Tag Archives: Joe LaBarbera

NOT ONLY BUT ALSO: ROBERTA PIKET, “WEST COAST TRIO”

When I taught freshman composition, some of my best students had grown up speaking a language not English.  They were often far more perceptive than the local talent whose radius of exploration was fifty miles. But the “ESL” crew occasionally had trouble with English idioms that native speakers take for granted.  One, memorably, was “not only but also,” and perhaps its apparent negation becoming affirmation was too much to digest at first.

While I was listening to pianist-composer Roberta Piket’s new CD, WEST COAST TRIO, the expression came back as a perfect way to describe her work, a great compliment.

If you don’t know Roberta’s work, you will want to scamper ahead to the video to hear it; she is also, not surprisingly, quietly eloquent about how she perceives what she does, and where she’s come from: here is a recent interview.

But to the music: in a landscape of artists who equate modernism with abstraction, Roberta always remembers that the heart of music is song, so her work, even when she is exploring, is always melodic and soulful, free from cliche, welcoming us in.  And whatever meter or tempo she chooses, her music has the pulse of a heartbeat.  To some, swinging improvisation is no longer relevant.  From the first measures of MENTOR, the first song on the disc, I was bobbing my head: for me, very good evidence of enjoyment.  The result can be innovative or technically sophisticated, but it’s mobile and warm, never chilly.

Here is the behind-the-scenes look at the session, extremely valuable because not only does it provide a tasting menu of the music, but also we see and hear Roberta speaking about it:

and here you can listen to longer samples of the music, download it, or purchase the actual disc — the last of which I recommend because Thirteenth Note Records’ products are superb, and Bob Bernotas’ liner notes equally so.

One of the other things to love about this CD is it shows off Roberta’s wide range of musical affections: standards by Legrand, Rodgers, and Donaldson (MY BUDDY is aimed right at our hearts), compositions by Shearing, Corea, Hicks, and two originals by Roberta.  Beautiful recorded sound and beautiful playing by Joe La Barbera, drums; Darek Olszkiewicz, string bass, with telling cameo appearances by Larry Koonse, guitar; Billy Mintz, drums.  There’s great variety: some performances seem dreamy, musing; others are superb dance music.

When I’d played the disc the first time, I wanted to hear it again.  You will, too.

May your happiness increase!

Advertisements

THE WORLDS OF JIMMY MAZZY (SARAH’S WINE BAR, August 28, 2016)

I had heard a great deal about the lyric troubadour Jimmy Mazzy (also a wonderful banjo player, raconteur, songhound, and more) but had never encountered him in person until late August.  It was a phenomenal experience. No, it was two phenomenal experiences.

Photograph thanks to New England Traditional Jazz Plus, http://www.nejazz.com

Photograph thanks to New England Traditional Jazz Plus, http://www.nejazz.com

Jimmy was part of the Sarah Spencer Quartet: Sarah, tenor saxophone and vocals; Bill Sinclair, piano; Art Hovey, string bass and tuba — playing a gig at the wonderful Sarah’s Wine Bar in Ridgefield, Connecticut.  (Facebook calls Sarah’s a “pizza place,” which is like calling the Mona Lisa a smiling lady.)  More about Sarah’s below.

And more about the saxophone-playing / singing Sarah Spencer  in a future blogpost, with appropriate audio-visuals.

Sometimes the finest music is created when it appears no one is paying attention: the live recordings, the music that’s captured while the engineers are setting up or in between takes (WAITIN’ FOR BENNY and LOTUS BLOSSOM are two sterling examples that come to mind).  In a few instances, I’ve brought my camera to the soundcheck or to the rehearsal because the “We’re just running this through” ambiance is a loose friendly one — shirtsleeves and microphone-adjusting rather than the musicians’ awareness of tables of expectant listeners. In that spirit, I offer Jimmy’s seriously passionate version of Lonnie Johnson’s TOMORROW NIGHT.

I think you see and feel what I mean about Jimmy as a passionate singer / actor / troubadour.  If a maiden had Jimmy beneath her balcony, serenading like this, she would know that he was offering his whole heart to her with no restraint and no artifice yet great subtle powerful art.  Those of us in the audience who aren’t maidens and perhaps lack a balcony can hear it too.

But Jimmy is a sly jester as well — totally in control of his audience (even though there’s a long, drawn-out “Ooooooh, no!” from Carrie Mazzy, Jimmy’s wife, at the start of this anthropological exegesis):

Jimmy Mazzy, two of a kind.  And more.  Irreplaceable.

And there will be more from this session.  Now, some words about the delightful locale: Sarah’s Wine Bar in Ridgefield, Connecticut, features world-class jazz music on the last Sunday of every month.  But that’s not the whole story: Ken and Marcia Needleman are deeply devoted to the art form, and they’ve been presenting it in style since 2009.  Ken is a guitar student of Howard Alden’s, and he decided that he wanted to bring top jazz musicians to perform in an intimate setting (with excellent food and fine acoustics).  They found kindred spirits in Sarah and Bernard Bouissou, restaurateur and chef of Bernard’s, one floor below the wine bar.

Thus the Jazz Masters Series began in February 2009, and I’ll mention only a double handful of the musicians who have played and sung to enthusiastic audiences: Howard Alden, Bucky Pizzarelli, Gene Bertoncini, Dick Hyman, Rossano Sportiello, Mark Shane, Frank Wess, Scott Robinson, Harry Allen, Warren Vache, Ken Peplowski, Dan Levinson, Jon-Erik Kellso, Rufus Reid, Jay Leonhart, Cameron Brown, Matt Wilson, Akira Tana, Joe LaBarbera, Mike Mainieri, Cyrille Aimee, Karrin Allyson.

The food critic who writes JAZZ LIVES wants to point out that the food was wonderful and the presentation delightful.  Sarah’s Wine Bar would be a destination spot if the only music was the humming heard in the kitchen.

But right now I want to hear Jimmy sing TOMORROW NIGHT again.

May your happiness increase!