Balkan-inspired New York brass band in knock-out upbeat show
“What’s ‘Slav’ got to do with it?” Slavic Soul Party leader and bass drummer Matt Moran punned rhetorically at Music Haven Sunday night.
He then answered with “People Make the World Go ‘Round,” the Philly soul anthem – as it might have sounded at a United Nations mixer pumped by jumpy Slavic rhythms and played as frantically as if curfew was about to hit.
Then, after the cryptically titled, fun-fierce “Synth Pants,” Moran mused: “What if Michael Jackson hung out with the Meters in Istanbul?” The answer was “Jackson,” introduced by Moran who explained pop music as a global thing where transcontinental influences become grooves that gallop like bebop.
Slavic Soul Party is to Balkan and Roma folk dances as Brave Combo is to polka music: caffeinated zip gathered from many nations, tossed into a blender and revved into something fiercely unified, a happily anarchic, muscular flow.
For all the brass-band pizzazz up top, SSP really rocked on the bottom, stage left, where Kenny Bentley’s tuba, percussionist Chris Stromquist and Moran himself cooked up complex beefy beats. A tiny mic on his bass drum trailed a long cord as Moran moved all over. He pulsed the right side of the drum with a mallet, tickled its left backhand with a stick long and thin as a conductor’s baton and sometimes tapped the cymbal atop the whole rig.
Accordionist Peter Stan anchored stage right, next to alto saxophonist Peter Hess, then trumpeters John Carlson and Kenny Warren and trombonists Adam Dodson and Tim Vaughn. Moran gradually introduced everybody by calling each to solo, bursting out of tight section playing to soar fine and far. Accordionist Peter Stan dazzled in an unaccompanied, all over the place, dynamic intro to “Nisovacko Kolo.” The solos flexed personality, drive and daring; and when everybody ganged up on a tune together, the effect was tidal like a big-band reed or brass section roaring unanimously to steamroll the place.
At times, as in the swinging new “Tipsy Kolo,” the whole band surged back into action even while solos were still underway – like Keith Pray’s Big Soul Ensemble often does.
Apart from “People Make the World Go ‘Round,” “Jackson” and “Tourist Point of View” (from their Balkanized mutation of Duke Ellington’s “Far East Suite”), everything was more directly Slavic.
Moran graciously praised openers Niva for playing – straight, but with spirit – the pure ethnic roots of what Slavic Soul Party pumped into pulsating, brass-band excitement.
The all-woman quartet Niva played Macedonian dances and story-song laments; the dances flowing on simpler rhythms than the narrative numbers. These resounded dark and stark, doom struck Balkan blues about brandy-induced sleep quelling loneliness, or the poisoning of nightingales, for example.
Deadpan intros by tambura (four-string lute) player Kristina Vaskys rendered these grim subjects wryly entertaining. Besides, Slavic Soul Party waited in the wings to charge onstage and lighten and lift everything.
At times, lines of dancers linked hands and slide-stepped across the dance floor up front, then roamed around the edges of the seating area, recruiting new dancers who quickly learned the steps. Or, not.
Extra-fine weather and the promise of a rare set by super-in-demand saxophonist Brian Patneaude’s Quintet invited everybody into a shared great mood Thursday at Jazz on Jay. Maybe especially Patneaude himself. Introducing his band after their first song, he good-naturedly name-checked the Ryder truck whose loud reverse-alarm beeping failed to interrupt the music.
Brian Patneaude
Fans filed into Jay Square, toting chairs, seeking islands of shade or unfurling their own.
Even the clouds seemed to play along. Rotund cumulus orbs eased from the horizon to pass overhead; bassist Jarod Grieco and drummer Danny Whelchel pushed and punched harder than the clouds’ serene passage. Feathery cirrus higher overhead traced complex patterns like the treble-melody makers riding the groove; guitarist Justin Hendricks’s delicate chording launched and coda’d several songs, keyboardist Rob Lindquist’s staccato attack and the leader’s masterly work up front shared the same confident and elegant nonchalance.
They started with an easy flow, relaxed and restrained, and Patneaude turned his players loose to take Don Grolnick’s “Pools” somewhere else. Lindquist’s keys led the way from smooth to funkier, Hendricks and Grieco sped things up and Patneaude followed them at first but then took over to build the riff into a mighty roll.
Rob Lindquist
“Elevation of Love” by the Esbjorn Svensson Trio got there faster; this was the express, smoothing an at-first jittery groove into a unified flow. Then they surged to the altitude and melodic variation that Mike Mainieri sketched in his “Flying Colors.”
Patneaude made this a two-fer, following next with the same composer’s “Self-Portrait.” Here Hendricks’s guitar set a thoughtful mood with lacy chords whose beauty Patneaude rewarded with a nice solo spot for Hendricks’s more assertive statement after his own strong solo. They stretched the coda as if not wanting to let things end.
Patneaude echoed this approach in his own “Unending” (from his “Distance” album). He led all alone to start in subdued fashion before opening things up into a stutter beat everybody explored in questing solos. Grieco really shone here, before Hendricks again decorated the coda with airy chords.
Jarod Grieco
After this original came terrific covers, everybody listening, everybody helping.
In Chick Corea’s sweet ballad “Eternal Child,” they echoed the late pianist-composer’s lyricism with a descending melody that guided everybody’s playing. They even offered a taste of Corea’s Latin approach.
