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jazz
These huge arts festivals can be overwhelming — how to figure out what's worth seeing? CP's sending someone to nearly every event PIFA's putting on over the next month to help you decide, so check back with Critical Mass all month long for comprehensive, ongoing reviews.
SHOW: Last Call at the Downbeat
GENRE: Theater/music
GROUP: Jazz Bridge
ATTENDED: Fri., April 5, 8 p.m.,, Society Hill Playhouse
CLOSES: April 13
BRIEF SELF-DESCRIPTION: In November, 1942, 25-year-old trumpeter Dizzy Gillespie is in Philadelphia leading his own quartet at the Downbeat Club… he’s anxious to play you a little and tell you a lot about Philadelphia jazz — back in the day.
WE THINK: The voice of Dizzy Gillespie is divided between two performers in Suzanne Cloud’s new play: the energetic actor Erin Fleming portrays the legendary trumpeter as a gregarious 25-year-old sharing his life story, while Duane Eubanks blows some pre-bop trumpet, fronting a quartet standing in for the one that Gillespie led seventy years earlier at Philly’s Downbeat Club.
As the director and co-founder of Jazz Bridge, Suzanne Cloud has long been a staunch advocate for Philly jazz as well as an educator and a performer in her own right. All of those aspects come together in her first play, which is equal parts biographical sketch, history lesson and musical demonstration.
Drawn from Gillespie’s memoir, To Be Or Not To Bop, the show captures the soon-to-be innovator at a key moment. He’s at a low point, just fired from the bands of Cab Calloway and Lucky Millinder, but on the verge of changing the direction of jazz forever with the “new way,” bebop.
A monologue with extensive musical interludes, Last Call at the Downbeat teeters between drama and lecture, at times overstuffed with names and dates. But despite some opening-night stumbles, Fleming is engaging enough to temper the show’s more didactic tendencies, and Eubanks’ band keeps the music center stage.
PREVIOUSLY IN PIFA: Evolution vs. …not.
Mara Model rounds up the events taking place during the fourth annual Israeli JazzPhest, happening all over town from Nov. 10-20.
✚ Oran Etkin & Kelenia
Oran Etkin and Kelenia have broken world boundaries with their uplifting and hypnotic sound. This week Etkin brings that diversity to the Philadelphia Clef Club of Jazz. The Grammy-nominated Israeli clarinetist will feature his newest album, Kelenia, which recently won the "Best World Beat Album" at the Independent Music Awards. Kelenia, named for a word in the Bambara language meaning ‘the love felt by those who are different from each other,” is rife with a diverse mix of West African Malian-, Jewish- and Middle Eastern-influenced tunes. Thu., Nov. 10, 8 p.m., $15, Philadelphia Clef Club of Jazz, 738 S. Broad St., 215-893-9912, clefclubofjazz.org.
✚ Seeds of Sun
Seeds of Sun’s goal of introducing a new and exciting Israel sound hasn’t gone unnoticed. The internationally acclaimed ensemble returns to Philadelphia with its unique tribute to Israel’s legendary composer/lyricist, the late Naomi Shemer. Combining Shemer’s compositions with various genres of world music, this Kabbalat Shabbat concert celebrates the land and people of Israel and features crowd-pleasing selections of Shemer's greatest works. Fri., Nov. 11, 6 p.m., free, Congregation Beth Am Israel, 1301 Hagys Ford Road, Penn Valley, 610-667-1651.
✚ 4 Flute Flight Ensemble
Jazz flutist Mattan Klein, accompanied with his ensemble, the 4 Flute Flight, adds a new dimension to the genre by combining four unique flute voices with an energetic acoustic rhythm section. The result? A surprising world-jazz sound that draws from jazz, ’70s fusion and Middle Eastern and Brazilian music. Sun., Nov. 13, noon, $15, World Café Live, 3025 Walnut St., 215-222-1400, philly.worldcafelive.com.
