Anyone who saw Jay Rodriguez play the last time he was in town will have tripped over themselves to catch him again last week. Rodriguez is a talented and engaging improviser and when he steps onto the bandstand he wins hearts from the get-go. This seemingly innate ability arises from a keen understanding of what will work best with a particular audience. He picks ups on and feeds off the energies in the room. He is also a skilled technician, but he is not there to show off his undoubted chops. His purpose is to involve and to engage at the deepest level; offering musicians and audience alike an unforgettable musical experience.
These days, dozens of talented musicians pour out of the prestigious Jazz schools and as good as they are, they often have a similar approach and sound. Over time the best of them shake this off, but it takes work and road experience to do so. While Rodriguez attended music school, he also gigged from a young age; cutting his musical teeth on the bandstand and learning his craft at the feet of masters (Tito D’Rivera, Phil Woods and Joe Henderson – playing lead alto with Tito Puente at 15 years of age). Those early days shaped his trajectory and enabled him to move effortlessly across the breath of the Jazz world – and later – traversing the wider music scene (Elvis Costello, Prince, Ribot etc). You gain the impression that every day on the road added a certain something to his sound. He can channel a raw Texas tenor sound in the same gig as he has people swooning over a ballad. Once this was a commonplace accomplishment, but as the old road warriors pass, we hear this stylistic breadth less and less.
Here I must offer a disclaimer; I was involved in this Auckland gig. Rodriguez had reached out and generously suggested that we could join forces, adding some spoken word into his show. We had a number of exchanges while he was touring with Marc Ribot (the Songs of Resistance project). Various ideas were canvassed – unlike many improvisers, he is experienced in working with poets as he has associated with many including the late lamented Amiri Baraka. From across the time zones, we explored possible rehearsal times and as is often the case, a quick rehearsal just before the gig was the only possible option. When it came to hiring the band, he made another generous suggestion; he was happy to have some younger and freer spirited musicians on board – in fact, he welcomed that. Crystal Choi and Eamon Edmundson Wells joined Ron Samsom as the core group, with special guests Jonathan Crayford and myself appearing on select numbers.
Rodriguez is proficient on multi-reed and wind instruments and he frequently travels with most of them. This time he arrived with one flute, a soprano, and a tenor saxophone. When rehearsal time came he unpacked dozens of charts and spread them around clock fashion. My favourite author does this, slowly walking among short stories until an order is fixed. So it was with Rodriguez. We had been pre-warned that what was rehearsed would not necessarily be what was played, as he often changed things around as he read an audience (and often mid-tune by way of signals).
The setlist had a few well-chosen standards and of course, tunes from his critically acclaimed ‘Your Sound’ album. Although he amended the setlist as the gig progressed and extended numbers, fusing the tunes into a heady new amalgam, the performance had a flow that was preternatural. Working with a musician like this and trusting his instincts to guide you forward is exhilarating. I know that the band enjoyed themselves – the gig became bigger than the individual musicians and that how good gigs should work.
I have posted a longish clip from the gig, one which demonstrates the energies flowing between the musicians. The clip reminded me of the early Alice Coltrane projects. Deeply spiritual and unafraid to move with the vibe. Choi delighted the audience with her wholehearted engagement, moving from minimalist figures to crystalline arpeggios as the moment demanded. Edmundson Wells, like Choi, often appears on the avant-garde scene and was perfect for the gig. Samsom, the other experienced hand, offered solid support, creating a cushion and a heartbeat. Last, but not least was Crayford, a generous enabler, a mentor to musicians like Choi. He would normally have appeared as the listed keyboardist, as he and Rodriguez have a deep friendship and they collaborate when they can. This time he was heavily engaged in a project of his own and arrived back in town hours before the gig. He waited out the first set, respecting the established line-up, joining the band with keys for the second. This added a whole new dimension to an already great gig – creating the broader palette that Rodriguez thrives on. The capacity audience reacted to every facet of the gig with enthusiasm and Rodriguez return is eagerly anticipated.
In my case, the overall experience was particularly rewarding – a true learning experience – note to self – let my spoken lines breathe more at the start. When you fit words around live music quick decisions are required, Sometimes you have mere seconds to judge the rhythms of an unfamiliar tune. An opportunity like this is rare and precious and I’m glad I took it.
