The Augmented Ear

New Brunswick is an often-overlooked oasis of terrific jazz, much of it safely cocooned within Rutgers’ scattered venues.

Recently, a group of in-town jazzbos launched the New Brunswick Jazz Project, aimed at increasing the visibility and awareness of jazz in the Queen City. Headed by Rutgers prof – and Posi-Tone Records artist — Ralph Bowen, the group has emerged as a solid source of jazz performers around town. I had a chance to review Bowen’s Due Reverence for AllAboutJazz.com recently – you can read the review here.

The group has been organizing events in recent weeks, and Thursday, saxophonist < a href=“http://www.toddbashore.com” target=_blank>Todd Bashore and his quartet will perform at Makeda at 338 George St. The show starts at 7:30 p.m., runs to 11 p.m., and there’s no cover charge. The quartet includes pianist Orrin Evans, Yasushi Nakamura on bass, and Chris Brown on drums.

This show is a bit of a tune-up date for the group, which will be recording in August, ahead of Bashore’s departure to hook up with the Max Weinberg Big Band for an upcoming tour.

It’s the middle of the summer, apparently not the best time to release a new CD. For those willing to try, beware of the competition!
According to AllAboutJazz.com’s CD release schedule, this month has been rife with re-issues. From John Coltrane to Charles Mingus, Louis Armstrong to Bill Evans, it’s been a crowded field of big names. Revamped, re-issued, reworked or re-mastered, it’s a tough crowd to go against.
Next month perks up, though, with releases from Dave Liebman, Esperanza Spalding, Brian Bromberg, Vijay Iyer, Kenny Werner and Jeff Berlin.

If you’ve not listened to Esperanza Spalding, you’re missing out on a rare treat.
Spalding is a 25-year-old dynamo, maybe the best thing to happen to jazz in a decade or two because she has the star quality missing from so many young players. Eldar and Julian Lage are exciting players, but Spalding is not only a capable player — she’s also a singer capable of making a song her own.
Check out this video of her performing Stevie Wonder’s “Overjoyed”:

We can thank Pat Metheny for this treat: the story goes Esperanza was ready to quit Berklee after spending two semesters lugging her bass around, and switch to a political science major. But Metheny told her not to, pointing out she has the undefinable quality that can make an artist rise above others.
Need more proof? Here she is Jimmy Kimmel’s show:

How can jazz be dying when it draws someone so full of life?

Choosing to be a musician is a commitment for the long-term, especially if one aspires to be a jazz musician. For every Jamie Callum or Eldar, there are thousands of determined players woodshedding every day and dreaming of having a hit record.
They may have even already recorded the tracks that will break through – and don’t know it. That’s what happened to New Jersey pianist Joel Zelnik.
Zelnik is a regular performer in New York and Northern New Jersey clubs, where he and his wife Francine Evans draw crowds with their tributes to Frank Sinatra, Big Band girl singers and other shows.
His career began in the late 1960s, when he formed the J. Zelnik Trio. The group’s swinging performances earned them lots of fans, including Dr. Billy Taylor, who would feature tracks from an LP recorded by the trio in 1970, Move, regularly on his radio shows.
Turns out, Move is a big hit in Japan … in 2010.
The album wasn’t a big seller initially, in fact, when the son of the trio’s drummer David Rosenburg, who died some years after the recording was made, wanted to hear his late-father’s work a few years ago, the only copy anyone seemed to know about was on Zelnik’s shelf.
Zelnik made a copy of the recording and sent it to Jay Rosenburg (son of David). Jay enjoyed it so much, he began a one-man crusade to spread the music of the J. Zelnik Trio.
Thanks to the Internet, Japanese businessman Keisuke Taniguchi became a fan, investing time and money in producing a CD to release in Japan.
Search online for the J. Zelnik Trio and a handful of Japanese sources pop up – using Google’s translator, a few things were clear: the album is legendary among jazz fans there (and they are a dedicated and informed bunch); it features such tunes as “Tune Up,” “A Minor Thought” and “Will You be Mine”;… and it’s selling out.
It’s such a hit, the Japanese Think! Label has already arranged to release a follow-up, Joel Zelnik Trio Live At Steinway Piano Gallery.
Both recordings are available stateside from Dusty Groove’s American site, dustygroove.com.

