Tag Archives: Jimmy Wormworth

MS. YOO TO YOU! “I AM CURIOUS”: JINJOO YOO, NEAL MINER, JIMMY WORMWORTH (Gut String Records)

We know “curious” as being eager to learn or know something, but the less well-known definition is unusual, rare, unexpected.

Photograph by Jennie Karpadai

The inventive jazz pianist and composer Jinjoo Yoo is both of these things, qualities sweetly embodied in her debut CD, I AM CURIOUS, a trio session with Neal Miner and Jimmy Wormworth on Gut String Records.  And if you think you’ve heard and seen her before, you are correct: I wrote admiringly of her at the end of February 2018 here.

The disc offers six of Jinjoo’s originals, and although I ordinarily view “originals” with some trepidation, I welcomed hers and wish that a full-scale CD is coming soon.

Her music is unhackneyed, melodic, welcoming.  She spins out long graceful lines that aren’t four-bar modules copied from other pianists.  She has her own voice, or I should say, “voices.”  The performances often begin with a simple melodic motif set over a clear, swinging rhythmic foundation . . . and they transparently show off her curiosity.

I can hear her asking of the music, “Notes, chords, where will you take me?” And the results are gently playful, as if she were turning over brightly-colored bits of melody and harmony in the sunlight to see what reflections they cast on the while wall.  She can be tender, ruminative, but she can also create vivid joyous dances: songs that call out for lyrics.

Her playing is spare but I never felt it to be sparse, the sonic equivalent of a large room with one canvas chair against the wall.  No, her single notes seem just right — percussive commentary when needed, lyrical otherwise, and her harmonies are lovely, neither formulaic nor jarring.  Her voicings are subtle but right: the listener isn’t overpowered by force or volume, but welcomed in.  And she works wonderfully with the stellar members of this trio.  It’s music that will deeply reward those steeped in the modern piano tradition, but music one could play for someone outside the circle who would find it refreshing.  It’s clear that she has steeped herself in the jazz tradition — reaching far and wide to include bebop, Jimmy Rowles, Ellington, Monk, and American popular song at its best — but she is herself.  And she has an essential sense of humor: even her most pensive moments have an airy quality.

The titles are: BLULLABY, DIZZY BLOSSOM, I’M CURIOUS, AND I CALL IT HOME, TO BARRY WITH LOVE, BLULLABY (alternate take).

Jinjoo writes, “I owe my inspiration to the blue morning light sneaking in through my window (Track 1, 6), A bird singing, and flower petals floating in the air during springtime (Track 2), Fantasies created by desire and curiosity (Track 3), Teymur Hajiyev’s film about the reality of life in the slums of Azerbaijan <Shanghai, Baku> (Track 4), My hero, my teacher, the one and only Barry Harris (Track 5).”

I predict a bright future for this sensitive, intuitive artist — both as pianist and composer.  You can learn more about I’M CURIOUS and other Gut String Records releases here.  I encourage you to do so: these CDs don’t always get the press barrage their contents deserve, but they are rewarding in music and sound.

Here’s Neal’s video of BLULLABY, from the recording session:

and TO BARRY, WITH LOVE:

Welcome, Ms. Yoo!  Consider yourself invited to stay.  And thank you.

May your happiness increase!

 

 

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MEET MS. YOO: SHE SWINGS. SHE’S LYRICAL.

Meet Jinjoo Yoo, jazz pianist:

Although she studied sociology and economics as a university student in South Korea, she came to New York City a few years ago and began devoting herself to the study of jazz piano, composition, and arranging.  You can find out more about her path — from Seoul to swing here.

Her 2017 performance / arrangement of HONEYSUCKLE ROSE will tell you more than her brief biography.  That’s Luca Rosenfeld, string bass, and Doron Tirosh, drums:

Here’s another side of her — lyrical, questing, pensive.  The song is Bud Powell’s DUSK IN SANDI, which Jinjoo came to make her own with some friendly assistance from Coach Barry Harris:

Jinjoo has recorded a trio EP, I’M CURIOUS (Gut String Records) which will be out at the end of February.  I’ll have more to say about it then, but it finds her playing her compositions — quirky and lively — with wonderful support from Neal Miner, string bass, and Jimmy Wormworth, drums.

Neal, Jimmy, Jinjoo

Until then, her website offers a good deal of music.  Although young, she has a true talent, as you will find out.  And here is her Facebook page for even more current information.

May your happiness increase!

“THROUGH THE EYES OF A DRUMMER: THE LIFE AND PHOTOGRAPHS OF JIMMY WORMWORTH”: A FILM BY NEAL MINER

Worm

The Neal Miner we admire is a superb jazz string bassist and composer:

The composition is Neal’s TIME LINE: his colleagues are Michael Kanan, piano; Greg Ruggiero, guitar.

Fewer people know Neal as a fine record producer, a splendid videographer (the evidence is here, now a gifted documentary-maker.

I was privileged to be in the audience last Thursday night when he showed his film about the engaged and engaging drummer / photographer Jimmy Wormworth to a very receptive audience.  Neal has put the film on YouTube for all of us to enjoy at our leisure, for free.

Although I tend to glance at my watch during documentaries, I sat rapt, and it wasn’t only because the stories were delightful.  Neal has not resorted to fancy film tricks (although you HAVE to wait for the coda); he has gently stayed out of the way of his subject.