Patneaude told me some days before the show that “it felt like the right time” to play “Lotus Blossom,” a Grolnick composition the recently deceased David Sanborn, a principal Patneaude musical hero and influence, had often played. A generous leader happily sharing solo time with his friends throughout their 95-minute set, Patneaude owned this one himself. He opened it up eloquently after Hendricks’s guitar chords once again set the mood.
Patneaude noted Hendricks had made his appearance on the gig conditional on the quintet playing Pat Metheny’s James Taylor tribute “James,” and so they did, everybody showing the balance Metheny crafted among reverence and playfulness; momentum, muscle and melody. Put on the spot, Hendricks responded really well.
Justin Hendricks
Then Patneaude reached back to his own songbook for “Majority,” with its characteristic stutter beat easing into mellow groove until Whelchel erupted into his only solo of the set before a repeating melodic figure brought everything home.
Danny Whelchel
Jazz on Jay continues Thursday, July 25 with saxophonist Awan Rashad’s Quartet. Rashad is a Patneaude student who’s earned high marks on his own.
Saxophonist Brian Patneaude plays Jazz on Jay Thursday, July 18 in his only show this summer as a leader. The ever-busy, perennial poll winner will also play with five other bands, plus a week at Proctors in “Tina: The Tina Turner musical.” (See www.brianpatneaude.com for details.)
So, Patneaude will make the most of his show Thursday with regulars Rob Lindquist, piano; Justin Hendricks, guitar; Jarod Grieco, bass and Danny Whelchel, drums. “Rob, Danny and I have played with more bands than we can probably recall over the past 25 years,” says Patneaude, noting his quartet with Lindquist, Greico and Whelchel has played together for five years and Hendricks first played with them last summer.
After playing drums in middle-school, Patneaude switched to sax in Redline which played Pink Floyd and Sting tunes. He also studied with Schalmont High School band directors Dave Lambert and Mark Eiser; studied privately with Keith Bushy and Linden Gregory; also with Paul Evoskevich at the College of St. Rose, then Tom Walsh and Pat Harbison at the University of Cincinnati.
“Repertoire for this group is usually a mixture of original material and other folks’ music,” Patneaude explains, listing his originals “Unending” and “Majority” plus Pat Metheny’s “James,” Mike Mainieri’s “Flying Colors” and “Self Portrait” (both recorded with Steps Ahead featuring Michael Brecker), and Don Grolnick’s “Lotus Blossom,” which Sanborn often played.
My life was never the same,” says Patneaude, after Brecker and the recently deceased David Sanborn inspired him when band director Sean Lowry played their music for him.
Patneaude’s approach is modern as his quartet’s repertoire.
“Every song we play is a vehicle for each member of the band to express themselves as they see fit,” Patneaude explains.
“We don’t discuss how we’re going to play it ahead of time,” he says. “One of us will just start the tune and the rest of us hop on for the ride.”
Jazz on Jay free concerts are noon to 1:30 p.m. at Jay Square, the new park space opposite Schenectady City Hall. The rain site is Robb Alley at Proctors, 432 State St., Schenectady. Seating is provided indoors at Robb Alley, but patrons are invited to bring their own seating and refreshments to Jay Square.
Jazz on Jay is presented by the ElectriCity Arts and Entertainment District and sponsored by the New York State Council on the Arts, a Schenectady County Legislature Arts & Culture Grant, Downtown Schenectady Improvement Corporation, The Schenectady Foundation, Price Chopper/Market 32, MVP Health Care, Schenectady County, Schenectady City Hall, and Proctors Collaborative.
The funk-riffing Ils Sont Partis (We’re off) band Buckwheat Zydeco Jr. inherited from his late father grooved hard enough at Music Haven Sunday to break a sweat, onstage and off, even before Jr. came on to claim his birthright as accordion-wielding prince of south-Louisiana dance music.
Son Kyle (fourth generation in this musical dynasty) helped Jr. doff his suit jacket, strap on a bulky piano accordion, proclaim “I know what you’re waiting for” and they were, indeed, off. Irresistible beats of thick bass undertow on snare and kick-drum boom pushed hard down below, Creole melodies in accordion riffs rolled up top, with alto sax solos here and there and bluesy guitar and metallic frottoir diving into the seams.
The stuff was built to party, and it worked: Between seats and stage, up the side past the seats and on the jam-packed terraced hill, dancers did everything from precise and sedate authentic two-steps to wild I-Was-A-Hippie human corkscrew writhe and – most fun of all to watch – that t-shirted guy who dropped to the dancefloor when the music paused before revving up again in an ambush coda.
Onstage, the band grooved with such engaging, friendly confidence they could have swung the same song all night and the dancers wouldn’t have minded a bit. But instead, they changed things up, again and again; tackling not only familiar groove songs dating back generations but also pop hits that got their funk on.
Jr. led the band with a firm hand, cueing solos by challenging “Give me a taste” or “Talk to me!” and stop-on-a-dime rhythm jumps with “We gone!”
Early on, he assured, “Everything Gonna Be Alright” and “I Heard the News” with an intro claiming he’d heard Schenectady folks are ready to party and then proved it. Sometimes more mainstream materials merged straight into old-school zydeco blasts; sometimes things mutated the other way. After “What You Gonna Do” (when the zydeco hits you), “Rock Me Baby” rode a Grand Canyon mainstream groove before reaching back to the tradition with a two-step shuffle pushed by Kyle’s frottoir – steel chest-mounted rub-board, scratched with spoons.
