Howard Wiley - saxophones
Geechi Taylor trumpet
Danny Armstrong - trombone
Jemal Ramirez - drums
Devin Hoff & David Ewell - bass
Yeruda Caesar & Dina Maccabbee - violin
Lorin Benedict & Jeannine Anderson - vocals

Howard Wiley & The Angola Project features Wiley investigating the roots and legacies of African American prison spirituals, encompassing folk, blues, and gospel, with a focus on the songs and stories from the Louisiana State Penitentiary in Angola, Louisiana, from the 1950s onward.

Before the performance, Daniel Atkinson and Howard Wiley came out and explained the program for the evening. Atkinson is currently studying at the University of Washington, completing his Master's degree in Ethnomusicology (the study of people making music.) He has traveled down to the Lousiana Penitentiary several time for his Master's thesis research which has greatly influenced his work with Wiley.

It was an amazing performance and an incredible interpretation of the music from this period. The set included the amazing original compositions "Angola" and "Second Line" and a spectacular rendition of the classic hymn "12 Gates to the City." Wiley and his band were vibrant and energetic. The music created a variety of moods from the playful to the thought provoking. There was moment in "Angola" when vocalist Jeannine Anderson matched Geechi Taylor's trumpet note for note like we were being taken up into the heavens. It was a riveting experience.

This performance was part of the jazz series at Intersection for the Arts in San Francisco where Wiley serves as the Artist-in-Residence. It is a great space for art and music.

Howard Wiley & The Angola Project will be performing at Jazz at Pearl's on February 23 and 24. Howard will be celebrating his birthday and the release of the Angola Project CD.

Photo Credit: James Knox

Posted by at 9:58 AM | Permalink | Comments (0)

Clairdee, originally uploaded by in2jazz.

Clairdee - vocals
Ken French - piano
Ron Belcher - bass
Deszon Claiborne - drums

A Friday evening on a holiday weekend, a ferry boat on the bay, couples cozy, and the melodious sounds of Clairdee made for a perfect evening. Clairdee recently performed the inaugural jazz concert for FerryMusic on the Santa Rosa Ferry Boat at Pier 3 on Embarcadero in San Francisco. FerryMusic is brand new venue in San Francisco for jazz, classical, and chamber music on a beautifully renovated ferry boat.

Clairdee looked and sounded magnificent. She has a way of taking any song, whether new or old, and making it all her own. From Gershwin to Aretha Franklin to Sinatra, she does it all with such style and grace. She sizzled on "Summertime", "Blue Moon", "All The Way", "Do What You Did Before", and "This Is Love." She even included four gems from the Shirley Horn songbook - "New York on Sunday", "Get Rid of Monday", "Don't Be on the Outside", and "The Great City." She sang a soulful rendition of "Gonna Wait 'Til the Midnight Hour" in tribute to Wilson Pickett and soulfully signified on "Someone Else is Steppin' In." Clairdee closed this magical evening with a rousing version of "Dr. Feelgood" that took us up high, down low, and all the way to church. She was accompanied by Ken French, Ron Belcher, and Deszon Claiborne. They kept the groove jumping all evening long.

Please be sure to checkout future concerts at FerryMusic.

For more photos from Clairdee concert at FerryMusic, click here.

There is also an excellent article on Clairdee and FerryMusic in the SF Chronicle. I got photo credit for the concert photo of Clairdee....YAY!!!!

Posted by at 10:43 PM | Permalink | Comments (0)

Jeremy Pelt @ Jazz at Pearl's, originally uploaded by in2jazz.

This photo mosaic is very exciting because I was finally create a mosaic using the flickr toy..YAY!!! A concert review will follow.

Posted by at 11:42 PM | Permalink | Comments (0)

Roberta Flack - vocals/piano
Tony Terry - vocals
Shelton Becton - keyboards/vocals
Nicholas Brancker - keyboards/vocals
Arturo Tappin - sax/flute
Jerry Barnes - bass/vocals
Sherrod Barnes - guitar/vocals
Ricardo Jordan - drums/vocals

Above photo: I love this shot because it captured just her alone at the piano in the dark.

I have wanted to see Roberta Flack in concert since the 70's when I used to play my brother's Killing Me Softly album on a regular basis as a kid. When I learned she was doing a benefit concert for the Lyon-Martin Women's Health Services at the Palace of Fine Arts in San Francisco, I knew I had to be there. The evening began with a pre-concert reception which I had to miss because I was trapped in traffic. I finally got there at 8pm. My seat was in the second row and I got settled in. Roberta's opening act was a band from Seattle named LeRoy Bell and His Only Friends. It featured LeRoy Bell on lead vocals and guitar, Rick Novito on guitar, Terry Morgan on bass, and Stan White on percussion. The band's blending of guitars, bass and percussion was wonderful. I would describe their style as folk with a slight edge. LeRoy's vocals were pleasing without being overly raspy. I would like to hear more of their music. Their latest release is titled Spending Time.

There was a short break then my dream came true and Roberta came onstage. The concert was more wonderful than words can convey. She looked radiant, regal and wise as you would expect from a woman who has touched us with her music for so many years. She sounded and played heavenly. She opened with "Oasis" and toward the end she shifted to the rhythms of South Africa and punctuated them with melodic chants. On "Will You Still Love Me Tomorrow", she playfully paused and encouraged us to sing the hook along with her. She and Tony Terry sang sweetly on "Tonight, I Celebrated My Love." Roberta gave "Sweet Georgia Brown" a whole new look and feel and her men provided some tight harmonies on the backing vocals. On "Feel Like Making Love", she sang an extra "feel like" or two as the men sang the hook. The song even shifted into a Marvin Gaye groove as she sang "You Sure Love to Ball" followed by "Mercy, Mercy Me." The classic "Killing Me Softly With His Song" unfolded into a bossa nova jam at the end.

Roberta announced that she will have a new album, R.A.S. - Real Artists Symposium, before the end of the year. She will have 14 songs and it will also showcase the talents of her wonderful band. She is gifted and innovative. You could hear how she inspires her band to greatness throughout the evening. Her first single will be "Say No." It has a calypso feel as it tells the listener "don't rush your life" and do not be afraid to say no. Tony Terry sailed into a falsetto stratosphere on his hit "When I'm With You" which will also be included on the album. Jerry Barnes soulfully sang "I'm So High" while Roberta swayed at the piano.

Roberta put on her glasses and sorted through the many song requests she had received. She told how used to perform at Henry's on Capitol Hill in Washington, D.C. and that her album "First Take" consisted of many of the songs she sang there. She then sang "Ballad of the Sad Young Men", a very poignant tune. She dedicated "I Think It's Going To Rain Today" to New Orleans. She suprised me when she sang Michael McDonald's "I Can Let Go Now" as it is favorite of mine. I quietly melted as she sang "The First Time Ever I Saw Your Face." She followed with "You Will Be Inside My Heart Eternally" and closed with DeBarge's "Love Me In A Special Way."

