Doc Wendell’s Prescription For Bass BeBop: Paul Chambers: “1st Bassman” (Vee Jay Records)

August 3, 2015

Devon “Doc” Wendell

By Devon Wendell

Paul Chambers or “Mr. P.C.” was one of the most prolific and inventive bassists to emerge from the hard-bop era. His presence was so strong on classic albums by Miles Davis, John Coltrane, Cannonball Adderley, J.J. Johnson, Sonny Rollins, Art Pepper, Bill Evans, and Thelonious Monk, (to name only a few) that his aggressive playing often rivaled the many jazz icons he “backed up.” He never overstepped his boundaries and he could be a very subtle player. But like bassists before him such as Oscar Pettiford, Milt Hinton, Ray Brown, and Percy Heath , he helped to bring the bass to the forefront of jazz. Chambers was young and hip. He took chances which gave him an edge that was relentlessly burning.

Paul Chambers

On May 12, 1960, Chambers lead an all-star band (Wynton Kelly, piano, Lex Humphries, drums, Curtis Fuller, trombone, Yusef Lateef, tenor saxophone and flute, and Tommy Turrentine on trumpet) for what turned out to be his last studio session as a band leader. The results were fantastic.

Lateef wrote all of the material for the album – 1st Bassman – (with the exception of Cannonball Adderley’s “Who’s Blues.”) Chambers creates some of the hardest swinging, funkiest grooves imaginable. On “Melody” and the modal “Bass Region,” Lateef’s tenor lines are tasteful and wonderfully original. Lateef had already established a style that was unique and that could fit in both hard-bop and more avant-garde settings. Humphries’ drumming is subtle and in the pocket, in the vein of Art Taylor or Kenny Clarke.

Fuller and Turrentine play melodically, dancing around the beat. Wynton Kelly always finds a way to explore new harmonic possibilities that fit perfectly within a given arrangement and composition. And Chambers’ solos are adventurous without losing sight of the grooves.

Paul Chambers

Paul Chambers

“Retrogress” and “Mopp Shoe Blues” feature Kelly, Lateef, Fuller, and Turrentine all soloing around Chambers’ bass lines. Lateef’s horn arrangements have a big band feel to them. Chambers is the man in front and on top and everyone present knows how to swing elegantly in orbit around him.

“Blessed” is a gorgeous ballad featuring some of Chambers’ most inventive and soulful bass bowing. The delicate horn arrangements glide softly below, punctuating some of Chambers’ masterful phrasing. Lateef’s flute solo is gracefully melodic and perfect. Turrentine’s muted trumpet solo and Fuller’s trombone lines are brief and poignant. Wynton Kelly’s piano solo is thematic and wonderfully complex.

The album finishes with “Who’s Blues,” a pure, slow blues that opens up even more room for everyone to solo. Cannonball Adderley makes a special guest appearance here (not credited because he was under contract with Riverside Records at the time) and plays one of his trademark hard swinging blues-bop solos on alto sax. Chambers’ leaps from the lower register of the bass to the upper with ease as Kelly’s rollicking solo takes you right to the heart of the blues. Everyone is cooking here and they know it.

1st Bassman is a unique album on all levels. Chambers reprograms the listener into not only accepting the bass as a lead instrument of a jazz sextet, but also makes it feel as though this is how it should be and that nothing else could be as hip. This album is an underrated gem that should heard by all music lovers.

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To read more posts, reviews and columns by Devon Wendell click HERE.


Doc Wendell’s Prescription For Saxophone Bop: “The Johnny Griffin Sextet” (Riverside)

July 28, 2015

Devon “Doc” Wendell

By Devon Wendell

By 1958, Johnny Griffin was known as the fastest tenor saxophonist to emerge from the hard-bop era. Griffin’s dexterity combined with his ability to make you feel every soulful note that he played made him one of the most spectacularly brilliant and original musicians in the world.

Griffin had replaced John Coltrane in Thelonious Monk’s band in 1958. Griffin proved to not only understand the harmonic complexities of Monk’s music, but he also “got” that playing with Monk meant having to be able to improvise thematically instead of just blowing over some chord changes.

Johnny Griffin

Johnny Griffin

Griffin applied those same thematic sensibilities to his own playing and writing as a fearless bandleader. Griffin was a unique arranger whose love of both bebop and big band jazz were prevalent throughout his illustrious yet unpredictable recording career.