And the stories!  Tales of Paul Chambers, Charlie Rouse, George Braith, Lou Donaldson, Dizzy Gillespie . . . all the way up to the present, with Tardo Hammer, Jon Hendricks, Annie Ross, Dwayne Clemons, and other friends. In the Fifties Jimmy bought a Brownie camera and began to take candid photographs of his heroes and colleagues, and they are priceless, as is the cheerful commentary.  The film is as close as we will get to sitting down with an amiable jazz legend who graciously unrolls fascinating anecdotes of his first-hand experience.  At the end of the documentary, the audience stood and cheered.

I said to someone on the way out, “Much better than a memorial service.”  Neal has done something beautiful and lasting by celebrating and chronicling a great artist while that person is alive.  I would like to see him get grant money to do more of these films, although I would hate to see him put the string bass in the closet.

Here’s Neal’s commentary:

For the past five years I have been experimenting with video and audio recording. After getting my feet wet with a few projects, I decided to undertake the challenge of documenting a person’s life, career and, in this case, some very unique photographs.

Since 2005 I have had the good fortune of playing regularly with master drummer, Jimmy Wormworth on a weekly show with the iconic Annie Ross. On one of our first gigs together Jimmy pulled an old snapshot out of his pocket, handed it to me with a playful grin and said, “Who’s that?” After examining the slightly tattered photograph I realized that it was none other than my bass hero, Paul Chambers, sipping from a bottle of Gordon’s gin backstage while standing next to the legendary pianist, Wynton Kelly. Every week thereafter, Jimmy showed me more shots that truly amazed me.

I then learned that when Jimmy was in his early twenties he was the drummer for the hot, new vocal group, Lambert, Hendricks and Ross. He was on tour with them from 1959 to 1961, sharing concert bills with all the top jazz groups of the day. Backstage Jimmy was not only rubbing elbows with the giants of jazz, he was also snapping photographs with his Brownie camera, documenting these legends in a very candid light.

I was immediately intrigued and inspired to do something to help Jimmy share these photos and his stories with the world. This documentary is strictly a labor of love and not for profit in any way. My only goal is to share Jimmy Wormworth’s fascinating life story and his beautiful photographs.

I hope you enjoy this film, the making of which was an amazing experience and opportunity for me to learn and grow. I am truly grateful for all of the many people who contributed to and helped out with this project.

Thank you for watching!
Neal Miner

P.S. Please spread the word and long live Jimmy Wormworth!

May your happiness increase!

DIAL B FOR BEAUTY, T FOR TARDO

One of the pleasures of writing for the journal Cadence is in working with its editor, Bob Rusch, who has great faith in his reviewers’ intellectual elasticity, their ability to consider art that falls slightly outside their accustomed orbit.  Although I could be happy listening to James P. Johnson until the day of doom, Bob has asked me to listen closely and think about recordings I wouldn’t have ordinarily purchased, artists I wouldn’t have otherwise known.  One such CD was a trio recording on the Sharp Nine label (its title an emblem of witty hipness) featuring the pianist Tardo Hammer, bassist Dennis Irwin, and drummer Jimmy Wormworth, Tardo’s Tempo.  I thought it a remarkable recording because of Hammer’s beautiful touch, his unhurried melodic sense, the way the trio worked together, and (no small matter) the beauty of the recorded sound.  Although Hammer might have been classified superficially as a boppish pianist of the Bud Powell persuasion, he has and had a thoughtful restraint, his lines distilled musings rather than violent displays of pianistic ferocity.

Then Tardo surfaced on a particularly moving quartet effort by saxophonist Grant Stewart, Young At Heart, and a live session featuring Stewart and the trumpeter John Marshall, Live at Le Pirate.  I confess that all of his fine playing on these discs did not add up to a conversion experience.  That took place when I heard his latest recording, Look   Stop   Listen: The Music of Tadd Dameron, also on Sharp Nine.  It features Tardo, John Webber, and Joe Fransworth, a truly empathetic trio.  All of their virtues are even more beautifully on display here.  Because Dameron created ringing, mournful melodies, Tardo has wonderful material to explore, and he is someone who (in Eubie Blake’s phrase) knows how to make the piano sing.  He takes his time, he considers the implications of each note without ever getting bogged down in his own cogitations; his tone is like nothing so much as a fine cognac.  Listen to his thoughtful exploration of something as well-worn as “Hot House,” made into a headlong rush by generations of eager emulators of Bird and Diz; hear the pearls he creates out of “Dial B for Beauty” and “If You Could See Me Now.”  Webber is every pianist’s dream: solid but supportive, his focused sonority relaxed yet pulsing.  And Farnsworth (especially on brushes) urges and comments without changing the tempo a hair.  It is one of those sessions that without being in the slightest bit backwards-looking, summons up all the glories of the past without imitating anyone’s familiar gestures.

Because I organize my compact discs alphabetically, Hammer will now have his own section among Ed Hall, Scott Hamilton, Lionel Hampton, Annette Hanshaw, Michael Hashim, and Coleman Hawkins — a set of great melodists.  Those players will welcome him; he’ll be right at home.

Visit Tardo’s website and Sharp Nine’s:http://home.earthlink.net/~tardo/ and http://www.sharpnine.com.

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