Thank you Roberta for killing us softly with your song.

Posted by at 4:30 AM | Permalink | Comments (3)

Berkeley Jazz Festival, originally uploaded by in2jazz.

Last month, I attended the Berkeley Jazz Festival sponsored by KBLX and Cadillac at the Greek Theatre in Berkeley. It was a day of great music featuring the Unwrapped All-Stars, Lalah Hathaway, Ray Obiedo, Rachelle Ferrell, Bobby Caldwell, Boney James, and Kem. Just as exciting was the DJ Russell Gatewood, who played old school jazz and R&B grooves between the acts. He even gave away a couple copies of Coltrane's Love Supreme on vinyl. People danced in their seats and there was even a group of folks doing the electric slide. I even learned that Stevie Wonder recorded a jazz album called Eivets Rednow (Stevie Wonder spelled backward.)

Here are some of the festival highlights.

Unwrapped All-Stars

The Unwrapped All Stars featuring Dennis Nelson turned current hip-hop tunes into soulful jazz grooves. Their set included "Candyshop" and Earth, Wind and Fire's "Fantasy." I wish I could name more of their songs but all of them were tight.

Bobby Caldwell

Smooth jazz/R&B crooner Bobby Caldwell performed Ruby and the Romantics' classic gem "Our Day Will Come" and the funky/soulful "Call Me Up" from his new album, Perfect Island Nights. The high point of his set was his R&B classic hit "What You Won't Do for Love." The crowd loved it and all sang along. He also included "Walk On By" and "Where is Love." He closed with another hit, "All or Nothing at All", which was also a hit song for Al Jarreau.

Lalah Hathaway

Soulful vocalist Lalah Hathaway opened with her soulful ballad "We Were Two" and just got "Better and Better" from her latest album, Outrun the Sky. She said her remake of Luther's classic "Forever, For Always, For Love" was "her first major hit in a career of over 15 years." As soon as her band played the opening notes, the audience went wild with applause. People swayed and sang along while Lalah put down a serious groove. Her set also included "How Many Times", a beautiful rendition of the classic gem "Summertime" and two Randy Crawford timeless tunes, "One Day I'll Fly Away" and "Streetlife." It was also very exciting watching Rachelle Ferrell standing on the sidelines cheering for Lalah. Nothing but love.

Lalah will be playing the SFJAZZ Festival Fall Season with Marcus Miller on October 21.

Rachelle Ferrell

Dynamic vocalist Rachelle Ferrell came onstage wearing a fringed halter and white pants that made everyone take notice. She opened with "So Satisfied." She had Lalah come out and join her on "Sistah." It was so magnificent when they harmonized together, a hush fell over the crowd. It was magical. She sat down at the piano for "I Forgive You" and "Run to Me." She puts so much energy into her music whether she is singing or playing. She performed a medley of her early hits "'Til You Come Back to Me", a chill out version of "I'm Special", "With Open Arms", "Sentimental", and "Waiting." We, the audience, were her faithful background singers. She closed with "Nothing Has Ever Felt Like This", demonstrating her multi-octave abilities as she sung the low and high parts of this duet. The time moved too swiftly as Rachelle always she leaves you wanting more.

Boney James

As the evening the began to cool smooth jazz saxman Boney James set the audience on fire with his soulful grooves. Speaking of fire, he featured a sensational male vocalist on the song "Fire." I will definitely have to check out more of Boney's music. He performed Bill Wither's classic "Ain't No Sunshine" and he came back for an encore with Chaka's "Sweet Thang." He definitely gave us some sweet sounds.

Kem

Just as the sun was setting on a hot day of music at the Greek Theatre, Kem came onstage like a cool breeze in the desert. His latest album, Kem Album II, was burning up the airwaves even before it was released. He blends his gospel roots with jazz, soul, and sensuality to deliver a sound that is very personal. His ballads minister to the soul while his mid-tempo grooves make you want to get up and dance or at least nod your head to the rhythm. His set included "Find Your Way", "I'm Into You", and "Heaven." He definitely puts on a great live performance.

Posted by at 5:21 AM | Permalink | Comments (1)

Lizz Wright, originally uploaded by in2jazz.

Photos capturing the many music moods and beauty of Lizz Wright as she played the San Jose Jazz Festival last summer.

Lizz Wright - vocals
Deanna Witkowski - keyboards
Carlos Henderson - bass
Mark Collenberg - drums

This was a very fun concert as I was dividing my time between listening to her wonderful music and sitting on the steps of the stage taking photos. Her set included "Open Your Eyes", a magnificent reading of "Afro Blue", and the soul-stirring "Walk With Me." Her rendition of "Nature Boy" has become a favorite of mine. Carlos opened the song with nice bass solo, Deanna jammed on the Rhodes, Mark came in on the drums, and Lizz just brought out all together beautifully. She soared on "Eagle & Me" and the wind rose at the Wright moment when she sang "Eternity" and "Blue Rose." Her voice had a way of summoning a cool breeze on a hot August afternoon. She was gracious, shy, and beautiful as always. Each time I see her in concert, she seems freer in her music as walks further in the light. Every lyric has a new meaning as she brought a hush over the crowd as she sung "Home." "Salt" had some new seasoning and "Silence" was reverent. Just when we thought it was the end of her set, she came back and sang "Lead The Way" and "Fire." She also included "Nothing Will Be As It Was", a Milton Nascimento composition.

Hot music on a hot summer day!

Have you gotten the new Lizz Wright album, Dreaming Wide Awake, yet? It is wonderful and I promise to share my thoughts soon. Lizz will playing at The Independent in SF on Tuesday, August 16. Verve Records is running a contest on her website, www.lizzwright.net, to win tickets to this event.

JazzReview.com: Artist Interview with Lizz Wright

Posted by at 2:39 PM | Permalink | Comments (2)

Photo by j-notes.com

Cedric Brown - Vocals
Simon Butler - Guitar
Sam Bevan - Bass
George Bernard - Percussion
Glen Iwaoka - Drums

There is nothing more fascinating that watching an artist in their moment. A music teacher described that moment as being when you feel deep within that everything is just right and you are giving it your all. I stepped into Rasselas Jazz Club in San Francisco, a few week ago, where vocalist Cedric Brown was crooning his heart out as the couples cuddled a little closer.

His set included such classic gems as "Everything Happens to Me" and "Angel Eyes." He demonstrated his musical diverseness on "Between Two Worlds", a well-delivered, folksy ballad. He playfully scatted on the opening of an up-tempo rendition of "Autumn Leaves." Cedric was accompanied by solo guitar on "Like Someone in Love" which gave it a breezy Latin feel as he punctuated with his own percussive rhythms. He moved to a soulful funk groove on "Just the Two of Us" and got the audience singing a cool ad lib. He brought the groove back down to a simmer on "One Day I'll Fly Away" showcasing his incredible vocal range.

