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Performance: CentreStage Live
Concert Archives
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Celebrating
California Blues Legion
Charles Brown...
Happy Birthday Charles
Charles Brown is warm, witty and sagacious. He is a consummate artist...and a showman with a whole lot of class. Charles, the foremost exponent of the "California Cool Blues" sound, has given so much good music over the years--and keeps on giving such classics as "Merry Christmas Baby" (You Sure Been Good To Me).
So it was very fitting when some of his friends, super stars in their own right, including Ruth Brown, Jimmy Scott, Bonnie Raitt, and John Lee Hooker joined him at the San Francisco Jazz Festival to help him celebrate his 75th Birthday with a nonstop blues fest--and it was all the way live.
Charles festively, factitiously and dashingly dressed beamed radiantly throughout the set. Soft spoken Brown was very obviously touched by the out pouring of love and appreciation. It was apparent that there was plenty of love in the house for Charles Brown from the friends on stage and from the audience which often sang along. The guest artists celebrated and commemorated Charles wonderfully in music, songs and words. Love, wit and plenty of good natured fun and humor abounded.
Jimmy Scott...a singularly rare and fine talent whose wonderful alto voice has been creating great music with artists ranging from Lionel Hampton to Jacky Terrasson...graced the place and raised his voice to deliver his inimitable versions of such tunes as "I Got It Bad" and "Angel Mine." The latter tune featured sax legend Teddy Wilson.
Globally renowned Blues icon and Grammy Award winner John Lee Hooker, decked out in a white suit and a ten gallon Texas style hat coolly and casually strolled on stage and was greeted by a cheering standing ovation. John Lee, a man of few words, sat down and commenced to serve up some tasty licks on tunes like "Ain't Gonna Hurt Me No More." Hooker jammed and then got up, laid his guitar down and did some fine singing and his trademark vocalesing on "You, You, You."
The high energy partying continued to soar to a higher level when the queenly duo of Ruth Brown and Bonnie Raitt took center stage. Charles Brown honored these two ladies as the stars of his life. He proclaimed Bonnie as his morning star...and Ruth as his evening star.
Did I say party? These two luminescent artists knew how to...and did party hearty.
Miss Ruth Brown, "Miss Rhythm," "The Girl With The Tear In Her Voice," the undisputed Queen of Rhythms & Blues, was definitely a favorite of the concert goers. Ruth proudly announced that she was pleased and privileged to have been able to call Charles Brown her friend--her best friend-- since 1948.
And, Grammy winner Miss Bonnie Raitt (who Charles credits with brining him out of retirement), super singer and master of the slide guitar, teamed up with Ruth Brown to celebrate Charles Brown. The two feted Charles finely and humorously on tunes like their risque version of "Move To The Outskirts Of Town"-which was highlighted by some dynamite picking and singing, or rather some hot, hot playing and singing. Bonnie, expressing how she felt about Charles said, "You can keep your Grammies I'll take Charles Brown." Bonnie teamed up with Charles on a beautiful and touching version of "For Me" (Right Now Today), "Quicksand" and the mournfully wonderful hit "Black Night Is Falling."
At the end of the last tune, when Ruth asked the audience to "Give my baby a standing ovation," the house stood and gave Charles a sustained, rousing ovation. And, in a proclamation in which November 2nd was celebrated as Charles Brown's Day, the Mayor of Oakland cited Charles as one of the great living legends of California Cool Blues. Charles Brown was also credited with influencing such fantastic great creative artists as Nat "King" Cole and Ray Charles.
Charles Brown closed out the festive celebration by fulfilling a request to sing "Merry Christmas Baby." And, Charle's finale tune, was a rocking boogie woogie tune.
Charles Brown is a master showman, a beautiful, one-of -a-kind creative talent who is so very deserving of all of the acknowledgement, accolades and acclaim he is receiving...and of all the love. Happy birthday Charles.
Icon Of The Drums:
Elvin Jones
And The
Elvin Jones Jazz Machine
"I am so happy to be here, and there's only one way to express it--by playing."