The Johnny Griffin Sextet was recorded for the Riverside label on February 25th, 1958. It features Griffin paired with some of the all-time greatest musicians in jazz: Kenny Drew, piano, Donald Byrd, trumpet, Pepper Adams, baritone sax, Wilbur Ware, bass, and Philly Joe Jones on drums.

The Album opens with “Stix Trix” which is a loving tribute to drummer Philly Joe Jones. The song’s arrangement brings to mind Dizzy Gillespie’s big band bop sound of the mid- to late 1940s. Drew’s masterful piano solo is percussive yet elegant. Pepper Adams delivers one of the hardest swinging solos of his career. Donald Byrd’s solo soars. Griffin comes in playing more economically than usual, singing confidently through his horn in perfect time. He then swings in a more syncopated fashion, gleefully playing with the song’s tempo.

Griffin and the sextet’s version of “What’s New?” is a definite highlight of his entire career and my favorite rendition of this Johnny Burke and Bob Haggart ballad. Griffin plays soft and sweetly. Lester Young’s influence can be heard in each note that rings out with a rich, slow vibrato and long, soulful bends in the horn’s upper register. Byrd’s amazingly cocky and frenetic solo is the perfect counterpoint to Griffin’s. Adams almost steals the show with his mournful and harmonically stellar baritone lines.

Philly Joe Jones’ rhythmically complex drumming on Dizzy Gillespie’s “Woody N’ You” makes this one of the most original arrangements of this daddy of all bebop songs. Griffin and Ware “stroll” alone as the rest of the band lays out, a style first made popular by Sonny Rollins when Rollins recorded with Miles Davis in 1954 on the Prestige label.

Jones eventually comes back in and trades eights with Griffin, Ware, and Drew. Ware’s bass is the perfect anchor for Jones’ rhythmic explorations. The entire band is burning.

“Johnny G.G.” and “Catharsis” also have big band style arrangements to them. Everyone is grooving in time here, and there isn’t much fast pyrotechnics or over blowing which makes these number swing even harder. The rhythm section of Ware and Jones are the driving force and the rest of the band not only knows it, but relishes in this fact. These are two of the hippest sextet recordings made during this time. Byrd and Adams play a little double time but quickly fall back into the groove. Wilbur Ware (who also played in Monk’s band shortly before this recording) lets it be known that he was one of the most original and tasteful bass players to emerge from the 1950s.
The Johnny Griffin Sextet showcases Griffin’s complex yet soulful approach to soloing as well as his uniquely distinct abilities as a master arranger and composer. This album is a perfect example of how Johnny Griffin could transform his love and mastery of both bebop and big band jazz into something fresh and timeless.

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To read more posts, reviews and columns by Devon Wendell click HERE.

 


CD Review- Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4 (Columbia/Legacy)

July 16, 2015

Devon “Doc” Wendell

By Devon Wendell

Many jazz aficionados like myself have been waiting for a live box set like this one for most of our lives and it’s finally here. Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4 consists of 4 CDs featuring 20 years of Miles Davis performances (8 shows in total) showcasing Miles at different stages of his prolific career. The official release date is Friday, July 17th.

 

The first CD kicks off with a stellar set by Miles at Newport on July 17, 1955. Joining Miles is a “Who’s Who” of the bebop era: Thelonious Monk on piano, Zoot Sims on tenor sax, Gerry Mulligan on baritone sax, Percy Heath on bass, and Connie Kay on drums. After a delightful introduction by Duke Ellington and Gerry Mulligan, Miles and the band perform three pieces: “Hackensack” and “’Round Midnight,” both by Thelonious Monk, and Charlie Parker’s “Now’s The Time.” There’s a laid back yet stark beauty to this short set. Miles and Monk compliment each other perfectly. Miles proves that he understood Monk’s music better than most. The melodic beauty of Sims on tenor and Mulligan on baritone sax is a perfect joyful juxtaposition to the haunting beauty of Monk and Miles.

The Newport show from July 3, 1958 has been available on CD for many years, but it just sounds even more inspirational on this box set and the sound is vastly improved. This is the same band as on Kind Of Blue ( except for Wynton Kelly), released a year later: John Coltrane, tenor sax, Cannonball Adderley, alto sax, Bill Evans, piano, Paul Chambers, bass, and Jimmy Cobb on drums. Miles’ lyricism on trumpet is breathtaking. That elegant swing that Miles created at that time really shines through this performance. Coltrane on the other hand plays like a mad man, ripping through “Ah Leu Cha,” Fran Dance” and “Bye Bye Blackbird” like a man on fire. You just cannot believe what you’re hearing. Coltrane was that incredible by 1958. Cannonball Adderley swings hard with his distinct blues- bop driven alto sax style and the rhythm section cooks. Evans takes a more subordinate role on piano but what he plays is perfect.