Cedric's influences include Andy Bey, Billy Strayhorn, Nancy Wilson, and Abbey Lincoln. He featured Abbey's "Should've Been." The band framed each of his notes with extra care on this tune. He sang words of encouragement on Caron Wheeler's "Don't Quit." He took us to "Higher Ground" for the close of his spectacular performance. After much applause and standing ovations, he encored with a very jazzy "Consider Me Gone" which was the perfect ending.

This was Cedric's first performance in the backroom of Rasselas' and we all are hoping this is just the beginning of many great shows to come. In previous performances, Cedric has used a trio but for this show, he had a quartet without a pianist which gave the music a different feel. Sam Bevan was excellent on the upright and elecric bass. Simon Butler on guitars had a couple of moments where I could not figure out where he was heading musically, but for the most part, he was good. George Bernard on percussion and Glen Iwaoka on drums kept the rhythms flowing all night.

So Cedric, when can we expect to hear your music on the radio? Keep walking in the light.

Posted by at 7:01 AM | Permalink | Comments (1)

Lizz Wright - Vocals
Nicholas Rolfe - Piano/Fender Rhodes
Carlos Henderson - Bass
Mark Collenberg - Drums

The lyrics are so essential to the song. They convey emotion and tells us a story from the singer's perspective. Extraordinarily gifted vocalist/songwriter Lizz Wright brings the lyrics to life. She brings them from her heart and conveys them through her rich contralto voice and her graceful movements. Just watching her perform the past two nights at Yoshi's has been a magical and spiritual experience.

I have had the pleasure of seeing Lizz twice in concert before these two special evenings. She moved and swayed me at the Monterey Jazz Festival in 2002 and the Cerritos Center in 2003. It is wonderful to watch her grow in her musical journey. She is more comfortable and engaging with her audience. She is freer in her music yet there is still a wonderful innocence about her. Her phrasing is even sharper and her endings are smoother. She can take you to far away places and leave you wanting more. You can hear the gentle winds and the ocean breezes and see the beautiful fields of flowers and peaceful sunsets in her song.

She opened her evening with an up-tempo arrangement of "Open Your Eyes, You Can Fly," then floated over to the melodic coolness and chants of "Afro Blue." Next, she set our souls on fire with "Walk With Me, Lord" which featured Nicholas Rolfe on Fender Rhodes. "Blue Rose" was fragrant as she took us deeper into her soul. Her interpretation of the classic ballad "Nature Boy" has always been a favorite of mine. This evening it got funkier as Carlos Henderson set the tone with soulful groove on the bass, then Lizz took us from a simmer to a sizzle. Nicholas brought on the funk on the Fender Rhodes (even interspersing a little bit of The Stylistics "People Make the World Go Round" in his solo) and Mark Collenberg threw in a soulful beat on the drums. Lizz came back in and brought it all back down to a simmer as she told us "the greatest thing you'll ever learn, is just to love and be loved in return." She flowed gracefully through "Eternity", soared effortlessly on her gospel/soulful interpretation of "The Eagle and Me", and closed out the evening with "Silence." The audience loved her and let her know with loud applause and standing ovations. She came back out and gave us a flavorful rendition of "Salt" and sent us home seasoned with her music and beauty.

Lizz has a new band that has been with her since November 2003. I hope they will be recording with her when she goes back into the studio this year for they compliment each other so well.

By the way, today she celebrates her 24th birthday! Happy Birthday Lizz! If you have not done so already, don't forget to pickup some Salt.

Posted by at 8:19 AM | Permalink | Comments (3)

Earl Klugh - acoustic guitar
Greg Phillinganes - keyboards
Al Turner - bass guitar
Ron Otis - drums

There is nothing like starting off the year with good music and Earl Klugh delivered. I was overjoyed when I found out he was coming to town because I have been enjoying his music for a number of years. His smooth and mellow guitar could be heard on all the quiet storm/lights-out radio formats in the 80's. Long before I began buying massive amounts of music, I would sit on the porch at night listening to the radio and Earl's music was a part of it.

His set included such classics as "One Night (Alone With You)", "Dr. Macumba", "Heart String", "Livin' Inside Your Love", "Low Ride", "Twinkle", "Balladina", "Wind & Sea." His music floats you away to a tropical paradise as he caresses his guitar like a babe in arms. His notes are precise and powerful. I observed a childlike wonder in his eyes and playful laughter as he enjoyed his music. He took us from beautiful ballads to soulful funk grooves throughout the evening. Earl mentioned that the Yoshi's concerts were put together to give him the opportunity to play again with his longtime collaborator, Greg Phillinganes, who has played keyboards for the best in the business. Al Turner on bass guitar and Ron Otis on drums, whom I also saw with Bob James last summer, play with Earl regularly. Each of them brought on the funk during their solos. Earl will have a new release in the fall on an independent label. There will also be a new Earl Klugh website coming soon. Stay tuned.

After the concert, Earl and the band signed autographs. Fans, including me, got to expand their Earl Klugh collections as his previous recordings were on sale for $10 each. The next night I stopped by to pickup an album that sold out the previous night. I helped Denise, Earl's assistant, with opening purchased CD's for the signing as people flocked out after the concert. It was fun and I later got to take the photo shown above with Earl and also one with Greg.

Posted by at 8:22 PM | Permalink | Comments (13)

Terence Blanchard - trumpet
Aaron Parks - piano
Brice Winston - tenor saxophone
Massimo Biolcati - bass
Lionel Loueke - guitar and vocals
Rodney Green - drums

Trumpeter/Composer/Leader Terence Blanchard is an innovator. He always has a fresh new groove and showcases new talent in his band. I have admired with his trumpet skills since his days with saxophonist Donald Harrison and his original music scores for several Spike Lee films. On this evening, he and his band were playing tunes his debut Blue Note Record album, Bounce, a collection of nine songs that capture the essence of his musical diversity. The set included "On the Verge" which featured Aaron, 19 (who graduated college at 18), on piano with an excellent opening solo filled with bouncy Latin rhythms. The piece also featured Terence and Brice on some very energetic solos. This energy continued on "Transform" and "Fred Brown." Drummer Rodney, who has played with Patti LaBelle, Diana Krall, and Joe Henderson, had such great movements on the drums, it was like he was going to take off and fly away. Terence made it mellow on the bossa nova cut, "Nocturna" which featured Lionel on a guitar and vocal solo with so much flavor that it made hard it to distinguish the voicing between him and the guitar for their harmonic phrasing was so tight. The closing title track "Bounce/Let's Go Off" felt like a late night jam session with Terence setting the pace with his opening trumpet solo then he faded out and Massimo came in with a incredible bass solo. Terence came back in and tore it up and Rodney joined in on the drums with the rest of the band following. They jammed for over 10 minutes. Terence continues to take his horn and to new levels of mastery and perfection.

