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The Saxophone Summit: a Reflection

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The Saxophone Summit: a Reflection APRIL 2014 The Saxophone Summit : A Reflection . 1 BJA Big Band . 4 Baltimore Chamber Jazz Society : Dave Liebman/Ravi Coltrane Quintet . 5 BALTIMORE JAZZ ALLIANCE An Interview with Charles Funn . 6 Renaissance Man . 8 Jazz Celebrations of Women’s History Month . 8 Jazz Jam Sessions . 10 BJA Member Notes, Products and Discounts . 10 Ad Rates and Member Sign-up Form . 11 VOLUME XI ISSUE III THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM The Saxophone Summit: A Reflection PHOTO COURTESY OF JOHN R. LAMKIN II From left: John R. Lamkin II, Ron Pender, Warren Wolf (seated), Mark Gross, Tim Green and Craig Alston By JOHN R. LAMKIN II the stage, I could feel the energy, and I Coltrane’s sheets of sound, Tim with his The Saxophone Summit, featuring Craig knew we were ready to play. bouncy, swinging Cannonball approach. Alston and Ron Pender on tenor saxo - Once the first note of Gigi Gryce’s A spirited rendition of Wayne Shorter’s phones, and Tim Green and Mark Gross “Minority” was played, I knew that this “Black Nile” then featured Ron and on alto saxophones, with Warren Wolf concert was going to be something spe - Mark. Ron’s approach reminded me of on piano, Kris Funn on bass and John cial. Each player brought his distinctive how Mickey Fields would navigate Lamkin III on drums, was filled with style to the table. From Tim and Mark through the chord changes of jazz stan - swinging, soulful excitement from be - there were echoes of Lou Donaldson, dards, while Mark extended Wayne ginning to end. Once all the musicians Cannonball Adderley and Sonny Stitt. Shorter’s concept, but on alto. arrived, I could feel the electricity and Craig and Ron harked back to Dexter During my trumpet feature, I brought the love in the air as we anticipated Gordon, Sonny Rollins and, of course, to the stage Skipp Pearson, one of my what would surely be a once-in-a-life - John Coltrane. mentors when I was in college, the best time event. Greeting the audience mem - On “Stablemates,” a Benny Golson man at my wedding and my son John’s bers, I could tell they were expecting a classic, Tim and Craig were a study in godfather. Skipp, “South Carolina’s Am - memorable evening. Looking around contrasts: Craig with runs reminiscent of bassador of Jazz Music,” was visiting (continued on page 2) (continued from front page) The Baltimore Jazz Alliance is a 501(c)(3) tax exempt organization. The Saxophone Summit: A Reflection The Baltimore Jazz Alliance (BJA) is a Philadelphia, so I invited him to sit in. dripping with pure soul! grass-roots organization of jazz afi - John had no idea that Skipp was in town As Tim finished and the crowd set - cionados, musicians and venues dedi - and what followed was a priceless, emo - tled down, it was time for the last tune, cated to enhancing and promoting jazz in Baltimore and the surrounding areas. tion-filled embrace. When we played “Oleo,” by Sonny Rollins. Each solo pro - New members sharing this passion are “Bye Bye Blackbird” as we had done vided a stirring coda to an evening that always welcome as the BJA continues back in the 1960s, Skipp showed that big appeared to end all too quickly. We then its efforts to build a stronger and better Gene Ammons-like sound, with phrases spontaneously broke into “Killer Joe” as networked jazz scene. Together we can reminiscent of Sonny Rollins. the crowd reluctantly began to disperse. help this music thrive in the region and We started the second set with Char - The Saxophone Summit could not reward listeners and musicians alike. lie Parker’s “Confirmation.” Mark have come to fruition without the col - BJA Priorities opened sounding like Bird himself; then laborative efforts of Caprece Jackson- • To develop new audiences for jazz Ron stepped up, reminding us of Stitt Garret, founder of the Bonneau Caprece • To strengthen communication on tenor. After my solo came Craig’s, Jazz Series, the John Lamkin “Favorites” within the jazz community whose melodic lines, harmonic and Jazz Quintet, all the musicians who • To improve media relations on behalf of the jazz community rhythmic sense always have a poignant, agreed to participate, and of course the • To bring greater visibility to the searching quality. Tim’s interpretation audience, whose support was over - entire array of jazz offerings in the was laced with the spirit of Cannonball whelming. Everyone with whom I Baltimore region and Trane. Next was Warren, who plays spoke after the performance seemed to • To provide greater access to piano like he plays the vibes—exquis - share the same feeling. Caprece said that performance opportunities for itely! Finally John traded fours with the the Saxophone Summit represented a Baltimore-area jazz musicians ensemble, after which the horns re-in - “continuum in the evolution of Balti - Visit www.baltimorejazz.com troduced the theme and took it out. more’s jazz tradition.” Mark Gross