Hearing Miles Davis’ Second Great Quintet (Wayne Shorter, tenor sax, Herbie Hancock, piano, Ron Carter, bass, and Tony Williams on drums) at Newport on July 4, 1966 is a true highlight of this box set. The energy of these brilliant players feels unearthly. Miles’ chops are in top form. Tony Williams’ drumming is hip, imaginative, and adventurous. On “Gingerbread Boy” and “All Blues,” Williams often changes the tempo and the rest of the band is right there with him without missing a breath. Shorter, Hancock, and Carter swing beyond belief. “All Blues,” “Stella By Starlight” and “R.J.” are some of the most spectacular live jazz recordings I’ve heard in my entire life. The band takes the material to new places and the vitality of the players is jaw-dropping. The sound is so clear that it feels as if Miles and the band are performing right in front of you. This set alone makes this box set an essential purchase.

That same infectious energy is felt on Miles’ Second Great Quintet performance on July 2, 1967. The band stretches out on Shorter’s masterpiece, “Footprints” and on “’Round Midnight.” Miles and the band even keep the older compositions sounding fresh with new ideas and boundless energy.

On July 5, 1969, Miles played The Newport Festival with his new electric sound. Maybe the audience didn’t “get it” yet but who cares? This music demonstrates that Miles was still moving, growing, and leading the way in the jazz/fusion movement. Joined by Chick Corea on electric piano, Dave Holland, bass, and Jack DeJohnette on drums, Miles’ reinvents his sound once more. Listening to the band perform “Miles Runs The Voodoo Down” and “Sanctuary” from Bitches Brew is both loud and wonderfully funky. Corea’s distorted psychedelic electric keyboard work is nasty in all the best ways. Holland and DeJohnette’s chemistry was already very strong by this point.

As great as the ’69 set is, the show from November 1, 1973 at The Newport Jazz Festival in Europe in Berlin, Germany is even hotter. Here we have Miles with Dave Liebman on soprano, tenor sax, and flute, Pete Cosey, guitar and percussion, Reggie Lucas, guitar, Michael Henderson, electric bass, Al Foster, drums, and James Mtume Forman on percussion. “Turnaroundphrase” and “Tune In 5” are just preposterous. By this time, Miles had out psychedelicized the psychedelic rock bands of the day. This set is more of an exploration in sound and freedom than executing perfectly arranged compositions to fit a brief festival set.

The Avery Fischer Hall show on July 1, 1975 features Sam Morrison on tenor sax, Pete Cosey, guitar and percussion, Reggie Lucas, guitar, Michael Henderson, electric bass, Al Foster, drums, and James Mtume Forman on percussion performing Miles’ original “Mtume.” Like the Berlin set, this is electric Miles leaving the past behind as he and the band explore new sounds for a more youth-oriented audience. But the results are transcendent on another level than Miles’ more bop oriented performances from the first 2 CDs of this box set. Sam Morrison burns on tenor sax and Mtume’s thoughtful percussion is original and matches the funkiness of the great Al Foster’s drumming.

The box set finishes with an amazing performance in Dietikon, Switzerland on October 22, 1971. Here is one of Miles’ greatest bands from the ‘70s with Gary Bartz, soprano, and alto sax, Keith Jarrett, electric keyboards and organ, Michael Henderson, electric bass, Ndugu Leon Chancler, drums, Don Alias, percussion, and James Mtume Forman on percussion. This is without a doubt the tightest of Miles’ electric performances on this box set. Henderson’s bass locks in with Chancler’s drums, creating some truly innovative funk grooves. Gary Bartz’ soprano work on Joe Zawinul’s “Directions” cooks. The set consists of material mostly from Bitches Brew. “What I Say” sounds both beautiful and wicked at the same time. Henderson is one of the greatest bassists of all time and the proof is right here in this performance. The combination of the tight grooves and psychedelic rock sounds is further proof that Miles was not only in touch with the funk rock of the early ‘70s but was also an original, key contributor to that sound.

