Freihofer's Saratoga Jazz Fest Always Features Some of the Best

At 35 years old, Festival retains its quality

The 35th annual Freihofer's Jazz Festival is always a gas. It's had nearly every major jazz player appear since 1978 and it has seen plenty of very young and then-unknown people gain some notoriety here in upstate New York and go on to great things.

The picnic/party is well know. That's not to say noisy and rocky. laid back. Relaxing as all hell. Family. Friends meet old friends. Meet new friends.

And high-quality music is always there. This year has the potential to stack very high.
On Saturday, the great bassist -- great musician -- Christian McBride is there. The great, great ensemble The Mingus Big band comes upstate. Must see stuff. Esperanza Spalding... her quick rise toward the top of the music world is well deserved not hype. She's a fine bassist, a singer whose talent is growing. And she has s great presence; surrounds herself with great musicians. Jeremy Pelt, one of the finer trumpet players brings his band in. Michel Camilo, a virtuoso pianist is there.

[Pictures: Top, Roberta Gambarini at the gazebo stage in 2001. Bottom: Hilary Kole at the same stage in 2011. © R.J. DeLuke]

This is all Saturday! And add young very fine players like Mario Abney on trumpet and Haily Niswanger on sax. Singer Catherine Russell is also an on-the-rise vocalist with a strong soulful voice. Shee-it. For fans of less-dense jazz (that was diplomatic) ... There's Chris Botti and Maceo Parker.

Sunday features more greats. The trio of Oz showcases the stunning drumming of Omar Hakeem and the piano fo Rachel Z. They mesh so well and they're exciting. Hiromi is another piano virtuoso of the highest order and she's a delight to watch. The Yellowjackets will please fusion fans and it will be worth checking out that the band now includes Felix Pastorious on bass--son of icon Jaco Pastorious. Their sax player, Bob Mintzer, says he's great and could even go beyond his dad in what he will one day accomplish. Yikes. And you've never seen the harp ... string harp like the angles play, not blues harp ... played like Edmar Castenada plays it. Sounds like three guitarists at the same time. hip vocalist Sachal Vasandani is always a pleasure and the big band duties fall to Arturo O'Farrill's Latin Jazz Orchestra. They can blow the roof off the place.

Toss in the bluesy rock of Brian Mitchell and you've got a fine, fine day.

Then out comes Diana Krall, who needs no hype. And Trombone Shorty who just might have everyone in Saratoga Springs dancing with his high-energy show that is entertainment, funk, fun, New Orleans all mixed. And fine musicianship as well.

People can walk into the festival and enjoy the great lawn party. So it's never to late to say "Let's Go."

Just get there.

Capital District Jazz Musicians Hitting Hard with 2012 Recordings

Trio of disks shines at the halfway mark of the year

The Capital District of New York state -- (Albany, Schenectady, Troy, Saratoga region) has always been rich in jazz talent and has a surprising amount of venues where jazz can be seen and heard. Many of them are small, but there are large venue too where all the heavy hitters come and perform. But weekend to weekend these folks who write, play and teach in this area provide many a memorable night of music.

This year is at about the halfway mark and three recordings jump to the top of the list.

The latest is Confluence (Artist Recording Collective), by alto saxophonist Keith pray, a mainstay of the jazz scene up here. It’s done with a cool band -- Chuck D'Aloia, guitar; Peter Tomlinson, piano; Lou Pappas, bass; and Jeff "Siege" Siegel on drums -- that swings effortlessly through a set largely written by Pray. Tossed in are songs by Jimmy Heath, Trane and a D’Aloia original.

Prays playing is always on the money. He floats and skates around the melodies with the right dash of verve and grit. His light tone is captivating and his ideas solid. A ballad tells a lot about a person’s playing and Song for Katie shows Pray’s ability to convey emotion and melt hearts. As a writer, the tunes are sweet. The arrangement of Heath’s Gingerbread Boy runs of the path a bit, but delightfully so. Trane’s Africa adds da funk to da disk. Engaging. Everyone is up to the task of the varied themes. Seigel is always a tasty, tasty muthafucka on the drums.

A special addition is that of D’Aloia, a scorching guitarist who’s resume includes the late Capital District jazz icon Nick Brignola, as well as Kenny Werner, Randy Brecker, Pat LaBarbara, Claudio Roditi, Jimmy Cobb and a bunch of others. He’s not usually found in clubs with Pray (I believe he has moved away from the area), but adds a great texture to the sounds with his tone and dexterity. Love his solo on Africa. These are fine musicians.