Posted by at 11:18 PM | Permalink | Comments (0)

The weather and the music were hot for the final day of the Monterey Jazz Festival. The day was bittersweet in a way because you have been moving at a frantic pace trying to see as many acts as possible but you know come tonight, it is all over until next year. I picked up a previous year's festival t-shirt and sweatshirt (great buys!!!) and checked out the vendors for a final time. You may find it hard to believe but I did not buy any music while I was here. I did browse but there was nothing that really grabbed me and I already have enough music flowing through my brain at the moment. Before I cover the headliners of the day, here are a few things I checked out as I was moving throughout the festival.

• Joe Sample, Wilton Felder, and Herbie Hancock being interviewed before their shows by CNN. Hopefully, my photos will be decent.
• The Monterey Jazz Festival High School All-Star Big Band with Artists-in-Residence John Clayton, Jeff Clayton, Jeff Hamilton, and Gary Burton. The band was excellent and definitely have a bright future. There were also three big band alumni trumpeters that joined them on "Night in Tunisia" that were absolutely sensational.
• The legendary pianist Jay McShann and The Duke Robillard Band at the Garden Stage.
• Saxophonist Dave Ellis also on the Garden Stage.
• Between the evening shows, I briefly got to hear pianist Jacky Terrasson intertwining a passionate melody with "Body and Soul."

The Crusaders

The Crusaders have been making good music since the 50's. The players have changed over the years but they continue their fine tradition of making good music. The band includes Joe Sample on fender rhodes and electric piano, Wilton Felder on tenor saxophone, Ray Parker, Jr. on electric guitar, "Ready" Freddie Washington on bass, Steve Baxter on trombone and Kendrick Scott on drums. They began with the soulful jazz cuts "Viva De Funk" and "Creepin'" from their current Verve release, Rural Renewal. Joe told how The Crusaders' music is played on the Fender Rhodes and the Wurlitzer electric piano and how he purchased his first Wurlitzer in 1963 after being inspired by the music of Ray Charles. He then played the classic "A Ballad for Joe" which featured Ray on an excellent guitar solo. Joe also told a couple of great stories on the band's beginnings and praised each member before they jammed on "Way Back Home" and "Put It Where You Want It" on which Wilton shined on the sax. Even with the heat, people were grooving in their seats and a few were up dancing. The Sunday afternoon crowd in the arena is the diehard Monterey festival goers and you can tell that many of them have been coming for years. Ray's cousin Letitia Body filled in for Randy Crawford, who was out due to an injury, with her soulful rendition of "Street Life." They closed out their show with Ray's "Ghostbuster's" theme song with all of us yelling "Crusaders" as the chant. Afterward, they receive a standing ovation. It was definitely an enjoyable and fun show.

Interesting fact: Wilton Felder originally played the electric bass and several members of The Crusaders played on many of Barry White's hits.

Nnenna Freelon

Vocalist Nnenna Freelon has a special way of interpreting the lyrics of a song. We saw and heard how deeply she feels a lyric in her vocalization and spirited bird-like movements as embraces a song note for note. She is truly amazing to watch perform. As I was coming back to my seat, she was singing "Better Than Anything", which in a line gives a nod to "checking in at Monterey." She warmed us under the stars and the autumn breeze as she crooned "I Love You" and "Stella by Starlight." She told us how singing "I Feel Pretty" brightens up any "bad hair" day. Her set also included a reggae flavored rendition of "Body and Soul" and "All or Nothing at All" infused with Latin rhythms. She then took us into the book of "Wonder" with "My Cherie Amour" and closed the evening with "Tears of a Clown." As she glowed in her beautiful gown, she shared with us that tonight celebrated 20th year in the music business. Keep soaring Nnenna! She was accompanied by an incredible band which included Scott Sawyer on guitar, Brandon McCune on piano and keyboards, Wayne Batchelor on upright and electric bass, Woody Williams on drums, and Beverly Botsford on percussion. Nnenna has a new live album coming on 10/07 and advanced copies were available at the festival.

Herbie Hancock Quartet

The Swingin' Finale of the festival closed with the Herbie Hancock Quartet featuring the incomparable Herbie Hancock on piano, Bobby Hutcherson on vibraphone, Scott Colley on bass, and Terri Lyne Carrington on drums. Their set included Herbie's classic "Maiden Voyage", "Theme from Dolphin Dance" and Bobby's composition "November." Herbie has played with the great legends of jazz so just watching him play under the stars was a great experience. The quartet played succinctly, each complimenting the other while showcasing their unique talents. Bobby provided rich and glorious tones on the vibes while Scott thumped his bass to perfection and Terri, wow!! Her drum solos were powerful and spellbinding. It was definitely a pleasure to finally get to see her live.

Festival Food Treats: Spicy grilled salmon with rice, fried plantains, and black-eyed peas

See you there next year!!!!

Posted by at 5:22 AM | Permalink | Comments (2)

I woke up early filled with anticipation of another day of great music. I started my morning with a drive to Carmel Beach. The sun was out and it was getting warm early which meant another day of great weather. The waves were magnificent and I got a little wet during my walk along the ocean but it was very calming and peaceful. Next up, I visited the Monterey Bay Aquarium. They have a wonderful assortment of fish, marine life, and even birds and the jellyfish exhibit is spectacular.

Carla Cook

It was about 7:15pm when I got in line for Carla Cook's 8:30pm show at Dizzy's Den. I think people started lining much earlier because I was way back in the line. Security assured everyone that we would all be able to get a seat for this much anticipated performance. I missed seeing Carla in Chicago last year so this evening was definitely special for me. A few minutes before the show, I got to go backstage and chat with Carla. I stuttered at first from the excitement and eventually got my words together. She looked radiant and was ready to give an outstanding show. She was just as warm in person as she is in her music and it was really fun meeting her.

Carla and her quintet opened swinging brightly on "Until I Met You (Corner Pocket)", an adaptation of the Count Basie signature piece and paid tribute to vocalese performer Eddie Jefferson with "Oh Gee" where she demonstrated her innate ability to vocalize as a horn. She told how the popular standard "Where or When" came to her late yet she brought a beautiful freshness to it with her wonderful vocal clarity. She dedicated the jazzy "Strong Man" as a salute to all the strong men. Bassist Lonnie Plaxico switched from upright bass to the bass guitar for Carla's soulful rendition of the Marvin Gaye classic "Inner City Blues" then she took us straight into Sunday morning with "Hold to God's Unchanging Hand." Percussionist Abdou Mboup worked it out on the bongos as Carla sang brilliantly in Portuguese on "Cancao do Sal". She closed with a gospel-tinged, soulful version of Eric Clapton's "If I Could Change the World" on which she gave us a powerful extended note toward the end of the song. Pianist Darryl Ivey framed Carla vocals to perfection and providing outstanding solos throughout the evening. Israel Bannerman kept a fascinating rhythm on the drums. With such clearness, versatility, and style, Carla has the ability to make any song special. Carla's latest recording on MAXJAZZ Records is Simply Natural.

