Jazz and the Philharmonic: Real Jazz on PBS

For many ardent listeners, the words “jazz” and “philharmonic” have heavy significance when used in close proximity. It automatically summons images of the all-star concerts and recording sessions the legendary Norman Granz produced in concert halls around the country. This is not a Granz production. The philharmonic reference is more in keeping with the classical tradition. However, the jazz is still for real in Jazz and the Philharmonic (promo here), a concert featuring alumni of the National YoungArts Foundation, the Henry Mancini Institute Orchestra, and some of the top names in jazz, which airs on most PBS stations this Friday (yes, real honest-to-gosh jazz on PBS).

Of course, jazz and classical crossover fusions are nothing new. That is exactly what Third Stream Jazz was all about. While many of the program selections feature jazz soloists playing with the Mancini Orchestra (whose namesake would surely have approved of the program, especially the theme from Charade), there are several straight-up solo, duo, or trio jazz performances, which is obviously not a bad thing.

In fact, it is a very good thing when Chick Corea, Dave Grusin, and Bobby McFerrin open the concert with an elegant but persistently swinging “Autumn Leaves” for voice and two pianos. Corea fans really get their money’s worth throughout the concert, with the NEA Jazz Master performing in a variety of settings, mostly notably joining the Mancini Orchestra on his “Spanish Suite,” a composition perfectly suited to the evening. His duet with McFerrin, “Armando’s Rhumba” is not as distinctive, but they clearly enjoy making music together, which is part of the fun of a show like this.

In addition to “Spanish Suite,” Terence Blanchard also has feature spots on “Fugue in C Minor” and “Solfeggietto,” probably the two most overtly swinging-the-classics numbers of the evening. However, he is probably best showcased fronting the orchestra for a rendition of “Charade,” a wonderfully lush arrangement that brings to mind his classic Jazz in Film CD. Yet, perhaps the most effective jazz and classical dialogue comes when Elizabeth Joy Roe and Shelly Berg tackle “The Man I Love” as a lyrical but muscular piano duet, from the classical and jazz sides, respectively.

Nevertheless, the surprise peak of the concert integrates the sounds of deep roots Americana as well as jazz and classical when violinist Mark O’Connor joins pianist Dave Grusin on a sensitive and soulful version of “Simple Gifts,” the Shaker standard subsequently incorporated into Copeland’s Appalachian Spring. Rather fittingly, Grusin’s “Mountain Dance” follows. Purists might dismiss it as too “smooth,” but man, is it ever a pretty melody, sounding almost tailor made for the full orchestral treatment. It also provides a nice launching pad for O’Connor. In fact, Grusin takes two rather impressive solos as well: one fleet and swinging and the second surprisingly adventurous—so take that jazz snobs.

Aside from a weird choice for a closer (Also sprach Zarathustra from 2001, really?), Jazz and the Philharmonic is an extremely welcome dose of jazz on primetime PBS. It ranges from pleasantly entertaining to downright revelatory. It should motivate viewer-listeners to keep an eye out for a talented newcomer like Roe and catch up with the work of accomplished veterans like O’Connor and Blanchard. Naturally, it always sounds great from a technical perspective, thanks to the late, great engineer Phil Ramone, in whose memory it is dedicated. Highly recommended, Jazz and the Philharmonic airs on hip PBS outlets this Friday night (2/28).

Return to Forever Returns

Return to Forever Returns
Eagle Records 2-CD set

One of the big three jazz-rock fusion super-groups (along with Weather Report and Tony William’ Lifetime), Return to Forever was no stranger to the Billboard charts, not only ranking high in the jazz album category, but also cracking the pop album list (albeit somewhat lower, but still at quite a level for a jazz band in the 1970’s). Given their enduring popularity, there would be great demand for RTF’s reunion tour last year, which is now documented on the live two-CD set, Return to Forever Returns.

Although the group’s personnel changed several times, de facto leader pianist-keyboardist Chick Corea was a constant presence. In 2008, to mark the thirty-fifth anniversary of RTF’s founding, over twenty-five years after disbanding, Corea reunited with the band’s classic line-up of Al di Meola on guitar, Lenny White on drums, and Stanley Clarke on bass. Fortunately, they recorded several shows for posterity, with the bulk of the CD-set coming from a Clearwater, FL concert, and a DVD of their show at the Montreux Jazz Festival to be released shortly.

For the thirty-fifth anniversary tour, RTF largely gave fans the classic hits they wanted. The only new composition on RTFR is the abstract “Opening Prayer,” which really sounds like a prologue to “Hymn of the Seventh Galaxy,” the title track of one of the most celebrated fusion records of all time. RTFR opens with hard-driving power, propelled by di Meola’s guitar, which slashes through the following “Vulcan Worlds.” However, he tones it down for an acoustic duet feature with Corea, segueing through a medley of their solo compositions and Astor Piazzolla’s “Café 1930,” concluding with “Spain,” probably the pianist’s most covered standard.

