JANUARY2010

Mark O’Connor Terry Hanck

John MedeskiCyrus Chestnut

Simone Kopmajer

Marcia Ball

Nico Wayne Toussaint

Turk MauroThe Manhattan Transfer

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WINNING SPINSDURING ITS 40-YEAR history, The ManhattanTransfer has plied its trade-mark harmonies and finelyhoned jazz sensibilities in avariety of settings. From nos-talgic jukebox nuggets like“Tuxedo Junction,” to poppydisco-era hits (remember“Twilight Zone”?), to a soni-cally adventurous salute toLouis Armstrong, the Transferhas refused to remain in sta-sis. (The group’s 1985 releaseVocalese tips a cap to JonHendricks, who pioneered thevocalese form and will per-form along with the Transferand The New York Voices atthe Arsht Center in Miami onJanuary 15.)

And certainly the quartetof Tim Hauser, Janis Siegel, Alan Paul andCheryl Bentyne—the lineup since Bentynejoined in 1978—continues to seek challenges,which is evident in their ambitious newrelease, The Chick Corea Songbook. WhileCorea represents one of modern-jazz’s most-revered figures, his compositions are oftenquite lyrical. This is most obvious in songs hepenned for his seminal fusion group Return toForever, which featured Flora Purim singingpoetic lyrics by Neville Potter. But theTransfer doesn’t really echo that group in anyconscious way (other than the album’s pack-aging, which depicts familiar imagery such ascastles, cosmos, doves in flight and a floatingfeather that alludes to RTF’s 1972 debutLight as a Feather.)

The Transfer puts its own spin on RTFclassics, offering a fresh take on the oft-inter-preted “Spain,” for instance, its sparklingarrangement and bright harmonies causinglisteners to hear the tune anew. Same goes forthe Transfer’s version of “500 Miles High,”one of RTF’s most durable melodies. Here,the group takes an ethereal, dreamy approach,opening with wordless, a cappella harmoniesbefore delving into the winsome first verse,also sung in unison.

Adapted from RTF’s “Space Circus,” thereworked “Another Roadside Attraction” fea-tures swirling rounds of vocals that recall themotion of a carnival ride, as well as disorientingfunhouse mirror effects, as it beckons us to“listen, listen, listen ... .” A shout-out to VanDyke Parks (“Van Dyke where you be/In thiswriting spree”) nods to the oddball musicaladventurer, who collaborated with Hauserand his son, Basie Hauser, on the sly lyric.

Hauser takes the lead on Corea’s gorgeous“Time’s Lie,” offering an unaffected andlushly romantic vocal on a typically cosmicPotter lyric, and receiving subtle harmonybacking from his bandmates. Fred Herschlends both his pianistic and arranging skillsto the tune, as well as to the playful “La Chanson du Bébé (Children’s Song #1),”featuring charming lyric imagery contributedby Bentyne and Siegel.

Of course, no tribute to Corea would becomplete without acknowledging the Latinflavor that informs his work. In addition tothe aforementioned “Spain,” the Transferopens its salute to the jazz great with “FreeSamba,” a piece Corea penned especially forthe album and on which he contributes hissprightly synthesizer. Shimmering percussive

By Bob Weinberg

THE MANHATTAN TRANSFER

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accents, birdcalls and some bluesy electric keyboard fig-ures start the track in the humid environs of the rainforest, which then breaks out to the sunsplashed trop-ical shores of Brazil. Siegel contributes lyrics andtakes the lead on “The Story of Anna and Armando(Armando’s Rhumba)”—Chick’s parents—whichtells how Armando won over his Anna by cooking hera magical meal in his Andalusian café.

A superb tribute, The Chick Corea Songbook teas-es out the wonder, playfulness and magnanimousspirit for which the composer is beloved. TheTransfer truly sounds reenergized by the material,and the new recording marks a highpoint in theirlong history.

The Manhattan Transfer will perform withJon Hendricks and The New York VoicesJan. 15 at the Arsht Center in Miami. Call305-949-6722 or visit Arshtcenter.org.

