{"id":6443,"date":"2021-09-14T12:29:48","date_gmt":"2021-09-14T16:29:48","guid":{"rendered":"https:\/\/nordost.com\/blog\/?p=6443"},"modified":"2021-09-14T12:29:50","modified_gmt":"2021-09-14T16:29:50","slug":"the-newport-jazz-festival-is-back-and-boston-concert-reviews-was-there-to-see-it-all","status":"publish","type":"post","link":"https:\/\/nordost.com\/blog\/the-newport-jazz-festival-is-back-and-boston-concert-reviews-was-there-to-see-it-all\/","title":{"rendered":"The Newport Jazz Festival is back, and Boston Concert Reviews was there to see it all"},"content":{"rendered":"\n

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, we welcome the return of the Newport Jazz Festival. Nelson was there in order to share the performances with you, from time-honored veterans to fresh voices of the festival.<\/em><\/p>\n\n\n\n

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NEWPORT JAZZ FESTIVAL 2021 \u2013 A HAVEN FOR FRESH SOUNDS AND RESILIENT SPIRIT<\/p>\n\n\n\n

By Nelson Brill September 1, 2021<\/p>\n\n\n\n

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America\u2019s music, Jazz, is on the move again. The joys of hearing live jazz continued this summer with the return, (after a one-year hiatus), of the 67th Edition of The Newport Jazz Festival<\/em> (\u201cNewport Jazz\u201d) (www.newportjazz.org<\/a>) held at Fort Adams State Park in Newport, Rhode Island from July 30th-August 1st. Newport Jazz<\/em>, directed by the singular impresario George Wein for over sixty years and now captained by its Artistic Director, Christian McBride, continues to be a fertile ground for music of experimentation and verve reflecting the diversity of today\u2019s America and its political and social movements. At the Saturday session, the sold-out crowd was teeming with young people, Black and White mingling together, clearly demonstrating that McBride and his staff have succeeded in advancing Wein\u2019s legacy in presenting jazz that continues to be a unifying force and an inspiration for all ages.<\/p>\n\n\n\n

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Mavis Staples at Newport Jazz \u2013 photo by Jim Brock<\/figcaption><\/figure>\n\n\n\n
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The 95-year old Wein, (on a video call from New York City) welcomed to the Newport Jazz Lawn Stage <\/em>one of his contemporaries, the singular Mavis Staples, who performed her magnetic \u201cdown home\u201d Chicago blues and gospel-tinged songs before her dancing, adorning audience. After Wein\u2019s introduction, the indomitable Mavis grabbed her microphone, punched her fists into the air and launched into the classic Staples Singers\u2019 tune, \u201cI\u2019ll Take You There!\u201d dancing alongside her tight-knit band: guitarist Rick Holmstrom, bassist Jeff Trumes, drummer Stephen Hodges and singers Donny Gerrard and Vicki Randle.<\/p>\n\n\n\n

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The band dug deep into several songs taken from their superb live recording, Live In London<\/em> [Anti Records; www.ANTI.com<\/a>]. They hunkered down on the deep grooves of the bristling \u201cWho Told You That?\u201d and rocked away on a spunky version of the Talking Head\u2019s classic, \u201cSlippery People\u201d. Their pulsating \u201cCan You Get To That\u201d rode on Trumes\u2019 thundering bass, Holmstrom\u2019s melodic pulses and Mavis\u2019 reveling vocals, accented by deep bass plunges from singer Donny Gerrard.<\/p>\n\n\n\n

Holmstrom and Mavis made for a particularly joyful musical partnership. Mavis would lovingly clap the dapper Holmstrom on his back for his animated guitar solos that teemed with stinging notes and crisp rhythm-guitar sparks. Mavis\u2019 voice was in fine form. Her voice still packs emotional power with its dusky low calls or gospel-rich leaps. Her bracing voice propelled the rollicking classic, \u201cRespect Yourself!\u201d and mined poignantly the soulful depths of the gospel gem, \u201cWade In The Water\u201d. During this song, Mavis preached to the crowd about keeping up the fight against injustices and hatred (repeating in soaring calls, \u201cMy soul is anchored!).<\/p>\n\n\n\n