✚ Omer Avital Group
Known locally from performing in the Yemen Blues Tour, the Israel-born composer and arranger Omer Avital is seen as one of the most exciting jazz musicians today. The Omer Avital Group consists of bass, drums, four saxophones and a repertoire that’s punctuated by Avital's original compositions and the group's renowned improvisational skills. The range of sounds couldn’t be anymore opposite — from classical and folk to sounds that span the globe. Wed., Nov. 16, 8 p.m., and 10 p.m., $15, Chris’ Jazz Café, 1421 Sansom St., 215-568-3131, chrisjazzcafe.com.
✚ Shai Maestro Trio
The Shai Maestro Trio features up-and-coming pianist Shai Maestro, bassist Jorge Roeder and drummer Ziv Ravitz. Maestro has performed with world-renowned musicians such as Jorfe Rossy, Ari Hoenigh, Edward Perez, Diego Hart and Avishai Cohen. Sun., Nov. 20, noon, $15, World Café Live, 3025 Walnut St., 215-222-1400, philly.worldcafelive.com.
If you haven't read this week's cover story on jazz pianist Jimmy Amadie, you should. Shaun Brady really knocked it out of the park on this one.
"Who the fuck is Jimmy Amadie?"
Doubtless more than a few people will be asking that question when they see Amadie's name on the schedule for this Friday night's Art After 5 performance at the Philadelphia Museum of Art. He is, after all, a 74-year-old pianist with only a handful of CDs to his name. He didn't make his recording debut until 1996, at the age of 60. His résumé, which does include notable names like Mel Tormé and Woody Herman, stops abruptly at 1967. Which was also the last time he played in front of an audience. Until this weekend.
But on this occasion, it's Jimmy Amadie himself who poses the question. I've asked him, given the severe tendonitis in both hands that sidelined his career more than four decades ago and the health problems that have plagued him in recent years, why he feels the need to return to the stage at all.
"Let's be honest," he answers, sitting in a recliner in his Bala Cynwyd home, right next to the grand piano he can rarely touch. "Who the fuck is Jimmy Amadie? Where's he been? He's a musician like everybody else — why doesn't he play? Is he lazy? Is he a bum? Well, if it takes your hands to play and you have no hands, you can't play."
Read the rest of the article here. Then go see Jimmy's first show since 1967 tonight.
Jimmy Amadie plays Fri., Oct. 14, 5:45 and 7:15 p.m., free with museum admission of $16, Philadelphia Museum of Art, 2600 Ben Franklin Parkway, 215-763-8100, philamuseum.org.
I called up the biggest jazz head I know, my grandfather, to pick his brain about his favorite live performances. He named a couple, but emphasized one special epic — Duke Ellington’s “Diminuendo and Crescendo in Blue.”
“Diminuendo” is one of the most iconic jazz performances ever. The most famous rendition comes from the 1956 Newport Jazz Festival when tenor saxophonist Paul Gonsalves soloed for 27 straight choruses, inciting the crowd, 7000-deep with jazz aficionados and socialites from across the Eastern seaboard, into a frenzy. Some consider it one of the most culturally important live performances of the ’50s. John Fass, in his non-fictional account of the performance, Backstory in Blue, compares it to Woodstock. Newport rejuvenated Ellington’s career and brought big bands back to the forefront.
“Diminuendo in Blue” and “Crescendo in Blue” were two songs written and recorded in 1937, during Ellington’s heyday. They were played as separate pieces from their release until 1951.
Today, it’s hard to look back and think that the legendary Duke Ellington was all but washed-up at the time. To summarize the explanation given in Backstory in Blue, the waves of immigrants in the ’30s who had embraced jazz as their first taste of authentic America were beginning to favor smaller ensembles. Post-war youth preferred rhythm and blues (and its offshoots) as the choice popular music. The purists who had championed Duke’s sound had grown older and driven Eisenhower highways and to calmer pastures for their slice of the suburban, picket-fenced American dream. Big band jazz was passé, and Duke Ellington was struggling.
Are you ready for something entirely unrealistic? This video (below) of the Charlie Hunter Trio depicts three musicians. But wait. You can clearly hear four instruments, right?: the drums, sax, guitar and bass.
