By Corey Hall
For fifteen consecutive years, Englewood resident Ernest Dawkins has coordinated a free, six-hour outdoor celebration of sound as a contribution to his community. This celebration, officially called the Englewood Jazz Festival, is sponsored by the Live the Spirit Residency, a nonprofit organization Dawkins founded in 2006. He presented the first three Englewood Jazz Festivals through a grant from nonprofit Meet the Composer (now called New Music USA) and, when this grant ended, Dawkins supported the next three festivals with his own funds before establishing Live the Spirit.
“This community has multiple economic difficulties and has been ignored by the arts community for too long,” Dawkins said in a recent conversation. “I did this festival to try and institutionalize the music and arts in this underserved community and, in the future, I plan to branch out to Roseland or the West Side. I want this to get bigger.” Read the rest of this entry »
On her live tribute to Sarah Vaughan recorded at New York’s Dizzy’s Club Coca-Cola, the Chicago-born singer, composer and arranger (known by the general public for the theme of the popular sitcom “The Nanny”) assembled a topnotch band formed by Ted Rosenthal (piano), Dean Johnson (bass), Tim Horner (drums), Randy Sandke (trumpet and flugelhorn) and Dick Oatts (saxes and flute). The repertoire included tunes that Vaughan recorded throughout her long career.
The disc opens after a brief introduction with a lively rendition of Al Hoffman’s “I’m Gonna Live ‘Till I Die,” which features a lengthy, highly inspired solo from Sandke (incidentally, Hoffman was the composer of “Bear Down, Chicago Bears”). Steven Sondheim’s “Send In The Clowns” is played with great dramatic flair, a little reminiscent of Barbra Streisand’s version. Also notable are Antonio Carlos Jobim’s “Wave” performed in a downtempo bossa style and Adler/Rose “Whatever Lola Wants,” a sexy blues-tinged number that showcases the vocalist’s improvisations, while George Gershwin’s classic ballad “Someone To Watch Over Me” features its often-ignored introduction. Read the rest of this entry »
Chicago singer-songwriter Steve Dawson’s main band is Dolly Varden, which has been making smart and soulful folk-rock for twenty years, but he has a second group now. His new album, due for release on September 30, is the self-titled debut of Steve Dawson’s Funeral Bonsai Wedding, a collaboration with three local jazz musicians who are noted for their inventiveness: vibraphonist Jason Adasiewicz, drummer Frank Rosaly and bassist Jason Roebke. Read the rest of this entry »
Though a longtime resident of the East Coast, saxophonist, professor and bandleader Miguel Zenón never quite let go of the rhythms of his native Puerto Rico, and often incorporates their sounds from a contemporary jazz point of view. Over a decade working as a bandleader (he has done side work with the likes of Edsel Gomez, Brian Lynch and Edmar Castañeda) with his quartet, he has explored and experimented with various rhythms and grooves and developed them as a fodder for free improvisation. Read the rest of this entry »
If you cannot be in Crescent City, listening to veteran trumpeter and singer Kermit Ruffins definitely takes you there. With his sharp and lively tone, he plays songs that celebrate his homeland. Examples include “Drop Me Off in New Orleans” and “When I Die, You Better Second Line.” He is clearly not one to do any contemporary-style material—his sound embodies the early traditions of jazz laid out by Louis Armstrong, who is revered and celebrated today from the park that takes his name to the streets where marching bands that play year-round to the delights of locals and visitors alike. Read the rest of this entry »
If there is anyone whose musical direction should be trusted, it’s Mike Reed. As the director of the Pitchfork Music Festival and an important part of the Chicago Jazz Festival and the Umbrella Music Festival, Reed is well versed on Chicago jazz and beyond. His group, Mike Reed’s People, Places & Things, is a conglomerate of Chicago jazz and where it’s going. Free jazz can be difficult to follow for the casual listener, but Mike Reed’s People, Places, & Things is an approachable place to start. Read the rest of this entry »
Photo: John Broughton
By Corey Hall
Are y’all hip to “Sweet Georgia Brown”? According to the grapevine, “It’s been said/she knocks ‘em dead/when she lands in town/Since she came/why it’s a shame/how she cools them down!” Satchmo sang about her, as did Ella, Ray Charles and Jerry Lee Lewis. And now jazz guitarist Bobby Broom and his trio have made a play for the gray gal on “My Shining Hour,” his new album that will be released on August 19.
When talking to Newcity about this song, written in 1925, and recording—which he describes as a tribute to Americana—Broom notes that its ten songs have stayed relevant through many decades. “They’re classics, and they are cultural pieces, cultural history in music, at least from my perspective,” he says, in reference to the collection’s songs, which also includes “The Jitterbug Waltz,” “Tennessee Waltz,” and “Oh! Lady Be Good.”
When discussing “Sweet Georgia Brown,” Broom recalls a special moment 4:15 in from bassist Dennis Carroll. Read the rest of this entry »
On her current tour, New York-born Brazilian singer-songwriter Bebel Gilberto is going in a completely different direction. Instead of playing familiar hits and a few new tunes, she is doing the opposite: most of the tunes on her recent sets have included tunes from “Tudo,” an album that has yet to hit stores as of this writing. Read the rest of this entry »
“Sketches of Spain” is a masterful collaboration by Miles Davis and Gil Evans that has been deconstructed, imitated and recreated by countless musicians over the years, but few have had the audacity to create a new adaptation that would include new material arranged for a philharmonic orchestra. But Chicago-born trumpeter, composer and arranger Orbert Davis (no relation to Miles) stepped up to the plate with a fantastic take on the classic.
The album begins with a seventeen-minute version of “Concierto de Aranjuez” that is faithful to Evans’ original arrangement but completely revisited for an orchestra format. The bandleader performs an accomplished solo that does not copy Miles Davis’ take but retains many of its sonic elements. Read the rest of this entry »
Photo: Jeffrey Dupuis
Even those who aren’t typically into New Orleans jazz or brass band music will invariably swivel their hips when introduced to the Rebirth Brass Band. The band’s blend of brass, jazz, contemporary r&b and hip-hop have made them a staple of the New Orleans music scene for three decades and, after a stint on HBO’s love letter to NOLA “Treme,” a crossover hit with fans around the world. Read the rest of this entry »