APRIL2011

BILL FRISELLBILL FRISELL

7CROSSING

BIG BILL MORGANFIELD

VINCE HERRING & JEREMY PELTVINCE HERRING & JEREMY PELT

AMINA FIGAROVA TAB BENOIT

LENORE RAPHAELLENORE RAPHAEL JOHN MOONEYJOHN MOONEY

BONEFISH JOHNNY

LIL’ ED & THE BLUES IMPERIALSLIL’ ED & THE BLUES IMPERIALS

MELODY OF RHYTHMMELODY OF RHYTHM

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WINNING SPINSIT’S IMPOSSIBLE TO NAME THEmost unpredictable artist in modern jazz, but guitarist Bill Frisell certainly belongs in thediscussion.

His 2010 CD Beautiful Dreamers featured anunorthodox trio with viola player Eyvind Kangand drummer Rudy Royston. The three soaredthrough a set of evocative Frisell originals,and covers that ranged from Blind WillieJohnson’s “It’s Nobody’s Fault but Mine” toBenny Goodman’s “Benny’s Bugle” to StephenFoster’s “Beautiful Dreamer.” The same trioappears in Miami this month.

Frisell also recently released a duo recordingwith singing guitarist Vinicius Cantuária (theBrazilian-tinged Lágrimas Mexicanas), and abrand-new recording with his 858 Quartet.Due out on April 26, Sign of Life (Savoy Jazz)also features Kang, but in a string quartet, ofsorts, that’s rounded out by violinist JennyScheinman and cellist Hank Roberts. Andlike much of the work throughout Frisell’s30-year recording career—including thissame quartet’s debut, Richter 858, from2005—the music is virtually unclassifiable.

Whitney Balliett once described jazz as“the sound of surprise,” a phrase that Frisellseems to take to heart. Sign of Life’s openingtrack, “It’s a Long Story,” sets the unpre-dictable tone. The guitarist plucks a delicate,waltzing intro before Roberts fingerpicks abassline on his cello rather than using his bow.By the time Scheinman and Kang enter withtheir harmonized lines, the not-quite-longenough story (two and a half minutes) isalmost over, although a longer reprise popsup a few tracks later. Throughout the disc,Frisell’s signature electric-guitar tonebridges the gap between the instrument andits acoustic cousin.

The subsequent “Old Times” lives up to itstitle by straddling classical and Americanfolk-music styles. Gray areas between genresare a recurring theme throughout, even asthey repeatedly shift. The title track approx-imates free chamber jazz. Scheinman andKang’s plaintive bowing on the 6/8-timed ballad “Friend of Mine” mixes classical withcountry and bluegrass, and the gorgeous“Wonderland” blends plucked pizzicato lineswith traditional bowed flurries.

Like much modern classical music, Sign ofLife isn’t constrained by only non-Americaninfluences. That links Frisell to other unpre-dictable modern jazz masters who emergedafter Miles Davis and his fusion progeny—younger artists such as violinist MarkO’Connor and banjo player Béla Fleck, whoweave classical music into their webs withoutworrying about its supposed purity.

Frisell composed all 17 of the CD’s tracksduring a three-week period in late 2010, yettheir stylistic breadth is vast. For example,the guitarist includes blues influences within“Mother Daughter,” incorporates a film-noirsoundtrack feel on “Recollection,” and foldsCajun nuances into “Suitcase in My Hand.”

In a genre he has almost singlehandedlycreated over the years, Frisell invests electricvitality and fresh expression into familiarsong forms. His 2009 Disfarmer project provided a stark and dignified soundtrack to

by Bill Meredith

BILL FRISELL

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a series of Depression-era photographic portraits, whileBeautiful Dreamers found him once again refining his view ofAmerican song. It’s an aesthetic that Frisell has employed invarious contexts throughout his career, whether he was per-forming fusion with the Power Tools trio, beautiful duetswith pop vocalist Elvis Costello, or (more or less) straight-ahead jazz with all-stars Dave Holland and Elvin Jones.And certainly, recordings such as 2003’s TheIntercontinentals and this year’s Lágrimas Mexicanas dis-play his willingness to import sounds and textures frombeyond U.S. borders.

So is Sign of Life classical, chamber music, bluegrass, Americana, sound-track music, country, folk, blues or jazz? The answer, of course, is a Frisellian yes.