Jr. switched to organ when he went jazzy, and to melodica near the end; otherwise he steered things from behind the accordion. Al Quaglieri, who had played one, called the instrument “musical luggage” and Jr. packed a lot into it: hypnotically repeating riffs that animated your feet whether you wanted them to move or not, dazzling octave jumps and zippy arpeggios.
The songs went all over, too, from Fats Domino’s “Walkin’ to New Orleans” to Jr.’s late father’s “Hot Tamale Baby” to Billy Preston’s “Will It Go Round in Circles,” then back to his dad’s songbook for “Zydeco Boogaloo.” An even more antique-sounding two-step set up his own “Zydeco Party” from his recent Grammy winner “New Beginnings” – then back in time once again to Lee Dorsey’s “Ya Ya” – some fine, fun minutes past the usual 9:30 catch-our-breath-and-find-the-car time.
The Brass Machine started the party right at 7 in humid daylight, parading through the surprised/delighted crowd to the stage where they, too, mixed Louisiana traditions with more mainstream fare: “Your Mama Don’t Dance” as a street parade? Yes, indeed – plus another, “Iko Iko,” then the happy menace of Dr. John’s “Right Place, Wrong Time.”
Another Mardi Gras favorite, “Hey Pocky Way,” set up their own cocktail tribute “Mojito,” blurring into Steve Miller’s “Fly Like an Eagle,” before closing with “When the Saints Go Marching In,” claiming this was “legally obligated” for New Orleans-style bands. What in fact is legally obligated is a powerful surge of beat and horn-blasts. The Brass Machine did not break that law.
Music continues at Music Haven with Slavic Soul Party and Niva on Sunday, July 21.
Part 2 of a Thursday Jazz Double Header: The Brucker-Weisse-Canterbury (BWC) Jazz Orchestra at WAMC’s the Linda
The Brucker-Weisse-Canterbury Jazz Orchestra returns to WAMC’s The Linda (339 Central Ave., Albany) on Thursday, just hours after Melanie Chirignan’s MC*2 plays Jazz on Jay. And meanwhile, the Skidmore Jazz Institute Faculty All-Stars also play Thursday, at Skidmore’s Zankel Music Center.
With the BWC, first came the songs and arrangements, then came the band.
“Our band started off as a reading band,” reflected Brucker before BWC played WAMC’s a year ago.
“I was gifted hundreds of charts from Al Quaglieri Jr. that were his dad’s from the venerable Albany Jazz Workshop,” Brucker explained. The Workshop brought together the top area jazz luminaries of the 1960s including saxophonists Nick Brignola and Leo Russo, trumpeters Mike Canonico and Al Quaglieri Sr. (who also played piano), and others.
Organized and co-led by drummer Brucker, trumpeter Steve Weisse, and trumpeter/flugel horn player and arranger Dylan Canterbury, they began with open rehearsals in the clubhouse of the Schenectady Municipal Golf Course. Over the past three years, the big band has expanded both its its performance schedule into other area venues and its repertoire.
WAMC’s The Linda has become a favorite stage to play, and beyond the initial book from Quaglieri’s extensive library, “the book has grown to include original compositions and arrangements as well as other charts that span the stylistic gamut of jazz history,” said Brucker.
The BWC Jazz Orchestra in an earlier show. Photo Provided
The BWC Jazz Orchestra now plays music from Count Basie, Thad Jones, Quincy Jones, Duke Ellington and other giants of the jazz pantheon, plus such modern talents as Bob Mintzer (Yellowjackets) and Bill Cunliffe (recently seen at the Saratoga Jazz Festival with the Skidmore Jazz Institute Faculty All-Stars). “We also have young and seasoned arrangers in the band who offer original and fresh arrangements that we perform,” Brucker said.
Early on, the BWC book included:
“When Sunny Gets Blue” (Fisher/Segal, arr. Al Quaglieri)
“Bill’s Riff” (Jim Corigliano)
“Keepin’ On” (Dylan Canterbury)
“Just Friends” (Kenner/Lewis, arr. Elias Assimakopoulos)
“The Song Is You” (Kern/Hammerstein, arr. Bob Florence)
“Kansas City Shout” (Ernie Wilkins)
Dylan Canterbury updated on Thursday’s line-up. It includes substitutions due to scheduling complications – including COVID! – among these busy, in-demand players. Canterbury reported the BWC on Thursday comprises Jim Corigliano, Dalton Sargent, Awan Rashad, Kevin Barcomb, Kaitlyn Fay (also vocals) and Wally Johnson, saxophones; Steve Weisse, Jon Bronk, Vito Speranza, and Steve Horowitz, trumpets; Ken Olsen, Don Mikkelsen, Rick Rosoff, and Shaun Bazylewicz, trombones; David Gleason, piano; Dave Shoudy, bass; Cliff Brucker, drums; and Dylan Canterbury, flugelhorn, and conductor.
Canterbury also shared the set list:
“Mean What You Say” (Thad Jones)
“One Step at a Time” (Dylan Canterbury)
“Falling” (Wayne Hawkins, arr. Jim Corigliano)
Too Darn Hot (Cole Porter, arr. Buddy Bregman)
“I Thought About You” (Jimmy Van Heusen and Johnny Mercer, arr. Jim Corigliano)
“Night and Day” (Cole Porter, arr. Kevin Carey)
“Mood Swing” (Jim Corigliano)
“Simone” (Frank Foster)
“Muttnik” (Quincy Jones)
“Day by Day” (Sammy Cahn, Axel Stordahl, and Paul Weston, arr. Jim Corigliano)
“Every Night at Seven” (Alan Jay Lerner and Burton Lane, arr. Jim Corigliano)
Jazz expressiveness meets rigorous classical composing as Melanie Chirignan leads her MC*2 quartet at Jazz on Jay: Max Caplan, keyboards, Andrew Hearn, drums; and David Shoudy, bass.