Jay Rodriguez: (tenor & soprano saxophone, flute), Crystal Choi (piano), Eamon Edmundson Wells (upright bass), Ron Samsom (drums, percussion), – guests Jonathan Crayford (keys), John Fenton (spoken word) – at ‘Backbeat’, CJC (Creative Jazz Club), 27 February, 2019 – Jef Rodriguez recent album ‘Your Sound’ is available on Amazon, through record stores or go to jayrodriguez.com
Multi reeds and winds player Jay Rodriguez recently released an album titled ‘Your Sound’ and it could not have been more appropriately titled. It is an album which conveys the warmth of the man and his interesting musical journey from Columbia to New York; it lays bare his openness and his heart on sleeve humanity. It is a life and times offered up for appraisal, it is richly diverse and contemporary. Above all, it offers us joy. Put simply, ‘Your Sound’ is the sound of the Jazz life and it delights from start to finish.
Behind the doors of the beautiful Kauri villa, down the long corridor and the wide descending staircase, past the crush of people eagerly awaiting a significant and unique musical event, we edged forward; shuffled by the crowd, finding ourselves in a surprisingly large room; large enough to hold seventy people, a gorgeous warmly lit room with mirrored walls – an old dance studio brought back to life. As we crossed the room Jay Rodriguez greeted us, behind him, Jonathan Crayford shuffled through sheet music; both framed by an elegant grand piano and an array of horns on stands. I had interviewed Rodriguez earlier and had attended his sell out gig at the CJC Creative Jazz Club. There was never any doubt that this night, like the one a few nights earlier would deliver something special.
If ever two musicians were destined to play duo format, it is these two. It is a challenging format as the safety nets are gone; it is deep level communication and frighteningly intimate. It requires deep listening and empathy as much as storytelling; it requires conversational dexterity. This was a night never to be forgotten, a night when great music became sublime. Rodriguez and Crayford have been friends for a long time, meeting up in New York in the late 90’s and forming an instant connection; Rodriguez’ ‘Groove Collective’ and other projects the meeting ground. They refer to each other as musical brothers and their communication during the last three days underscored that.
The first time I saw them together was around eight years ago. The gig stuck in my mind for many reasons, but especially because of one tune; Bob Dylan’s ‘I pity the poor immigrant’. It spoke directly to me as it oozed with humanity. When I interviewed Rodriguez I teased out this a theme; pointing to the set lists, the tunes which cut to the heart of the human condition, tunes communicated with deep empathy. For example, their rendition of Keith Jarrett’s ‘The rich (and the poor)’, Coltrane’s ‘Alabama’. The former, a blues, reminding us that the blues is more than just a musical form. In their hands, it informs us about inequality, discrimination, hurt and hope. The human condition again. The latter, ‘Alabama’, moved me to tears. Jazz lovers know this story, but it has seldom been told so well. The piece is based on the cadences of a Martin Luther King speech, a speech given immediately after four little girls were killed as they worshipped, murdered by an unrepentant KKK. The musicians dived straight into the emotion of this awful tale; the incomprehension and anger, then a plea for humanity, an exhortation to do better, the hope; it was all in there.
He is a multi-reeds and winds player and his command of each instrument is strong. I asked him if he favoured one horn over another or had been tempted to double less? This was prompted by a similar discussion with Bennie Maupin. Maupin’s answer had cut to the point, “It’s mostly about dedication, hard work and five times the amount of practice”. Rodriguez answer was a little different. “Man, I love these instruments, every single one of them, and I couldn’t abandon any of them”. It is impressive to hear an artist sounding so strong and so individualistic on so many instruments; bass clarinet, tenor saxophone, soprano saxophone, flute (he also doubles on alto and baritone saxophone). His bass clarinet is rich and woody with a tone production like John Surman – his tenor can range from low down raspy bluesiness to the light vibrato-less sound of ‘Pres’; and all of this in a clear authentic voice.
During the dance studio gig, their song choices delighted and astonished. For example, Monk’s ‘Epistrophy’, A Puccini aria, Michel Legrand’s ‘You must believe in spring’, McCartney’s ‘Long and winding road’; all in all an improbable and extraordinary journey. The CJC set list included Yusef Lateef’s stunningly beautiful ‘Morning’, Victor Young’s ‘Golden Earrings’ Keith Jarrett’s ‘Rich (and the poor man)’ – from the Dewey Redman/Jarrett/Haden Impulse era, John Coltrane’s ‘Alabama’ and a lovely original by Rodriguez (I think it was titled ‘Your Sound’). Mostyn Cole and Ron Samsom were amazing as well. They are both fine musicians and a good choice for this line-up.
JazzLocal32.com 