Bill Frisell performs with Eyvind Kang andRudy Royston at 8:30pm April 16 at theColony Theater in Miami Beach. Call 305-324-4337 or visit Tigertail.org.

WINNING SPINS

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BIG BILL MORGANFIELD MUDDY WATERS BIRTHDAY TOURMcWELLS, ORLANDO/APRIL 2EARL’S HIDEAWAY, SEBASTIAN/APRIL 3THE ORANGE DOOR, LAKE PARK/APRIL 4SEMINOLE CASINO, COCONUT CREEK/APRIL 6As the undisputed king of Chicago blues, Muddy Watersinfluenced everyone from Buddy Guy to The Rolling Stones.His legacy also extends to his son, Big Bill Morganfield,an accomplished performer whose voice and charismamirror that of his old man’s. Big Bill didn’t grow up withMuddy in Chicago—he lived with his maternal grand-mother in Fort Lauderdale—but his father’s imprintwas indelible. That link can be heard on any of Big Bill’srecordings, a couple of which employ Muddy’s former

bandmates PinetopPerkins, Bob Margolin,Paul Oscher and Willie“Big Eyes” Smith.Naturally, Big Bill covershis pop’s classic tunes,but he also displays finesongwriting chops onhis own material. Forthis “birthday tour”honoring Muddy expectplenty of tunes fromDad’s songbook. Alsodig Big Bill’s opener:the Orlando-basedShaun Rounds BluesBand. BW

S P O T L I G H TJOHN MOONEY & BLUESIANABLUES, BREWS & BBQ FESTSEMINOLE CASINO, COCONUT CREEK/APRIL 8John Mooney offers a tantalizing mix of grooves thatconjures dark nights on the Delta and rollicking revelson Bourbon Street. His 2006 CD Big Ol’ Fiya expertlyshowcases Mooney’s signature blend. He salutes country-blues great Son House, an early mentor, with a stomp-down read of “Louise McGhee,” and pitches a party withNew Orleans colleagues Jon Cleary on keyboards,Uganda Roberts on percussion and the late Jeff Sarlion bass. Mooney also includes a potent version ofGrayson Capps’ second-line groover “Drink a LittlePoison (4 U Die),” which he performed alongside theSoul Rebels Brass Band on an episode of HBO’s

Treme. A searing slideguitarist with aninstantly identifiablesound, Mooney alsosings with great con-viction, having livedthrough some of theharrowing experiencesof which he sings. Onstage, he’s among themost powerful, sweat-raising performers inthe blues today. He’llreturn to the NewOrleans Jazz andHeritage Fest laterthis month. BW

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LIL’ ED AND THE BLUES IMPERIALSBRADFORDVILLE BLUES, TALLAHASSEE/APRIL 15WICKHAM PARK PAVILION, MELBOURNE/APRIL 16SKIPPER’S, TAMPA/APRIL 17CHEF JOHN’S, JUPITER/APRIL 20Lil’ Ed Williams turns 55 this month and he’s celebratingall over Florida. The wildly entertaining slide-guitaristand vocalist burst out of the Windy City in the ’80s,after Alligator Records’ Bruce Iglauer featured him onthe label’s New Bluebloods anthology. Ed’s manic energyin the studio was so explosive that Iglauer immediatelyoffered him a contract, and he’s been among their topblues artists ever since. Williams learned his steely,spark-throwing slide craft from his uncle, blues master J.B. Hutto, also known for his outrageous

stage getups and high-energy performances.Williams honors Huttowith colorful outfitsand his trademark sky-high fez. With half-brother Pookie Young’sbedrock bass, MichaelGarrett’s expert rhythmguitar and KellyLittleton’s excitingdrum work to backhim up, Williams con-tinues to amaze uswith slide runs, duck-walks and a voice as bigas Lake Michigan. BW