Chirignan’s father was named Claude after classical composer Claude Debussy, but another Claude – jazz flute star Bolling – inspired Melanie to play the flute and explore the border where jazz meets classical. In her family, “I’m the only one that plays an instrument,” she says.
Melanie Chirignan. Photo provided
She also plays with Caplan in Quintocracy and the classical ensemble Stringwynde; and in a duo with guitarist Scott Hill. Hearn plays with Catalyst (formerly the Jon LeRoy Trio) and quartets led by Dave Fisk and John Savage. Caplan also plays with the classical chamber ensemble Musicians of Ma’alwyck.
Michelle LaPorte taught Chirignan flute technique from sixth grade through high school, then Chirignan studied with Dr. Susan Royal in college, prepped for graduate school with Susan Deaver, then studied with Janet Arms in the Hartt School of Music. Chirignan says, “She’s so inspiring!” She later studied in New York with Kaori Fuji and Keith Underwood. Classically trained, Chirignan also says, “I really like (jazz flute masters) Hubert Laws, Dave Valentin and Yusef Lateef.”
Her earliest performances were at weddings, but she now plays both jazz and classical repertoire in theaters and festivals.
At Jazz on Jay, MC*2 will play Claude Bolling’s “Suite for Flute and Jazz Piano Trio,” Michael Mower’s “Opus Di Jazz,” Max Caplan’s “Three Jazz Preludes,” “Zoom Tube” by Ian Clarke, and sambas including “Girl from Ipanema” and “Black Orpheus.”
The quartet will play most pieces as written – “except for the sambas,” where there’s room to improvise.
Through the summer, she’ll play both classical and jazz dates, with Caplan, Melinda Faylor (under a Saratoga Community Arts grant), Laura Melnicoff and others; both locally and across the region. Details at http://www.melaniechirignan.org.
Jazz on Jay free concerts are noon to 1:30 p.m. at Jay Square, the new park space opposite Schenectady City Hall. The rain site is Robb Alley at Proctors, 432 State St., Schenectady. Seating is provided indoors at Robb Alley, but patrons are invited to bring their own seating and refreshments to Jay Square.
Jazz on Jay is presented by the ElectriCity Arts and Entertainment District and sponsored by the New York State Council on the Arts, a Schenectady County Legislature Arts & Culture Grant, Downtown Schenectady Improvement Corporation, The Schenectady Foundation, Price Chopper/Market 32, MVP Health Care, Schenectady County, Schenectady City Hall, and Proctors Collaborative.
Black-shirted Skidmore Jazz Institute kids filed into the Wood tent (remember: the Charles R. Wood “Jazz Discovery” Stage at Saratoga Performing Art Center) to see their profs throw down. And, teach: leader, bassist and extra-wry host Todd Coolman of the Institute Faculty All-Stars introduced songs/lessons, linking tunes to giants the big-band memorialized to fun/educational effect.
The cumbersomely titled but cool “Skidmore Jazz Institute Faculty All-Stars”
After Bud Powell’s playful “Gertrude’s Bounce,” Coolman confessed the crowd’s respectful silence “is creeping us out,” and everybody loosened up. In trombonist J.J. Johnson’s “Shortcake” and “Lament” later, trombonist Steve Davis appropriately took top solo spots.
Steve Davis
Dave Stryker and Todd Coolman; obscured, sorry
Guitarist Dave Stryker starred in Clifford Brown’s bop classic “Joy Spring,” and the backstage presence of Powell’s son motivated the band. As Coolman said: “It better be good.” It was: “A Night In Tunisia” (a Dizzy tune Powell claimed to thrilling effect in 1951) brought brassy blasts, swaggering solos all around and a droll quote of “Hernando’s Hideaway.”
Terrence Blanchard, trumpet, center-right; with the Turtle Island String Quartet and E-Collective
Trumpeter and composer of everything Terrence Blanchard celebrated the 20th anniversary of his “Flow” album on the Main, adding the Turtle Island String Quartet to his E-Collective – Taylor Eigsti, piano; Charles Altura, guitar; DJ Ginyard, bass; and Oscar Eaton, drums – an effective combination. Blanchard often stepped back between agile, soulful trumpet runs, letting the ensemble shine. This was heady stuff, inspired by Csikszentmihalyi’s book “Flow: The Psychology of Optimal Experience.” It hit the body as effectively as the mind since the strings so effectively followed even the funkiest and fleetest passages Blanchard wrote for the ground-breaking album.
Helen Sung
Also addressing psychological themes though a unifying thematic framework was pianist Helen Sung’s Jazz Plasticity project; next on the Wood. Her sparsely arranged quartet reached to inspire brain and body in a quieter, even more reclusive presentation than Blanchard’s.
See the sign
Cory Henry playing organ, second from left
Mighty mood swing: Next on the Main, Cory Henry built burly grooves around his own keyboards and voice, just as he packed phat funk on both sides of Stevie Wonder’s “Isn’t She Lovely” early in his hour-long run. Drums, guitar, bass, keyboards and two singers added color and punch to high-impact riff-songs. Lively, lush stuff, though I missed the promised visit of Pedrito Martinez as I buzzed back to the Wood.