No music lover and especially no Miles Davis fan should go without this wonderfully historic box set. Miles Davis At Newport 1955-1975 The Bootleg Series Vol.4 is a further glimpse into the genius of Miles Davis as it went through constant changes. Each performance defines a specific genre in jazz as only Miles Davis could do.

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To read more posts, reviews and columns by Devon Wendell click HERE.

 


Doc Wendell’s Prescription For Bop: Sonny Rollins’ “Worktime” (Prestige)

July 13, 2015

Devon “Doc” Wendell

By Devon Wendell

To many critics and part-time jazz enthusiasts; Saxophone Colossus is considered to be Sonny Rollins’ greatest studio recording. Yes, Colossus brought Rollins much worldwide acclaim, but it also overshadowed one of Rollins’ most masterful recordings: Worktime, recorded a year earlier on December 2, 1955. Saxophone Colossus was much more accessible. Even non-jazz lovers enjoy it to this day. But Worktime is considered to be the superior quartet album by Rollins of that period by jazz musicians and hardcore Rollins fans alike.

At the time, Rollins had just replaced Harold Land as the tenor player in The Clifford Brown/Max Roach Quintet. Both Roach and bassist George Morrow of the Brown/Roach band are the featured rhythm section on Worktime, along with Ray Bryant on piano. This album not only showcases Rollins at one of his many peaks; it also features some of the most inspired drumming of Max Roach’s entire career. This is essential listening.

The band starts things out with “There’s No Business Like Show Business.” Rollins can take a banal show tune or pop hit and make it swing like no one else. Rollins’ angular lines, uniquely shaped phrasing, and sense of humor make me think of Thelonious Monk. If Monk played the tenor sax, he would play like Sonny (which is why Monk and Rollins played so perfectly together). That sense of space, syncopation, harmonic brilliance, and wit are all there.

“Paradox” has a Latin feel to it and sounds as if it might be a precursor to “St. Thomas” from “Saxophone Colossus.” Roach’s polyrhythmic drumming pushes Rollins to swing harder and harder.

Billy Stayhorn’s “Raincheck” is built around a simple motif but Rollins and Roach just fly by the seat of their pants and burn though this number like it’s the last thing they’ll ever be playing on this planet. At times, Rollins plays frenetically and at other moments he chooses a few long tones or two or three fast licks. Rollins’ unpredictability makes the music even more tantalizing.

On the album’s ballad “There Are Such Things,” Rollins stretches out in contemplation, searching for new, unexplored turf on his instrument. It’s the subtle minutiae that makes this one of Rollins’ greatest album ballad performances. Some ideas fly by so quickly that if you blink you could miss them. Ray Bryant’s piano solo is melodic and swinging.

The album finishes with Cole Porter’s “It’s All Right With Me.” Rollins and Roach are on fire on this up-tempo standard. The virtuosity of both men on this composition is unparalleled. This is one of the great hard-bop performances of that entire era. The ideas just keep flowing from Rollins’ horn and Roach’s drum kit.

According to jazz historian Ira Gitler, he sat with Miles Davis in the office of Bob Weinstock (the president of Prestige Records) on West 50th Street in N.Y.C. in early 1956. Gitler had the test pressings of what would become Worktime. Miles was so blown away by every track that he played them over and over, returning to certain lines and segments, smiling and getting off from the incredible music. He even called bebop tenor saxophonist Allen Eager and played the album over the phone, especially “It’s All Right With Me.”

I’m with Miles on this one. I can replay many of Sonny’s lines on any of the five numbers on this album many times over and always find something new. After I heard this record in high school, Rollins became my favorite tenor player and still is to this day.

In case you missed or overlooked Worktime, grab it now or take it off of the shelf and play it loud.

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To read more posts, reviews and columns by Devon Wendell click HERE.


Books: Brian Arsenault Takes on Kafka’s “The Castle” and Writes To Son Brent About It

April 29, 2015

By Brian Arsenault

Hey Brent,

You asked me to tell you more about the class I’m taking on Franz Kafka’s The Castle. I’ll start with Ed. who’s teaching, or rather leading, the class.

I’ve taken literature courses with Ed before: Kerouac’s The Road, Sherwood Anderson’s Winesburg, Ohio so I knew the course would be worth it.

Like Kafka, Ed’s a Jew and he started us off with what he self consciously acknowledged would be a Jewish interpretation of the novel, if indeed it is a novel (more about that later). Ed said that an essential aspect of Jewish life since Biblical times was the lack of “a place to stand,” a place to belong, a place of permanence.  Suddenly main character K’s relentless attempts to belong in a community that does not seem to want him took on a new meaning.

