What to Hear in August: BRIC Celebrate Brooklyn, Bryant Park, Brasil Summerfest, SummerStage and Charlie Parker Jazz Festival

By Ernest Barteldes

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I kind of hate the month of August, because that is when most of the outdoor events begin winding down – Celebrate Brooklyn wraps halfway through the month, while SummerStage continues hosting free shows until pretty much the end of the month, capping the program with the Charlie Parker Jazz Festival in Harlem and the East Village, the locales of reference for the annual event in honor of one of the heroes of the bebop era.

For those who missed it in theaters (and still haven’t watched it at home), Creed tells the story of Donnie Johnson – the illegitimate son of Apollo Creed – who goes after his own dream of becoming a champion boxer. To help him on his quest, he seeks the help of an aging Rocky Balboa to become his coach –  possibly closing the Rocky saga. The movie will be screened with a live score performed by The Wordless Music Orchestra conducted by its composer Ludwig Gorannson. Opening the evening is a selection of Gospel music by Frank Haye & The Interdenominational Choir – should be a good one and I will certainly be in attendance (Celebrate Brooklyn, Aug. 4)

Things take a Brazilian flavor at Summerstage with the kickoff of Brazil Summerfest, a weeklong event that showcases various  talents from my other country: legendary singer Elza Soares – still unstoppable at 80 – headlines an afternoon at Central Park that also features Youtube-discovered Linkner e os Caramelows and a DJ set by Teleseen. During the following week there will be concerts in various venues featuring Forro in the Dark (Brooklyn Public Library, August 9).  Aline Muniz (Joe’s Pub, August 10), Zabele ( The Django, August 13) and many others, ending with a massive Brazilian-inspired street fair  (Hester Street Fair, August 14) .

Bryant Park continues its summer program with a concert by the Asian Cultural Symphony to the US – an ensemble of more than 60 musicians, followed by Shoko Nagal’s TOKALA, which explores sonic influences from classic and contemporary Asian sounds (August 11, Bryant Park)

Most people know about Senegalese singer-songwriter Youssou N’ Dour from his iconic tune “7 Seconds,” but  he is beloved among World Music lovers – he has a long career that includes many records and countless collaborations with artists from across the globe – a fitting closing to what has been a stellar run at Celebrate Brooklyn (August 12, Celebrate Brooklyn)

Taj Mahal and Keb’ Mo’ are blues legends in their own right, and I cannot wait to hear how they sound as they join forces – it is sure going to be a meeting of generations and it is a show I am sure not to miss under any circumstance – just imagine how much great music will come from those two together on stage. (Central Park, August 13)

I have heard Anat Cohen in various formats both as a side player with Duduka Da Fonseca with her two brothers in their Three Cohens ensemble  and also leading her own chorinho-inspired group. She is a phenomenal clarinetist and at The Charlie Parker Jazz Festival she will be leading her Tenet in a program that will include her many influences, going from Brazilian to Middle Eastern and some New Orleans material in between (Marcus Garvey Park, August 25)

We wrap up the list with quite a stellar line-up of saxophonists: Joshua Redman, Lou Donaldson and Tia Fuller will close the Charlie Parker Jazz Festival – one can’t help but wonder if they will get together at the end of the day for an improvisational threesome. It might be unlikely, but one can only hope — and then we go over to Labor Day with a nice taste of great music (August 27, Tompkins Square Park)

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Album reviews: Putumayo’s “Cuba Cuba,” Hendrik Meurkens & Roger Davidson’s “Oração Para Amanhã,” MUH Trio’s “Prague After Dark” and Anna Maria Jopek’s “Haiku”

by Ernest Barteldes

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On this Putumayo release, contemporary and more traditional Cuban music come together to form this comprehensive collection of the music of the country whose music has been a global reference in spite of the controversial political issues that have kept  both countries at odds for so long.

The collection opens with Soneros de Verdad’s “A Buena Vista,” a lively tribute to the success of the collective that has had reached global success, and sets the tone for the rest of the album. We delve in the past a bit with Al Valdes’ “Guajira,” an uptempo instrumental recorded in Peru in the mid-sixties that has since become legendary, showing strains of American jazz and other sounds that would later be explored by  groups like Irakere, which at one time featured Arturo Sandoval, Chucho Valdes and Paquito D’ Rivera (which sadly are not featured on this compilation, in band form or solo). Other highlights include a new rendition of “Chan Chan” – arguably Buena Vista Social Club’s best-known tune, and Jose Conde’s “Puente a Mi Gente,” a 2004 tune that reached out to his people on the island (he was born in Miami), hoping for a better connection between the US and his ancestral land.