I just received a new CD from guitarist Royce Campbell, the third he’s kindly sent me to review. While I owe him a longer writeup on his “Movie Songs Project” with Phil Woods, I wanted to share his name and my thoughts on his music sooner than I’ll be able to do otherwise.
Campbell’s latest release is “Solo Trane” (on Moon Cycle Records), a collection of John Coltrane tunes arranged for the guitar. Most musicians have enough trouble getting comfortable with Coltrane’s often-complex harmonic ideas to skip trying to craft intelligent or creative arrangements — it’s all about the speed of soloing for too many Coltrane-wannabes. I’ve only had a chance to hear about half of the release, but it’s clear Campbell is firing on all cylinders on these cuts. His treatment of “Naima” is magnificent; quietly passionate while still exploring all of the harmonic potentials of the song.
“Trane Track” gets a fun, strummed treatment to bounce melody and solo lines from … I’m anxious to hear it again.
“The Movie Songs Project” (on Philology Jazz), a collection of movie soundtracks with bassist Bob Bowen, drummer Ron Free — and a freelancing Phil Woods — will satisfy bebop fans of such soundtrack faves as “Manha De Carnival” or “Laura.” This group plays with classic cool, easily swinging while soloists tear through. Woods plays with a quiet intensity — you can always count on quality improvisation with him, but he seems to be enjoying this outing a lot. I never thought of “Baby Elephant Walk” as much more than a novelty tune, but in the hands of capable musicians …
The first listen I had of Campbell was his “Art of Chord Solo Guitar,” which I wrote about for AllAboutJazz.com (you can read it here).
I found Campbell’s solo work to be top-notch; it’s great to see he isn’t hindered in a band setting — or by some of jazz’s most challenging compositions.

If you’d like to get a pretty realistic glimpse of the life of a jazz musician, turn in to HBO’s “Treme,” set in post-Katrina New Orleans.
Several of the show’s primary characters are musicians, jazz or other, who eke out a living in one of America’s most musical cities. If you can’t make it here, can you anywhere?
Wendell Pierce stars as trombonist Antoine Batiste, marching in funeral lines by day and gigging anywhere he can at night. In one early episode, a taxi driver holds onto his horn while Antoine checks in on a gig, getting an advance to cover the fare.
Rob Brown’s New York-based Delmond Lambreaux walks out of a gig at Small’s in one episode to head south.
The show has featured appearances by Allen Toussaint, Dr. John, Elvis Costello, Steve Earle, Sammie Williams, Donald Harrison Jr., Galactic, Trombone Shorty Andrews, Deacon John, The Pine Leaf Boys, and the Rebirth and Tremé Brass Bands for additional local flavor.
The show doesn’t gloss over some of the hard realities of being a musician — for example, both Antoine and Delmond are estranged from their families initially (Antoine seems to have a couple …), which adds a smack of realism.
If you really want to see life on a jazz tour, though, check out the blog saxophonist Froy Aagre wrote for Jazz.com here. There’s a bit of culture shock as she discovers the difference between being a professional musician in Europe and one in America, but it’s also great to see things through her eyes … and ears.

Last night launched John Henry Goldman’s summer series of perfomances at Labyrinth Books on Nassau Street in Princeton, which will continue each Wednesday night through July. If you missed it, you can catch John Henry, with Luke Abruzzo, Gary Schaeffer and Mike Ipri at Tre Pieni in Forestal Village at 7:30 p.m. Saturday night.
Friday, you can catch the VooDudes at the South Brunswick Jazz Cafe at 8 p.m., Dick Gratton at the Chambers Walk Cafe in Lawrenceville from 6 p.m. to 9 p.m. And next weekend, enjoy the Wendy Zoffer Jazz Group at the Princeton Shopping Center from noon to 3 p.m. June 12, or help Stanley Jordan raise money for CASA Mercer County at the Salt Creek Grille in Forrestal Village on June 13 (the same day Fred Hersch and Joel Frahm are at the Lawrenceville School as part of the Princeton Festival).
There’s so much great music to enjoy in Central Jersey — be sure to get out and show your support for your favorite musicians.