Miguel Zenon
There, Miguel Zenon played the hottest saxophone of the festival, leading his quartet in Spanish-titled tunes ambitiously describing Caribbean lands and people with breathtaking facility and melodic force. His set hit like a unified suite, though “Navegando” and “Bambula” offered distinct flavors after brief stops that felt like mere pauses in the flow. An arpeggio parade on unaccompanied alto rocked and rolled, riff after fiery riff.
Laufey comes onstage, fans lose it
Laufey fans inside
Icelandic singer Laufey (loy-vey) drew Beatles-like ecstasy to the Main, singing “While You Were Sleeping” solo. Fans, mostly teens and 20s, screamed in their seats or jumped up when a lyric went straight to the heart, and they packed half a dozen deep outside the Amphitheater. Laufey then summoned her lush band, including the second string quartet of the day, for depth and drive to waltz-time love songs. She sang simply, with little gesture or drama and no vibrato, letting the songs do the work. And they did.
Laufey fans outside
Afterward, some of the younger fans headed for the exits, but the Main somehow stayed full for Stanley Clarke N*4Ever, then Norah Jones, as parents picnicking on the lawn came in to replace them.
Alicia Olatuja
On the Wood, Afro-pop couple-band Olatuja (singer Alicia and bassist Michael) layered lyrics of struggle and resilience over bass-heavy grooves. “Stay Gold” and “Kadara” (Yoruba for “destiny”) served up hope over a surging beat, as “Bright Side” did later, while “Sumo Mi” cast a romantic spell.
Few danced however, despite Michael’s urging; that came later, in a big way, when Pedrito Martinez took over the Wood.
Meanwhile, bassist Stanley Clarke fronted N*4Ever on the Main, a re-tooled amalgam of Return to Forever (his band with the late Chick Corea) and the Mahavishnu Orchestra (the other top 70s jazz-rock juggernaut). Clarke surrounded himself with second generation fusion players, most notably violinist Evan Garr and drummer Jeremiah Collier. They set up a thunderstorm of happy, mutually supporting riffs. When I caught Clarke alertly echoing Colin Cook’s guitar riffs, I realized Clarke did this with everybody. They stretched tunes – Eddie Henderson’s “Galaxy,” George Duke’s “Brazilian Love Affair,” Chick Corea’s “No Mystery” – into fiery long groove-and-solo suites, Clarke leading on electric or acoustic bass with flying fingers.
Everything was flying on the Wood where Pedrito Martinez did what second-stage closers often do: Get everybody jumping up to shake that thing. The elements seemed simple: Martinez at four congas and cymbal plus new keyboardist Isaac Delgado Jr.; Manny Marquez, timbales and kick drum; Sebastian Natal, bass; and Xito Lovell, trombone. The results: irresistible.
Pedrito Martinez. Above, with his band
Everybody moved all over the place, surrounding Martinez onstage, with only Delgado’s caffeinated-Chopin-and-Bach solo piano interlude to catch our breath. Joy in faces, feet and everywhere between.
Decidedly lower-key on the Main, singer-pianist Norah Jones closed the festival with familiar hits, a surprising two-guitar country interlude and a cameo by Laufey that delighted fans of both singers.
Jones lamented/asked “What Am I to You,” starting her set at a white grand piano, bassist Josh Lattanzi and drummer Brian Blade in tasty, quiet support. Blade got the biggest crowd reaction when Jones introduced him, a legit jazz player Joni Mitchell once took on tour as her only accompanist.
Soon singer-guitarist Sasha Dobson and keyboardist-singer Emily King joined, but the mood stayed subdued until “Running” reached soft-rock momentum. Jones sang eight songs from “Visions,” released earlier this year; a move as brave – or confident in her fans – as Lake Street Dive on Saturday. Just as brave/confident: coming out from the grand or Rhodes piano to play guitar alongside Dobson in a country-rock run of the new “Queen of the Sea,” “Staring At the Wall” and “All A Dream.” They won’t scare the ghosts of (Allman Brothers) Duane and Dickey but the two-guitar team worked just fine.
Back at the piano for “Come Away With Me,” Jones would have returned to her earlier mellow flow – but instead she invited Laufey back onstage to duet on “Come Away With Me.” Big audience happiness reigned, making the familiar “Stay With Me,” “Happy Pills” and “You Didn’t Call,” plus the new “On My Way” almost anticlimactic. Almost.
2024 Schedule As Announced Officially (my notes in parentheses, like this)
SATURDAY, JUNE 29 Amphitheater 12 – 1:15 p.m. – The New Orleans Groove Masters featuring Herlin Riley, Jason Marsalis & Shannon Powell 1:45 – 3 p.m. – Joey Alexander Trio with special guest Theo Croker (Pedrito Martinez guested here, unannounced) 3:30 – 4:45 p.m. – The Yussef Dayes Experience 5:15 – 6:30 p.m. – Samara Joy 7 – 8:15 p.m. – Cimafunk with special guest Pedrito Martinez 8:55 – 10:25 p.m. – Lake Street Dive
Charles R. Wood “Jazz Discovery” Stage 11 – 12 p.m. – Sara Caswell Quartet 12:20 – 1:20 p.m. – Harold Lopez-Nussa: Timba a la Americana 1:40 – 2:40 p.m. – Tia Fuller 3 – 4 p.m. – Steven Bernstein’s Millennial Territory Orchestra 4:20 – 5:20 p.m. – Theo Croker 5:40 – 6:50 p.m. – Coco Montoya
SUNDAY, JUNE 30 Amphitheater 12:30 – 1:30 p.m. – Terrence Blanchard Sextet (As noted, Blanchard grafted the Turtle Island String Quartet onto his E-Collective band.) 2 – 3 p.m. – Cory Henry (Pedrito Martinez guested here, unannounced) 3:30 – 4:45 p.m. – Laufey 5:15 – 6:30 p.m. – Stanley Clarke N*4Ever 7:00 – 8:30 p.m. – Norah Jones – no photography/video (This announcement worked only for press photographers who tucked away our gears as fans’ phones recorded everything)
Charles R. Wood “Jazz Discovery” Stage 11:30 – 12:30 p.m. – Skidmore Jazz Institute Faculty All-Stars 12:55 – 1:55 p.m. – Helen Sung: Jazz Plasticity 2:20 – 3:25 p.m. – Miguel Zenon Quartet 4 – 5:05 p.m. – Olatuja 5:35 – 6:45 p.m. – Pedrito Martinez Group
WEATHER
Rain most of Saturday. Clouds dumped big wet stuff; or, at least, Irish-style mist. As lawns grew muddy, some fans doffed wet shoes to go barefoot. Nobody went full-Woodstock; things never got that wet.