With these words, the stately, imminent, IconoClass, Elvin Jones seated himself behind the drums and kicked off the set with a snappy, finger popping, toe tapping, upbeat, updated version of "It Don't Mean A Thing If It Ain't Got That Swing. And, swing he did on this opening piece that set the tone for Elvin's performance.
Elvin, a member of the venerable Jones Dynasty, a stately trio that was rounded out by his brothers and iconoclasts Thad, (was an outstanding composer, trumpet player and Big Band leader) and Hank, elder statesman of jazz (piano) who recently recorded with Billy Higgins and Dave Holland (who also performed at the SFJF), and whose current release is entitled "Favors." For decades the Jones brothers, each in his own highly innovative and creative way, has contributed grandly to the institution of jazz, and has influenced and worked with many instrumental and vocal jazz practitioners over the years.
Elvin, who was a member the John Coltrane Quartet until 1961, revolutionized drumming. Jones pioneered, created a method of playing --a freer flowing, looser playing where the sound is wider, is spread out.
Elvin Jones, an immaculate artist (and was dressed that way too), was regal...was the epitome of power, precision, polish, poise and perfection. He was a joy to listen to and behold. Elvin played with high intensity that was tempered with rhythmic, graceful execution, as he led a fine, highly creative group of players that included saxophone giant Sonny Fortune, whose playing was extremely and highly creative and complementary; legend in the making Javone Jackson (saxophone), Heal Cain (bass), and Carlos McKinney (piano).
Elvin graciously expressed his appreciation and revealed a bit of his extremely ultra cool sense of humor on the closing composition "E. J. Blues," which he introduced by saying that he wasn't sure if he wrote all of it or not. Elvin, playing impressively and energetically, delighted the audience with an ample sampling of his impeccable, very original, highly creative playing and his consummate musicianship.
Elvin Jones is a living legend, a creator, revolutionary artist, innovator of the highest order. He is one of the most significant artists in jazz. And, Elvin is a quintessential talent whose artistic presence and contributions for which he has joined an elite group, that includes Billy Higgins and Roy Haynes, in being inducted into Bopnicity... is truly uniquely a part of jazz culture.
Abbey Lincoln
In Concert
Abbey Lincoln, Vocals
Marc Cary, piano
Aaron Walker, drums
Aaron Grevis, Bass
"The music is intact...and everything is fine."
--Abbey Lincoln--
And everything was not only fine...it was exceptionally fine when Abbey Lincoln regally and graciously strolled on state and spoke these words, making it clear to all that Abbey was in the house. In fact, Abbey was in extraordinarily rare form.
Abbey, who has a majestic, royal presence, was greeted by thunderous applaud as she strolled on to the stage, chic-ly dressed in black from head to toe... and sporting a stylish wide brimmed hat that added an aura of awe, mystery and wonder to her entrance.
Stopping at center stage, she immediately pushed the hat back that had been hiding her eyes and revealed a warm, wonderful, radiant smile, as she launched the set off with powerful, high energy version of "Black Birds."
Classy, poised and posed Abbey walked the stage--her realm--strutting her stuff ...Abbey stopped, took the mike and belted out a dramatic, emotive, electrically charged version of her great composition "Throw It Away."
Abbey lovingly, masterfully caressed each word, each note. She harmonically, melodically and passionately--and at times tantalizingly--wove tales of love...of memories of love...never hopeless love but of lessons learned. She sang about love and growth...and sentimental tunes that were nicely tempered and accentuated with wise wit and humor.
Abbey sang spellbinding, enchanting tunes such as the upbeat, moving and grooving tune " Love Is An Emotion (It will move you to do things)." Lively and totally animated Abbey danced, clapped, motivated and inspired the audience to get involved on selections like the hip, blue, blue, bluesy composition"Hey Lawdy Mama," that she penned the lyrics for and which Nina Simone wrote the music for in 1966. After Abbey ended the set with a beautiful, soft, sentimental version of Sammy Kahn's classic "I Should Care," she received a long, sustained standing ovation.
Amidst the sounds of a clapping and cheering, Abbey returned to the stage and graced the place with an encore of the marvelous piece and the title cut from her current release "Who Used To Dance"...and it was gorgeous--it was topping on a deliciously prepared and served cake.