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Pianist  Roger Davidson and German-born harmonica player/vibist Hendrik Meurkens both have a close relationship with the music of Brazil, and it’s a thrill to hear them coming together for “Oração Para Amanhã (Soundbrush), a live recording made at New York’s Zinc Bar featuring all-original music by Davidson. Backed by Eduardo Belo (bass) and Adriano Santos (drums), the disc kicks off with “September Samba,” an uptempo tune featuring Muerkens on vibes. Muerkens then goes to his harmonica to lead on “Sonho da Tarde,” a complex tune with a low-key feel .  “Oração Para Amanhã” is definitely a love letter to Brazil, and both musicians treat the music with the respect it deserves, using American jazz tendencies to enhance the sound, but never to take it away from where it belongs.

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“Prague After Dark” (JMood Records) came to me all the way from Italy via Facebook friend and pianist Roberto Magris. Recorded in The Czech Republic with his MUH Trio (Magris, Frantisek Uhlir: bass; Jaromir Helesic: drums), it is a highly enjoyable straight-ahead album featuring mostly original music penned by all three members of the trio. I particularly enjoyed “Nenazvana,” an uptempo tune by Uhlir with a samba feel that features an extended solo from its writer. Also notable are “Iraqi Blues,” which takes a more serious tone in what is mostly an upbeat album, and the inspired cover of “Love in Vain.” Make sure to check it out, it’s rare when music like this reaches the other side of the pond.

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Also hailing from Central Europe is Polish singer Anna Maria Jopek, whose Japanese-inspired “Haiku” (independently released) finally got to my hands. Originally released in 2013 alongside her Luso-inspired “Sobremesa” and her Polish folk song dedicated “Polanna” (it could be purchased as a box set as well, but I have never seen it in stores – and I looked hard during my last visit to Poland), it is a collaboration with pianist Makoto Ozone that delves both in more traditional music and pretty hard jazz.  It closes the trilogy well – it is a well-thought record that explores a lot of nuances between Polish and Japanese music – including the kind of jazz played in both countries these days. On an interview I conducted with her a few years back, she stated that “We recorded the “Haiku” album with a Polish-Japanese band lineup in just four hours, as if we were spirited.” Quite impressive results, I should say.

What to hear in June – Summerstage and Celebrate Brooklyn 2017

by Ernest Barteldes

 

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I don’t think I need to tell you how much I love attending outdoor concerts. As much as I appreciate our various indoor venues and how some of them go above and beyond to bring diverse voices to their stages, my one musical love is to stand under the hot sun – or the stars  – and enjoy some music without drink minimums or any other restriction regularly imposed by club managers.

For this reason, it is with great expectation that I look forward to the summer months when music comes outdoors, because these musicians have a chance to reach audiences they might never reach out to otherwise –  things would be segregated among the ‘jazz,’ ‘world’ or whatever pocket genre your next tastemaker might come up with.

Among the various events I love to attend are Summertage (once limited to Central Park but now a citywide event) and Celebrate Brooklyn – they are both works of love for all those involved, including this writer –   there is no price to pay for the many memories created by each of the shows I have attended over the years.

Which brings me to my selections for the month of June for both venues – but let me note that I am only commenting on the non-benefit shows – the others get plenty of coverage on their own without my help.

Summerstage gets things running on June 3rd with an opening event featuring the great Mavis Staples (remember “I’ll Take You There?” ), who I wrote about when she played at the same stage in 2008, generating one of the best quotes I have ever heard on stage in my life: “Mississippi is a great place to come from, but it is even a better place to get away from” following a rendition of “Down in Mississippi,” a tune that reminded us of the pain so many went through during the Jim Crow era, which she helped – at least legally – get rid of.

 

Over at Celebrate Brooklyn things begin to get interesting with some soul that brings together Alice Smith, Bilal and Kris Bowers (June 10th) ,all fantastic artists in their own right. Bilal is one of my personal favorites of the three due to his ability to bridge between genres, often contributing with jazz, Latin and rock artists and sounding comfortable among all of them.

Another legend – one of the engineers of funk – is George Clinton, who will be playing with his longtime band Parliament Funkadelic on June 11th  as part of the Only in Queens Festival (associated with Summerstage). It should be a magical night at Flushing Meadows Park in Queens, and will certainly be worth the ride on the 7 train.

