Tootie Heath Returns

 

Turtle Studio

(photo by Michael Perez during the Philadelphia Beat session)

This coming weekend, Friday and Saturday, I’m showcasing the legendary Albert “Tootie Heath” at the Zinc Bar. The third member of the “classic trio” is Ben Street, who will join us on Saturday, but on Friday the young brilliant Dylan Reis will sub for Ben (who has an unforeseen conflict).

Tootie, one of the greatest drummers of all time and the man behind the kit of the first leader recordings of both John Coltrane and Nina Simone, has been a little less active lately. We decided to bring him out from Santa Fe and play as a kind of benefit for him; indeed, the bassists and I are giving him all the money from the Zinc gigs.

For about five years Tootie, Ben, and I played together several times a year. Every moment I shared on the bandstand with Tootie was a real honor. Ben and I both learned tremendous amount. Tootie’s DTM interview remains good reading, especially for students of the music.

Ralph Peterson had something nice to say about our trio in a recent DownBeat blindfold test:

Ralph Peterson blindfold Tootie
And my best fan, Guillaume Hazelbrook, transcribed my solo on “Bag’s Groove” from the same disc. (Those are Tootie’s tiny croatales at the top of this excerpt.)

On Sunday, 4 PM, Tootie will be at the Owl Music Parlor in Brooklyn, giving a talk (or kind of workshop?) called “The Wit and Wisdom of Tootie Heath.” Bassist Martin Nevin and I will be on hand to play a few tunes, but I think Albert will mostly be taking questions and riffing. If you’ve never seen Tootie on a hot mic it is worth the trip: He is hilarious and obscene. Quite terrifying, really. All praise Tootie Heath!

McPherson in the House

Charles McPherson was on fire last night at the Jazz Standard. Set included Star Eyes, Nature Boy, Lover (as fast as you could count it) and the blues. Band included Terrell Stafford, Jeb Patton, Billy Drummond, and David Wong (also pictured).

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On DTM, an interview with Mcpherson — one the best DTM posts IMHO.

Lynn McPherson told me everyone likes this video:

Fresh sounds in the clubs this week from Johnathan Blake and Marta Sanchez

Enjoyed Johnathan Blake’s Pentad at the Village Vanguard last night. Band included Dezron Douglas, bass; David Virelles, piano; Immanuel Wilkins, alto, Joel Ross, vibes. The front line and Virelles were really shredding — it felt old-school, in a way, like all the back to 1967, especially on an epic performance of Douglas’s “Shakin’ the Biscuits,” a quasi-boogaloo on an open vamp.  The soloists preached with fervent virtuosity, Blake held it down, Douglas offered wild counterpoint a bit in the Jimmy Garrison lane. I’ve been hearing about Ross and indeed, the rumors are true, he’s a star, the audience almost got their feet when Ross finished his exciting solo with a laid-back bluesy phrase. Wilkins really delivered on both the boogaloo and on Blake’s “Clues,” an absurd retrograde of Monk’s “Evidence.” Special mention to Virelles, who unpretentiously takes the Andrew Hill–to–Muhal Richard Abrams thing at face value while adding supersonic post-Kenny Kirkland virtuosity. It was a great first set and I have no doubt they will be sounding better and better as the week goes on.

There usually seem to be more tenor players than alto players, but some fresh alto players are really starting to make their mark. Wilkins reminded me a bit of another somewhat new arrival, Roman Filiú, who, like Virelles, is bringing an authentic Cuban accent directly and smoothly into the modern scene.

I studied Filiu’s brilliant solos on a great new record by Marta Sanchez, El Rayo de Luz. Indeed, I contributed liner notes for the disc! My old friend Chris Cheek is is almost the band’s elder statesman, a master soloist with an approach both virtuosic and oblique. He plays high on his tenor and Filiú can plays low, so their sounds can blend perfectly together. Bassist Rick Rosato and drummer Daniel Dor complete the quintet.

Marta’s group plays at the Birdland Theatre tomorrow, December 5. They have just been touring Europe so I know the music will be at that next level. Here’s part of my notes to El Rayo de Luz:

Composition is more important to jazz than ever. The best and brightest are working away at their detailed scores, trying to make fresh sense out of the explosion of great American music from the last century.

It is helpful for every practitioner to draw on their own folklore. Marta Sanchez is from Madrid, and her modern jazz reflects something ineffably Spanish: Not in an overbearing way, but just as a visible part of the overall design.

I wrote the liner notes to Sanchez’s first Fresh Sound quintet disc Partenika. At the time I was pleasantly surprised at her command of composition, especially her unforced competence when writing for two saxophones. Five years later, her third disc in this configuration is considerably more advanced and offers more exposed piano improvisation…The band aces the hard charts, and their enjoyment is self-evident.

Speaking of piano…

The Spectrum Second Annual Modern Piano (+) Festival started yesterday and continues through December. Full listing here; I’m on Friday.

Preceding me is Jacob Rhodebeck in a performance of music by Alex Nante. The last time I was at Spectrum I heard Rhodebeck play two movements of Universe by Gerald Humel, a composer born in Cleveland but who spent most of his artistic life in Berlin. I was astounded by both the score and and the performance, and immediately bought the CD recorded by Jeffrey Burns. Universe is now added to Write it All Down.

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Fresh edit of a big DTM page, really updated quite a bit, especially in the last half with more composers: Write It All Down (Fully Notated 20th Century American Piano Music)

   The African Influence
(Gottschalk, Joplin, spirituals)

   Lonely Titans
(Ives and Nancarrow)

   Official Composers (vol. 1)
(Gershwin and Copland)

   Official Composers (vol. 2)
(Barber and Bernstein)

   Extremely Complicated
(Babbitt and Carter)

   Comparatively Simple
(Reich, Glass, Adams)

   A Later Lonely Titan
(Rzewski)

   The Page Has No Sound
(30 other favorite pieces)

   Coda
(León and Gann)