Harold Mabern
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Live Performance Reviews Live Performan very formal way. Even when bass and drums Speaking of accompaniment, if you are a Toshiko Akiyoshi enter and accent those 10-finger chord voicings, pianist in search of quality drummer and bassist, Live at Dizzy’s Club Coca-Cola everything stays pretty much on a straight four. I would strongly recommend getting in touch September 16-17, 2005 Above a steady rhythmic bed, she brings us fresh with Eddie Marshall and Paul Gill. They were melodic twists and turns. Being a very generous not merely supporters of but major contributors artist, Ms. Akiyoshi also gives the drummer and to the quality of the evening. As mentioned, Ms. By Steve Jankowski bassist equal time to express themselves. More Akiyoshi is a generous musician, so they both about that later. get a chance to stretch out several times, always Dizzy’s Place is located at 33 West 60th. Next, she provides us with a little history. with satisfying results. I must single out Paul But trust me, this is not the location of a Brown- Ms. Akiyoshi says she’s been doing this for 60 Gill’s solo in the high flying “Tempus Fugit,” stone with a cozy club in the basement. years, describing the overall experience as where he takes the quarter note per beat ap- This unremarkable address identifies the “bizarre.” She tells us that her mentor was Bud proach to another level, inventing one entertain- location of those two monoliths now residing on Powell, whom, if I heard correctly, she met in ing line after another. Eddie Marshal’s moment the West Side of Columbus Circle. For our pur- Paris in 1954. Hmmm, a young Asian woman in the final number, (the title was never men- poses, look for the “JAZZ” sign at the corner of attempting to learn jazz piano in Paris in the tioned) contains everything a good solo should 60th and enter there. Dizzy’s Club Coca-Cola is 50’s? “Bizarre” may just be accurate. After re- have: surprise, energy and invention. located on the 5th floor. If you’ve yet to experi- minding us all of Bud’s significant contributions After 50 minutes of music, it becomes obvi- ence its ambiance, be to her life and jazz in gen- ous why Ms. Akiyoshi has been around for 60 forewarned this is a eral, she introduces the years—she is superb pianist. And although her “classy” jazz joint, so next two selections, a trib- sometimes heavy handed style may not appeal to dress accordingly. ute to her mentor entitled some, she is definitely an original, and that Inside, you’ll walk “Remembering Bud,” fol- surely recommends her. on hardwood floors sur- lowed by Bud’s own clas- The Toshiko Akiyoshi Trio is part of the rounded by curving Ma- sic, “Tempus Fugit.” Diet Coke Woman in Jazz Festival which is con- plewood. Once again tinuing all this month. Check this publication or There’s a counter “Remembering” starts with call Dizzy’s Club Coca-Cola for information. along the rear wall, which those full chords laying out Here’s one time where a corporate sponsor is stretches from the bar area the theme. Bud may have actually sponsoring the right thing. to the club entrance and been her mentor, but she’s it’s a nice touch. Sit on certainly listened to Dave one of the black bar stools Brubeck once or twice in positioned before it and her life. This time, how- George Coleman take in the whole room ever, everything melts into Live at Smoke with a glance. The main a more relaxed pace: a September 8, 2005 space contains about 30 delicate, respectful swing, tables. over which she captures But the most breath- the essence of her memo- By Dan Adler taking aspect of this room, ries—plaintive, evocative and I’m not over exagger- and bluesy. I attended the first set of the legendary ating, is the “wall” behind “Tempus Fugit” George Coleman’s three-night engagement at the bandstand. It consists of several floor-to- soars, moving at a breakneck pace that should Smoke September 8-10, 2005. Upon entering, I ceiling windows stretching the length of the only be attempted by professionals. Her playing noticed that there were no music stands on stage, room, giving the audience an unforgettable in this number, quite frankly, is astonishing. so it was immediately clear that this is going to panorama of the growing skyline on New York’s Here’s an individual who’s spent 60 years in the be an evening of standards played by an all-star West Side. Has any late night talk show ever had business still staying on point with nice ideas group. a more perfectly composed backdrop? I