Fête de La Musique (June 26th)  brings some new French music to the foreground – my personal highlight is German-born Ayo, whose 2006 debut single “Down on My Knees” has stayed with me and has also become attached to memories of a 2014 trip to Europe, when the song played at a restaurant in Krakow  – whenever I hear the tune it takes me back to that unlikely place in my life. It is a song in which the narrator pleads for her lover not to go away and reminds him (her?) of the things they have shared.

My great appreciation for Robert Glasper (June 25, Central Park)  is not a secret – I have reviewed his albums and live performances over the years. His approach to jazz is quite unique as he blends elements of jazz and contemporary music (hip-hop, soul) with a political edge – he collaborates with folks you don’t usually associate with jazz, such as Erikah Badu and Bilal, to name a few – and is humble enough to go on the road as a supporting musician for Maxwell – one of the pioneers of the contemporary sould movement.

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Lila Downs

June closes with Lila Downs (Celebrate Brooklyn, June 29) , who is one of my top 10 favorite female singers. She is one of the few musicians I know who can tackle pretty much any genre while staying true to her Mexican roots. I have been following her music since I saw her at a downtown concert in which she shared the bill with Brazil’s Luciana Souza – I was immediately hooked by her expressive voice and stage presence. I must have seen her live at least ten times since and am surely looking forward for this one.

Terence Blanchard at Summerstage/Clove Lakes Park – August 5, 2016

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Terence Blanchard at Clove Lakes Park

Article and pictures by Ernest Barteldes

Terence Blanchard & E-Collective

Summerstage at Clove Lakes Park

Staten Island, NY

August 5, 2016

 

 

On an evening dedicated to the memory of Eric Garner, the Staten Island African-American dad killed while in police custody (members of his family were in attendance) in 2014 there were a handful of performers and activists on stage before the headlining artist went on stage – including a young  woman who did a spoken word piece on police violence and the consequences it has on the different communities around the nation and a statement by New York City Councilwoman Debbie Rose.

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Spoken word, beautifully made. 

Shortly after that Terence Blanchard came on stage backed by a quartet (bass, keys, drums, guitar) starting with the complex title piece from his album “Breathless” – entirely recorded in tribute to Garner – that included a four-part harmony on his synth trumpet.  The piece was very contemporary and pretty much centered on his instrument –  he had little connection with the audience and didn’t seem interested on their feedback  – something he seemed to be focused on doing for the entire evening.

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Blanchard and his synth trumpet

The pieces went from contemporary jazz to jazz-rock but with no New Orleans connection – something I had hoped to hear that night considering the bandleader’s roots.  The band was incredibly well-rehearsed and tight but seemed unable to connect except for one moment when the guitarist really rocked out and had the audience applauding.  Blanchard used a lot of effects on his trumpet and sometimes drowned out the band entirely as he experimented with the various extraneous sounds he was able to create with his horn.

This was an evening of hard jazz – probably a bit off for a park on Staten Island, but I guess audiences need to be taken out of their comfort zones at times. I did not expect to hear this kind of music there, but I did enjoy it at times.

Don’t get me wrong. I think that Blanchard is a fantastically talented musician, but from what I have been listening live over the years  he seems to have become one of these jazz cats who play at the peak of their  intellectuality and technique and not seem to care about fans. Then again, being this a concert in memory of a victim of police brutality maybe the tone was appropriate – but most of the audience was not aware of that)

It was not a bad show overall, but it was not what I was expecting to hear. He barely communicated with the crowd, and when he did he seemed a bit uncomfortable doing so. A show clearly aimed at jazz purists or those interested in really out there material – suitable for a club or a jazz festival. Another reviewer focused on the social part of the evening, but I’d rather look at the music on its own.

Angelique Kidjo’s Celia Cruz Tribute + Yosvany Terry Quintet at Celebrate Brooklyn

 

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Angelique Kidjo 

Yosvany Terry Quintet +

Angelique Kidjo

Celebrate Brooklyn

Prospect Park Bandshell

July 29, 2016

article and pictures by Ernest Barteldes

On an evening dedicated to the memory of the late salsa queen Celia Cruz, the Yosvany Terry quintet (Terry: saxes and chekeré; Yunior Terry: bass; Michael Rodriguez: trumpet; Manuel Valera: piano, Obed Calvaire: drums) came on with an energetic set of original music starting with an uptempo number with a strong Brazilian groove. The band played quite loosely, allowing for lots of free improvisation throughout. Following that vocalist Yanelle McPherson for a Irakere cover with very focused Afro-Cuban roots.

Valera was featured with an extended piano solo that followed some Spanish-language spoken word by the bandleader, who took the checker (an African made of a dried gourd and beads strung on the outside) and did a piece mostly based on it until the band joined in. McPherson returned for the last number,  an uptempo rumba with an extended drum solo that got the audience moving.

