A VERY sweet groove...

With apologies for the exclusive language, Albert Einstein nailed it when he said, "He who joyfully marches to music in rank and file has already earned my contempt. He has been given a brain by mistake, since for him the spinal cord would fully suffice." Last night there was a sweet groove in the house - and EVERYONE felt it.  The crowd was charged - this animated the band - and the band played with verve and love.  Sometimes it was even magic! (To be sure, there were a few train wrecks but no one was seriously injured and we kept moving.)

Right out of the gate, we settled in to a very mellow space with the Brazilian composer Marcos Valle's "So Nice" (also known in the US as "Summer Samba."  (Andy, the band leader, likes to warm things up at first with something soft but expansive - a brilliant choice - and the bossa nova drive of this song let my mates stretch out and get ready for the more demanding challenges that came as the three sets matured.) 

Two of the highlights, for me, early on included the hard bop reworking of "How High the Moon" that Charlie Parker turned into "Ornithology."  GREAT changes - very fast - and a show case for the guitar, saxophone and piano.  The other was a birthday tribute to local jazz vocalist, Vickie True, who joined us on stage for the phatest, sultriest take on Miles Davis' "All Blues" that I have ever heard! OMG... she even had the little boys (from my church) singing scat with her as she wailed like a woman possessed... and we all had some time to solo and simply go to another place inside them music.  THAT was truly magical.

The other highlights for me - and I'm sure the high points are different for each member of the band - included a tight reworking of the Brubek/Desmond classic, "Take 5."  There was a hot groove happening in George Benson's "Affirmation," too. During one of the band's favorites, a French tune a la Cole Porter, "C'est Magnifique," Charlie took off into the crowd with his clarinet and teased and tantalized the crowd - all to their delight.  Dianne nailed the vocals and everyone had a blast.

NEWS FLASH UPDATE:  We got covered in today's local paper, The Berkshire Eagle, with a great picture (by the incomparable Ben Garver) as well as an on-line video clip of "Paper Moon."  Wonderful article and sound montage.  Check it out @ http://www.berkshireeagle.com/ci_19059801?IADID=Search-www.berkshireeagle.com-www.berkshireeagle.com

Then we brought up the new music director from my church, Carlton Maaia, who sat in on a few tunes - including "Stormy Monday" - that went from earth to heaven and back again a few times as each player took extended solo breaks. (He and band leader, Andy Kelly, will be joining Rob Fisch on Saturday night over at Brulee's for another jazz gig - I hope to sneak in and take a listen!)

And we ended with a wild funky take on "Mercy, Mercy, Mercy." Charlie wouldn't quit playing when the tune was done - so after he wailed for a few improvised minutes - we came back with a hard, pulsating rhythm borrowed from what we learned in Turkey that went on for about 5 minutes - before getting all quiet again and ending the song back in the original groove. The crowd loved it prompting me to lead them in a closing bar band chant from "Land of 1,000 Dances."  Too kewel for school.

Jazz guitarist, Bill Frissel, defined my take on all of this when he once said, "Music, for me, has always been a place where anything is possible - a refuge, a magical world where anyone can go, where all kinds of people can come together - and anything can happen. We are limited only by our imaginations." Last night we were connected and connecting and it was a blessing.

Next week we start playing around the region bringing jazz education into the elementary schools as part of the Jazz Festival Educational Program.  I am truly grateful for playing with these masters for so many different reasons.  Truly a very sweet groove, indeed.

credits: http://debrahurd.blogspot.com/2009_08_01_archive.html