great music. "White Rabbit", title track of this 1972 release on CTI records There are a couple generations that only know George Benson for his vocals. He is still, arguably, the greatest bebop guitarist alive. This was the CD that catapulted his popularity and showcased massive guitar skills. The CTI label was hot, and George was one of it's brightest stars. His cover of the Jefferson Airplane hit "White Rabbit" showcased the strength of the CTI lineup, while taking the song into another galaxy. The star studded cast included Ron Carter on bass, Billy Cobham on drums, Hubert Laws on flute, Airto on percussion, and Herbie Hancock on piano. Orchestral arrangements by Don Sebesky.

Essential tracks highlights tracks that arguably should be found somewhere in any serious jazz collector's library. Fresh out of Miles Davis legendary quintet, The Prisoner was Hancock's final Blue Note release. The title track of this release was overshadowed by the classic "I Have A Dream", but is a standout in it's own right. Personnel on this album included future legends Joe Henderson on tenor, Buster Williams on bass, and Albert "Tootie" Heath on drums, in a fluid nonet format. "The Prisoner" is a perfect example of the many recordings of the time that were contemplative and reflective in nature.

1984, twenty-nine years ago, two well established jazz stars coordinated their schedules so they could record together. The result was the highly successful "Double Vision" CD. This was before "smooth jazz" had earned such a negative connotation. These two are back with a new recording, their status now solidly established as two of the elder statesmen of the music. The younger, brash sound of these upstart musicians climbing the ladder of jazz notoriety is still present.  It's rounded out now years of mastering their respective instruments. There is a touch and sensitivity to the ballads that puts the listener in an emotional and mental state of their own choosing. Rounding out the quartet (formed with intent to emulate the legendary Dave Brubeck quartets) are James Genus on bass, and Steve Gadd on drums. Genus anchors the groove, while Gadd provides just the right dynamics. The music is exciting, contemplative, adventurous, and reflective.

Legendary percussionist Pete Escovedo returns home to the Bay Area pretty often. This time it's extra special. Pete will celebrate his 78th birthday, and a career that spans six decades, with a three-day run ad Oakland's Yoshi's Jazz Club in Jack London Square. The dates are Friday through Sunday, July 12-14, with two shows nightly. Expect quite a few of the family members to be on hand, but Pete has something special in mind for this gig. In 1972, following a stint with Santana, Pete and his brother Coke Escovedo founded the Latin Rock/Jazz Fusion band Azteca. Onstage, the size of Azteca ranged from 15-25 members. They toured extensively and recorded two albums for Columbia before disbanding in 1973. Azteca was also the beginning of the professional music career of Pete's daughter Sheila. Pete is bringing the music of Azteca 2013 to Yoshi's for a series of shows that promises to be spectacular. For tickets and additional information, Contact Yoshi's box