Summer sun for real Sunday; too real for some who didn’t hydrate enough. Clouds raced past, fast as the Belmont Stakes, then glowed in Mayfield Parrish pastels as the show ended and the wind rose, about the time SPAC shows used to start.
STEP COUNT
Including pit stops and runs for consumables, only 6,123 Saturday when the rain discouraged some ‘twixt-stage migrating, 8,631 Sunday.
AWARDS
Best Vocal: Samara Joy, in a quality field with Alicia Olatuja, Norah Jones and Rachael Price
Best Saxophone: Miguel Zenon
Best Trumpet: Terrence Blanchard
Best Piano: Joey Alexander; runner-up: Harold Nussa-Lopez
Best Guitar: Dave Stryker (Skidmore Jazz Institute Faculty All-Stars)
Best Bass: Stanley Clarke
Best Drums: Oscar Eaton (Terrence Blanchard’s E-Collective) Norah Jones’s straightforward tunes didn’t ask enough of Brian Blade to show his stuff, but he was perfect as usual.
Best Country Music: Norah Jones
Best Audience Ecstasy: Laufey
Best hair: Trumpeter Theo Croker
Who Brought the Funk Award: Cimafunk, Cory Henry, Yussef Dayes, in about this order of get-down
Best Big Band: Steven Bernstein’s Millennial Territory Orchestra; the Skidmore Jazz Institute Faculty All-Stars played well, too.
Most Impressive Artistic Growth Since She Last Killed Us: Samara Joy
The Do You Know What It Means To Miss New Orleans Award: The New Orleans Groove Masters
Best Prince Cover: Yussef Dayes
SUGGESTION BOX/FUTURE FILE
Shaking up start times on the two stages some years ago was a good start; now go all the way, and alternate: Artist A finishes on one stage, then Artist B hits a few minutes later on the other. Would mass-migrations be worse than the current dilemma of having to miss parts of some sets to get a taste of everybody’s music? Maybe, but let’s try it.
Since the current staggered-start system spreads out the usage of restrooms and lines for drinks and food; breaks might have to be part of the schedule.
As noted in our post on Saturday’s show, Freihofers has left the building after 27 years as name sponsor, replaced by GE Vernova. Wiki says it’s “formerly GE Power and GE Renewable Energy…an energy equipment manufacturing and services company headquartered in Cambridge, Mass. GE Vernova was formed from the merger and subsequent spin-off of General Electric’s energy businesses in 2024: GE Power, GE Renewable Energy, and GE Digital.”
Danny Melnick, impresario of Absolutely Live Productions, successor to the late, great George Wein as producer of the Saratoga Jazz Festival and co-founder of The Local, a new Hudson Valley venue. Melnick introduces many of the festival acts and announced the new festival sponsorship arrangement on Sunday at SPAC.
So, next year, the festival will be “the Saratoga Jazz Festival, presented by GE Vernova” – in the style of “the New Orleans Jazz and Heritage Festival presented by Shell” – and is set for June 28-29.
Major change hit the Freihofer’s Saratoga Jazz Festival, and not just the weather. On swampy Saturday and sweaty Sunday, huge crowds showed up for the two-stage, 22-act festival.
In backstage news, Freihofer’s ended its 27-year string as name sponsor, replaced next year (and the following four at least) by GE Vernova.
Cimafunk and fans Saturday on the Main Stage
Onstage and in the house(s): demographic change. The pop magnetism of Lake Street Dive, Laufey and Norah Jones drew many teens-to-40s fans. Lake Street Dive’s soul/R&B closing set Saturday drew recognition shouts even for new tunes. Joy-screaming, hair-ribboned teen-women fans saw Sunday afternoon as a Laufey show with some other stuff wrapped around it, notably Norah Jones who closed with crowd-pleasing pop/jazz/country. However, after Pedrito Martinez’s percussion driven, joy-filled, dance-with-me-onstage explosion on the Charles R. Wood “Jazz Discovery” Stage (hereafter, the Wood), her elegance felt a bit tame on the Amphitheater Stage (hereafter, the Main). See the 2024 Schedule, in the next edition, for playing order.