Abbey Lincoln, accompanied and complemented by three highly talented artists...left little doubt as to why she is a very high ranking great divas of jazz...and why she is one of the finest, all around creative luminaries...a consummate talent and a sophisticated, artistic jewel par excellence.
Charlie Hunter
Quartet
All The Way Live...And Lively
Charlie Hunter, a member of the eXceptional generation and eight-string guitar virtuoso who performed at the Montreux Jazz Festival, and recently at the San Francisco Jazz Festival is quickly making a name for himself. He has been a favored artist for some time in Europe. Charlie, who spent years honing his craft is also a much so after musician. Charlie appeared on Pat Martino's latest release All Sides Now and made a guest appearance with him at Yoshi's Night Club in Oakland recently.
Appearing as the opening act on a dual bill with Cassandra Wilson (who also performed on Martino's latest CD), Charlie entertained the concert goers royally. And, the unassuming, artist who seems to love creating music and seems to thoroughly enjoy playing a diversity of music and styles--does so exceptionally well.
Charlie was joined on the date by Stephon Harris (vibraphone), who is a hot and much in demand young artist, talented Scott Amendola (drums), and righteously creative (percussion) John Santos, one of the Bay Area's leading Afro-Cuban musicians.
Charlie and the ensemble served up a very ample portion of expansive, extended improvisational funk jazz and beyond that delighted the clapping and cheering audience immensely. The quartet teamed up to deliver a tour de force, a wonderful tapestry in sound that included some bopish, Monkish, Jackyish (as in Terrasson) renditions, sans piano, but with really marvelous conga, drums and vibes accompaniment.
And, at the end of the Hunter Quartet set, the audience still wanted more. But not to worry. Charlie one of the super now happening talents is even present providing eight-string wonder magic--now you see him...and judging from his appearance at the San Francisco Jazz Festival, you will definitely see more and more of him in the future.
Cassandra Wilson
Cool , Cool Jazz Improvisation
Cassandra Wilson, a bright meteoric artist, is often compared to other jazz talents, notably to Lady Day, Billy Holiday. But Cassandra has been blessed with her own abundant talent--thank you...and quite capably shows that she is a talent who can express her voice superbly, as she did on New Moon Daughter a work that brought her to the attention of a wider listening audience and garnered her many accolades.
Cassandra, has received much acclaim, includingTime Magazine's Artist Of The Year Award and the 1997Down Beats Critic's Poll Top Vocal Artist commendation. She had also worked with some of the Who's Who of cutting edge young musicians, including Steve Cole and Geri Allen. Cassandra performs many styles and compositions marvelously well--from works of Joni Mitchell to blues great Robert Johnson to the Monkees--and has fashioned and sculpted them into her own likeness.
And, in developing her style, Cassandra listened to many vocal jazz icons--including Ella Fitzgerald, Sarah Vaughan and Betty Carter. She is also a much sought after artist she has worked with the likes of Wynton Marsalis, Pat Martino and now the super talented Mr. Jacky Terrasson on the new release Rendezvous.
Did I say Cassandra is hot? Well, when she took center stage in San Francisco she was greeted by a sustained, uproarious round of applause. And in short order Miss Wilson expressed her appreciation in return by providing some marvelously wonderful entertainment.
Cassandra was joined on the set by an incredibly talented trio of players, including San Francisco's own legend in the making Jacky Terrasson (piano), one of the truly most creative artists on the planet; the skilled and very innovative Lonnie Plaxico (bass); and the very inventive, percussive griot Jeffrey Haynes (drums, percussion).
From the first moment Cassandra Wilson lifted her sultry, sensuous voice in an unforgettable rendering of "Surrey With The Fringe On Top," it was clear Cassandra style was unmistakably her very own. She dramatically swung this favorite standard and others like "I Didn't Know What Time It Was" into new things--gave them funky, jazzy, African rhythm-driven renderings that were nicely accented by Jacky's sparkling, magical piano accompaniment.
"Old Devil Moon," which was given an urbane, hip, yet sophisticated take, showcased the wonderful, easy going, precision, collaborative work of the musicians. Using her multi-ranged vocal abilities, Cassandra gave wonderful poetic expression to the classic tunes "When My Ship Comes In," "Autumn Leaves" and "Tea For Two."