I’m about to betray my generation, but I have to say I’m growing tired of the music of my youth. This is something that my fellow baby boomers apparently haven’t felt … yet.

While I still dearly love listening to — and regularly do — the music I grew up with, from the Beatles to George Benson, and Deep Purple to Return to Forever, I am forever hunting down new music to enjoy.

In recent years, I’ve found some recordings that I think will hold up over the years, just the way “Sgt. Pepper’s” or “Kind of Blue” has, and I’ve mentioned them in other posts.

But I find the inability of many people to hear and fully enjoy such new music to be completely mystifying — how can you find satisfaction in a steady diet of 50 or 60 year old music?

Dare I say it? Those recordings and musicians were great, but were not perfect. And you can be assured the last thing Miles Davis would have wanted is for his fans to stop hearing new music.

Thanks to sources like Napster, emusic and CD Baby, it’s possible to consume a huge amount of new music, releases from musicians you’ve never heard of, from all around the globe.

Many are uninteresting or dully conceived; many are dazzling and brilliant. Are they as ground-breaking as “Giant Steps” was? No … but how often can you listen to that and still feel it’s originality?

I don’t know if Ray Barretto’s “Time is, time was” will be a classic, but I know I love to hear it as much as I love hearing Weather Report’s “Black Market.”

I don’t know if critics and listeners will treasure Stefon Harris and Blackout’s “Urbanus” as much as they treasure Charles Mingus’ “Ah um,” but I know it gives me the same pleasure as the first times I heard Mingus.

Some musicians attain greatness through ideas that flash like brilliant meteors; others are great through the brilliance of solid and steady performance. It’s not always easy to tell which is which, when all we see is the brilliance, but you’ll never know if you’ve closed your eyes.

Need proof? Check out the documentary “Jazz in the Present Tense,” by directors Lars Larson, Peter J. Vogt and Michael Rivoira. It’s not available widely yet, but here’s a review by AllAboutJazz.com editor John Kelman that details the film’s highlights.

The Princeton University Concert Jazz Ensemble will be paying tribute Saturday to Mary Lou Williams, possibly jazz’s most overlooked genius, on the centennial of her birth.

Maybe it was her gender, maybe it was the company she kept (she worked for Dorsey, Goodman, Ellington … you name it, anyone with a decent band in the 1930s wanted her arrangements), maybe she’s just not had the kind of continuous presence many others have gotten; whatever the reasons, it’s time to correct the oversight and give her her due.

Let’s hope this concert goes a long way towards doing so. If it doesn’t, it won’t be because of the music: the jazz ensemble — directed by Anthony Branker — will play Williams’ “New Musical Express,” “Mary’s Idea,” “Walkin’ and Swingin,’” “In the Land of Oo-Bla-Dee” and other standards she wrote or arranged.

Tickets are $15 and can be reserved here.

If you want to sample Williams’ work, check out the fun novelty boogie-woogie “47th Street Jive,” or “Harmony Blues.” On for a longer listen, try the “Zodiac Suite” from 1945. Later on, Williams took to writing gospel music, capped by the beautiful “Black Christ of the Andes” in 1964. She returned to writing jazz, releasing such gems as 1974’s soul jazz outing “Zoning.”

Mary Lou Williams’ unerring ear kept her composing through five decades of music, and she was always able to bring something new to her work. She deserves wider recognition and appreciation, which Saturday’s concert may help launch.

If you enjoy big band music, there are precious few opportunities to hear one outside of New York City.

One regular exception is the Jazz Celebration Big Band, which performs (almost) monthly at the Temperance House in Newtown, Pa. — and will at 8 p.m. April 29.

The band will also have an added attraction: former Woody Herman saxophonist Larry McKenna. As Cadence magazine noted in a review of one of McKenna’s releases, he shows “the skills and stylistic mannerisms that earned him a spot in the 1959 Woody Herman band and the high esteem of his home city’s Jazz community.”

Reserve tickets now for this event, which often sells out — even without headliners like McKenna — thanks to the band’s quality and vocalist Claudia Perry.