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 Russ Dantzler Benny Golson's Magic "That was a stunner," jazz educator and publicist Arnold Jay Smith said following "The Magic of Benny Golson," on March 1. A model Lincoln Center jazz production, this was a showcase for Golson's compositions, and a well-assembled "show." Benny is a warm host, who told a personal and historic story to introduce each perfectly segued number. This is a rare man who can perform his own list of contributions to the great, long-established book of standards; "I Remember Clifford," "Stablemates" and "Whisper Not" to name a few on the program. Carefully selected players added to the formula, many of them both new and under-utilized at Lincoln Center. Golson opened with a strong, immaculate tenor saxophone intro to "Are You Real," with bassist Buster Williams, drummer Joe Farnsworth and Mike LeDonne at the piano. He added trombonist Curtis Fuller -- an over forty-year ally -- to play "Along Came Betty," followed by "Killer Joe," with Eddie Henderson's trumpet joining in, and an impressive LeDonne solo. Benny Golson's prolific writing includes scores for television series such as "M*A*S*H," "Mission Impossible," "The Partridge Family" and "Mod Squad." Who'd guess that classical composition was part of his immense talent? He ended the first set with a "serious" solo piano piece, "On Gossamer Wings," performed beautifully by Lara Downes. This could have been written for a ballet dancer, yet worked well concluding the first half of a jazz concert. Bill Mays' piano solo version of "Bessie and Me" was followed by a big band to complete the evening that featured Ron Carter, Wycliffe Gordon, Jimmy Owens, Steve Turre, Virgil Jones, Lew Soloff and Jerry Dodgion. Golson iced his cake adding the Uptown String Quartet to the big band to finish with a long and winding "Blues March." The evening was full of imagination, refreshing and satisfying. This Jazz at Lincoln Center concert exemplified the variety the institution is capable of. As the Jazz department continues to grow, it is working to be inclusive of more diverse styles and musicians. A March 20th press conference to launch the new 2001-02 season of over 400 events could easily fill this column twice. Brazilian jazz, three nights of Abbey Lincoln, and an organ summit are new, with expanded education outreach on an ever-more ambitious season program entitled "Jump In." Since I'm both out of space and past deadline (sorry, Mike!) please visit www.jazzatlincolncenter.org for details.
Earlier this year we lost two eminent, gracious gentlemen of the jazz saxophone, Norris Turney January 17th, and Buddy Tate February 10th. Norris Turney lost his battle with kidney disease at the age of 79, with Marilee, his wife of 41 years, at his side. He began and ended his life in the Dayton, Ohio, area, where he had moved from New York a decade ago. His New York City career spanned thirty years prior to that. Norris' many distinctions include the fact that he was the first person Duke Ellington wrote flute parts for. He ably replaced Johnny Hodges in Duke's orchestra. His last recording, Echoes of Spring (Sackville SKCD2-2049), was made live on a 1997 European tour with Red Richards, Claude "Fiddler" Williams, Dave Green and Joe Ascione. Buddy Tate died February 10 in Chandler, Arizona of bone cancer. He'd recently moved to Arizona from Long Island with his daughter Georgette for health reasons. George Holmes Tate was born in Sherman, Texas on February 22, 1912. His warm, broad, "Texas tenor" sound was first widely heard on "Rock-a-Bye Basie," recorded in 1939, the year he replaced Hershel Evans and began a decade of work with the Count Basie Band. That set his reputation as a sophisticated musician and showman.
One of his last recordings was made in late 1994 with the Statesmen of Jazz, along with Clark Terry, Milt Hinton, Benny Waters and Claude Williams. Postscript You never know who you might run into when Clark Terry performs at the latest incarnation of Birdland, a fine midtown jazz showcase. While chatting with Frank Wess after the March 15 show a familiar face was waiting to speak with him, Jim Mair. Mike Ning and Jim posed for photos with the one and only "Mumbles," on the first night of a Kansas City Kansas Community College student trip, under the direction of Dale Shetler. Before they returned four days later, Jim found himself "subbing" -- opening a set for a slightly late Steve Wilson on a sublime Peter Leitch performance at Walker's in Tribeca. In a way, Jim was right at home, as guitarist Leitch and he both hail from Canada. In the audience was yet another excellent saxophonist, Victor Goines, who had started the day giving an extremely professional clinic to this group. Feedback is invited at: Russ@HotJazzNYC.com. © 2001 Russ Dantzler RETURN TO APRIL/MAY 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
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