Above the applause, accolades and such, one thing is certain--and abundantly so-- Cassandra does have her own. And, this splendid talent, the ultra, ultra cool Miss Cassandra Wilson's whose voice is a refreshing cool breeze...is herself a fantastic breath of fresh air.
The Herbie Hancock Quartet
Herbie Hancock, acoustic piano
Craig Handy, tenor sax and other horns
Dave Holland, acoustic and electric bass
Gene Jackson, drums
Herbie Hancock is an exceptional performer...he is excellence personified. Herbie exploration, experimentation and innovation has influenced and has been affected by other genres--including Rhythms & Blues, funk, (back in the day of the Head Hunters) African rhythms...and pop. Herbie, like other leading edge jazz musicians that worked with Miles Davis, have been at the creative forefront--have influenced musical talents in other genres and has adeptly synthesized the best of different musical forms.
Jazz which to some is an attractive style of music because it is thought to be improvisational. However, as classic jazz musicians have demonstrated, it is a highly structured idiom that requires discipline, dedication and creative genius to master. And Herbie, who have excelled as a practitioner of classic jazz, has continued to grow --has explored and developed the ability to flexibly and expressively draw upon the best of the genres and have fashioned them into into fresh, exciting sounds...creative offerings.
Herbie is very skillful at keeping people wondering and guessing what he is going to do next. And, in keeping with this practice, when he performed at San Francisco's Maritime Hall recently, the concert hall was all a buzz with " I wonder what Herbie is going to play tonight." And, as he took to the stage smiling radiantly and warmly joking with the concert goers, Herbie, whom San Francisco adopted some years ago, remarked that at one time he spent so much time in San Francisco that many thought he lived here.
When he introduced the other three stellar members of the quartet--Craig Handy (tenor sax and various horns), Dave Holland (acoustic and electric bass) and Gene Jackson (drums)--the audience members expressed their appreciation by clapping and cheering enthusiastically. Then Herbie and the other members of the ensemble immediately set about taking the audience on a wonderful, entertaining journey--a voyage of musical delights. And, in short order, he proved that he was as changeable as his musical creation, "Chameleon."
Seated at the piano, Herbie introduced the opening selection, Lennon and McCartney's "Norwegian Wood," which he jokingly said, "Norwegian Hood" would perhaps be a more appropriate title here. The quartet served up a soft, mellow, swinging, jazzy version of the beautiful piece which featured Dave Holland's tasty, acoustic bass wizardry, classic style and steady, solid bass playing. This tune indeed set the tone for the musical offerings for the evening--an evening of "standards" and of "new standard" sounds--which one concert goer in expressing his appreciation to Herbie said, "I'm glad you're back to the original Herbie," to which Hancock laughed and said that he had never left.
Herbie playing acoustic piano exclusively, seemed relaxed and comfortable. He led this tight, highly cohesive unit masterfully well. The group's unity of sound and superb sensibilities were demonstrated on "New York Minute" which was rendered as a drum driven, up tempo, piano/drums duet, piece that featured Gene Jackson's fiendish drum solo--highlighted by hand work that was faster than a speeding bullet--and Dave Holland's rhapsodic-bumble bee precision bass work--a romancing of the strings. The fine collaborative work that Holland, Handy and Jackson provided, allowed Herbie to freely explore and expound upon each pieced that was performed. The creativity possessed by the foursome was also a perfect synthesis --one that was enhanced by the two veteran players Hancock and Holland, and the two members of the youthful eXceptional generation, Handy and Jackson.
Maestro Craig Handy, the polished, brilliant legend in the making and superb young hornsman on the date was a wonder to behold. He is a joy to behold. The awesomely talented Handy is accomplished and well seasoned beyond his years. He has a husky, fluid, melodic sound that is completely beyond the stratosphere. Craig who played with poise and pizzazz, added a very spiritual, ethereal dimension to the quartet's sound. And, he is highly capable of rendering intense, passionate playing as was evident on his smoking solo on "Cantaloupe Island."
On a hot, "now," contemporary, upbeat, funky-based version of Herbie's standard "Watermelon Man, the quartet displayed its versatility and virtuosity. And the diversity of tunes the quartet played showcased its ability to play soul, pop, bop, straight ahead jazz, funk and beyond.
