When Oscar Peterson walked out on the
Eastman Theatre stage Saturday evening, the Rochester International Jazz
Festival audience responded with a tremendous ovation. Peterson appeared frail
as he walked to the piano, but as soon as he began to play, all concern
disappeared.
ย ย ย ย ย ย ย ย ย ย ย Although
the stroke that befell him a decade ago has slowed down his left hand,
Peterson’s incredible right hand has more than compensated. With each solo he
unleashed a rich torrent of notes that were, paradoxically, wildly free and
meticulously controlled at the same time. It was as if his fingers, tempted by
every joyous nuance of musical possibility, couldn’t resist exploring every
nook and cranny on the way to their destination.
ย ย ย ย ย ย ย ย ย ย ย In
the middle of his performance Peterson talked about what a sad year it had been
in jazz, with the deaths of Ray Brown, J.J. Johnson, John Lewis, and his best
friend and manager, Norman Granz. He dedicated a new piece, “A Simple Requiem,”
to them. Audience members knew they were hearing one of the last surviving
giants of jazz’s greatest generation.
ย ย ย ย ย ย ย ย ย ย ย In
songs almost equally divided between standards and originals, high points
included a lovely treatment of Neal Hefti’s “Li’l Darlin” and a dazzling
rendition of Duke Ellington’s “Satin Doll.”
ย ย ย ย ย ย ย ย ย ย ย Among
his own compositions, “When Summer Comes” was the most beautiful of several
stunning works. Peterson’s drummer, Alvin Queen, nicely evoked waves rolling to
the shore with his brushes.
ย ย ย ย ย ย ย ย ย ย ย Every
member of the quartet was outstanding. Niels-Henning Orsted Pedersen may be the
greatest acoustic jazz bassist playing today. In a manner reminiscent of
saxophonist Paul Desmond, every solo Orsted Pedersen played was gorgeously
melodic.
ย ย ย ย ย ย ย ย ย ย ย Guitarist
Ulf Wakenius can only be described as the Oscar Peterson of the guitar,
cramming more notes into a phrase than seems possible, but never failing to
create cohesive musical statements.
ย ย ย ย ย ย ย ย ย ย ย Peterson’s
quartet’s performance was the highlight of the second night of a nine-day
festival that already seemed too rich to keep up with.
ย ย ย ย ย ย ย ย ย ย ย The
great Mose Allison kicked things off Friday evening, wowing a capacity crowd in
Kilbourn Hall with his caustic wit and superb keyboard skills. Allison’s vocal
style is the opposite of Peterson’s piano technique; he doesn’t use too many
notes. But in Allison’s case less is truly more. The same can be said of his
pithy lyrics, which reflect a skewed world of incongruities and disconnects.
ย ย ย ย ย ย ย ย ย ย ย While
David Sanborn’s fans watched their saxophone hero at the Eastman Theatre, I got
my sax fix by heading out to Shadow Pines Golf Club to catch the opening night
of the Swing ‘n Jazz Festival. Local players like Vince Ercolamento and
Terrance Bruce and visitors like Andy McGhee did not disappoint. The concert,
Saxophonists Night Out, also featured a rare appearance by Ned Corman, the
director of The Commission Project, in a five-baritone-sax band called Bottom’s
Up.
ย ย ย ย ย ย ย ย ย ย ย Back
at the RIJF, Sliding Hammers, the sister-led, trombone-centered band from
Sweden, won over many fans with their excellent musicianship and wonderful
personalities. One highlight of their set was a tribute to another trombone
duo, J.J. Johnson and Kai Winding (Jay and Kai), on “Israel.”
ย ย ย ย ย ย ย ย ย ย ย Some
of the best entertainment could be found at the free outdoor stage on Gibbs
Street. Walter “Wolf Man” Washington has got to be one of the greatest
r&b/blues musicians touring today. He howled and growled his way through
one great tune after another from Teddy Pendergrass’s “Close the Door” to
down-home blues and irresistible funk. His band, with only trumpet, sax, and a
rhythm section, delivered one of the richest sounds of the festival.
ย ย ย ย ย ย ย ย ย ย ย Eric
Alexander’s trio played two electrifying sets at the Montage Grille, including
a breathtaking rendition of John Coltrane’s “Mr. P.C.,” dedicated to the memory
of drummer Elvin Jones. Alexander’s drummer Joe Farnsworth was more than up to
the challenge.
ย ย ย ย ย ย ย ย ย ย ย Alexander
and Farnsworth were just getting warmed up. Later, at the jam session held at
the Crowne Plaza’s State Street Bar & Grill, they joined the Bob Sneider
Trio in a blistering rendition of Hank Mobley’s “Breakthrough.” Also playing
wonderful solos were John Sneider on trumpet and festival promoter John Nugent
on tenor sax. They were still going when I left at about 1:45 a.m.
This article appears in Jun 9-15, 2004.