think even at a frantic tempo. George Coleman himself needs no intro- not. Next, an original composition entitled duction. Most people know his playing from the Of course, last Friday night we were very “Interlude” gives us a sense of Ms. Akiyoshi’s celebrated Miles Davis albums Four and More lucky to be on the Club side of the glass to see lyrical side. A bossa-nova feel pushes the de- and My Funny Valentine and Herbie Hancock’s and hear the Toshiko Akiyoshi Trio featuring lightful melody, and her solos in this arrange- Maiden Voyage . In addition, Coleman has also Eddie Marshall on drums and Paul Gill on bass. ment are definitely the most romantic and acces- recorded with B.B. King, Charles Mingus and As if to emphasize the epic view behind sible of the evening. Cedar Walton, and has numerous albums under her, Ms. Akiyoshi starts us down “The Long Of all the tunes she selected, my only ques- his own name. Pianist Harold Mabern is from Yellow Road,” an original composition based on tion concerns her interpretation of “Sophisticated the same generation as Coleman, having made her experience as an Asian woman in the Ameri- Lady.” While the big chord solo thing works his name playing with Wes Montgomery, Lee can and European worlds. She begins with series effectively in some numbers, it does nothing for Morgan and many others. Bassist John Webber of thick staccato chords played fff in the center me to hear Duke’s classic melody so overstated. and drummer Joe Strasser, who are about half of piano. During one chorus, she even lifted One gets the feeling Ms.Akiyoshi has, in- the age of Coleman and Mabern, are among the herself off the piano seat to gain more leverage. deed, played a lot of solo jazz piano over the best of the young generation of emerging great Her opening stylistic choice, unaccompa- past 60 years, and it is an approach she maintains players who play frequently at Smoke and other nied solo piano played aggressively, will be in a group context. Even with kick drum and New York clubs. featured in many of her arrangements. And in bass defining the bottom, her left hand still The set opened with Coleman stating a this particular case, which details an emotional spends a great deal of time in the deep, dark end rubato intro to “Speak Low” which Har- and personal experience, it is very appropriate. of the piano, kind of like unaccompanied piano old Mabern immediately picked up on, and they Her playing engages us and moves us—but in a with accompaniment. quickly launched into an up tempo swing which To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide & Directory z www.jazzimprov.com z October 2005 8 Live Performance Reviews Live Performan had the audience tapping their feet. Strasser and took it to another level on his tasteful solo, Webber quickly showed that they are more than Harold Mabern swinging gently but deeply. The crowd cheered up to the challenge of playing with these two Live at Kitano Hotel the bass lines as Mabern watched with obvious giants. Mabern’s comping is legendary in jazz September 16, 2005 pleasure. circles—a powerful mix of the McCoy Tyner After a nice version of “Bye Bye Baby” style with his own way of developing counter featuring Joe Farnsworth’s drumming, Mabern themes and pushing the soloist to new heights. By Al Bunshaft featured one of his own compositions written for This was no exception, the tension kept building (Edward) Lee Morgan called “Edward Lee.” The throughout Coleman’s well-crafted solo fol- Walking into the bar at the Kitano Hotel it driving hard-bop of this number echoed the lowed by great solos by all. is immediately evident that the space was not sound of the first piece and really showed off For the second selection, Coleman mo- designed for music. The small room, with a ca- Mabern’s piano playing. He uses powerful, tioned to Mabern “Blues in Bb,” and proceeded pacity of only about 60, has a low ceiling and the rhythmic chord patterns which remind me at to play Charlie Parker’s “Now’s the Time” to the sightline from one part of the bar area is ob- times of John Hicks, but he also has a lushness audience’s delight. structed by a pillar. I came in during the closing to his sound not unlike the sound of McCoy At this point they decided to slow things number of the first set and what I also noticed Tyner. The walking bass line of the solo and down a bit and Mabern gave a beautiful intro to instantly was the excellent sound that the room some powerful swinging with more brush work “Dedicated to You.” Rather than taking it as a has.