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Ledisi at Newport Jazz- photo by Jim Brock<\/figcaption><\/figure>\n\n\n\n
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Mavis and her band\u2019s joyful performance at Newport Jazz<\/em> was a perfect segue to hearing a fresh voice on the R&B and jazz scene, Ledisi Anibade Young, (known simply as \u201cLedisi\u201d), whose music is also greatly influenced by down-home blues and gospel power. Ledisi swept onto the Quad Stage<\/em> and took the audience by storm with her commanding voice\u2013 warm, lustrous and expressive \u2013 in intrepid exploration of the songbook of one of her heroes, the legendary Nina Simone. Accompanied by her sterling and nimble band, Ledisi launched into Simone\u2019s \u201cDo I Move You?\u201d with deliberate stride, her silvery fluid voice capturing the power and sensual glow of this song\u2019s slow-burning zeal.<\/p>\n\n\n\n

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If you are a vinyl fan, find at your local record store an original pressing, (or refer to the online catalogue of Analogue Productions<\/em> (www.acousticsounds.com<\/a>] for their excellent re-master) of the seminal blues recording, Nina Simone Sings The Blues<\/em> [RCA LSP-3789]. On this brilliant recording, Simone entwines \u201cDo I Move You?\u201d with singular vocal power. This entire album is a treat (one of my favorite blues albums) and when it is heard on a reference high quality audio system, (in my room, FM Acoustics 123<\/em> phono preamplifier; Holborne <\/em>turntable with Fuuga<\/em> cartridge feeding Goldmund Telos 590 Next Gen. II Integrated Amplifier<\/em> and Seidenton<\/em> loudspeakers \u2013 see \u201cNelson\u2019s System\u201d for full details and reviews), Simone appears at her dynamic piano with reach-out and-touch tactile presence and natural imaging, as only vinyl can deliver. Her song, \u201cMy Man\u2019s Gone Now\u201d is a luminescent stunner and her \u201cBacklash Blues\u201d a searing indictment of institutional racism.<\/p>\n\n\n\n

Back at Newport Jazz<\/em>, Ledisi\u2019s interpretation of Simone\u2019s funky \u201cBe My Husband\u201d was all sass and inventive vocal flourishes. Another highlight from her concert was the band\u2019s combination of Randy Newman\u2019s powerful anthem \u201cBaltimore\u201d (sung by Simone on her 1978 album of the same name) transformed here into a bold statement. This powerful tune segued into Ledisi\u2019s original song, \u201cShot Down\u201d, a scathing portrayal of recent police murders led by thunderous big bass, drum thrusts and Ledisi\u2019s glowing charge to the top of her expansive register. (Some of these passionate high flourishes, unfortunately, were marred by the shrill high volume of the sound mix at the Quad Stage <\/em>for this performance).<\/p>\n\n\n\n

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Ledisi has just released her Ledisi Sings Nina <\/em>[BMG Label; www.bmg.com<\/a>] and this should be a treat to hear judging from her inventive and powerful interpretations of these songs at Newport Jazz<\/em>. I have also enjoyed exploring Ledisi\u2019s 2020 CD release, The Wild Card <\/em>[BMG Label] a superb collection of both her originals and covers that teems with her adventurous spirit.<\/p>\n\n\n\n

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Highlights include the opening \u201dAnything For You\u201d, (with Ledisi\u2019s voice frolicking high and lithe); the uplifting \u201cStone\u201d (gospel strong and regal), the swaying bluesy pulse of \u201cNext Time\u201d and the brimming sass of the swinging \u201cWhat Kind of Love Is That\u201d. Ledisi\u2019s commanding voice flows warmly, earthy and creatively forceful on all of her great R & B and soul-infused adventures.<\/p>\n\n\n\n

That same warm R&B flow -that feel for the sinuous groove or funky powerful blast \u2013 shares kindred space with the music of two other gifted artists who also appeared at the Saturday edition of Newport Jazz 2021<\/em>: keyboardist and intrepid composer Robert Glasper (whose colorful \u201cNow or Never\u201d is covered in fine grooving form by Ledisi on her Wild Card<\/em>) and bold trumpeter and composer, Christian Scott aTunde Adjuah.<\/p>\n\n\n\n

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One of the many formations that the inventive Glasper has lassoed over the years is his \u201cR+R=N\u201d (\u201cReflect + Respond = Now\u201d) group, consisting (at its core) of Glasper on keyboards, Derrick Hodge on bass, Terrace Martin and Taylor Mcferrin on synthesizers and vocoder and Justin Tyson on drums. R+R=N\u2019s 2018 recording, Collagically Speaking<\/em> [Blue Note; www.bluenote.com<\/a>], is an excellent introduction to this alighting music with its shifting rhythms, layered drum and bass textures and inventive spoken-word directness to the power of love and resilience. Listen to the ever-adventurous Derrick Hodge on his sinuous bass (for example, his warm plucky solo introducing the powerful tune, \u201cHer=Now\u201d) or get dancing to R+R=N\u2019s grooving \u201cResting Warrior\u201d, riding on Adjuah\u2019s streaking trumpet and Martin and McFerrin\u2019s keyboard and synthesizer windswept grooves.<\/p>\n\n\n\n

