Evaluate Of The 2018 Jazz Festival At Lovely Caramoor, Katonah, NY
Only a stone’s throw form the streaming hustle of the North-South corridor generally known as Interstate 684, off exit 6 in the hamlet of Katonah, New York, lies the attractive Rosen Property, house of the Caramoor, a music and performing arts heart. Caramoor was so named after a earlier proprietor Caroline Moore Hoyt. However it was Walter and Lucie Rosen, who because of their love of music, became patrons of the musical arts and fostered performances in this most conducive of settings. They appointed this gorgeous bucolic ninety acre property for the expressed goal of having fun with music. In 1958 the Rosen’s opened the Venetian theater, a tented 1,600 seat outside stage, to the general public. Each season the venue presents some of essentially the most exciting and culturally numerous musical performances provided anywhere. A part of the charm of this magical place is the manicured Italianate gardens, a stroll by means of which transforms you to a different place, with its bursting flora and manicured walkways. The general atmosphere is sublime.
While Caramoor is thought for its International series of music performances, featuring a few of the world’s biggest artist in the sector of classical music, the weekend of August fifth by way of seventh was devoted to jazz. Despite competing jazz festivals at both Litchfield and Newport occurring on the same weekend, one couldn’t ask for a more exciting and contemporary choice of musical performers to select from.
Friday evening featured the vibrant, Canadian born pianist Renee (pronounced Ree Nee) Rosnes within the Spanish Courtyard along with her own seasoned quartet of Steve Nelson on vibes, Victor Lewis on drums and Peter Washington on bass. Rosnes has played with a myriad of veteran players including trombonist J.J. Johnson, vibes master Bobby Hutcherson, Joe Henderson and Wayne Shorter to call a couple of.
I used to be fortunate sufficient to attend the Saturday evening show which featured an eclectic group of performers. Producer Jim Luce should be applauded for bringing together a gumbo of musical tastes. This approach serves to open audiences to the myriad of possibilities inside the broad jazz genre. He correctly selected to maintain the program numerous without succumbing to the temptation of including artists better known in the areas of pop or rock music. Recently the inclusion of these types of artists on “so-known as” jazz venues, has been used by other promoters as a automobile to promote more tickets at the expense of diluting what one would come to expect from a true jazz festival.
The days activities started out at 3:00 pm with the Cuban troubadour and guitar player Juan-Carlos Formell. The group consisted of Formell on guitar and vocals, Lewis Kahn on trombone, Ricky Rodriguez on bass, Manuel Valera on piano and a percussionist whose identify I didn’t catch. They introduced a comfortable Latin inspired set of mostly Formell compositions. The singer/guitarist has an appealing stage presence and his music affords a gentle, authethically Latin/island sway to it that is infectious. Formell and company played with relish and managed to properly warm up the late arriving crowd with their musicality and joyous congeniality.
The gang grew in size as the expectation for the next group started to be felt in the air like the electricity that raises the hair in your skin earlier than a serious storm. James Farm is a bunch of extremely gifted musicians whose current self-titled album is a tour de force. The group is comprised of Joshua Redman on tenor, Aaron Parks on piano, Matt Penman on Bass and the ubiquitous Eric Harland on drums. With such extraordinary musicianship it is little wonder that these guys create compelling music. While some teams appear to star one explicit participant, James Farm has taken a collective method that works wonderfully. Each musician is both virtuoso and composer in his own right and they have subdued their own egos for the betterment of the musical message to great success.
The set started with the Penman’s composition “1981” A rhythmic piece that features a lyrical Parks on piano and Redman’s silky tenor. Penman’s bass strains drive the piece as Harland demonstrates he’s as artistic a percussionist as you will note anywhere. They moved into Redman’s more jagged composition “If by Air.” Watching Redman on stage you get the felling he absorbs the pulse of the music into his musculature. His lean and elastic physique initiatives a wave of power that emits from his horn in complete thoughts/physique communion. When he solos it’s like he’s excorcising his ideas.
The group moves into the Aaron Parks introspective composition “Unravel.” The moody piece is demonstrative of this group’s effort to play as a cohesive unit with no real showcase of individual talent. Penman takes a considerate bass solo, however for essentially the most half piano, bass and sax create a unified sound that’s delicately complimented by Harland’s gossamer mallet and brush work.
“Polywog” is a Redman composition that has a fast paced beat that allowed the tenor man to offer considered one of his most explosive solos of the night. Park’s “Chronos” options an ostinato bass line that enables Redman to discover vestiges of Center Japanese music on the melody. Parks makes use of sweeping crescendos of sound with his right hand as his left hand relentlessly plays the repeating bass lines. Harland solos with a fusillade of explosive cracks, bombs and crashes.