Dena DeRose

I popped in to catch the tail end of singer/pianist Dena DeRose's second set in the Coffee House Gallery. She accompanies herself very well and has a smoldering voice that clothes each note. Like Shirley Horn, she uses spacing in her notes and silence to convey a message just as a powerful as when she sings. Her vocals were quite smooth on the reflective "I'm Old Fashioned" and poignant "You've Changed." Dena introduced her own recently composed swinging instrumental, "One for the Road." I definitely want to hear more of her music. Her trio included Michael Zisman on bass and Matt Wilson on drums. After her set, she signed autographs with legendary vocalists Jon Hendricks and Mark Murphy at the Tower Records on the festival grounds.

Kurt Elling

Vocalist/Vocalese Kurt Elling has the amazing ability to glide vocally through air with such ease. He challenges the boundaries of music with his original lyrics set to the compositions of the such jazz greats as Coltrane, Gordon, Zawinul, and Shorter. He breathes new life into these classics and gives the listener a renewed appreciation.

Kurt played the late show at Dizzy's Den to a fairly packed house. He was playful and full of energy in his music. He was wonderfully accompanied by the Laurence Hobgood Trio featuring Hobgood on piano, Rob Amster on bass, and Frank Parker, Jr. on drums. I have been a fan of Kurt since first hearing him on a Yellowjackets album several years ago so seeing him live was definitely a treat. His set included the vocal adaptations of "In The Winelight" (Grover Washington, Jr.), "Tanya Jean" (Dexter Gordon), "When Somebody Needs You", "Never My Love" (The Association), "Minuano" (Pat Metheny), and one of my favorites, "Man in the Air" which is also the title track from his latest Blue Note album, Man in the Air. He closed with his vocalese of the Coltrane classic "Resolution." Kurt kept us captivated as he took us through the highs and lows of his vocal terrain. In the middle of his set, he recited a poem from Robert Creely while accompanied softly by his trio. He displays such versatility in his music and has a great sense of humor as well. He is definitely a modern day keeper of the spirited vocalese tradition made popular by such legends as Jon Hendricks and Eddie Jefferson.

Festival Food Treats: A spicy jambalaya and fried alligator on a stick

Monterey Jazz Festival Highlights - Part 1

Monterey Jazz Festival Highlights - Part 3

Posted by at 6:12 AM | Permalink | Comments (9)

It is just a few days after the 46th Annual Monterey Jazz Festival and I am ready to start looking for a hotel room for next year. This was my second year attending the festival and I will say once again, there is nothing else like it. The weather was great, the food was scrumptious, and the music was beyond compare.

I arrived a few hours before the festivities began and since I had a great parking space, I walked from the Monterey County Fairgrounds to the Old Fisherman's Wharf. I had dinner and checked out scheduled festival lineup and made my picks. I got back to the festival around 7pm and walked around the grounds and got my festival t-shirt (the bigger sizes sell out fast!!!) There are five stages. The Jimmy Lyons Stage is the main arena where the festival headliners play. There are also four grounds stages which are the Coffee House Gallery, Dizzy's Den, Night Club/Bill Berry Stage, Garden Stage, and Jazz Theatre.

Jason Moran and The Bandwagon

My first music stop Friday evening was pianist Jason Moran and The Bandwagon. His trio included Tarus Mateen on acoustic electric bass and Nasheet Waits on drums. They performed three shows at the Coffee House Gallery. I caught him earlier in the week at Yoshi's and while the shows may have had similar openings, this show was definitely different. Wearing his trademark white felt fedora, he opened with his recorded "Bandwagon" intro and then broke into "Another One" which could scare a jazz purist who is looking for a familiar sound. His music is a journey in which he has a strong grasp on and respect for the past while blazing his own trail with sharp turns and curves along the way. He provides rambucous tremolos that rang out like a bell and rolled thunderously like waves on the ocean yet he is subtle and symphonic in his solo piano moments. He moved from a funk groove to a New Orleans funeral march and then to "Body and Soul" which is from his latest Blue Note release, Jason Moran and The Bandwagon. His set also included "Intermezzo, Op. 118, No. 2", "Out Front", "Planet Rock" and a very nice arrangement of "Estate'." Tarus and Nasheet brought color and texture to the set with their excellent solos. Jason's music challenges the listener's ears in new ways and that is exactly what we want our music to do.

Mary Stallings

Next up was the incredible vocalist Mary Stallings at the Night Club/Bill Berry Stage. Before she came onstage, there was a buzz in audience. Several people knew her from San Francisco, which is her hometown and where she currently lives. Her band came onstage and opened with "Green Dolphin Street." Mary came out in a sultry, red fitted dress and opened with "Old Devil Moon" with a sassy Killer Joe-like rhythm. Next, she took us down to the "Street of Dreams." She infused the bluesy "Sweet and Lovely" with some scatting and a mellow fade out on the end. Babatunde Lea came in on the drums, then Glen Pearson came in with an excellent piano solo and Mary swung in with "The Gypsy In Me." She slowed down the pace a bit with the Cole Porter ballad "You're Sensational." It was slow samba and she had a call and response with the piano. She delivered a smoldering version of "A Sunday Kind of Love". Babatunde gave gentle brush strokes on the drums and Glen tickled the ivories in a way that could make you shiver and the bass tied them all together. Mary made it her personal testimony. The crowd just ate it up. She closed with a hard swinging "I've Got Rhythm" and after a round of loud applause, she came back out and encored with "I Love Being Here With You." She kept us swaying, clapping, and toe-tapping all evening. Mary's latest recording on MAXJAZZ Records is Live at the Village Vanguard.

Soulive

Afterward, the Soulive funk was already in session over at Dizzy's Den so I stopped outside to catch a bit of the groove. The jazz funk soul band of Eric Krasno on guitar and brothers Neal Evans, on Hammond B3 organ and Hohner Clavinet D6 and Roland A-33 keyboards, and Alan Evans on drums were just one of the acts brought in to attract the younger jazz fans. The mission was accomplished as young and old alike were moving to their soulful funk groove. If you were sitting in the back, you might not have been able to see the stage as people were up out of their seats and dancing to the music. In addition to playing cuts from their recent Blue Note albums, they included the Sly & the Family Stone classic, "If You Want To Me Stay." Some funk is just meant to be heard while standing so you can just let it move you. Even when they slowed the funk down, it was still hot. They continued jamming until after 12am. Their new release on Velour Records is due out in October. As I was leaving, I overheard a young guy say, "I want to be a roadie for Soulive." Me too!!