Out for a while now is a hot disk led by drummer Michal Benedict & Bopitude, Five and One (Planet Arts) . It’s a different animal, in that it has three horns out front, including the remarkable Gary Smulyan on baritone sax. Brian Patneaude, a local monster, plays the tenor and Chris Pasin handle the trumpet work. The delectable Bruce Barth plays the shit out of the piano and Mike Lawrence is on bass. It’s the second recording for this lineup, and as their name suggests, it’s heavy on bop.

The band kicks ass and takes names forging thru a variety of warhorse tunes by Sonny Stitt, Thad Jones, J.J. Johnson, Hank Mobley, Kenny Dorham and others. It’s pretty typical head-solos-head stuff you’d have heard in a club in the early 1950s. That’s OK. They knock the shit out of this stuff. The solos are sparkling. Barth is always creative and interesting with chops to spare. Smulyan comes in with the big reputation and doesn’t disappoint, charging through with the big tone and the fleet fingers. Patneaude’s is superb throughout, evoking elements of some of the great tenors along the lineage. On Stitt’s Eternal Triangle, he burns like the author himself would, something Brian keeps a bit hidden in some of his own stuff. don’t go to sleep on him tho.

No faking here. They go for it on these memorable tunes. The leader’s drums are a key, keeping up the rhythmic clouds for the soloists to walk on. Solid work. This band is doing some touring, so check em out. Not usually with Smulyan, but sometimes, including a date in Schenectady, NY, in the fall. This is a great disk for people who like their mainstream jazz served up with the joy and skill it was intended for.

Mentioned in a past blog (scroll down), is Patneaude’s All Around Us. I won’t repeat too much, except that he’s one of the gems of the region’s musicians. Never disappoints, and his disk are consistently outstanding. I raved about his writing in the last blog. His playing always a joy; thoughtful and purposeful as he negotiates his fine constructions. He’s also intense with a tone that is his own; strong and expressive.

The guys on this disk are solid as shit. They know each other, having been partners in crime for some time now. I notice bass player Mike Delprete’s strengths more and more every time I see him. Pianist David Caldwell-Mason is the newest Patneaude addition for me, and adds intrigue. The Brooklynite’s lines aren’t just grabbed from the jazz bag. He has his way and comes up with ideas that are different. Worth hearing more of.

These albums stand up to stuff on any level and they’re getting deserved notoriety. Good for those folks and here’s hoping there’s a lot more from them.

Jazz Music/World Music

International Jazz Day concert at the United Nations Provides Uplifting Moments
 
The first--of many we trust--International Jazz Day shined brightly with a concert at the United Nations in New York City. There were other concerts the world over. But in New York, a star-studded event also included poignant and uplifting words about the music from Quincy Jones, T.S. Monk, Herbie Hancock and others.

In the United Nations building, it did in a couple hours what the organization was supposed to do. Jazz is the shining example of freedom, brotherhood, communication, experimentation, exhilaration all in one. It’s has everything. Heart. Emotion. Guts. As Jones noted: Left Brain, Right Brain. Emotion and Intellect.

It’s known the world over, of course, and often better known overseas than here. Which has always been a shame. That aside, the proceedings in New York showed what jazz is and can be.

It’s here. HIGHLY recommended viewing: jazzday.com/videos (Cut and paste in browser till this thing is fixed)

It reached into the blues with Susan Tedeschi, Derek Trucks and Robert Cray wailing a Howlin’ Wolf tune, accompanied by Christian McBride and George Duke. Ron Carter, Hancock, Jack DeJohnette and Wayne Shorter revived their former boss’s classic “Milestones” in a tribute to Miles. Thelonious Monk was acknowledged with a sharp version of “Think of One,” the group led by Danilo Perez, with Joe Lovano scorching the room with his tenor sax.

Jazz -- out of the blues -- has influenced all of the music that came after, including pop and rock. The concert featured many flavors showing that. Hugh Masekela and Angelique Kidjo showed the direct African influence. Stevie Wonder was there, jamming on harmonica with Masekela, McBride, Jimmy Heath on “Grazing in the Grass.” The music stretched across a broad plain, performed with joie de vivre at every step.

Jazz has been an international language for decades and probably the strongest ambassador that’s ever been for the U.S. Dave Brubeck, Louis Armstrong, Dizzy Gillespie, Duke Ellington and so many more took music to every corner of the world before any others, traveling in places that were forbidden to the average American. So many greats were lionized overseas.