WINNING SPINS

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THE WORD featuring JOHN MEDESKI, ROBERTRANDOLPH, NORTH MISSISSIPPI ALLSTARSCULTURE ROOM, FT. LAUDERDALE/JAN. 1If you’re not departing with this collective for JamCruise 8, this pre-cruise party will give you a taste ofhow many different musical styles can be playedsimultaneously on dry land. The Word consists of key-boardist John Medeski, of jam-band top dogs Medeski,Martin & Wood, along with gospel pedal-steel-guitarphenom Robert Randolph and modern blues trio theNorth Mississippi Allstars. The band’s self-titled 2001CD showcased tracks like “Waiting on My Wings,”which blended sacred music with blues and rock a la theAllman Brothers Band—plus additional funk and jazzin the style of Medeski’s primary group. The versatile

keyboardist will leanheavily on the Hammondorgan while accompa-nying the Allstars’Luther Dickinson onguitar and vocals,brother Cody Dickinsonon drums and vocals,and Chris Chew on bassand vocals. Randolph,who was barely knownin the secular musicworld before The Word,will provide literal high-lights with his uncannyupper-register pedal-steel runs. BM

S P O T L I G H TCYRUS CHESTNUT TRIO – JAZZIN’ ELVISAMATURO THEATER, FT. LAUDERDALE/JAN. 13Pianist Cyrus Chestnut’s creative use of the spacebetween notes—as opposed to an overreliance on thenotes themselves—inspired Time magazine to name him“the best jazz pianist of his generation.” Influenced bythe rhythmic tendencies of Fats Waller and theunorthodoxy of Thelonious Monk, and employing theexuberance of both, Chestnut has developed a variedrésumé since graduating from the Berklee College ofMusic in 1985. Before starting his solo recordingcareer, the pianist worked with vocalist Jon Hendricks(see this issue’s Winning Spin) and trumpeter WyntonMarsalis. Since then, he’s performed with opera starKathleen Battle and released a string of conceptual

albums including therecently released Spirit,a solo-piano collectionof spirituals, and CyrusPlays Elvis, from whichthis Fort Lauderdaleperformance takes itstheme. In addition tojazz interpretations of the King, expectChestnut , bass i s tMichael Hawkins anddrummer Neal Smithto craft a synthesis ofjazz, pop, gospel andother surprises. BM

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TURK MAUROVAN DYKE CAFE, MIAMI BEACH/JAN. 27Saxophonist Turk Mauro’s career has been one ofpeaks and valleys. The tenor stylist switched to bari-tone to play in big bands led by Dizzy Gillespie andBuddy Rich between 1975 and 1979, and released histenor debut The Underdog in ’77. Its followup, TheHeavyweight, further showcased Mauro’s self-described specialties of “bebop, blues and ballads.”But when his traditional approach stopped garneringas many gigs in his native New York City, Mauro tookthe advice of fellow saxophonist Sonny Rollins andmoved to Paris in 1987. The relocation reignited hisplaying career. Since he moved to South Florida in1994 to care for his aging father, Mauro has released

the critically acclaimedMilestone CDs Hittin’the Jug and The Truth.For his show at theVan Dyke, Mauro willperform with SouthFlorida all-star siblingsMike Orta on pianoand Nicky Orta on bass,plus veteran drummerDanny Burger, to offerfurther truthful jazztestimony. BM

S P O T L I G H TMARK O’CONNORWELLINGTON COMMUNITYHIGH SCHOOL THEATRE/JAN. 31Few violinists would attempt an unaccompanied solorecital, but Mark O’Connor has played by his ownrules over the course of an eclectic 35-year career. Hestarted out playing guitar, but soon mastered mandolinand violin, as well. Still in his teens, he toured withlegendary French violinist Stephane Grappelli. In 1982,O’Connor joined the Dixie Dregs, recording and touringas both a violinist and guitarist with the heralded fusionoutfit. His solo career has since yielded gems such as1993’s Heroes, on which he performed with influenceslike Grappelli, Benny Thomasson and Jean-Luc Ponty.O’Connor’s most recent releases have ranged from the

high-octane playing ofhis Hot Swing Trio toorchestral efforts likeAmericana Symphony.Released on his ownOMAC label, the latterfeatures the violinistperforming variations onhis “Appalachia Waltz”with the BaltimoreSymphony. As on therecording, O’Connor’sWellington concert willshowcase his master-ful blend of classical,folk, bluegrass, jazzand country music. BM

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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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SIMONE KOPMAJERHEIDI’S, COCOA BEACH/JAN. 8-9Just in her 20s, Simone Kopmajer has been gainingglobal attention with her sultry, sophisticated singing.The Austrian-born daughter of a big-band leader,Kopmajer fell in love with jazz at an early age, and shedisplays a great sensitivity and sense of swing. Herclear intonation and kittenish sensuality come throughin interpretations of standards, and it’s unsurprising tolearn that she received training from seasoned vets suchas Sheila Jordan, Jay Clayton and Michele Hendricks.Jazz-vocal great Mark Murphy was so impressed withthe young singer that he brought her to the attention ofthe Japan-based Venus Records, for which she releasedfour albums. Her latest, Didn’t You Say for Hitman Jazz,

finds her performingcrossover material suchas Prince’s “Kiss” andJames Taylor’s “HowSweet It Is To Be Lovedby You,” as well as theintimate, classic-jazz-sounding title track.The Heidi’s shows willbe CD release partiesfor the new disc. Findout why Ira Sullivanraves about her, andwhy Scott Yanow listedher in his 2008 bookThe Jazz Singers: TheUltimate Guide. BW

