Tag Archives: jazz concerts

THE FINAL SEASON: “HIGHLIGHTS IN JAZZ”

Jack Kleinsinger has been putting on jazz concerts every year in New York City for thirty-seven years — including just about everyone alive and playing, including Dizzy Gillespie, Earl Hines, Buddy Rich, and Big Joe Turner.  2009 will be the end of the incredible run for “Highlights in Jazz.” 

I have fond memories of the concerts: in fact, I was in the audience for Jack’s second concert — a 1972 tribute to Fats Waller at the Theatre deLys.  At other times, I recall seeing Teddy Wilson, Buddy Tate, Dicky Wells, PeeWee Erwin, Bobby Hackett, Dick Hyman, Vic Dickenson, Milt Hinton, Kenny Davern, Jon-Erik Kellso, David Ostwald, Doc Cheatham, and many others.  My memory isn’t deep enough (Jack’s is) to delineate all of the surprise guests, but they were happy to be there. 

So consider these concerts!  There won’t be another season, and I don’t see new series emerging that give so much loving attention to Mainstream and earlier styles of jazz.

Here are the details:

Thursday, September 10, 2009 – 8 pm
Cabaret Jazz: featuring Barbara Carroll and Paula West

Thursday, October 8, 2009 – 8 pm
Hot Jazz From New Orleans To Israel: featuring Evan Christopher, Duke Heitger, Anat Cohen,
Ehud Asherie, George Masso, Jackie Williams, Johnny Varro, Joe Ascione

Thursday, November 12, 2009 – 8 pm
Living Jazz Legends: featuring Buddy DeFranco, Jay Leonhart, Joe Cohn, Ron Odrich, Ed Metz, Jr.
and Bucky Pizzarelli, John Pizzarelli, Martin Pizzarelli, Mickey Roker

Thursday, December 10, 2009 – 8 pm
Celebrating the Swing Masters:
Ken Peplowski Recalls Benny Goodman
Terry Gibbs Recalls Lionel Hampton
Freddie Bryant Recalls Charlie Christian

All Shows at TRIBECA Performing Arts Center
Borough of Manhattan Community College, 199 Chambers Street
TRIBECA Box Office at (212) 220-1460  http://www.tribecapac.org/music.htm 
Subscriptions $130, individual tickets $35, students $32.50.  Make checks payable to & mail to: Highlights in Jazz, 7 Peter Cooper Road, New York, NY 10010 (enclose a self-addressed stamped envelope)

P.S.  In a more enlightened time, Knopf would have published Jack’s memoirs, and Columbia Records would have been issuing a sustained series of concert CD / DVD packages.  These things haven’t happened, which is perhaps all the more reason to celebrate what has taken place.

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THE PIANIST IN QUESTION

weinI was in the middle of writing an ambivalent review for All About Jazz of the Mosaic reissue of George Wein’s Newport All-Stars 1967 concerts when I stopped.  The CD, GEORGE WEIN IS ALIVE AN WELL IN MEXICO, features Ruby Braff, Pee Wee Russell, Bud Freeman, and Jack Lesberg.  It was originally issued on Columbia Records, and Mosaic has added three previously unissued tracks.  The slow numbers offer poignant playing from Russell late in his career, with Freeman and Braff in peerless, musing form, Lesberg giving great support.  And reissue producer Michael Cuscuna, long may he wave, apologizes for reproducing the dreadfully insulting cover photograph and tells a wonderful story about two of the faux-Mexican banditos, who are doing their best to summon up the spirit of Alfonso Badoya.   

But Lamond’s drums pummel the listener, which could be more the fault of the hall and the recording engineer.  And all of Wein’s pianistic shortcomings are brilliantly audible — the heavy touch, the clogged phrasing, the repeated formulas, the dragging rhythms.

In the interest of fairness, I took a YouTube break to check myself, to see if I was being unjust to Wein.  As an impresario, he has contributed immeasurably to jazz.  Imagine if the Newport Jazz Festivals had never existed! 

But as a pianist and bandleader? 

I found this performance of LADY BE GOOD — from Copenhagen, dated 1974 (although it might be 1969) with Braff, Red Norvo, bassist Larry Ridley, Barney Kessel, Lamond, and Wein.

Wein kicks off a very brisk tempo and all is well, sometimes inspiring, until he solos, perhaps becase Kessel and Ridley’s strong rhythmic pulse keeps the band on track.  But Wein then launches complicated figures that he is just-nearly-able to play at this tempo.  The solo isn’t disastrous, but it offers evidence to support what I’ve been hearing on records and in person for a long time.  Unkind, perhaps; unjust, no.  Imagine this band with a young Mark Shane, with Dick Hyman, John Bunch, Hank Jones, or Jimmy Rowles.  How they would have flown! 

And since there is more to life and to this post than pulling anyone to pieces in public, I encourage vewers to delight in the solos by everyone else in this performance — Norvo’s limber arpeggios, a floating phrase Braff pulls off in his second bridge, Kessel’s bluesy intensity. 

Should the philosophical question come up, “Is it better to have this performance, with its flaws, then not?” my answer would be a quick Yes.  But it reminds us just how marvelous it is when everyone in an improvising jazz group is emotionally and technically on the same wavelength, and perhaps just how hard it is to accomplish that special creative unity.