Festival Food Treats: Turkey Steak Sandwich, Peach Cobbler

Honorable Mention: Fried Calamari at Old Fisherman's Wharf

Monterey Jazz Festival Highlights - Part 2

Monterey Jazz Festival Highlights - Part 3

Posted by at 10:55 PM | Permalink | Comments (7)

The Shirley Horn Quartet

Shirley Horn - vocals
George Mesterhazy - piano
Ed Howard - bass
Steve Williams - drums

It was few minutes before Shirley came onstage. The crowd was a bit more seasoned than usual. These were the true jazz lovers filled with many stories of years of great music. I often find I am one of the younger cats in the audience at her concerts. It makes me think that this was the kind of evening my dad would have enjoyed. I instantly noticed a microphone at the piano. Could it mean that our old friend will back at the helm of her Steinway? I sure hope so for I know that great piano has missed her magical touch.

Shortly after 8pm, her band came onstage and opened with "Bye Bye Blackbird" and once they were done, Shirley was brought centerstage and she opened with the bouncey "Forget Me" and a bossa nova rendition of "How Am I To Know." She was in great voice and filled with energy, undaunted by life's challenges of the past year. She slowed the room with "A Time For Love" and swung on "Take Love Easy" and then came her sultry, sexy version of "Fever" which has become a staple of her shows in the past few years. She lulled us with her poignant deliverance of "Yesterday" but it was interrupted momentarily by the crash of a tray of drinks during the first verse. She laughed and continued to lull us through the rest of the song. She looked regal and elegant as ever as she took us through "Old Country" and the velvety "I Got Lost In His Arms." She also featured "Just In Time", the sensual "Beautiful" and the playful "Something Happens To Me." She introduced the title track to her new album, May The Music Never End, which was written by Artie Bulter who also composed her closing song, "Here's To Life." Just a wonderful evening with a great lady.

I came back with a friend for second evening of Shirley's captivating music. This was her second show of the evening and while she sang several of the songs from the previous night, there were some delightful surprises. Her band opened with "What Is This Thing Called Love" and Shirley opened with "How Am I To Know." She also included in her set "Beautiful Friendship", "Bewitched, Bothered and Bewildered", and "Nice and Easy Does It." Tonight she sang "Yesterday" with the innocence of a young lover whose heart had been newly broken. She gave us a surprise rendition of "I'll Be Seeing You" and closed with "Here's To Life." It is always a pleasure to hear her music and a joy to see her live in concert.

She was accompanied lovingly by George Mesterhazy on piano, newcomer Ed Howard on bass who known her since he was 14, and her soulmate Steve Williams on drums.

We got to go backstage after the concert and I really tried my best not to be starstruck. She was very kind and gracious. I gave her a kiss on the cheek and thanked her for her wonderful music and great performances. That truly made my evening. May the music never end.

Posted by at 10:45 PM | Permalink | Comments (0)

Roy Hargrove and The RH Factor

Roy Hargove - trumpet and flugelhorn
Willie Jones III - drums
Jason Thomas - drums
Reggie Washington - bass and vocals
"Spanky" Chalmers Alford - guitar
Bobby Sparks - organ, rhodes, clavinet, and synthesizers
Jacques Schwartz-Bart - tenor/soprano saxophones
Keith Anderson - tenor/alto saxophones
Renee Neufville - vocals and keyboards

That's the only way to describe it. It is not uncommon to hear a train passing by Yoshi's since the tracks are right outside but not this night. I am sure the trains had to stop and take notice of the funk up in here. Trumpeter Roy Hargrove and The RH Factor rolled onstage with a mighty thunder and a hard groove that blew the roof off the place. It may have been a little too much funk for this intimate venue but it was a great show. Roy was like Noah and his Ark in that he had two keyboardists, saxophonists, drummers, and guitarists. There was even an upright bass leaning on the wall just waiting to be a part of the groove. They played hard soulful/jazzy grooves from his latest release, Hard Groove. In addition to Roy keeping it hot on trumpet and flugelhorn, Jacques Schwartz-Bart and Keith Anderson were keeping the groove with their sax solos, Renee Neufville, formerly of the singing group Zhané, provided keyboards and sexy, sultry vocals on "How I Know" and "Juicy", Reggie Washington and "Spanky" Chalmers Alford laid down the rhythm on the bass and electric guitars, respectively, and Willie Jones III and Jason Thomas brought on the noise with their magical beats on the drums but the musician that blew the crowd away was Bobby Sparks on the keyboards with every funk sound imaginable. His arsenal of funk included a Korg, a Fender Rhodes, a Hammond B3 organ, a Hohner Clavinet D6, and a special funk machine that had dials to guide the groove to wherever he wanted to take it. It was very similar to the minimoog shown above or an arp. Nevertheless, he kept the funk strong.

Roy reminds you a bit of the trumpeters of the past in his stage presence and soulful deliverance. It would be easy to compare him to Miles in the way he has carved out his own niche and sound but Roy is definitely unique. He is one of the premiere trumpeters of the day and has recorded with some of the best in jazz. His groove definitely comes from deep within his soul, bringing forth a mixture of jazz, ole soul, new soul, hip-hop, and pure funk. It can only be described by the way it was chanted, "hard groove, hard groove, hard groove!" You definitely want to catch this groove when it comes your way.

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The Greg Osby Four

Greg Osby - alto saxophone
Megumi Yonezawa - piano
Matt Brewer - bass
Eric McPherson - drums
Ambrose Akinmusire - special guest on trumpet

I first heard saxophonist Greg Osby last year on his Blue Note release, Inner Circle. I remember playing it as I was going to sleep but the intensity of his music kept me awake. I had to put on something a bit more mellow. Osby's intensity was definitely evident during his recent performance at Yoshi's. He is no nonsense horn player. He went straight into his music and sometimes you did not know where one piece ended and the next began. Each instrument had it is own assignment and when they came together, they formed a powerful class. In the dissidence of each sound, there was a certain cohesiveness. He has joined onstage by special guest trumpeter Ambrose Akinmusire, an Oakland native. Their pairing was dynamic and produced a wonderful sound which was reminiscent of Miles and Coltrane set yet definitely carving their own paths. Osby featured music from his Blue Note releases including his current release, St. Louis Shoes, a tribute to the music of his hometown.

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The Mulgrew Miller Trio

Mulgrew Miller - Piano
Derrick Hodges - Bass
Karriem Riggins - Drums

Last night, I went to Yoshi's to hear the Mulgrew Miller Trio for $8. It was cheaper than a movie and the trio was outstanding. It was also a live recording which will hopefully be used for one of his future MAXJAZZ albums. Mulgrew opened the set with the Duke Jordan composition "Jordu" and then serenaded us with a slow intro into Cole Porter's "Night and Day" which flowed into a mid-tempo groove. He also moved slowly into "Comes Love" which swelled into a bouncy groove then took us right to Sunday morning with the Duke Ellington composition "Come Sunday." Mulgrew also demonstrated some superb solo piano work on "It's Easy To Remember." Karriem Riggins kept excellent time on the drums showcasing his ability to discern the perfect beats for each movement. Derrick Hodges was great on the upright bass but I would have liked to have heard a few more solos from him. The trio closed with one of Mulgrew's own compositions, "Pressing The Issue", which was filled with spicy Latin rhythms. Mulgrew reminded me a bit of McCoy Tyner in the way that he sang to his keys and kept time with his left foot. He used his piano keys sparingly yet effectively. At any time, he could move from one end of the keys to the other but his melodies came from a center pocket of keys and he played them well.