Returning to the stage amidst cheers, thunderous hand clapping and shouts of "Thank You Herbie," Hancock waxed nostalgic on the encore selection, his sweet, fabulous classic "Maiden Voyage." The quartet gave this tune a cool, hip, breezy, up-to-date take that had the audience dancing in the aisles.
This concert made it very clear that the magic of Hancock's creative offerings lies in his ability, to grow, explore--to be in the moment and to reach higher and higher artistic heights. And, as an extraordinary magician, no one knows what Herbie is going to pull of his bag of musical tricks next. However, one thing is certain, it is going to be fantastic, wonderful...and marvelous.
Marley Magic
Rita Marley,
Damian Marley, Julian Marley
In Concert
The performance was billed as "Marley Magic"...and that it was...from beginning to end. From the moment Damian Marley danced on to the stage, his father's, presence was felt...his spirit was in the room...was very much a part of and expressed in and through Damian, the youngest of the Marley sons. Damian reflected his father's boundless energy, dance steps, movements, mannerisms, humor, wit and lyrical creativity. Damian wove his words, steps and dance moves in and out of hip hop and Reggae rap. In essence, as a high energy, youthful member of the Reggae/hip hop revolution, he was/is representing, honoring and maintaining Bob Marley's presence, his being.
Damian performed some pieces from his CD, such as "So Much Trouble (So much violence) In The World " and "Children Of Today." Damian segued nicely into a segment celebrating and honoring his father through music, by performing some of his classic songs, that included"Crazy Bald Head" and a moving piece, dedicated to his father titled "Mister Marley" ("We know your name").
Julian Marley, strolled into the spotlight as the dancing, skanking crowd was clapping and shouting "Rastafari." Julian, who reflects the quieter, philosophical father (did I say quiet?) and romantic side of Bob Marley, also sang selections from his own release, including "Loving Clear" (he has Bob's vocal qualities) and his father's creation, "Burning and Looting."
At the conclusion of his set, Julian was joined by Damian. The two Marley offsprings teamed up on a tribute to their father, "So Now You Know My Name" and both launched into some rhythmic, high energy dancing (very reminiscent of Bob Marley) and renderings of their father's great songs that included "Crazy Bald Heads," ""Get Up Stand Up," "Trench Town Rock", and ended with "Exodus" (The movement of Jah people) that had the crowd in the dancing, clapping and singing along on this Rasta anthem.
As the emcee of Marley Magic stepped up to center stage, announced the Queen of Reggae...The Mighty Diamonds, her backing group took their places behind the mics, sang an intro...and the royal, the regal Rita Marley...majestic Reggae diva, looking forever young, dressed in a flowing frilly dress of Rasta colors, wearing a queenly crown, smiling radiantly...pranced on stage and told the audience, "I have so many things I want to say." The adoring fans, beamed and swayed at the foot of their queen's throne. Rita, vibrant, effervescent...pranced, danced and moved from one side of the stage to the other...and to the edge of the stage (telling the guards it was all right she wanted to get closer) shaking hands, talking to the Rasta faithful and singing "That's the Way Jah Planned It."
Continuing to acknowledge and express her love, Rita told her fans "I love you. I bring greetings from Jamaica...I miss you." As the crowd cheered--Rita, saying "I want to talk to you...I missed you...I want you to know I love you--sensuously and soulfully sang "If I Don't Have You." The loyal subjects were in Rasta heaven.
Rita, asked the fans, "Do you love Bob Marley?...and added, "Funny I do too"...as she moved and grooved into the Marley classic "I Feel It." Asking if the audience liked her two sons Damian and Julian...smiling, she added "Aren't they're bad? Rita continued her medley tribute to Bob, smiling and prefacing it with "Writers said Bob wasn't a lover. Don't you see his children? Of course he was a lover." She launched into "You Know I Love You" (So baby here I am. Rub it on my belly like guava jelly), a silky, smooth version of "No Woman No Cry," "Jamming," and "Lively Up Yourself. As Rita finished her set and left the stage...the music hall rang with thunderous clapping and shouts of "Rastafari."