There is sooooo much talent out there today, young, eager. Open to new ideas and making jazz contemporary. And jazz has always been contemporary. Miles showed that.

Christian Scott, Ambrose Akinmusire, Esperanza Spalding, Myron Walden, Marcus Strickland, Eric Harland, Kendrick Scott, Chris Potter, Jason Moran. Shit. Waaaaaay too many names to include. Young cats that are going to carry on the art form.

Here’s hoping in some way they are lionized. And here at home.

Every Month is Jazz Month; Every Day is Jazz Day

Officially Tho, April is Designated as Jazz Appreciation Month in the USA

I guess it’s good to have a Jazz Appreciation Month designated. Symbolic gestures are generally confusing to me. The point may be one thing, but what actual purpose is ultimately served when all is tallied up eludes me. Too often it’s sound and fury, signifying nothing. I don’t tie a yellow ribbon around a tree, nor hold hands with people in a human chain to fight world hunger. Recently, an organization in my town was shaving people’s heads to raise awareness of childhood cancer. I’m still sporting my ponytail. Losing it would have accomplished what?

That aside, if there is a month where people play more jazz, or try to put jazz in more of a public eye, then I’m OK with it. I have consistently said exposure is jazz music’s biggest problem and I do believe it’s one that could be vastly improved upon and it shouldn’t be that hard. For me, Jazz Day is Every Day. And my lobbying for it doesn’t cease -- As it is for practically every jazz journalist and member of the “jazz community” that I know. A good lot, they are.

The music is in my head every day.

In the interest of Jazz Month, I’m bringing to bear thoughts from musicians who weren’t born here, for whom jazz became so important that it became their way of life. Their happy salvation.

[PHOTO: Christian Scott Band plays JAZZ, baby, at the Lake George Jazz Festival in 2010. © R.J. DeLuke]

There’s been a lot of talk recently, sparked by one excellent trumpet player’s thoughts on the word “jazz,” as to what the music is and isn’t, what the word means or doesn‘t mean. Most people already know in their bones the answer to that, even if it isn’t describable. Wherever the word came from, it has meant this music, this American art form, and NOTHING more, for many, many decades. So please stop whining that it came from bordellos. No one cares. No one remembers. Like many other words in many languages, there is sometimes evolution. Jazz has evolved to one thing. America’s art music. Send me to a jazz festival any day of the week.

Please.

Those from outside America don’t seem hung up on the word. Like the majority of jazz musicians here, they embrace it. We all should. Words for any music genre don’t encompass its totality. Words are inadequate for that. But you take what’s there - Jazz - and kind of know what it stands for and appreciate it. Sonny Rollins said recently, “There are so many other battles to fight …I think I would agree if you could wave a magic wand and we could change it into American music, or something like that, overnight with a wand. Yeah. But how could that happen? So I accepted it.”

“When I have to speak about jazz, I can go on forever.”

That’s how trumpeter Enrico Rava of Italy closed a lengthy conversation with me in 2005. Brought into the fold after experiencing Miles Davis play live in 1957 (“He has so much charisma. You would look at him all the time. Even when he wasn’t playing everybody kept looking at Miles. I was fascinated. It’s like the first time I saw a movie with Marlon Brando, ‘On the Waterfront.’ I didn’t look at anybody else on the screen. With Miles it was the same thing.”), Rava jumped into music and never looked back. “Jazz gave me some of the most beautiful moments, as a listener and as a player. Also it gave me a good life. The music kind of saved my life, in a way.,” he said. ”I consider my first job is to be a jazz fan. Then I play. I’m a jazz fan that decided to play.”

“It’s a music of immigrants, because this is a country of immigrants,” said Paquito D’Rivera in 2010. “The contribution of everybody here, and every ability, special to jazz, makes it unique. I love the state of jazz in general. All the styles. I am existing in a very creative environment. There are creative people and very ingenious people around in the jazz community.”

D’Rivera risked his life escaping from Cuba, where playing jazz was a privilege, but had to be hidden from the government by being blended with other forms, and using different names. “Even the name Irakere is an African name used to hide the jazz element in our playing,” he said of the renowned Cuban band that made international waves in the 1970s.

“I am a musician in general. But jazz is my main type. I like all different new scenes around, but jazz, in my mind, is like my black beans and rice,” said the NEA Jazz Master. “Jazz is very special to me. Pretty close to my heart.”

