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Also this issue: Downbeat Street Crossings |
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June 20-26, 2002
cover story
Any decent horticulturist will tell you that, in times of drought, melons grow smaller and sweeter. Such an argument could be made for this dry season’s Mellon Jazz Festival, which spans just four days -- down from six last year, and from 10 a few years prior. But while critics have bemoaned the “Incredible Shrinking Jazz Festival” (as Tom Moon of the Inquirer called it), organizers contend that they’ve merely compressed a scattered schedule into something stronger and more focused. They have a point. Here’s why.
Philadelphia Clef Club of Jazz & Performing Arts, Broad and Fitzwater sts., 215-893-9912
Thu., June 20, 8 and 10 p.m., free
The festival's sole free event is a good one, featuring one of hard bop's preeminent percussionists in a swinging tribute to his former boss. Hayes played with the Cannonball Adderley Quintet from 1959 to 1965, when the group essentially defined the sound of soul jazz; dig "This Here," on The Cannonball Adderley Quintet in San Francisco (Original Jazz Classics), for proof. If this band had provided Hayes' sole residence, his place in jazz history would be intact. The fact that it didn't -- that he subsequently backed Oscar Peterson, Dexter Gordon and Woody Shaw -- makes him something of a legend.
Zanzibar Blue, Broad and Walnut sts., 215-732-4500
Thu., June 20, 7 and 9:30 p.m., $25
Wallace Roney struggled for years with comparisons to his mentor Miles Davis; he often seemed torn between embracing and denying obvious stylistic debts. But since recording No Room for Argument (Concord) in 2000, the trumpeter seems to have reached an accord. That album explicitly referenced key aspects of Davis' oeuvre, without angst. It's no coincidence that Roney's current ensemble consists of Davis alumni: saxophonist Gary Bartz, keyboardist Adam Holzman, bassist Buster Williams and drummer Lenny White.
Keswick Theatre, Easton Rd. and Keswick Ave., Glenside, 215-572-7650
Fri., June 21, 8 p.m., $27.50
Forget Trey Anastasio. The smartest of jam-land's guitar fans will be here tonight, lured by a music that serves mind and booty both. Scofield, a committed jazz-funk alchemist ever since his '80s stint with Miles, has for the past few years been a successful transplant to the collegiate groove circuit -- and the sharp-cornered Überjam (Blue Note) might be his most successful crossover yet. Hunter, the eight-string wunderkind, has less in the way of a backing band, and his last disc was half-baked, but his electrifying live show is still an experience and a half.
Zanzibar Blue
Fri.-Sat., June 21-22, 9 and 11 p.m., $40
The story of Arturo Sandoval's flight from Cuba in 1990 has often been glamorized (most notably in an HBO movie that scored Andy Garcia a Golden Globe). But in the 12 years since his defection, the trumpeter has delivered more pyrotechnic excess than focused musical accomplishment. He did turn in a surprise with My Passion for the Piano (Columbia) -- revealing not only his piano prowess but also hitherto unspoken harmonic depths -- so there's reason to hope that this engagement works.
The Mann Center for the Performing Arts, 52nd St. and Parkside Ave., 215-896-1999
Sat., June 22, 5 p.m., $25-$48
This evening-long centerpiece is a festival of its own, with two stages and some nine performing groups. The obvious headliner here is Natalie Cole, a soul starlet whose jazz ventures have been uneven at best. But she expertly fronted a big band at last summer's Newport Jazz Festival, and her forthcoming Verve debut, Ask a Woman Who Knows (expertly produced by Tommy LiPuma), marks a step in the right direction. She may not be a "jazz singer," but there's no question that what she sings is jazz. Sadly, a parallel claim can hardly be made for Chuck Mangione, the faded, flügelhorn-wielding former pop star of "Feels So Good" fame. Fortunately, the evening also features Salsa's Spaceman, Eddie Palmieri, leading his reimagined La Perfecta band (which just released a strong statement on Concord, La Perfecta II), and alto saxophone phenom Kenny Garrett, who mitigates unconvincing pop with occasional flashes of improvisational brilliance (see Happy People, on Warner Bros., for examples of both). Then there's the "Philly Jazz Tent," with a very promising roster of local talent: a Bobby Zankel quintet featuring violinist Diane Monroe, Gerald Veasley's fascinating-sounding Electric Mingus Project; the ever-powerful Barbara Walker Story; and something called the Mellon Jazz Ensemble Alumni Band.
Painted Bride Art Center, 230 Vine St., 215-925-9914
Sun., June 23, 7 and 9 p.m., $25
The tenor saxophonist's latest project is a surprisingly effective jazz translation of music associated with Enrico Caruso. (See feature on page 17.) Judging by a recent New York debut, this should be the festival's most colorful concert event.