What gives?
Well, Charlie Hunter plays guitar and bass at the same time. And the fact that he built an 8-string guitar in order to accommodate bass and guitar strings on the same instrument is not the most bizarre part. The really troubling issue is that he can simultaneously process bass rhythms, chords and lead scales — a task for which Pearl Jam requires three individual musicians. This YouTube vid is from way back in 1995, rumor has it he has consolidated down to a 7-string meta-instrument for his contemporary mind-blowing jazz show.
It's not fair. It's just not.
You have three chances to see him this weekend:
Tonight, 9 p.m.$19, World Café Live, 500 N. Market St., Wilmington, 302-994-1400, queen.worldcafelive.com.
Sat., May 7, 7:30 p.m. and 10 p.m., World Café Live, 3025 Walnut St., 215-222-1400, philly.worldcafelive.com.
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| ortliebsjazzhaus.com |
| R.I.P. Ortlieb's |
I am very sad to hear about the closing of Ortlieb's. just another case of taking the best away from us. The city of Philadelphia is indeed without a form of entertainment that will be sorely missed. WHY CAN'T WE HAVE A PLACE FOR GREAT JAZZ??
Fuck all you haters who use to come in spend no money then complain. Your one of the reasons this place met this fate
Why can't one of these [we've all seen 'em] Rich Guys take a tiny bit of their Huge Disposable Income and re-open this place? What Exactly is the problem that the owners couldn't overcome? Re-do what they Have to, like plumbing or electricity, but WE Philadelphians Need a place like this to keep us uniquely Philadelphia. Please don't gut it, level it and then rebuild it. Keep the singular charm and the Open Mic-Mike/Open Stage nights, turn it into some sort of laid-back Supper Club. This place has it all over Chris's Jazz joint for character, and if you took girls there for dates, they just Knew you were a Man About Town. Let US know if anyone sees Anything happening at Ortleib's. Thanks.
WHY was it closed??
Hey folks ,I was booking music for Ortlieb's before it closed and it was going very well.I would like to continue booking live Jazz,world music,and fusion in philly.I have found another venue to keep things going and it's called the American Pub located on 1500 market st.the Building right in front of the clothespin.I will need some support with people coming out and spending some money on food and drinks to stimulate the situation over there.This thurs at 5:30 Bobby Zankel will be performing with his band and kicking things off right!!!.So close up your laptops and log-out and get your asses down the THE AMERICAN PUB and support your local Jazz Scene!!!! It all starts with the individual.Thank you Philly!!!
Thanks Kevin, you spoiled brat.
so sad. terrible. ortliebs brings great memories, with the music, the musicians & former co-workers when I used to work there & when I came in as a guest. I blame this closing on the owners, esp. kevin who was, from what I heard was a selfish, self-absorbed brat. Former musicians quit booking gigs there after they were treated badly by these owners. FOH employees changed constantly with no consistently (as a musician-friend said, "everytime I come in there's a new person working whom I don't know". Regular guests had stopped coming, they tell me. This event of ortliebs is utterly sad. Ortliebs had that energy--intense, fun, wacky energy that came from guests, musicians & even employees but these owners were not part of this energy. These owners were out of their league w/ owning a renowned club like Ortliebs.
I've been emailing the owner, Kevin, for a while to try to book a gig. He never responded until today, when I received an incredibly hostile, ugly message from him. I didn't know the club had closed until I found this blog post, but given what a nasty person he seems to be, I'm not surprised that the club went downhill. Too bad. I remember playing there in the 90's. It was a nice place back then with a good vibe. Just my opinion.
I really grew up in that place. It is the place where i fell in love with jazz, but Kevin is a total looser. He bought a jazz club and ran off every musician from here to Boston. I'm sad to see that place go but i hope he takes a terrible loss and something as important to him is destroyed because thats what he has done to us.