“The feeling of what you do when you can improvise,” is the flame that draws trumpeter Diego Urcola of Argentina to jazz, he told me in 2011. “It’s a feeling you wanted … it’s really hard to leave. When you play other kinds of music, you like it because maybe some great writers or composers. But that thing about improvisation is so, so strong. The interaction with other musicians that are improvising with you at the same time. That’s jazz. That conversation. That interaction. It’s not about swing or Latin or whatever type of rhythm or elements. It’s a concept of improvisation and interaction. Spontaneous interaction. That’s what really attracts me.”

For Siggi Loch, owner of the Germany-based ACT record label, who heard jazz as a child in Europe in the 1940s, the origin of the word had no relevance. It was American music with a special quality that reached beyond pop. Loch went on to be a producer and promoter, eventually starting ACT in 1992, which produces a lot of quality jazz. He’s now in his 70s. “What fascinated me more than anything was this idea of individual freedom in a group of equals. That was a fascinating thought for a young boy like myself after World War II. It was very fascinating from a political aspect, not just from a musical aspect. I guess that was fascinating not just me but a lot of my young people of my generation at the time.

He added, “Some people argue about the artist mixing (jazz) with world music. But jazz was world music by definition when it was founded in New Orleans. It was nothing but the result of the music from a melting pot, music from different parts of the world. The key element was the individual, who expressed himself by the way of improvising. That’s what makes jazz. That’s exactly what is still is today. Some people feel after free jazz there’s no more jazz. I’m not interested in that kind of discussion. It doesn’t matter.”

For saxophonist Will Vinson of the United Kingdom, improvisation and lightning-fast communication is his what fascinated him and caused him to mover to the Big Apple. “In New York the level of musicianship is so high, the level of listening is so high. People listen to each other and they really do, on a good day, create things that haven’t happened before. That’s amazing. That’s really a unique thing to jazz. Not that we’ve created what hasn’t happened before, but that we do so just by getting together and taking out our instruments and playing. I think that’s an amazing quality of jazz. That’s what makes it interesting to go and see it. That’s why it’s interesting to go and see a band you’ve already seen before. It’s not going to be the same, even if they’re playing the same music. That’s why it’s interesting to be on the road and to play the same music every night, but, if you’re in the right company, to have something new and different and amazing happen to it every night.

‘If you’re playing music that isn’t improvised every night, it doesn’t matter how good the music is in the first place, it might change a little bit, but it’s basically going to be the same every night. In jazz you can have wildly different things happen every night on the same music. Which is just endless joy and an endless source of inspiration.”

“I love jazz,” saxophonist Tineke Postma of Holland summed up for me last year. “The improv part of it and of course we live in a time with many challenges and this effects the jazz world as well. Art is very important to keep people inspired, critical and in touch with spiritual and social parts of life. Jazz can make people grow and develop creative thinking, it touches all those aspects. Jazz is life!”

Indeed.

Get some Jazz! It will enrich your life!

Brian Patneaude Adds to Quality Discog with 'All Around Us'

Compositions, as well as the performance, shine again for saxophonist

The Capital District region of New York state is pretty rich in musical talent and has a strong jazz scene, even if it’s one that suffers the same trials and tribulations as the national scene. One of it’s attributes is saxophonist/composer Brian Patneaude, a fine player and arguably the face of the local jazz scene whether he humbly eschews that (and he does) or not. Annuals polls by Metroland and the Albany Times Union newspapers bear that out.

As Brian is quick to point out, there are many talented folks around Albany, NY. (the answer to ‘Where is the Capital of New York?’ for those who might be reading from outside the region and think NYC is the capital -- or all that New York state consists of.) True. And people all have their favorites. That’s good. But the area is fortunate in that most weekends Patneaude and those of his ilk can be found playing somewhere.

Another good thing is that Patneaude has released his fifth CD as a leader, "All Around Us," celebrated with a CD release concert on March 3 at the College of St. Rose in Albany. It’s another very strong outing, adding top a discography that is remarkable in its consistency -- high-quality consistency. Not a clunker in the bunch and each has shit that can bring you back for repeated listens. All very satisfying.

That’s not as common as one might think.

Reviewing CDs isn’t something I normally do. (Generally, too much pontification that is pretty much masturbation in that genre). But there may be somewhat more along those lines in this blog over time. (To paraphrase Buddy Rich’s response to a fan’s song request: ‘I’ll write what I want. It’s my blog.’) But this really springs out of the release concert, where Patneaude played all eight selections from the recording, of which six are originals.