It also seemed to me that, agree or disagree with him, Netanyahu’s ferocious attempts to secure Israel’s continued existence made greater sense than ever. He will battle to hold on to a homeland, a place to stand, a place to be, against all enemies and one in particular. Iran, with its avowed intention to remove Israel from the earth.

Not being a Jew, though, I had to seek my own meaning, not in contradiction but in my own frame of reference. And what I found was the world turned upside down, with conventional reality no sure barometer of truth.

In Voltaire’s Candide, passengers on a ship without food calmly discuss cutting off one buttock of an attractive young lady to roast. The discussion seems reasonable enough; the collected crew and passengers are basically agreeing on a course of action that will save all. Yet they never seem to consider that their meat will involve the horrible mutilation and almost certain death of a young woman.

In The Castle, a family’s fortune is ruined and they become despised outcasts because one of two sisters, Amelia, declines the salacious written advances of an elderly member of The Castle‘s officialdom. What becomes the focus of the community’s ire, seemingly irrationally, is Amalia’s rudeness to the messenger by tearing up the note and throwing it in his face.

Somehow, in a single long monologue, the other sister, Olga, shows K that, looked at a certain way, the whole incident was Amelia’s fault and the family’s fortunes would have been saved, even advanced, had she gone to the offending official. It’s all very reasonable except Amelia would have had to accept thorough degradation. That never comes up.

We also learn throughout the novel, and particularly later on when our assumptions are all challenged, is that what was clear from K’s perspective was not at all the viewpoint of others in the village. A point Ed wonderfully illustrated when, after a particularly vigorous class discussion, he pointed out that we were all coming at the same information from the different slants of our backgrounds and perceptions of reality.

Kafka might have chuckled at that though I don’t think he chuckled often. What he did, though, was have a successful career in business where he was thought effective, efficient and kind but he considered himself a terrible failure.  Regarding his writings, Kafka asked that after his death everything should be burned.  He was only 42, long suffering from tuberculosis. A friend, fortunately, preserved Kafka’s writings and sought their wide publication.

The Castle is not an easy read, far from it. It is dense, repetitive, frustratingly vague, full of subtle twists and turns. The young grow old, the angelic turn soiled, even doorways are lowered as people pass through (Lewis Carroll anyone?)

High art is often difficult. If one considers Vince Guaraldi, say, as compared to Thelonious Monk it’s easy to like, and I do, those cheerful, youthful, Peanutsful melodies of Guaraldi. Monk on the other hand can be a difficult listen, with all that dissonance and melodic shifts. Yet there is little doubt which is the greater artist.

A friend of mine who has also taught me a great deal about literature says he thinks in 50 years no one will read Joyce or other challenging writers. Our devices will hand us ongoing easy entertainment and we just won’t make the effort for the hard stuff. I think he’s a bit pessimistic but I worry about how right he might be.

Finally, is The Castle a novel? That same question has been asked of Joyce’s Ulysses. Neither conform to our notion of a linear storyline which is a basic tenet of what we think of as a novel. Neither provides full resolution of the conflicts and issues within. Neither writer may think there is a resolution.

I think Ed said it best. One reads The Castle for the details, for the differing perception on what is real and what is illusion. The person K seeks most in the book is the elusive Klamm. I read one critic who said Klamm is a Czech word, or close to it, for illusion.

And in Chapter XX we find:  “illusions are more common than changes in fortune-”

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To read more reviews, essays and columns by Brian Arsenault click HERE.


An Appreciation: Clark Terry

February 23, 2015

By Devon Wendell

There’s no way my piece on Clark Terry will be as journalistic and informative as my boss Don Heckman’s was in the L.A. Times obituary, but I had to say something about the master himself, in my own way.

I can’t imagine life without Clark Terry. That tone on the trumpet and flugelhorn was so warm and clean that it caressed and nurtured you out of the darkness. His phrasing swung harder than life but not in a flashy fashion. Terry’s lines were elegant, sly, and precise. They were perfect.

