Live Jazz: Quinton Cain Quartet at Jazz on Jay June 17, 2021

The Quinton Cain Quartet charged through the door of live, free outdoor jazz at Jazz on Jay Thursday, June 17; a door Azzaam Hameed and friends kicked open on June 10.

While Hameed’s quartet honored venerable touchstones (not tombstones…) of soul, funk and modal jazz, Cain and crew went modern, groovin’ high with plenty of crunch and glide.

Nobody had a problem when wind blew the charts off their stands: The interactive band linked and locked, listened and glistened. It was sunny. It was sweet. It had altitude and attitude and an easy bravado they rode to seque and sweep from one tune to another.

Drummer-leader/composer Quinton Cain

They didn’t stop for nearly half an hour at the start, as fans toted lawn chairs and just-bought lunches into the busy, at times bristly, sound-scape. “Retrogression” eased from slow to faster, and stranger, as guitarist Luke Franco tossed the ball to trombonist Joe Giordano whose wordless vocals mystery’ed up the tune and they eased into Giordano’s “A.P.V.” Cain’s drums drove the bus, and everybody, while Tarik Shah’s always-on-the-move muscular bass built a head of steam from which solos would burst and billow.

Trombonist/keyboardist/singer Joe Giordano

Bassist Tarik Shah

Cain’s slower, sweeter “Pollen Colored Fantasy” blurred impressionistic, pretty and plush. But then they stripped down and beefed up in a mid-funk romp. Giorgano was the star here. While he took bold, brassy risks early, he settled into the pocket, giving the chords a work-out but staying on the map. As Giordano settled in, Franco began to play more outside, body-rocking to the beat, comping big and soloing way over there. Cain’s splashy cymbals flew like spray off a breaking wave as Shah again proved the band’s Most Valuable Player: Hearing a particularly tasty guitar lick, he immediately echoed it, repeated then built it. 

This second medley climaxed, that’s the right word, with the late, great trumpeter Roy Hargrove’s “Roy Allan,” a tribute and a trip; gracious and graceful.

Guitarist Luke Franco

Then Cain and crew reached back into his own songbook for “As the Sun Sets” and “Transience and Transcendence,” again linking songs and again without seams. Giordano grabbed the spotlight here, finding the “Woody Woodpecker” theme in a mountains-and-valleys solo; later in the tune, repetitions evolved into Coltrane-y oscillations. In “Sun,” the guys took turns going double-time as everybody else held the beat steady, a great attention-grabbing trick. 

Quinton Cain Quartet

When they upshifted from “Sun” into “Transience and Transendence,” Giordano again sparkled, though Franco and Shah got their own tasty pieces of the pie. Happy in the driver’s seat, Cain drove strong, taking the crowd home in a mood as sunny as a Trombone Shorty funk-as-fun number.

Jazz on Jay continues Thursday, June 24 with saxophonist Matty Stecks & The 518.

Live, Alive-O! Azzaam Hameed and Friends at Jazz on Jay

Gathering at Jazz on Jay Thursday wasn’t just that warm buzz of being with people; it was the particular joy of being with MY people; both the jazz fans I’d see at every cool show before the plague and Schenectady in all its diverse and goofy glory.

Jazz on Jay crowds are as rainbow-y as at Music Haven. Jazz on Jay got up and running again Thursday with pianist-sometime-singer Azzaam Hameed and Friends, first of 15 free shows outdoors where Jay Street T’s onto State. While Music Haven remains on hiatus, the Central Park venue may present pop-up shows over the summer. Jazz on Jay features local and regional artists, much easier to book than Music Haven’s world music offerings.

In short, nobody needed a visa for fun Thursday. 

It was show up, smile up whether masked up or not, raise our voices and clap hands up; spirits, too.

It was, as Hameed’s quartet asserted halfway through its 80-minute set, a “Lovely Day” in the words and melody of the great and recently departed Bill Withers – guitarist Hayes Mills strong at the vocal mic.

Fans lined the storefronts and toted chairs into shady spots, grabbed lunch and drinks, happily greeted familiar faces and danced some as the band played under a tent, facing northward (toward Perreca’s) up Jay Street.

Celebrating the series’s youth movement Indiana Nash highlighted in Thursday’s Gazette, Hameed generously showcased young (high-school) talents: pianist Jordan Gamble and singer-pianist Paris Bouldin. Gamble etched a muscular groove in “Sunny” then a short vamp, neither developing quite enough; Bouldin sang “River” with good feel and force – both earning warm welcomes from band and audience.

Hameed and band played loose and easy, almost too laid back at first, then muscled up and swung to impressive effect in “Wade in the Water” half an hour in. 

Hameed crooned “Fly Me To the Moon” with easy warmth but guitarist Hayes Fields sang more often, drawing fans to clap and sing along in “Lovely Day.” Other soft-soul-pop hits swung breezy and sweet: the Stylistics’ “People Make the World Go Round” and Earth Wind & Fire’s “That’s the Way of the World” cruising in light instrumental arrangements, a radioactive Michael Jackson pop hit wrapping up. 

This followed not long after the band hit its top altitude, and attitude, in Miles Davis’s “So What.” Bassist Al Brisbane and drummer George Spence took confident advantage of scarce solo opportunities. Fields and Hameed generally led throughout the show, but everybody gave this timeless, jaunty classic a fine and frisky ride. The beat was strong, the vamps and solos solid and cohesive.

Jazz on Jay continues next Thursday with drummer Quinton Cain’s quartet.