Rita returned to sing two encore songs, "Look What You Get" and "I Want To Go Higher"....and to conclude this evening of enchantment, Marley Magic...and a night filled with the spirit of joy and celebration, a night of sheer excitement...and the presence of Rita, Damian, Julian Marley...and the spiritual presence of Bob Marley.
Carlos Santana
Ottmar Liebert + Luna Negra
In Concert
Joy and celebration were the order of the day when Carlos Santana, Ottmar Liebert + Luna Negra performed at Shoreline Amphitheatre, Mountain View, about 35 miles south of San Francisco. It was a joyous gathering of the fans. It was a festive day as many of the concert goers celebrated Mexican Independence Day. And, the audience made it perfectly clear that the San Francisco Bay Area is Carlos Santana and Ottmar Liebert country...as it gave them a warm, exuberant welcome.
Mingus Amungus, a San Francisco jazz/funk group which started the festivities off, rocked the audience with some very nice rhythm grooves. And the Independence celebration continued with beautifully costumed multicultural dancers...including some Brasilian capoeira dance moves...that created a veritable rainbow of movement to music.
Ottmar Liebert walked bare footed onto the stage and mellowed the mood nicely...as he serenely and tranquilly touched the souls of concert goers with his own very special brand of multi-rhythms, polyrhythms. Ottmar held the audience/fans in a peaceful/joyful state, as he smilingly, blissfully performed...as the million-fingered guitar virtuoso strummed the strings and rendered million-fingered string favorites that rousingly moved the concert goers...brought them to their feet...clapping as he played such compositions as "Duende Del Amor," "Barcelona Nights," "Heart Still Beating," "Bombay," and "Snake Charmer." At the end of Ottmar's set, the audience applauded and gave him a uproarious standing ovation...and, he smiled and gave a bow in return.
After a brief intermission, Santana smiling warmly took to the stage and commenced a nonstop, three hour voyage through the cosmic realm of rock, jazz, blues, rhythm & blues, reggae and beyond...a journey of joy through sound for a welcoming audience that had made a pilgrimage to Shoreline Amphitheatre to hear the global, spirit conscious, music of Carlos Santana...to revel in joyous, spirit uplifting, soul satisfying music...powerful, magical music.
Carlos encouraged, exhorted concert goers to create--to have joy in their lives. And, the joy he felt...the beauty he created, his spirit of giving and sharing through his music...filled, permeated the air. Carlos launched into a half hour of rhythm movers...that included homage to the spirits of legendary creative beings past and present.
Then Carlos invited Ottmar to be seated in the chair of honor...and Liebert joined him in performing a magnificent, aesthetically masterful, acoustic rendition of Joaquin Rodrigo's "Concierto De Aranjuez." And then came the piece de resistance...a superbly outstanding version, a complementary duet of Santana's classic composition, "Samba Pa Ti"...that was impeccable...singularly exquisite.
Santana followed the duet with Ottmar with mini-sets featuring other friends...Mingus Amungus and Gregg Rolie, who reminiscingly performed a marvelous version of "Black Magic Woman/Gypsy Queen"...and Carlos' brother, Jorge Santana, who played a passionate guitar solo.
The evening was a kaleidoscopic soundscape...a musical journey into sound and a tribute to music and song and word (acknowledging such music icons as Miles Davis and John Coltrane) to some stellar creative artists that included Marvin Gaye ("I Want You," "Right On"), Stevie Wonder ("Another Star"), Bob Marley ("Get Up, Stand Up," "Exodus"), Manu Dibango ("Soul Makossa"), and James Brown. ("This Is A Man's World"... but it wouldn't be nothing without a woman or a girl.") As the spirits continued to soar the audience stood, clapped, danced and sang along as Santana launched into all time favorites such as "Oye Como Va."
With the spirit of joy and celebration still in the air...Carlos invited musicians' children...the future...to close the performance...by joining in a rhythmic, moving version of Babatunde Olatunji's "Gingoloba."
Carlos Santana, Ottmar Liebert...two ultra creative beings...and a super talented cast of musical artists created extraordinary music, memories and moments of joy...with an afternoon and evening of magical music.
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