Tuesday, July 7, 2015
CT Live + Masters on CD
Joyce DiCamillo and her rhythm section come to The Side Door Jazz Club in Old Lyme this coming Friday (7/10). They'll play 2 sets of standards and original music, doing so with the pleasing combination of grace and swing. Doors open at 7:30 p.m. with the Trio commencing at 8:30.
This looks to be a fun night of music. For more information, go to thesidedoorjazz.com or call 860-434-0886.
"What I Hear Now" is one more feather in the ever-growing cap of Jerry Granelli. Like the drummers he grew up admiring (the afore-mentioned Morello and Max Roach) and has forged his sound and continues to mature well into his 8th decade. He obviously loves to play, loves working with younger musicians, and still enjoys the challenge of creating new music for all sorts of ensembles. Play it loud and play it often. For more information, go to www.jerrygranelli.com.
In 2000, he began working with bassist Johannes Weidenmueller and drummer Ari Hoenig. The unit has just issued its 4th CD, "The Melody" (Pirouet) and it truly is about melody. Yes, there are plenty of solos on the 7 tracks but all rise smartly from the foundation of each piece. It might take the listener a moment or 2 to recognize the melody in Dave Brubeck's "In Your Own Sweet Way" because the Trio playfully backs into it. They return to the legato section once more before the second chorus and then it's off to the solos. Weidenmueller and Hoenig alter the tempo every now-and-again during the piano spotlight an then share a solo section before the piece returns to its beginning section to close the song. The rhythmic insistence of Werner's "Who?" is felt in the bass line (sounds like The Kinks' "You Really Got Me" and Hoenig's "snappy" snare work. The tension they create is picked up in the forceful piano work, little melodic and percussive elements that lead to longer phrases. Werner in repeats the bass figure during his high-energy romp. The trio also romps through John Coltrane's "26-2", making sure one hears the melody before stepping out on their individual solos.
song) - the melody ha a wistful feel, the rhythm often flirts with waltz tempo, and the band plays with grace, effortlessly gliding through the performance (pay close attention to the fine yet intense drumming of Hoenig).
"Beauty Secrets" is the final track and, like the opening tune, begins with a long piano introduction. There's a hint of Erik Satie in the hypnotic Werner melody; when the rhythm section enters, the music slows down and the melody is articulated. It is a joy to listen to how the rhythm section interacts with the pianist throughout the song. The bass and drums are not just there for support but they provide counterpoint, create both tension and release, even drama at times. Ari Hoenig, who also works with pianist Jean Michel-Pilc truly pays attention, reacting quickly to shifts in intensity but also creating those shifts himself. Johannes Weidenmueller is more than the timekeeper freeing up the pianist's left hand. There are moments throughout when they work in tandem, other times when the bass is playing counterpoint and the times when the bass maintains the structure allowing both the piano and drums to roam freely.
For more information, go to kennywerner.com.