for information about our Ron suggested “Giant Steps” and pointed out how delighted he was “to accomplishments and future goals. Tim agreed to play it with him. After be part of that wonderful concert,” and they stated the melody, Ron delivered how great it is to be “from Baltimore, Baltimore Jazz Alliance several inspired choruses, each building where there is such a rich jazz tradi - 847 North Howard Street Baltimore, Maryland 21201 in momentum. Then Tim took the spot - tion.” The audience, similar in enthusi - light and answered with a number of asm to that of the old Left Bank Jazz Please direct your spirited choruses that built on Ron’s Society’s Famous Ballroom concerts, questions and comments to: [email protected] momentum and carried it to another was probably the most important player level. After Tim was finished, Warren of all. Caprece noted that at least four filled his solo with interesting harmonic guests commented that the Saxophone and rhythmic explorations, after which Summit was “the kind of performance BJA BOARD Ron and Tim traded fours. This was you get at the Kennedy Center!” An - Alice Downs reminiscent of the classic saxophone other guest, Bob Rhodes, remarked that Liz Fixsen, Secretary battles between Rollins and Stitt or he really enjoyed the venue, and loved Barry Glassman, Founder and Emeritus Johnny Griffin and Trane in which there “seeing the old Baltimore jazz crowd.” Vernard Gray were no losers. The crowd loved it! He also noticed “there were several Brad Gunson “Whisper Not,” another Golson clas - younger folks” present among the “very Trish Hennessey sic, featured Craig and Mark playing diverse crowd.” The greatest feeling ex - Bob Jacobson, Vice President two remarkably stylish solos, complete perienced by everyone in attendance Irene Jalenti Sara Jerkins with Craig’s Coltrane-derived sound was hearing the musicians who partici - David Madoff and Mark’s Charlie Parker-inspired lyri - pated in the Saxophone Summit in the Todd Marcus cism. Tim followed with “Blue Monk,” splendor of the Tremont Grand historic Camay Calloway Murphy, Emerita the only blues of the afternoon. His ex - venue. Look for the next installment of Mark Osteen, President tended introduction morphed into the the Bonneau Caprece Jazz Series, featur - Ian Rashkin theme and was then followed by a solo ing a Vocal Summit, on May 18th. Robert Shahid, Treasurer Marcellus “The Bassman” Shepard SUPPORT LIVE JAZZ Page 2 / AFepbrirl u2a0r1y4–March 2014 Baltimore Jazz Alliance The Baltimore Chamber Jazz Society presents… Tribute to Wes Montgomery and Grant Green featuring the RONI BEN-HUR SEXTET SUNDAY, APRIL 27 th 5 PM $32 General Admission / $30 BMA Members & Seniors / $10 Students RONI BEN-HUR, guitar / CLAUDIO RODITI, trumpet / STEVE WILSON, alto sax GEORGE CABLES, piano / SANTI DEBRIANO, bass / VICTOR LEWIS, drums Israeli-born guitarist Roni Ben-Hur has earned a reputation as a “story-teller” PHOTO COURTESY OF RONI BEN-HUR and one of the” jazz elite.” Renowned for his golden tone and crisp, fluid style, Ben-Hur possesses a signature sound that infuses jazz with melodies and KAPLAN CONCERT HALL rhythms from many cultures. Here he leads a formidable ensemble of players as they offer reverence to jazz guitar greats Wes Montgomery and Grant Green. Towson University Center For The Arts One Fine Arts Drive • Towson, MD 21252 TICKETS and INFORMATION: Towson University Box Office 410-704-ARTS 410-704-ARTS (2787) or www.baltimorechamberjazz.org More info at: www.baltimorechamberjazz.org BJA Members receive a $ 2 discount off the general admission price! Baltimore Chamber Jazz Society Just indicate your affiliation when ordering tickets. P.O. Box 16097 The Baltimore Chamber Jazz Society is a non profit organization and is supported Baltimore, Maryland 21218 by a grant from the Maryland State Arts Council, an agency dedicated to (410) 385-5888 cultivating a vibrant cultural community where the arts thrive. Jazz at Peabody 7:30 pm at Peabody’s Joe Byrd Hall April 24 Peabody Improvisation and Multimedia Ensemble Gary Thomas, Director Alexander Norris, Guest Conductor April 25 Peabody Jazz Orchestra Michael Formanek, Director For tickets, call 410-234-4800 17 East Mount Vernon Place Don’t miss performances by the Peabody Improvisation 8:30 and 10:00 pm at and Multimedia Ensemble and the Peabody Jazz Orchestra. The Johns Hopkins Club April 26Kenny Barron & Stefon Harris Duo Tickets: $15 Adults, $10 Seniors, $5 Students w/ ID. For the full schedule of concerts and events, For tickets, call 410-235-3435 please visit www.peabody.jhu.edu or call 3400 North Charles Street the Peabody Box Office at 410-234-4800. www.peabodyjazz.org/hopkinsclub BPalgtie m3or/e F Jeabzrzu aArlyli–aMncae rch 2014 BaltiPmPaoagrge e 3J3a/ zAzp Arilll i2a0n1c4e BALTIMORE C JAZZ ALLIANCE BIG BAND # Call for Performing Musicians # Call for Original Jazz by Maryland Composers and Arrangers HERE WE GO AGAIN! The Baltimore Jazz Alliance Big Band is ready to start its FOURTH exciting year.
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