I first heard Mulgrew on Cassandra Wilson's early recordings. He also played with Betty Carter and Art Blakey's Jazz Messengers and was one of the founding member of the Tony Williams' Quintet. His latest MAXJAZZ album, The Sequel, was recorded with his band, Wingspan, which he founded 15 years ago. He has his own unique style infused with elements of gospel, rhythm & blues, classical and straight ahead jazz. Read more about Mulgrew on his MAXJAZZ homepage.

Posted by at 7:41 AM | Permalink | Comments (1)

I braved the really cool San Francisco summer weather on Sunday to attend the Fillmore Street Jazz Festival. There were plenty of street vendors, food, and good music along the 12-block stretch of the festival. The highlight of the festival for me was seeing Brenda Boykin bringing us her jazz, blues, and whole lot of soul. The lyrics above came from closing song, "Big Fine Woman." I definitely look forward to seeing her again in a warmer venue soon.

Posted by at 6:21 AM | Permalink | Comments (2)

I had the pleasure of hearing singer/songwriter René Marie at the Monterey Jazz Festival last summer. She gave an outstanding performance so I knew we would be in for a treat this evening as she performed songs from her new MAXJAZZ album Live At Jazz Standard. René as wonderful stage presence and is very in touch with her audience. She opened her set with "Deed I Do" which featured a scatting call and response with her drummer T. Howard Curtis III. We rolled along with her as she captivated us with the sultry and sensual reading of "Surrey with the Fringe on Top." She teased that "all the gray haired and no hairs" should know her next song which was a bluesy, soulful cover of The Beatles' "Hard Day's Night" which also featured the walking bass of Elias Bailey. René is a great storyteller and she gave us little nuggets of wisdom before each song. The room fell silent as she told how she was first introduced to the music of Nina Simone when she was 15. She found great strength in her music but originally thought "I Loves You, Porgy" was too weak, too needy. Accompanied by John Toomey on solo piano, she gave a powerful yet poignant rendition of this classic love song. Her up-tempo, jazzy composition "I Like You" was inspired by her brother. The beautiful ballad "Shelter In Your Arms" was about letting her guard down and being loved. Her voice blends so well with her trio of wonderful musicians.

René closed with a unique intertwining of Maurice Ravel's "Bolero" and Leonard Cohen's "Suzanne" which has become a signature song of her performances. She introduced this song by telling us the influence her father had on her music. René was the fifth of seven children, growing up in Roanoke, Va. For entertainment, her father would play "Bolero" and pretend to be an African hunter with a broom as his spear. He also enjoyed "Suzanne" so her interpretation of the two songs is a loving tribute to her father. She scats the opening notes of "Bolero", then the drums march in and she sang "Suzanne." The audience was in amazement as René turned the impossible into the sublime.

René will be returning to the Bay Area for the San Francisco Jazz Festival on 11/2. Read more about this gifted performer on her MAXJAZZ website or her personal site, renémarie.com.

Posted by at 7:52 AM | Permalink | Comments (2)

I admit that I am a Patti Austin groupie. My friends know this about me and will let me know, if I do not know already, when she is coming to town or has new music coming out. About 15 years ago, I met Patti for the first time. It was at the grand opening of Bloomingdale's in Chicago and she was there modeling a line of beautiful leather suits. It was a wonderful meeting except for having a camera that would not cooperate. I got to ask questions about her music and got my albums signed. I even brought a couple of her early albums just to let her know I was not a newcomer to her music and then came the moment to take a picture with this phenomenal woman. My first and second rolls of film jammed in the camera and the third roll jammed in the camera after about 6 shots. I was so embarrassed because each time I ran through the streets like a crazy man to get new film but Patti was very patient and quite humorous. I have met her a couple of times since the fated camera incident and even dared to bring a camera, fulling working, of course.

On Easter Sunday evening, I saw Patti at Kimball's East. Her current show is called BeboperElla which is a tribute to the music from the Bebop era and celebrating the music of Ella Fitzgerald. It also featured music from her Grammy-nominated album "for Ella." Her band and backing vocalists were comprised of the very talented jazz students from the Berklee College of Music in Boston. Patti received an honorary doctorate degree from Berklee in 2000. The show opened with a narrative on the lives of Mr. Bebop and Ella and how their lives intertwined. The band's vocal sextet came out tightly harmonized and scatting to perfection on "Cherokee" which warmed us up for the entrance of Ms. Austin brightly singing "A Tisket A Tasket, followed by the sensual ballad "Honeysuckle Rose" and a tune about that ole mean-spirited "Hard-Hearted Hannah." The sextet returned to sing about Mr. Bebop "Slippin' Into Darkness" and how he made his presence known with "Night in Tunisia." Patti reworked "Mr. Paganini" into a sweet rhapsody paying tribute to ole Bebop and the sextet joined her on a lively version of "I've Got Rhythm." A hush fell over the room and the lights dimmed as she was accompanied by solo piano on the dreamy "The Man I Love." She was undaunted by a little crackling in the sound system. She continued with the poignant "But Not For Me" and the sextet joined her again on one of Ella's signature song, "How High The Moon." They closed with "Birdland" with Patti scatting and singing all the highs and lows. We clapped enough for her to come back out for an encore. She joked that she was on her way to the car. A lady from the audience yelled that she had her first two albums and Patti asked, "What were my first two albums?" The fan referenced "Every Home Should Have One" and Patti said that she made albums years before her duets with James Ingram. The groupie in me could not help but yell out "Havana Candy." She turned and said, "Yessssss, my brutha!!" and I just laughed. She sang "Hearing Ella Sing" which was written by Patrick Williams for her album and received a standing ovation from a very receptive audience. What a wonderful experience for the jazz students to able to work with such a great talent!

Now here comes the groupie again! After the show, I hung around for about 15 minutes waiting for her to come out so I could say hi and get my CD sleeve signed even though "Peaches", the sound man, had told us that she was not coming out. A few minutes later, she came out and I got my autograph and I told that we had met a few times before over the years, not as if she would remember me. She teased me about the current discussion that Jesus had a brother named James and that I had a heavy burden to carry. My only regret was that she did not sing her gospel flavored version of "Miss Otis Regrets." She said they could not work it in the context of the show. I thoroughly enjoyed the concert and if she comes your way, go see her because you will definitely be in for a great treat.

