The Happening 2010 - Concert Review

My friend Eila Kaarresalo-Kasari, a reknown Finnish jazz journalist, invited me to "The Happening 2010" at Saint Peter's Church, presented by Reggie Workman's Sculptured Sounds last Friday January 8th.  Eila and her husband Heikki visit New York City for several months every winter to experience modern jazz from its source.  Friday's concert, with the legendary bassist Reggie Workman officiating, was a terrific way to kick off the year.

Some breathtaking examples of Richard Conde's jazz photography was on display in beautiful 13"x19" archival prints.  He was also in the house documenting the event.  As a photographer myself, I was particularly impressed by his talent for not only rendering the performer in exquisite detail, but capturing the essence of the music and the moment.  Check out his work.  It just doesn't stop!

The warmup act was vocalist Francina Connors with Ethan Mann (guitar), Leopoldo Fleming (percussion), and Reggie Workman (bass).  Fleming's sparse percussion of various hand drums, triangles, and chimes left Connors' beautiful voice wonderfully exposed in the reverberant sanctuary of Saint Peter's.  Workman and Mann accompanied with tasteful reservation for what was a perfect beginning.

I did not know in advance who was on the playbill, so I was pleasantly surprised that soprano saxophonist Jane Ira Bloom was next.  Despite knowing of her music for years, this was the first time I'd seen her perform.  Bassist Mark Helias and drummer Bobby Previte completed her trio.  Previte was another pleasant surprise, being someone I used to see play quite frequently at the Knitting Factory in its avant-garde heyday.  Bloom's creativity and use of effects on the soprano was inspirational.

The following group, violinist Jason Kao Hwang's EDGE, presented another pleasant surprise in the form of cornetist Taylor Ho Bynum.  I laid down some horn tracks with Taylor about 10 years ago at the Colt Building in Hartford, Connecticut.  Joined also by Hen Filiano (bass) and Andrew Drury (drums), EDGE explored the avant-garde side of jazz moreso than any other group of the evening.  Hwang and Bynum's tones blended remarkably, while exploring many textures throughout their set.  Violin in jazz is a rarity, but it needn't be when showcased in a setting as badass as EDGE.

Closing the first half, poet/writer/activist Amiri Baraka read excerpts from his new book Digging: The Afro-American Soul of American Classical Music.  I recognized Mr. Baraka because he read at my teacher Jackie McLean's memorial service.  He read of Jackie this evening from Chapter 54 "Four Tough Good-Byes", also dedicated to John Hicks, Hilton Ruiz, and Halim Suliman.  Quoting from the third paragraph, "One cannot remember one's life as fully as one has lived it.  For one reason was that Jackie was fully alive when I knew him best, and still full of all that the last time I saw him."  Mr. Baraka's words: entirely accurate, I attest.  And fortunate was I to leave that evening with an autographed copy, brief conversation, and embrace from a cultural icon.

The second half began with multi-Grammy nominated drummer Bobby Sanabria's Quarteto Aché.  To my delight, this group included pianist Enrique Haneine, one of my favorite pianists to hire back in my Detour days.  Rounding out the quartet were bassist Alex Hernandez, and Peter Brainin on tenor saxophone, soprano saxophone, and flute.  Sanabria's latin jazz set included some lovely Cuban Son music and abundant audience participation.

The grand finale was Trio 3, consisting of masters Oliver Lake (alto), Andrew Cyrille (drums), and Reggie Workman (bass).  I've listened extensively to Oliver Lake's work with the World Saxophone Quartet, so seeing him live for the first time was yet another amazing surprise for the evening.  Lake played powerfully (and unmiked), but in perfect balance with Cyrille and Workman.  Their interplay was as you'd expect from mature jazz legends, a treat to witness with every nuance and expression just right.

For a mere $15, this was an unforgettable event.  It's just too bad Saint Peter's wasn't filled to capacity.  Even Mr. Workman lamented over the PA that the turnout was less than he had hoped. But he's doing an admirable job with Sculptured Sounds putting jazz in front of audiences accessibly like this.  And really, this was something special.  Not only for the music, but the warmth and sense of community; that's what really made this a true jazz experience.  I hope somebody happened to drop by and fall in love with jazz for the first time.