S P O T L I G H TROCKIN’ R&B REVUE featuring TERRY HANCK,JP SOARS AND THE RED HOTS,MATTHEW STUBBS AND SAX GORDONACE’S LOUNGE, BRADENTON/JAN. 15THE BACK ROOM, BOCA RATON/JAN. 16EARL’S HIDEAWAY, SEBASTIAN/JAN. 17Silver-maned sax blower Terry Hanck helms thisRockin’ R&B Revue, assembling a multigenerationalgang of party-minded all-stars. Along for the ride arefrequent collaborators JP Soars and the Red Hots, whojump the blues with expertise and enthusiasm, as wellas New England area guitarist Matthew Stubbs andtenor man “Sax” Gordon Beadle. Stubbs showcasedhis slinky, gritty style on his 2008 instrumental releaseSoul Bender, which calls up images of girls in go-go boots

dancing The Frug, andwhich was punctuatedby the smoke-belchingsolos of Sax Gordon.Hanck won raves withhis all-original 2008recording Always, andalways fills the dancefloor with riffs informedby Junior Walker, RedPrysock and other greathonkers and wailers.It’ll be a treat to hearthis roster of A-listfrontmen, as well asthe sax-and-guitar duelsit’s sure to inspire. BW

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NICO WAYNE TOUSSAINT BANDVAN DYKE CAFE, MIAMI BEACH/JAN. 5DOWNTOWNER, FT. LAUDERDALE/JAN. 7RED’S CLUB MEMPHIS, FT. LAUDERDALE/JAN. 8THE ORANGE DOOR, LAKE PARK/JAN. 16The South Florida Blues Society has enjoyed a prettygood run at the International Blues Competition. Thisyear’s entrant, The Nico Wayne Toussaint Band, willhead up to Beale Street in January to defend the title.Born in France, the harmonica-playing Toussaint cameunder the spell of the blues after hearing the MuddyWaters album Hard Again, which featured James Cottonon harp. Thus inspired, he led his own Chicago bluesband in Europe, and frequently visited the U.S., wherehe sat in with Jimmy Johnson, Luther Allison and

Billy Branch, amongothers. Here in SoFla,Toussaint teamed upwith the father-and-son team of guitaristJosh and bassist DenyRowand, and RitchieCorrecelli on drums,all of whom play in thegroup Outta d’ Blues.Toussaint also has asecret weapon in Josh“The Pitbull of theBlues” Rowand. Lookslike the SFBS mayhave to make room foranother trophy. BW

S P O T L I G H TMARCIA BALLPLAZA THEATRE, ORLANDO/JAN. 8GUSMAN HALL, UNIVERSITY OF MIAMI/JAN. 9SKIPPER’S SMOKEHOUSE, TAMPA/JAN. 17You can always count on Marcia Ball to rock the houselike the joint was on fire. The Austin-based piano queenradiates the 88s with boogying brio, as she thundersacross the keys and sings in a soulful voice that ringswith Louisiana and Texas influences. Her discography onRounder, and now Alligator, shows how much she absorbedfrom inspirations such as Professor Longhair, AllenToussaint and Irma Thomas. But the best way toexperience Ball is to catch her live, as she sits behindthe keyboards, her long legs elegantly crossed, andbelts out tunes that defy audiences to keep still. For

proof, check out the2005 release Live!Down the Road, whichfinds the pianist and asuperb band rockingfaves such as “Big Shot,”“That’s Enough of ThatStuff” and “Louella.” Her2008 studio recording,Peace, Love and BBQ,conjures a backyard bashwith a smoky grill androotsy soundtrack. Lastyear, Ball claimed thePinetop Perkins PianoPlayer of the YearBlues Music Award. BW

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For Press Releases, CD Reviews,Advertising Info or Listings, contactour Main Office at 561.313.7432 or

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

charlie@JazzBluesFlorida.com

CONTRIBUTING EDITOR: Bob Weinbergbob@JazzBluesFlorida.com

ART DIRECTOR: Hope Jasonhope@JazzBluesFlorida.com

CONTRIBUTING WRITER: Bill Meredith

PHOTO CREDITS: Terry Hanck cover byJoseph Rosen. Mark O’Connor cover andSpotlight by Jim McGuire, Simone KopmajerSpotlight by John Abbott.

Jazz Blues Florida is published monthly. All copyrights are the property of Charlie Boyer. Allrights reserved. No material may be reproduced without written permission of the Publisher. Nounsolicited manuscripts will be returned unless sent with a self-addressed stamped envelope.

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