The other stuff – real jazz – was notably good stuff, from tributes to bygone giants by the Skidmore Jazz Institute Faculty All-Stars to funk blasts by Jussef Dayes and (especially!) Cimafunk and modernist musings by Terrence Blanchard and Helen Sung. Caribbean stars were in the house: conga wizard Pedrito Martinez who led or guested in four sets, pianist Harold Lopez-Nussa with the brilliant guest harmonica virtuoso Gregoire Maret, saxophonist Miguel Zenon, and the unstoppable Cimafunk. Tastes of the blues (Coco Montoya) Afro-pop (Olatuja) and New Orleans (the New Orleans Groove Masters, with three drummers) added spice.
Two acts featured string quartets, Laufey and Terrence Blanchard; the only big-ish bands were the Skidmore cats and Steven Bernstein’s Millennial Territory Orchestra, both strong; 73-year-old bassist Stanley Clarke wowed as a still-exciting veteran and both Samara Joy and Joey Alexander confirmed their promise as young artists firmly and intrepidly in the jazz tradition.
Here’s how it felt. Confession time: Saturday’s rain held me at the Main, so I missed Tia Fuller and Theo Croker altogether and got only a taste of Coco Montoya.
Saturday:
Violinist Sara Caswell’s quartet sounded ethereal, very New York, on the Wood; an hour later, the New Orleans Groove Masters went way earthy on the Main.
Sara Caswell
Caswell smoothly evoked Jean-Luc Ponty in atmospheric tunes ranging from the serene “Stillness” with eerie guitar harmonics that Carswell embellished to the folkloric “Warren’s Way” and the power-vamp romp of “Benin.” Her bowing always flowed in confident smoothness, so this lone pizzicato number hit hard.
New Orleans Groove Masters Herlin Riley, left; and Shannon Powell
The Groove Masters launched from a second line beat by drummer Jason Marsalis as Herlin Riley and Shannon Powell smacked tambourines up front, chanting “Little Liza Jane” before jumping on their own kits. As these big-name hitters led the groove, pianist David Torkakanowski bridged beats with melody; in Ellis Marsalis’s (Jason’s father) sizzling “Tell Me,” tenor sax man Roderick Paulin quoted ‘Trane’s “A Love Supreme;” otherwise, it was straight New Orleans, and street-parade strong, especially the bluesy “It AIn’t My Fault” and a fervent if schmaltzy “Wonderful World.”
All the New Orleans Groove Masters – yes, three drummers
Rain blew in for pianist Harold Lopez-Nussa’s survey of Latin dance energy, transmuted into quartet lyricism, on the Wood. Co-star of this set, chromatic harmonica wizard Gregoire Maret charmed in the ballads and charged up light-footed dance tunes.
Harold Nussa-Lopez, piano, and his Quartet
Joey Alexander Trio
Another pianist, festival frequent flyer Joey Alexander on the Main, won my coin toss versus saxophonist Tia Fuller on the Wood. Alexander started his fourth festival set in mellow new tunes framing “Amazing Grace,” his attentive, flexible trio of bassist Kris Funn and drummer Jonathan Barber following his fireworks. The Bonnie Raitt hit “I Can’t Make You Love Me” felt too short, but “Blue” with guest trumpeter Theo Croker stretch-explored “Blue” beautifully. Pedrito Martinez added congas to a mellow, then spirited, swirl.
Joey Alexander and Theo Croker – best hair of the day
Joey Alexander and Pedrito Martinez
Steve Bernstein Millennial Territory Orchestra, and raindrops
Trumpeter (valve and slide) Steven Bernstein’s Millennial Territory Orchestra made the rain-parka’ed walk back to the Wood well worth it, wrapping “St. Louis Blues” around Count Basie’s “Rusty Dusty Blues” and Herbie Nichols’ “Who’s Blues” in a droll, driving dust-up adroitly arranged for three reeds, trombone, violin, guitar, bass, drums and Bernstein his own bad self. Delicious.
Steve Bernstein, his own bad self
Dry inside the Main, Yussef Dayes swung drumsticks stout as tree-trunks, leading a gloriously loud funk-fest by his Experience, a brave moniker for any band not led by Jimi Hendrix. Bassist Rocco Palladino (son of bassist Pino P.) won the Gold Earplugs Award (see others, below) in forcefully amped beat blasts.
Yussef Dayes Experience; Dayes at the drums, center stage
Still hanging in the Main, I saw Samara Joy sing the best vocal set of the festival.
Samara Joy
Her voice foretold stardom, but her growing musical smarts, respect for tradition and shrewd song choices guaranteed it. She sang songs’ emotions, like Ella, like Sara; but freed their sonic potential in spectacular glides through an astonishing range.
Samara Joy and her expanded band
She charmed AND awed, bravely putting words to Charles Mingus’s tribute to Charlie Parker, updating “You Stepped Out of a Dream” and Monk’s “San Francisco Holiday,” lamenting “I Saw You Today” in wounded poignance and audaciously grafting an original onto Sun Ra’s “How Dreams Come True” into a swinging groove. She skatted through Betty Carter’s “Tight,” sang Jobim’s “No More Blues” in Portuguese and English and earned the festival’s first encore. Behind monogrammed music stands, her expanded band (two reeds, trombone and trumpet plus her piano, bass and drums trio) put a Nelson Riddle spin on “Day by Day.” Altogether wonderful.
Coco Montoya
Only briefly braving the rain, I savored a taste of guitarist-singer Coco Montoya’s blues on the Wood with the spry, wry “Hey Señorita!” Then back to the Main for Cimafunk whose songs, even a Prince cover, mattered less than the energy.
