By Michael Katz
Every once in a while it’s good to remember why we go out to see live music. John Beasley, backed by Nicholas Payton on trumpet, Terri Lyne Carrington on drums and Victor Bailey on basss, provided a mix of virtuosity and exuberance Saturday night, bringing his combination of gentle swing and New Orleans style funk to Catalina’s for the opening show.
Beasley opened with a couple of tunes from his Letter to Herbie CD. Especially effective was “Bedtime Voyage,” in which he visited Hancock’s “Bedtime Story” and “Maiden Voyage,” tiptoeing around the chordal structures of both in a haunting intro, while Carrington provided elegant stick work behind him. Payton took up the familiar melody to “Maiden Voyage,” showing off the rich mid-tones of his trumpet, using the higher notes as exclamation points.
From there, Beasley turned the attention to his new CD, Positootly! He introduced “Shatita Boom Boom” with some vocal “boom chicas” before settling back into the piano chair. Payton then added a New Orleans groove, (with a small shot of “Tequila”), and Bailey chipped in with a bass solo that at one point mimicked a Big Easy back line tuba. Beasley, meanwhile, laid back before closing out with a bright, cathouse piano solo that had the near-capacity house on its feet.
Beasley switched to the Fender Rhodes for “Black Thunder,” a tribute to Elvin Jones. When Beasley moves to electric piano, the band takes on a funkier tone, with traces of a 70’s jazz-funk sound. Payton led with a growling trumpet solo, moving up the harmonic ladder for some hard-charging riffs, at one point echoing Freddie Hubbard’s “Straight Life” line. Payton is one of the leading lights in a New Orleans trumpet succession that includes Wynton Marsalis and Terence Blanchard, and it was a real treat to see him in this ensemble. But the highlight of “Black Thunder” — no surprise given the source material — was Carrington’s high energy drum solo, a more than worthy nod to Elvin Jones. Overall this quartet was an excellent vehicle for Carrington, whose percussion shone the entire set.
The quartet closed with a playfully
dramatic rendition of Argentine composerAstor Piazzolla’s “Tanguedia III.” Payton introduced the tango, again with total command of his trumpet’s middle octaves. Beasley supported on the Fender Rhodes; he and Payton interspersed their solo work with dramatic pauses, keeping the audience hanging on each note.
Throughout the set, Beasley demonstrated a rapport with the audience that was especially welcome in the intimate surroundings. He doesn’t overwhelm the audience with pyrotechnics, but captivates with infectious rhythm on the Fender Rhodes and understated riffing on the acoustic piano. He’s assembled quite a talented band to keep together, but here’s hoping audiences will get more opportunities to see them perform.
Photos by Juan E. Morse
To read other reviews and commentary by Michael Katz click here.
I was there at Catalina’s and felt myself jumping out of my seat and wailing. I usually sit and just tap my feet at jazz concerts.
I bought both CDs and an extra copy of Positootly because I’m going give it to my friend who loves jazz and won’t get to see this band unless they get a gig in Tokyo.
The band and music was so good I stayed for the second set and heard some of the songs again but played differently…this is why i love this music so much. And, if you looked over your shoulder there were some ladies dancing to the Tango in the back. How often do you see this in a jazz club! And why not. It sure is a testament to Beasley’s clever arrangement of this song and his really funky undertones in his music. He stands shoulder to shoulder to any A-list contemporary jazz musician there is out there now.
-EBW