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Robert Glasper \u201cDinner Party\u201d with Kamasi Washington at Newport Jazz \u2013 photo by Jim Brock<\/figcaption><\/figure>\n\n\n\n
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At their Saturday performance, this core group (aided by talented guests saxophonist Kamasi Washington and vocalist Phoelix), plied their adoring audience with their funky \u201cjazztronica\u201d brew- diverse in its sounds, colors and dance. The group\u2019s performance of \u201cFreeze Tag\u201d added ripples of spoken-word and poetry to their creative mix with Martin\u2019s sax hitting hard in the warm groove propelled by Glasper\u2019s repeating patterns on his lithe keyboard.<\/p>\n\n\n\n

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Christian Scott atunde Adjuah at Newport Jazz \u2013 photo by Jim Brock<\/figcaption><\/figure>\n\n\n\n
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Christian Scott aTunde Adjuah, making a guest appearance with Glasper on Saturday, also appeared with his own spirited band at the Lawn Stage<\/em> at Newport Jazz<\/em>, exploring his \u201cStretch Music\u201d- spanning the globe with influences from bebop to lithe African rhythms. The band\u2019s questing spirit at their Newport Jazz<\/em> performance included the welcomed addition of flautist Elena Pinderhughes, who plied her sprite instrument with bluesy trills and high, dancing flourishes. Her sparkling flute, combined with Adjuah\u2019s dynamic trumpet, made for a radiant partnership. Her articulate flute dipped and danced with Adjuah\u2019s trumpet- from his highest rapid-fire piercing runs to his tranquil moments (squeezing short breathy bleats from his horn)- all in the service of questing passion and expression. Keyboardist Lawrence Fields, always an intrepid force, added his own twinkling voice to the band\u2019s charisma and invention. His twinkling piano solo on the ballad, \u201cGuinevere\u201d (a David Crosby nugget) glowed with lithe charm. His careening solo on the band\u2019s rollicking version of Herbie Hancock\u2019s \u201cEye Of The Hurricane\u201d (ranging to every octave of his piano) propelled Hancock\u2019s feast delivered in bold colors and intensity by this consummate, gregarious band.<\/p>\n\n\n\n

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Another source of open-eared music at Newport Jazz <\/em>at this Saturday session \u2013 one that combined a mercurial jazz band, impassioned vocals, (spoken-word and poetry) with snippets of pre-recorded speeches and nimble DJ action- was the striking music performed by drummer Terri Lyne Carrington and her Social Science<\/em>, with pianist Aaron Parks, guitarist Matthew Stevens, saxophonist and bassist Morgan Guenin, vocalist Debo Ray and MC, DJ Kassa Overall. Social Science<\/em> explored original material from their bold 2020 album, Waiting Game<\/em> [Motema Music; www.motema.com<\/a>], a quality recording that captures the tactile heat and synergy of these convivial musicians thriving on their songs of deep groove and spoken-word power.<\/p>\n\n\n\n

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John Watson photo<\/figcaption><\/figure>\n\n\n\n
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Every tune on the album is driven by the singular Carrington on her stalwart drum kit. She reliably drives the music\u2019s foundation with inventive, fluid propulsion that sparkles and shines or startles \u2013 with her dynamic deep eruptions hitting with audacious power \u2013 as the music requires.<\/p>\n\n\n\n

At Social Science\u2019s<\/em> Newport Jazz<\/em> performance, their\u201dIf Not Now\u201d was a funky, grooving power glide with the band laying down mercurial, potent colors. The song ended with the crowd singing along with vocalist Debo Ray on the tune\u2019s swaying and dancing \u201cBy-yah, By\u2013yah\u201d choruses. Ray also sang with operatic power (in to her highest silvery register) on the band\u2019s powerful \u201cAnthem\u201d, a song that salutes the resiliency and power of women everywhere. On the band\u2019s shimmering version of Joni Mitchell\u2019s \u201cLove,\u201d Ray\u2019s voice nestled tender in Steven\u2019s guitar washes and Guenin\u2019s spinning warm bass slides. Kassa Overall\u2019s limber percussive effects and snippets of recordings (from women held as political prisoners in recent history) generated the power of \u201cNo Justice For Political Prisoners\u201d, a magnetic piece that blazed on Guenin\u2019s muscular sax solo, Steven\u2019s layered guitar hurls and seismic hits from Carrington\u2019s drums. All of this swirling energy empowered the recorded statements by these political prisoners calling for an end to racism and injustices suffered in their own legal cases (and for the advancement of prisoner\u2019s rights everywhere). This was a moving, boundless performance by Social Science<\/em>, highlighting the transformative power of music in the service of political and personal change.<\/p>\n\n\n\n