S P O T L I G H TTAB BENOIT andTHE VOICE OF THE WETLANDS ALLSTARSVINYL MUSIC HALL, PENSACOLA/APRIL 6SEMINOLE CASINO, COCONUT CREEK/APRIL 9TAMPA BAY BLUES FEST/APRIL 10A passionate advocate for Wetlands preservation, TabBenoit has fought for years on behalf of the rapidlydisappearing ecosystem. For his efforts, the Houma, La.-born guitarist received the 2010 Governor’s Award forConservationist of the Year from the LouisianaWildlife Federation. On his smoldering CD Medicine,a songwriting collaboration with Anders Osborne dueout this month, Benoit delivers a heartfelt plea forpreservation on the swampy cut “A Whole Lotta Soul.”And his Otis Redding-inspired pipes are showcased on

tunes like the original“Sunrise” and the slow-blues classic “NothingTakes the Place ofYou.” He draws plentyof fire from his finger-tips, evident in hisgritty, textured leads.Benoit’s Wetlands All-stars comprise home-state royalty: percus-sionist Cyril Neville,harmonicist Jumpin’Johnny Sansone andMardi Gras Indianleader Big Chief MonkBoudreaux. BW

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Log on to www.bostonsonthebeach.comfor our complete lineup, menus, photos and more!Located on the waterfront in Delray Beach, Boston’s is the ideal place

for casual dining, live music and sports viewing in our first-floor restaurant, The Beach. Or enjoy great cuisine and cocktails

upstairs at our fine dining restaurant, The UpperDeck. And be sure to check out our Back Bay Tiki Bar for a tropical cocktail

while listening to some of the area’s finest musicians on our outdoor stage. Boston’s… something for everyone!

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BONEFISH JOHNNY WITH PIANO BOBCOCONUT GROVE SAILING CLUB, MIAMI/APRIL 8THE BIG EASY, HOLLYWOOD/APRIL 14The term “guitar hero” is usually reserved for thefastest or flashiest fret shredders. But the expertiseand affection guitarist Bonefish Johnny Stacey bringsto blues, soul, funk, R&B and roots music makes himeven more deserving of the title. Bonefish’s tenurewith The Groove Thangs, the band he started with hisbrother Pat in 1984, showcased an ever-expandinglibrary of licks, from funk and reggae to soul andblues. The band’s wild mix of styles encompassed avariety of roots music, and Bonefish, an avid scholarof obscure and underappreciated roots arcana, navi-gated them expertly. After Pat moved to South

Carolina, Johnny car-ried over his signature“sugarcane soul” tothe Shack Daddys,with whom he contin-ues to perform along-side original GTbassist Carl “Kilmo”Pacillo. Teaming upagain with boogiemaestro Piano BobWilder, Bonefish willlikely boot up classicblues from his vastrepertoire; could beanything from JimmyReed to B.B. King. BW

S P O T L I G H TBELA FLECK/ZAKIR HUSSAIN/EDGAR MEYERPHILLIPS PAC, UF GAINESVILLE/APRIL 3Banjo player Béla Fleck, tabla drummer Zakir Hussainand bassist Edgar Meyer collaborated on the 2009 CDThe Melody of Rhythm, and only such advanced musi-cians could’ve ensured that the title wasn’t a musicaloxymoron. By mixing elements of bluegrass and jazz withclassical and Middle Eastern music, the disc showcasedFleck’s ability to bring out the percussive aspects of thebanjo, Hussain’s melodic approach to the tablas andMeyer’s gift for harmonically linking his bandmatestogether. The players share a history of blurring linesbetween genres. Hussain was integral in guitaristJohn McLaughlin’s Shakti project and in Grateful Deaddrummer Mickey Hart’s world-percussion ensemblePlanet Drum. Meyer collaborated with classical cellistYo-Yo Ma on the CD Appalachian Journey and enjoysa 25-year association with Fleck. And the banjoist’srecent exploits include Throw Down Your Heart, a col-

laboration witht r a d i t i o n a lvocalists andinstrumentalistsin Africa. Fleckcontinues towork with hisfusion groupThe Flecktones,with whom he’llrelease a new CDand tour in Mayand June. BM

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7CROSSINGCORAL GABLES CONGREGATIONAL CHURCHAPRIL 3Chances are that you’ve heard the playing of mem-bers of the new band 7Crossing—just in a very differ-ent setting. Keyboardist Clay Ostwald, guitaristLindsay Blair, bassist Jorge Casas, drummer OlbinBurgos and percussionist Edwin Bonilla were allmembers of Miami Sound Machine, the group led byvocalist Gloria Estefan that topped dance-musiccharts in the 1980s. That veteran quintet is joined byvocalist Joy Francis and saxophonist David Fernandezin 7Crossing, which will debut material from its debutCD, the Ostwald-produced Relentless. The disc features a Chick Corea influence in Latin-tingedworkouts like the title track, and an occasionalBrecker Brothers resemblance through the intertwin-ing lines of Fernandez and Ostwald, who expertlymimics horn parts on “Sedona.” Blair’s soloing excelsthroughout, whether on fusion tracks or ballads suchas “Once I Loved” and “I’ll Remember You,” both ofwhich feature Francis’ soaring vocals. BM