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Yosvany Terry Quintet

After a short break Angelique Kidjo came to the stage at first accompanied solely by an acoustic guitar with a ballad in her native Fulani. The 12-piece band (which included Terry and guest percussionist Pedrito Martinez) then kicked in – Kidjo immediately embodied Cruz’s fiery style, singing one of her classic numbers  – including Cruz’s signature “Azucar” cry, and followed that with a joyous original tune she explained was inspired by hearing the singer performing in Benin when she was thirteen years old.

One of the set’s highlight’s was the inclusion of a Spanish language version of “Voce Abusou,” a tune originally penned in Portuguese by the duo of Antonio Carlos & Jocafi (the song was also covered by Ella Fitzgerald)  – here it was given a more Afro-Cuban treatment, with focus on the percussion. After the tune, Kidjo acknowledged the  various influences present on the set, and stated that Afro-Caribbean and Brazilian music “survives through pain”  and given the current political climate, “you fight hate with kindness.”

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Angelique Kidjo

During one of the numbers, Kidjo left the stage (followed by some of the musicians) and walked around the audience, singing with great gusto. She also invited some members of the crowd to come up and dance along with the music.

The set ended with Kidjo’s classic “Tumba,” a song with a lively beat that has become her signature number – the audience was on their feet dancing and singing along to the chorus  – the ending of what was one of the season’s most memorable shows.

Angelique Kidjo is probably one of the few singers today that can do justice to Celia Cruz’s music – she has the same spirit and a voice just as strong as the late diva – I happened to be at Cruz’ final performance at Central Park Summerstage, and I am sure that she was looking down from heaven with a smile. It was a wonderful tribute – which I hope Kidjo takes on the road. More people deserve to hear this again and again.

Single Review: Karar by Duke Guillaume

By Ernest Barteldes

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    “Karar” by Duke Guillaume

For those familiar with saxophonist and bandleader Duke Guillaume’s devotional work both as a solo artist and with The Metropolitan Big Band, this single is quite a departure. “Karar” seems to draw inspiration from the sonic mix more closely identified with South Florida, blending electronics with classic jazz and Latin-esque sensibilities (which probably explains the cover, which pictures the musician embracing the sun and the beach), tending to follow more a dance vibe than trying to sound too improvisational

While the main melody keeps on a straight dance beat, things get quite interesting in the chorus, where a Latin samba-reggae mood kicks in, taking you away from Florida and more into the streets of Bahia, where the Afro-inspired drums play as the crowds follow them through the narrow streets of the Historical District every Tuesday night. I also felt a bit of Puerto Rico’s reggaeton into the mix – a beat that has yet to be explored by jazz musicians.

You can check out the track below:

 

Album Review: Hiromi/Spark

By Ernest Barteldes

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I have been following Hiromi’s career for quite a while – I have always been in awe not only of her unique approach to jazz piano but also her fiery performances  either as a bandleader or a side player with Stanley Clarke, which I was fortunate enough to hear not once but twice – at the Blue Note (with Lenny White on drums) and later that year at Central Park Summerstage.

When playing live, she becomes almost one with the music, using her entire body to deliver the music. She has incredible speed and her tunes mix more traditional contemporary jazz with electronic elements.  When performing with her band, the sound is incredibly tight, and their chemistry is palpable.

On Spark (Telarc/Concord), Hiromi reunites with the trio project from 2010’s “Move” (Telarc/Concord), which is rounded out by Anthony Jackson (electric bass) and Simon Phillips (drums).  The disc opens with the title track, a nine-minute tour-de-force that begins with a mellow, classically inflected piano solo that evolves into a progressive piece in which the bandleader exercises her creativity with a solid backbeat from the rhythm section.

“In a Trance” is a fast-paced in which Phillips doubles the entire piano’s notes with the drums – everything is played with incredible speed that it takes a few hearings to fully grasp everything, but just as you adjust the song changes pace into a Brazilian-like, laid-back feel before it goes back to the original melody.  Things don’t quite slow down until “Wake Up and Dream,” a mellifluous solo piano ballad reminiscent of 2009’s “Place to Be,” her only solo piano album to date. “Spark” closes with “All’s Well,” a straight-ahead, bluesy tune that allows the band to stretch and showcase a more playful side.

With “Spark,” Hiromi has not veered from her path of musical exploration, and the tunes have welcome twists that surprise even fans familiar with her previous works.

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Spark

Telarc/Concord

2016