On “Bijou,” one other Parks composition, we’re handled to probably the most melodic tune of the night. Redman is especially stunning in his playing reaching the high register for poignancy without any anxiety. The crowd was mesmerized throughout the set. The band left the stage and would make their solution to Newport for a present the next night. If a gaggle may be categorized as all stars than James Farm definitely proved they qualify for this moniker in each class.
The subsequent performer was one who was new to me. The vocalist Jose James. James is initially from Minneapolis and attended the brand new College of Jazz and Contemporary Music in NYC. He has performed with the pianist Junior Mance as nicely because the drummer Chico Hamilton. He possess a smoky baritone that jogs my memory of a cross between Gil Scot-Heron and Johnny Hartman. His supply is an amalgam of conventional jazz vocal stylizing, wording and hip hop rap. For this night he was joined by the gifted guitarist Nir Felder, the keyboard artist Frank Lo Castro, the bassist Chris Smith and the drummer Nate Smith. Regardless of having to observe the powerhouse James Farm, Mr. James captured his viewers’s consideration together with his mellow musings on the ballad “Save Your Love for Me” , made well-known by the chanteuse Miss Nancy Wilson, which he carried out beautifully. He adopted with a track dedication to John Coltrane the place he deftly interjected some strains from Gil Scot-Heron’s “The Bottle” conjuring up photos of the late poet/troubadour’s soulful baritone. On “Devoted to You” James’ heat low register voice melted the group like a pat of butter over steaming pancakes. A Mark Murphy impressed, rap-influenced model of Freddie Hubbard’s track “Purple Clay” was a excessive gentle and featured a ripping guitar solo by the inventive Nir Felder. Mr. James’s lush voice and contemporary sound was fresh and for probably the most half entertaining. He is a young artist who’s to be watched.
The finale of the night was the massive band of the superlative bassist Christan McBride. McBride is at the moment one of many premier bassist of his technology having performed with a few of probably the most influential musicians of the final two decades. His joyous strategy to the instrument has made him the bassist of selection for a lot of notable artists from Sting to Chick Corea.. Having performed at Caramoor final yr with Roy Haynes, Chick Corea and Kenny Garrett, he selected this yr to make use of the acquainted Caramoor stage to debut his Christian McBride 17 piece massive band. For this difficult endeavor McBride was aided by a supporting cast that features a trumpet part made up of Narate Isles, Frank Greene, Mike Rodriguez and Brandon Lee. His Trombone part contains Mike Dease, Steve Davis, James Burton II and Douglas discount stone island jeans Purviance. The saxophone part included Ron Blake, Loren Schoenberg, Todd Bashore, Steve Wilson and Carl Maraghi. Xavier Davis is featured on piano, with younger Ben Williams seconding on bass and Ulysses Owens Jr. handling drum duties. Stone Island The band also featured McBride’s spouse Melissa Walker on vocals.
The band performed to a now full home because the rain began to pour outdoors. Nobody was involved. They began the set with “Shake & Bake” and “Broadway.” McBride instructed the group an anecdote about James Brown’s penchant for calling people “Brother Mister,” which turned the title of the subsequent composition. Younger Ben Williams was launched on bass as McBride jumped from his upright to conducting the band. Saxophonist Steve Wilson performed a wonderful soprano solo and trumpeter Brandon Lee soared. McBride”s wife Melisa Walker got here out to do ” When i Fall in Love.” McBride launched the subsequent track “A Style of Honey,” made well-known by Herb Alpert’s Tijuana Brass, to the acknowledgment of the group.
The subsequent tune was titled “Science Fiction” and McBride used a pleasant arrangement of flutes and bass clarinet in the mix. The bassist played an incredible solo on his upright double bass that was technically sensible.It was straightforward to see he has few equals on his instrument. McBride creates a large and imposing presence on stage, however when he decide ups his bass he’s as facile as a wood sprite dancing through a forest. Alto saxophonist Todd Bashore tore it up for a full 4 minute solo that was a spotlight of the night.
The second set included “Blues within the Asphalt Metropolis” with a tremendous trombone solo by Steve Davis and a song dedicated to pianist Cedar Walton ” Shade of the Cedar Tree.” Singer Melissa Walker sang “The More I want You” and did a slightly corny duet with hubby McBride on his bass on “Simply in Time.” The finale was a barn burner titled “In a Hurray” which aptly moved at nice neck velocity, testing the cohesiveness of the massive ensemble. The McBride massive band was a hit with the Caramoor audience and it was good to see that competent big bands still have their appeal to astute audiences.
Whereas I used to be unable to attend the Sunday present, it featured one other thrilling line up with artists together with guitarist John Scofield, pianist/producer Robert Glasper’s group and pianist Jason Moran’s Bandwagon. Bravo to impressario Jim Luce for such an unimaginable line up.The Rosen’s could be proud. For many who missed this yr’s performances might I strongly recommend you plan to attend subsequent yr at this glorious music pleasant venue.