The show was sweet, the saxophonist is fine form and his band in synch. Bassist Mike Delprete is a solid sumbitch, strong sound, on the money. engaging soloist. Drummer Danny Whelchel has been with Patneaude about 15 years and is very simpatico. Good time and colors the music. Doesn’t think he’s Tony Williams. What you get is what’s needed, tastefully laid out. Pianist David Caldwell-mason’s style, which plays a lot with the harmonics of the structures, is well-suited. Good stuff. As with all live jazz, the show in the college’s really nice, cozy Massry Center brought the tunes even more to life. A wonderful evening of jazz.

Highlights included the funky “Bluocele,” that was delightfully greasier than the recorded version; the song written for his fiancé, Melissa, “Aimless Antithesis,” and “Too Vast for Malice.” Hell, it was all good, take your pick. Same with the CD. The show was robust. Patneaude’s playing is outstanding, a sound that stays away from being harsh. It can have elements of John Klemmer when Patneaude goes into his delightfully softer, melodic moments. And he can burn, of course. But his solos have a logic, as well as the aspect of improv.

So does his writing, which seems to impress me more and more. Patneaude writes great songs. He has from the beginning. It’s never “this is what I learned at Berklee” excess.

Where a lot of musicians come out of the gate recording standards, so people get to know their playing, Patneaude never has. Getting away from the safety net of standards might have been somewhat of a gamble. His first CD, “Variations,” (all five are on WEPA Records) included originals and compositions from his mates. Since then, his compositions dominate and they should. They’re interesting, catchy, sophisticated. Some have a great simplicity that his bands build on to great result. And there’s no particular sameness that can lead to mundane. His composing is a great deal better than many “names” I could name. They should be played by people like Joe Lovano and that ilk. (Maybe they yet will). That’s no shit. All the recordings are that way. “Distance,” from 2005, is one I go back to. Don‘t really know why, because they’re all worthy.

The day is gone when albums would sit on your turntable for while, getting repeated playing. Hell, iPods have curtailed CDs sitting in the players for a while. So for any composer, the chance for a song to spread and have longevity is compromised somewhat. That’s just part of how technology has changed the way people listen. Off the top of my head, I thought music John Scofield wrote for “This Against That” might spread. But it hasn’t. Just another example.

But Patneaude’s writing is first-rate and should be -- hopefully will be -- not just for fans but musicians. Grab the new one. Listen to the aforementioned recordings, as well as “Riverview” and “As We Know It.” Different ones may become your favorite. You can’t go far wrong. For performance and for composition.

Consistency is a good thing. Consistency of quality even better. Brian gets high marks for both.

Albany jazz fans can continue to enjoy Patneaude’s live gigs. And anyone, anywhere can dig this new disk regardless of where you live. Go here, here or here.

At Last, the Miles Davis Stamp

U.S., France to honor Prince of Cool

Word is finally out now that the U.S. Postal Service, in some kind of conjunction with France (Don't ask me what. Do we ever know what France is up to? They are music lovers tho, and have proven over decades to be jazz lovers), is issuing a Miles Davis postage stamp this year.

The likes of Bird, Trane, Billie, Ella, Duke, and Pops have received the honored. Muddy Waters and Robert Johnson. This year the general Jazz Appreciation stamp was issued. Very cool. He and Edith Piaf, an iconic French singer, will have their stamps issued at the same time. Perhaps that's the French connection.

No word yet on when it will be available.

Of course, reams of material has been written about Miles, the man who changed music four or five times, and put an indelible stamp (no pun intended) on trumpet style. And the sound. The beautiful SOUND.("The Sound is Silenced" said the New York Post headline when Miles died).

No repetition here of all the reasons why Miles is Miles and his incredible impact on music. An impact that remains to this day and likely for as long as humans organize and emit musical sounds.

I did find a picture of what the stamp will be. I think it's a great choice -- the photo that can be found on "Tribute to jack Johnson" (Columbia, 1971), an album that actually solidified the body of work that got Miles elected to the Rock & Roll Hall of Fame. It's a great image. Miles Workin'. Cookin'. Steamin' Not relaxin'. Miles doin' it.



Nice that these greats are honored periodically. Who will be next? My vote would be Sarah Vaughan. Yours?

On a related Miles front, there are now two movies headed for production about Miles.

Don Cheadle, a good actor, is involved in the project first suggested a few decades ago. Weird things being said about it. It won't be a typical "bio pic", but will try to capture Miles somehow. (a DIFFICULT task).

Another has surfaced based on a book by his son Gregory, "Dark Magus." problem is, the book isn't very good.