I grew up on Clark Terry. The first record I heard with Terry on it was Ellington At Newport from 1956. But it was Terry’s 1957 masterpiece on Riverside Records; Serenade To A Bus Seat that got me hooked. Like Coleman Hawkins, Terry came from the big band era and wasn’t afraid of the be-bop and hard bop schools of thinking and playing. Serenade To A Bus Seat is proof of that. Terry burns through Charlie Parker’s “Donna Lee” with confidence and soul along with bop masters Johnny Griffin, Wynton Kelly, Paul Chambers, and Philly Joe Jones. The entire album stays at that level of brilliance.

Clark Terry

Terry didn’t just go along with the changing music scenes, he added to them. A rarely spoken of gem and one of my all-time favorite recordings from the late ‘50s hard bop era is In Orbit, recorded with Thelonious Monk. Terry and Monk (along with Paul Chambers and Philly Joe Jones) play some of the most beautifully twisted blues you’ll ever hear in your life. Neither musician is trying to reinvent the wheel here; they are just having fun and swinging beyond belief.

I got to meet Clark Terry at The Village Vanguard in NYC sometime in the mid-‘90s.  He wasn’t performing. Johnny Griffin was on the bill that night and I spotted Terry seated close to the bandstand.

After the show I nervously approached him and he joked, told stories of Duke, Basie, Miles, and the music business. He may be the kindest person I had met up to that time in the music business. I had worked with so many narcissistic jerks that Terry’s presence was warm and sweet, just like his sound. His smile and sense of humor were larger than life.

Of course I’m sad that Clark Terry has passed on and I send my deepest prayers and condolences to his family.  But I’ve got the album Top And Bottom Brass playing loud as I write this and stacks upon stacks of other classic Clark Terry recordings that I’ll be playing all night so I feel great. This man left us with so much to cherish and learn from and nothing can take that away.

Rest in Peace Clark Terry.

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To read more posts, reviews and columns by Devon “Doc” Wendell click HERE.


Live Music: Dee Dee Bridgewater at Catalina Bar & Grill

October 18, 2014

By Don Heckman

Dee Dee Bridgewater

Dee Dee Bridgewater

I love Dee Dee Bridgewater. I don’t hesitate to say that in public because I know my wife loves her as much as I do. And we both love her even more after experiencing the remarkable performance she gave at Catalina Bar & Grill last night.

To say that what Dee Dee and her impressive quintet offered in their ten song program was dynamic is like describing an atomic bomb as just an explosion. She and her players – trumpeter and leader Theo Croker, alto saxophonist Irwin Hall, keyboardist Michael King, bassist Eric “E-Dub” Wheeler and drummer Kassa Overall – fit together like the workings of a fine Swiss watch. And they did so with a combination of sizzling spontaneity, hard driving swing and interactive inventiveness.

Eric “Dub” Wheeler, Dee Dee Bridgewater, Theo Croker, Kassa Overall and Irwin Hall

Blessed with a voice that soars effortlessly across octaves with an astonishing range of timbres, Dee Dee transformed each of her songs into a dramatic short story, delivered in a compatible musical setting perfectly illuminating every emotional twist and turn that she brought to her vocal narratives.

Dee Dee Bridgewater and Michael King

Dee Dee Bridgewater and Michael King

The range of selections was extraordinary: from “”Afro-Blue” to “A Foggy Day,” from “Blue Monk” to “Love For Sale.” With occasional in between stops at tunes such as “Save Your Love For Me” and “Living For the City.” But whether the source was Thelonious Monk or the Gershwins, Dee Dee found the heart of the song, in brilliant creative exchanges with her musicians.

I’ve already mentioned interactivity several times in describing this memorable evening, and with good reason. All singers value a strong linkage with their players.

Theo Croker, Dee Dee Bridgewater and Irwin Hall

Theo Croker, Dee Dee Bridgewater and Irwin Hall

But what took place between Dee Dee and her musicians could more accurately be compared to what has taken place in some of the classic instrumental ensembles in jazz history (think those of Miles Davis, John Coltrane and the Modern Jazz Quartet). And, by the way, Dee Dee’s players – Croker, Hall, King, Wheeler and Overall – are not as well known as they should be.

Dee Dee wrapped the night by stepping down into the table area, cruising among the enthusiastic, hand-clapping crowd, singing Abbey Lincoln’s “The Music is the Magic of a Sacred World.” Occasionally bestowing hugs along the way, she concluded her magical music by inviting her listeners into her creative “Sacred World.”

Dee Dee Bridgewater and her players have one

more night to go at Catalina Bar and Grill. Don’t miss her one of a kind musical experiences. And when she asks you to get up and join her song, do it.

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Photos by Faith Frenz.

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