Cimafunk, center
While Dayes stretched funk for all-in jams earlier, Cimafunk made up-tempo muscle music for short attention spans. Singing in constant motion, he was a happy blur. Center stage before two percussionists – one briefly replaced by Pedrito Martinez – horns and rhythm section, he never let a riff wear out its welcome. He also never repeated a dance move in a non-stop, sweaty party that peaked with fans filling the stage. When he urged “Everybody get down!” everybody crouched in happy dozens onstage. See cover shot
Lake Street Dive, from left: James Cornelison; Akie Bermiss, Rachael Price, Mike Calabrese, Bridget Kearney
Lake Street Dive closed strong, audience love encouraging the Berklee-trained soul/R&B band with shout-outs and singalongs even on new tunes from “Good Together.” Band and fans were in the songs together, so three consecutive new tunes – the rocking “Better Not Tell You;” the languid, nicely harmonized “Seats at the Bar;” the big, slow “Get Around” – got the same recognition applause as “Side Pony” or “You’re Still the One.”
Lake Street Dive: Cornelison and Price
This brave move paid off as the band gained confidence behind the elegant, clear-voiced Rachael Price, while keyboardist Akie Bermiss sang lead at times. Harmonies meshed well, especially when they clustered around one mic in acoustic distillations of “Side Pony” and the privacy paean “Neighbor Song.”
OK, I know this is a lot, so feel free to take a pause here to pour a cold one, walk the dog or mow the lawn.
Matty Stecks (born Matt Steckler in Schenectady) savored pleasanter weather Thursday at Jazz on Jay than recently at storm-battered Alive at Five. The saxophonist, flute player, composer and bandleader also sailed past a bump in the road when bassist Rich Syracuse had to bow out Thursday morning.
Matty Stecks and the 518, from left: Mike Lawrence, Bob Halek, Stecks, and Wayne Hawkins
(Deservedly busy) Mike Lawrence filled in more than ably, after a five-minute phone call. “He didn’t know he was playing until this morning,” Stecks explained gratefully.
Mike Lawrence
The weather welcomed a sizable crowd to Jay Square, though a wind gust toppled a stroller whose young passenger seemed more amused than scared, and collapsed the info and hospitality tent near the end of the 90-plus minute set. The sun shone bright or hid in fast-moving clouds, and a passing freight train early on didn’t distract, as State Street sirens often did in previous locations further south on Jay Street.
From left: Wayne Hawkins, Matty Stecks, Bob Halek, and Mike Lawrence
The quartet’s first tune cited the weather, Stecks’s vintage “March Nor’Easter” setting a Latin beat under his agile alto sax and everybody confident and strong. The players all know each other well and Stecks has led various bands in playing the all-original repertoire, so he knows what he wants from his players.
Matty Stecks (aka Matt Steckler)
He knows when he gets it, too: “Tearin’ it up, tearin’ it up!” he exclaimed happily after “Show Some Class,” a happy, top-down blues-cruise perfect for a sunny summer afternoon.
He switched to soprano sax in “”I’d Know It If I Heard It,” shifting roles a bit from earlier tunes. Here he played only a short intro before pianist Wayne Hawkins stated the melody and elaborated on it with the same imagination he displayed throughout.
Last-minute bassist Lawrence and always-solid drummer Bob Halek, a marvel of calm consistency and drive, got fewer solos than Stecks and Hawkins but earned their applause whenever Stecks cued them to lead.
Early on, they set a pattern: Stecks, intro and first statement and some exploration; Hawkins, more explanation, and plenty of swagger; Lawrence, rhythm and thoughtfulness in equal measure; and Halek – as the slogan of the great New Orleans radio station WWOZ states – the guardian of the groove. Then Stecks would cue a recap and lead both more exploration and a coda. These varied some; “Chrysalis,” a sweet tenor ballad with a repeating-riff coda; “Forgive” a flute feature built on a bossa vamp, “Prince Eleventy” a fun rip whose groove power made its complex beats compelling; and “Listen Linda” surfing on a playful funk beat.
From left: Mike Lawrence, Matty Stecks, Bob Halek, and Wayne Hawkins
After the fade-and-repeat coda of “Listen,” Stecks noted the band likes its endings unscripted, but nothing felt ragged. Everything fit and everybody knew their place and how to listen and bounce with it.
In “Vegas Mode,” a mutation of “East of the Sun,” as Stecks explained, Hawkins most closely echoed the song’s antecedents while Stecks went furthest outside with it, all in a flow of gliding swing. In this, and other late-in-the-set songs, the band swapped riffs in short exchanges, revving and rolling.
After the show, fans trooped into the orange-sheltered bandstand space to congratulate the players. When I asked Stecks about the (unannounced) flute number, he said the original title was “For Kyiv,” but I’d mis-heard that some time ago and listed it as “Forgive” in my review. So he adopted that title, he said, seeking to express something more universal. That expansiveness shone in all his tunes Thursday, and in how his slightly shuffled band played them. Afterwards, Lawrence told me Rich Syracuse was his bass teacher at the late lamented College of St. Rose…
Aromas in stereo greeted fans: barbecue from the Executive Suite at house left, and the Moroccan buffet at Tara Kitchen across Liberty Street from house right. Omnipresent super fan Steve Nover danced nonstop, even in the tricky rhythms of “Prince Eleventy.” When Stecks quizzed the crowd on the song’s title, singer Maggie MacDougall correctly answered, “Because it’s in 11” – that is, bars of eleven quarter notes. She plays Jazz on Jay on Aug. 22 with her Latin combo Bossamba. Jazz on Jay takes July 4th off then resumes July 11 with MC*2.
Hoke's Jukebox 