Who knows when these will surface. I'm prepared for them to miss the mark, as Hollywood so often does, and pretty much suck. But I'll be there to view them, hoping I'm wrong. I'm as willing to bet on the sucking part tho, as strongly as I'm willing to bet the New York Giants beat the New England Patriots this weekend in the Super Bowl. By alot.



The best books on Miles are the autobiography, the bios penned by Ian Carr and John Szwed, and the one on his electric period by Paul Tingen. There are some other worthy ones. "The Man in the Green Shirt" is great for photos and has decent commentary.

So -- Miles lives on. As ever.

In Praise of DeJohnette

Recent NEA Jazz Master is among best drummers ever

It was nice to see the recent National Endowment for the Arts annual Jazz Masters awards ceremony and concert broadcast online recently from the Jazz at Lincoln Center. All the honorees were fitting, and all--the ones present--eloquent. Particularly trumpeter Jimmy Owens speaking about the needs of aging musicians (and the lack of support from jazz club owners in that regard), and the good works of the Jazz Foundation of America.

Among this year’s class, that includes Von Freeman, Owens, Sheila Jordan and Charlie Haden, the one that stands out for me is drummer Jack DeJohnette. And what prompts these reflective remarks is listening to a CD received today by the excellent pianist Luis Perdomo, titled Universal Mind,(RKM Music) a trio outing with Drew Gress on bass and DeJohnette on drums. DeJohnette is enlightening on the drums. As always.

And it reminds me of what I have been telling people for some time. DeJohnette is the best drummer on the planet. In spite of how unreasonable it is to use such a term “best” in any endeavor, particularly art. There are sooooo many fine drummers out there, and superb young guys coming up like Kendrick Scott, Eric Harland, Marcus Gilmore, Johnathan Blake, Rudy Royston, Jamire Williams, Justin Faulkner and on and on and on. But listen to DeJohnette albums, or those of the Keith Jarrett Trio, or whomever. Miles at the Isle of Wight. Or see Jack with any of his fine formations.

See Jack Play.

[Photos: Above, Jack DeJohnette at Freihofer’s Saratoga Jazz Festival, 2011. Below, Luis Perdomo and Drew Gress playing with Ravi Coltrane’s quarter at the Newport Jazz Festival, 2011. © R.J. DeLuke]

Sheee-it. It’s mesmerizing. And always so musical, even at his most volcanic.

The Perdomo disk, which will be released on Valentine’s Day, is a helluva recording. Check it out when possible. DeJohnette’s playing is so compelling, matching neatly with Perdomo, who is also consistently terrific. It’s always thus.

At Freihofer’s Saratoga Jazz Festival in 2007, with Trio Beyond -- guitarist John Scofield and organist Larry Goldings joining Jack -- it was hard to keep one’s eyes off the drummer and the waves of sound (not to be confused with sound waves) that came from his drum kit. Last year’s Saratoga fest featured DeJohnette’s group with sax fiend Rudresh Mahanthappa, kicked ass, propelled, of course by the force of Jack. The Force of Nature. The Natural.

And nothing is more natural than DeJohnette’s playing, even when frantic.

He’s a total musician, having been trained as a classical pianist during his upbringing in Chicago. At a concert with guitarist John Abercrombie and bassist Ron McClure in 1977, in a small auditorium on the campus of Utica College of Syracuse University, DeJohnette spontaneously left his chair behind the drums, walked over to a piano that was pushed aside for the trio -- not part of the show -- and started wailing. It was impressive.



Everything about Jack is impressive. (Check out John Kelman’s excellent story on DeJohnette at All About Jazz). Pick up any album. And by all means see him and his bands.

“I consider myself a world musician,” he told me in a 2007 interview. “No matter what the instrument is, you’re a musician. You’re playing music on the instrument. I consider myself a world musician or world drummer. It’s not set in stone. It’s always pliable. It’s always changing.” Regarding his being held in high esteem by the next generation of drummers: “It’s nice to be respected and appreciated that way. It inspires me to keep doing more of what I’m doing. More experimenting, keep challenging myself and just doing the best every time I’m playing the music.”

He sure does.

At the NEA ceremony, DeJohnette was also impressive expressing his thoughts. He spoke of music being a vital part of the “emotional and spiritual development of people.” He spoke of an artist’s responsibility to always address that. He noted that times have changed since his musical growing up in the turbulent 1960s and 1970s, but “one thing that we should never lose is a commitment to the highest level artistry and integrity an individual can add to the collective voice … In a mediocre world this is more important than ever.”

Amen.

And DeJohnette is Always holding up his end of the bargain.