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Kenny Garrett at Newport Jazz \u2013 photo by Jim Brock<\/figcaption><\/figure>\n\n\n\n
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The feast of exuberant music at Newport Jazz <\/em>at this Saturday edition concluded with two performances teeming with joyful soar and upbeat possibilities. First up was an explosive performance by venturing saxophonist Kenny Garrett, soaring on his instrument with irresistible groove and power. Garrett delivered geysers of sounds and colors from his gleaming sax \u2013 lean and nimble in their quick bursts \u2013 throwing back his head to ignite his rapid-fired high calls. His music was a global feast, roughhousing from blues to Cuban rumba with a joyful sense of discovery. Garrett\u2019s trusted bandmates added carousing piano colors, lithe bass lines and big swathes of drum and conga heat to Garrett\u2019s full-bore attack. The apex of this knockout performance occurred when Garrett took off on an extended solo flight on his sax that teemed with breathless runs, blazing trills, deep bleats and swaggering R & B swing ending with a journey into the stratosphere of his register, urged on by a raucous audience riveted to his every blistering run. Garrett\u2019s new album, Sounds From the Ancestors<\/em> [Mack Avenue Records, www.mackavenue.com<\/a>], is due out soon and should be a thrill to explore, given his shining, global-inspired performance at Newport Jazz<\/em>.<\/p>\n\n\n\n

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Trombone Shorty and Pete Murano at Newport Jazz- photo by Jim Brock<\/figcaption><\/figure>\n\n\n\n
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Saturday\u2019s Newport Jazz <\/em>edition concluded monumentally with a joyful, rollicking performance by Troy Andrews (aka. Trombone Shorty; \u201cShorty\u201d) and his big band, Orleans Avenue<\/em>, barnstorming Newport\u2019s Lawn Stage<\/em> with their kinetic grooves. The energy of this show was irresistible \u2013 from the first blares of punctual brass to the appearance of Shorty and his gleaming trombone (lifted to the sky) to deliver his instrument\u2019s breathy, powerful pulses of dance.<\/p>\n\n\n\n

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The tight-knit Orleans Avenue<\/em> concentrated on a number of cuts from their terrific 2017 Blue Note label<\/em> recording, Parking Lot Symphony<\/em>, a recording that captures this frolicking band in all its tactile, layered heat within the airy confines of the legendary Esplanade Studio<\/em> in New Orleans, the same studio where Newvelle Records<\/em> recently recorded their fabulous New Orleans Collection <\/em>of artists on their impeccable LPs (see my earlier review and www.newvelle-records.com<\/a> for all information).<\/p>\n\n\n\n

The high-wattage fun at Shorty<\/em> and Orleans Avenue<\/em>\u2018s Newport Jazz <\/em>performance had the capacity crowd dancing from start to finish. The dashing instrumental, \u201cTripped Out Slim\u201d sent the dancing ablaze with its pumping foundation by baritone saxman BK Jackson and the rest of the band\u2019s tight grooves. \u201cDirty Water\u201d pranced on the slink of Pete Murano\u2019s electric guitar and on \u201cIt Ain\u2019t No Use\u201d, Shorty\u2019s molasses-smooth vocals sashayed alongside the shimmy of brass choruses. On the irresistible anthem, \u201cWhere It At?\u201d, Shorty\u2019s gushing and vital trombone led the \u201cSecond Line\u201d carouse with its deep pulses and flair while the crowd danced and sung along to the rousing chorus: \u201cI just want my heart back \u2013 Where it At?\u201d Here was Newport Jazz<\/em> at its most funky and playful \u2013 a carefree abandon in rejoicing music of resiliency.<\/p>\n\n\n\n

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*Many thanks to my friend and colleague, Jim Brock [www.eyeonthemusic.com<\/a>], for his superb photos from all the great action at\u00a0Newport Jazz\u00a0<\/em>this year!<\/p>\n\n\n\n

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You can read more of Nelson\u2019s concert reviews at www.bostonconcertreviews.com<\/a>.<\/p>\n\n\n\n

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Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. 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