S P O T L I G H TAMINA FIGAROVA SEXTETMINIACI PAC, DAVIE/APRIL 9Like many jazz musicians who hail from across theAtlantic Ocean, Azerbaijan-born pianist Amina Figarovastarted out studying classical music (in her case, atthe capital city’s Baku Conservatory). But with parentswho adored Louis Armstrong, Duke Ellington andElla Fitzgerald, she eventually switched allegiances tojazz at the Rotterdam Conservatory, where an exchangeprogram allowed her to continue her education atBoston’s Berklee College of Music. And like manyprominent non-American jazz composers, Figarovahas since excelled in jazz by respecting the genre’straditions while not being shackled by them. Thepianist’s 2005 CD September Suite is an often-intense

response to the 9/11attacks, as evidencedby by her sextet’sYouTube performanceof one of its tracks,“Trying to Focus.”Flute-playing husbandB a r t P l a t t e a u , saxophonist MarcMommaas, trumpeterErnie Hammes, bassistJeroen Vierdag anddrummer Chris Strikround out the sextet,which will likely playtracks from its 2010release Sketches. BM

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LENORE RAPHAELATLANTIC MUSIC CENTER, MELBOURNE/APRIL 9STEINWAY PIANO GALLERY, CORAL GABLES/APRIL 13STEINWAY PIANO GALLERY OF NAPLES/APRIL 14When a child pianist starts improvising while playingworks by Mozart and Chopin, it’s likely she’ll gravitatetoward something other than classical music. Such wasthe case with Bronx-born jazz pianist Lenore Raphael.A classical prodigy at age 7 who even performed atCarnegie Hall, her career shifted when she heard herbrother’s recordings by trumpeter Clifford Brown. Setto become a music instructor as she graduated fromcollege, Raphael was hit by another thunderbolt whenshe heard pianist Oscar Peterson. She put teaching onhold, opting to become the burning performer seen in

videos of standardssuch as “There Is NoGreater Love” and“Have You Met MissJones?” With a hand-ful of recordings thatalso showcase BudPowell’s influence—including the live2008 trio release ClassAct—Raphael is now afestival fave, a regularat Steinway galleries,and host of LenoreRaphael’s JazzSpot onPureJazzRadio.org.BM

S P O T L I G H TVINCENT HERRING & JEREMY PELTMUSEUM OF ARTS AND SCIENCES, DAYTONA BEACH /APRIL 17Saxophonist Vincent Herring and trumpeter JeremyPelt team up this month for a North East FederationJazz Association concert (2:30PM) pairing two A-listjazz talents. Herring honed his Cannonball Adderley-influenced sound while playing with that icon’s cornet-playing brother, Nat Adderley, from 1987 to 1993.He’d previously toured with vibraphonist LionelHampton. Pelt arrived in New York in 1998, aftergraduating from the Berklee College of Music inBoston. He’s enjoyed a standout career as a sideman(Ravi Coltrane, Greg Osby, the Mingus Big Band) and asa solo artist. Like Herring, the Miles Davis-influenced

trumpeter can easilyshift from cool to fiery,as evidenced on hisnew CD The TalentedMr. Pelt. Expect selec-tions from that albumand its stellar predeces-sor Men of Honor, aswell as from Herring’sdeep catalog. Thereedman’s ability toalternate among altoand soprano saxes andflute will likely dictatethe duo’s set list. VisitNEFJA.org for more.BM

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P.O. Box 2614, Palm Beach, FL 33480PUBLISHER: Charlie Boyer

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hope@JazzBluesFlorida.comCONTRIBUTING WRITER: Bill MeredithPHOTO CREDITS: Cover: Amina Figarovaby Ximena Davalos, Bill Frisell by Jimmy Katz. Spotlights: Bonefish Johnny by Steven Wolf, Jeremy Pelt by Jimmy Ryan

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