The first disk concludes with “No Mystery,” a RTF greatest hit if ever there was one, here arranged largely as an acoustic number, showcasing Corea’s still dazzling technique on piano. Following a solo feature from Corea that blends into a straight ahead jazz trio rendition of “Solar” by his one-time boss Miles Davis, the second disk is dominated by selections from Romantic Warrior, their first album for Columbia, which would peak at #35 on the pop album charts. It was a departure from previous RTF albums in that it took inspiration from medieval fantasy rather than cosmic imagery. Again, their live take of the 1976 album’s title track is largely acoustic, even featuring some arco bass work from Clarke.

“Warrior” recurs two more times on the second disk, including a spirited version recorded live during the BBC ceremony awarding the band a lifetime achievement award. (While Sir George Martin’s presentation at the start of the track is all very nice, it quickly gets old with repeated listening.) The longest track of the set is also drawn from the Warrior album. An extended suite, “Duel of the Jester and the Tyrant” is jazz-rock suitable for stadium concerts, with di Meola blazing away and Corea going electric throughout (with synthesizers occasionally recalling that cheesy 1970’s keyboard sound).

Although RTF will always be considered to some extent Corea’s band, there is no question the strong musical personalities of di Meola, Clarke, and White helped push the band to the forefront of the fusion movement. Thirty-five years after the band first formed, they are still playing at a scarily high level, both acoustically and when plugged-in. RTFR should definitely please their fans and it would also serve as an excellent introduction to the band for new listeners.

New Crystal Silence

New Crystal Silence
By Chick Corea & Gary Burton
Concord Records 2-CD set

Those who prefer the fusion side of Chick Corea have reason to rejoice with the long-awaited news Return to Forever will reunite later this year to tour and possibly record. Those more partial to the acoustic Corea have new opportunities to savor his duets with vibist Gary Burton, one of the preferred contexts in which to hear the pianist. After touring together in 2007 to celebrate their thirty-five year periodic association (with more dates to come in March), the two have revisited tunes from their original recording Crystal Silence as well as succeeding collaborations in the appropriately titled double live set, New Crystal Silence, on-sale today.

The two disks represent two very distinct live sets, starting with the sweeping romanticism of their concert with the Sydney Symphony Orchestra and concluding with the camaraderie of a duet concert. The Sydney concert often has an understandably pronounced third stream feel. The opening “Duende” in particular, also brings to mind some of Gil Evans charts for Miles Davis, in its balance of impressionistic orchestral passages with delicate solos. Tim Garland’s arrangements have a weightier feel than the vibe of the original CS on ECM, which is not at all a bad thing, as it puts Corea’s standards in a new context.

“Love Castle” features a stirring introduction, showing how adept Corea and Burton blend together and with the Symphony. Burton’s playing here is beautiful, sounding quite at home with the orchestra. It would be rewarding to hear in such settings more often, as I would argue his 1973 Seven Songs for Quartet and Chamber Orchestra is an overlooked gem in his discography.

New CS also serves as a reminder of Corea’s success composing enduring standards. “Brasilia” proves particularly hospitable to Garland’s arrangements. Of course, it could not be New Crystal Silence without “Crystal Silence.” It unfolds slowly, with much implied, before morphing into a sparkling rendition of the classic theme, with some dazzling interplay between the co-leaders.

Both disks end with Corea’s classic standard “Fiesta.” The first version features darker hues and grand cascading sounds, concluding a dramatic set, whereas the duo version is a rousing set closer, with Corea and Burton sounding audibly inspired. Indeed, the second concert is often an unabashed swinger, with a set list that could have been written by fans, including a briskly boppish “Bud Powell” and the elegantly lilting performance of “Waltz for Debby.”

Along with “La Fiesta,” most short lists of favorite Corea tunes would also include “No Mystery” (sorry no “Spain” this time). Here Corea’s fleet piano runs give it an appropriately exotic flavor. The only tune from the original CS making the second set is “Señor Mouse,” featuring some consistently inventive playing from both musicians.

It is clear throughout New CS that Corea and Burton’s highly attuned musical rapport remains undiminished. Listening to them play off each other and follow each other seamlessly is a pleasure. For acoustic Corea fans, this may well be the release you have been waiting for from the prolific pianist since his marathon live sessions at the Blue Note. It will not disappoint.

(Corea plays NJPAC with Béla Fleck on February 15th and in NY State at Poughkeepsie with Burton on March 7th.)