Posted by at 10:00 PM | Permalink | Comments (3)

Webster's defines radiance as the quality of being radiant. It is further defined as radiating beams of light or brightly shining even glowing. The radiance that I speak of is that which vocalist/songwriter Lizz Wright gave as she performed on a rainy Monday evening at the Cerritos Center for Performing Arts. Her warmth and natural beauty filled the room as she sang beautiful melodies with such poise, grace, and innocence that you are just in awe. She caresses a lyric so deeply that you hang onto every word. There were times when I was so captivated that I would be breathless as she held us tightly in song.

Lizz opened singing a smooth version of "Softly As In A Morning Sunrise" which blossomed into an enchanting bossa nova, then she brought us a soulful "Jazz (Ain't Nothin' But Soul)" which was first made popular by Betty Carter. We were embraced by the African rhythms and chants of "Afro Blue" which is on her much anticipated debut Verve album "Salt" which will be released on 5/13. I get a new understanding of this song each time I hear it. She also sang the dreamy "Blue Rose", the poignant "Silence" which featured a wonderful bass solo by Doug Weiss, and the romantically soulful ballad "Fire", all of which she penned for her upcoming release. She truly walked heavy as she evoked her soul and spirit into the gospel hymn "Walk With Me, Lord." She also sang two of my favorite standards from her performance at the Monterey Jazz Festival last summer, her bluesy, gospel-tinged "Eagle and Me" and a playful mid-tempo reading of "Nature Boy" which was truly a musical workout for her trio but she handled it with precision. Feeding her musically note for note were Kenny Banks playing a serious groove of his own on the piano, Doug Weiss thumping effectively on the bass, and E.J. Strickland working it out on the drums. Each had great and masterful solos throughout the performance.

The very skillful Anthony Wilson Quartet opened the evening with Anthony Wilson and John Pisano on guitar, John Clayton on bass, and Jeff Hamilton on drums. Their set included "You Were Meant For Me", "I Can't Give You Anything But Love" and couple of Wilson's compositions. They were a great opener but seemed a little lengthy since we were waiting in great anticipation of Lizz.

She closed out our musical evening with the powerful title track "Salt" which speaks to the song in all of us. The audience loved her and made her feel welcome to be back in LA. We gave her a standing ovation and loud applause until she came back out and gave us a little more "Salt." Never has salt been so sweet.

There is an excellent in-depth article on Lizz from the LA Times entitled "Learning song by song", and check out her Verve website and coming soon, her new personal website, www.lizzwright.net.

Posted by at 5:41 AM | Permalink | Comments (4)

It's 8:40pm, the curtain goes up and the band comes on the stage. The stage was draped in romance including two chandeliers. The opening notes to "Mystery" begin to play. One of the Perry Sisters sings the opening notes of the song and then the dynamo, the songtress, the powerhouse, Anita Baker, took the stage welcomed by a rush of loud applause from the audience. She crooned and looked stunning in her black dress with the mean split that she would whip around throughout the evening. The first thing we noticed was that she has taken wonderful care of her instrument during her seven year hiatus which seemed like an eternity. Her contralto is more intense, powerful, and brilliant than ever. She sang note for note and often brought a little extra on every song. There was no holding back. She gave us her all and them some. You could see from her graciousness, gratefulness, joy, playfulness, and warmth that this is a woman at peace. She is enjoying her life and still very much in love with the music that she has been bringing to us for over 20 years. Every singer should be able to take some time off and come back being this strong.

After "Mystery", she playfully directed her band as they opened "Sweet Love" which rolled into "Been So Long." She followed with "No One In The World" and "Same Ole Love." Before singing "Just Because", she brought her angelic background singers centerstage to introduce them and give them love. The Perry Sisters (Sharon, Darlene, Carolyn, and Lori) aka Perri have been touring with Anita since her early concerts and have sung with a vast roster of other artists. They looked and sounded wonderful. In between songs, Anita continually expressed her gratitude to the audience and let us know she was singing for us. She was concerned that people would not come out for her shows after being away for so long. The Friday night show in Oakland sold out three hours after the tickets went on sale. Oakland has a very special place in Anita's heart because her first time on the big stage was here opening for Frankie Beverly & Maze. A fan asked "What had she been doing during her time away?" She laughed and said, "I've been doing what you've been doing. You've been away too! I've been raising my kids and taking care of my family." Of course, the inevitable question of "When is your next album coming out?" was asked and she responded "That's a big controversial thang" and moved on. The audience loved her and we let her know it. She encouraged us to sing along with her and we did but unlike many concerts where the artist just stands there and cheers while the audience sings the words, Anita matched us and embellished every note. Barry Eastmond performed a sensational solo piano introduction on "Lead Me Into Love" as Anita lead us deep into her miracle of love. She kept us swaying with a spirited "Caught Up In The Rapture" and "Giving You Best That I've Got." On "Watch Your Step", she was joined by saxophonist James Carter who gave a powerful solo. Anita truly blew on a spectacular call and response session between her and Carter towards the end of the song. Afterwards, she sat down and closed out with "You Bring Me Joy" and received a standing ovation at the end. As she left the stage for the first time, she shook hands and waved goodbye to us. The applause was so loud that she could not help but come back out for an encore and what an encore it was. She asked us what we wanted to hear and someone shouted back "You Belong To Me" but she said the band did not know it but she wonderfully sang a verse of it acappella. She then took us back to 1983 and sang her first solo hit "Angel" and closed out the night with "Fairy Tales." Every time she would sing "The story ends, as stories do. Reality steps into view" she would graciously step forward whipping that split around again. Her spirit and energy were high throughout the evening. As she left the stage, she high-fived fans and even gave out roses.

There is a warm rush that comes over me when I hear good music. I beamed in wonder and amazement throughout the evening. Thank you Anita for giving us your best and for bringing us joy.

Posted by at 7:28 AM | Permalink | Comments (18)

What inspires your greatness?

For me, if you have not figured out it already, music is a fundamental part of my life. It inspires me and fuels my fire. I went to see Three Mo' Tenors at the Paramount Theatre and my soul was lifted from the first note of "La Donna e Mobile" to the reprise of "Make Them Hear You." These three mellifluous voices moved effortlessly through the genres of opera, classical, Broadway, spiritual, jazz, blues and gospel music. I was amazed by their respective unique gifts and versatility. The Tenors are Victor Trent Cook, countertenor (a tenor with a whole lot of range), Rod Dixon, lyric tenor, and Thomas Young, lyric tenor. There were too many bright moments to mention but, if I had to pick a few, they would be Thomas Young's "Send In The Clowns", Rod Dixon's "A Song For You", Victor Trent Cook's "Were You There and their collective performance on "Today I Sing The Blues." They were outstanding and definitely an inspiration to all of us especially when our world is in such troubled times. Every African-American child with an inclination for music needs to hear or see the Three Mo' Tenors so can be inspired and embrace all the music that is in our rich heritage.

Posted by at 11:44 PM | Permalink | Comments (4)