It's no Ortlieb's, but... My man and I wandered by the Black Angus on South between Front and 2nd last night. Nothing was going on in front, but the owner came out and told us they had jazz in the back and an open bar because they have no liquor license yet. It was a pleasant surprise because the guys playing were really jammin'. It was advertised as "smooth" jazz, which I don't dig, but these guys were no smoothies. They were bebopping and ended with some Hendrix. So don't be fooled by the steakhouse situation in the front -- the jazz in the back is where its at. I suspect that Ortlieb's demise could help this place out with booking good groups. RIP Ortlieb's.
Very interesting ! I came in to Ortlieb's one night and has the rudest experience with the 'doorman'. I love jazz---but I don't care to be treated like dirt. Goes to show---like any other business, if you want to run a successful jazz club you have to treat the customers and the musicians well. Rather than acting like you are doing them a favor. Duhhh
I can't believe Ortlieb's closed! I haven't been there since the beginning of April. I go every once in a while. I overheard people talking about the closure. I actually argued- they did NOT. I just can't believe it. So sorry that the new owners couldn't get their act together!
weird, their website is still up and running
Mickey Roker told me about Ortliebs closing about a month ago. After what I heard in there the last time I set foot inside I'm not surprized. Actually the place started to decline a while before Pete sold. The musicians were always the same and they got boring and the quality of music wasn't that great anymore. Not what jazz is all about. I loved the place though. The staff was just the greatest, especially Peggy who was run out by the new owners. I was in the place six nights a Week when Pete was there. the few guys who actually worked there should be extremely grateful to him for what he did for them but they didn't treat him that way at all at the time. In closing, I think that if there were music police, whoever booked music in there towards the end should be put in jail and made to listen to his acts 24/7 for the rest of his life. There really has been no place to hear jazz in town for some time now. Chris' is jive and a waste of time so RIP Ortliebs.
I agree. The one time I went in there the owner was trying to play crappy sax along with the other musicians and I requested 12 bar blues during a break and he just turned away from me. spoiled brat.
So sad. I loved Ortlieb's so much. Some really great memories there.
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| animationarchives.org |
Pairing jazz and film is natural for Secret Cinema programmer Jay Schwartz. 'Jazz started in the early 20th century and so did the movies,' he says. Schwartz celebrates the couple with a slate of shorts, a cartoon and Soundies ' early music videos viewed in a film jukebox. The program features music by Louis Armstrong, Rogers & Hart and Cab Calloway. Calloway, and his famous drug-referencing song, appears in the seminal Fleischer brothers' 'Minnie the Moocher." In the animated short, Betty Boop and BF Bimbo run away from home only to bump into a ghost walrus who sings the titular tune. But what's really impressive is that the walrus moves with Calloway's exact fluidity; Calloway's rolly-poly dancing was rotoscoped, a technique that allowed animators to capture live action movement (think Richard Linklater's Waking Life, those Charles Schwab commercials, etc.). Check it out below (the videos quality does no justice to the 'toon. Schwartz's print will obviously be better):
One selection, 'He was Her Man' directed by Dudley Murphy is so rare that two sources said it was lost. But, of course, Schwartz has a print.
Jazz & Swing Rarities, Fri., Sept. 25, 8:00 pm, $7, Moore College of Art & Design, 20th & Race Streets, Philadelphia, 215-965-4099, thesecretcinema.com.
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Excellent piece in the Detroit Free Press about the Detroit/Philadelphia bassist axis in advance of the Detroit International Jazz Festival where Philly bass man Christian McBride is artist-in-residence.
“It’s not an accident that almost all of my favorite bass players are from Detroit or Philadelphia,” says Christian McBride, the Philadelphia-born bassist who serves as artist-in-residence at the 29th annual Detroit International Jazz Festival, which begins Friday and runs through Labor Day. “You take away Paul Chambers, Ron Carter, Percy Heath, Jimmy Garrison, James Jamerson, Alphonso Johnson and the others and you’re left with a very short list.”
The article breaks down, with bonus streamig music, each city's heavy hitters. Philly's got an impressive bass resume — Heath, Garrison, Johnson, Stanley Clarke — but I've got to ask, where's Hub?
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