CJC Creative Jazz Club gigs, Review, USA and Beyond

Jay Rodriguez – ‘Your Sound’

 

JayMulti 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.

I have heard Rodriguez perform in various live settings and he is, without doubt, one of the most engaging performers around. His warmth and personality are encapsulated by his sound in interesting ways. Importantly, he is not confined to just one sound – he has many and each has his stamp on it. When I hear his bluesy alto in a random playlist I say to my self – ‘oh that’s got to be Jay Rodriguez’; whether on tenor, bass clarinet or peppery Latin flute he traverses the history of improvised music – he has a distinction. When you examine his life story you realise that all of the above is borne out of a life lived at the heart of music; a life of working tirelessly at his craft, his every note conveying that personal touch. He is so busy as a sideman that he records as leader infrequently; after hearing this album I hope that will change. He is also one of a select group of musicians who doubles on a wide range of winds and reeds – unusually, he sounds really terrific on all of them.

Joining Rodriguez for this recording were an extraordinary group of musicians and man did they deliver. Billy Harper (tenor saxophone), Larry Willis (piano), Eric Wheeler (acoustic bass), Billy Martin (percussion) and J.T. Lewis (drums) – all well-known musicians and all with very impressive discographies. On some tracks, two tenors play in unison but with Harper always cutting his own clear path – his honest take no prisoners approach giving depth and contrast. Like Rodriguez, Harper has a strong connection with Kiwi and Australian improvising musicians and ears prick up down under when his name is mentioned. He is regarded with reverence in the Jazz world.IMG_0407

Larry Willis is another musician who needs little introduction. He has worked alongside artists as diverse as Jackie McLean, Carmen McCrae, Carla Bley, Groove Homes, Blood Sweat & Tears and Nat Adderly. He has also released twenty-four albums as a leader. His touch is deft here and his diverse abilities a boon. Whether playing free or bluesy he is right on the money.  Bass player Eric Wheeler is a professional musician from DC and again he has worked with the who’s who of the jazz and classical world (killing). Lastly, there’s drums and percussion, J T Lewis and Billy Martin, another highly experienced pair who gave their best on the bandstand. Both have impressive credits to their name and they meshed perfectly. With this group and Rodriguez leading, something special happened.  Track 7 Spirits from the album is embedded below with Rodriguez on alto.

The opening number is titled ‘Ghost Dancer’. Establishing itself over a vamp and edgy Latin rhythms, drawing you deep inside an exotic sound-forest. Then the mood and tempo change, allowing the flute to dance like a bird of paradise. On this, the flute is Peppery and alluring. As we get into the album, standards appear like ‘Golden Earrings’ (Victor Young) or ‘Lover’ (Richard Rogers); all sitting comfortably alongside the spellbinding Rodriguez originals like’ Ghost Dancer’, ‘Your Sound’ or ‘Spirits’ (the latter is a tribute to the ghosts in Rodriguez life). There are Ornette referencing tracks, ballads and plenty of soulful storytelling. Underpinning this rich diversity are some very skilful arrangments.

Jay Rodriguez: (Leader, tenor, alto & soprano saxophones, flute, bass clarinet), Billy Harper (tenor saxophone), Larry Willis (piano), Eric Wheeler (acoustic bass), Billy Martin (percussion), J.T. Lewis (drums). The album was recorded live at ‘Dizzy’s Club-Coca-Cola’ in NYC and it is released on Whaling City Sound. It is available for purchase from whalingcitysound.com or from the usual outlets like Amazon or iTunes. Highly recommended.

John Fenton.

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CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Review

Jay Rodriguez & Jonathan Crayford – music with heart & soul

Jay JoCray (2)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.Jay JoCray (1)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.Jay JoCray 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.

In answer to the question about humanism, Rodriguez pointed out the realities of American life. “We are living through hard times back home and the blues is about reality. Expressing life from the heart is something that can’t be taught in Jazz school. Jazz school gives you the basics, but your voice is something else, you have to search; some never find it”. He told me that he had been lucky enough to find his own musical voice early on and he was comfortable with it. He can play in many styles with ease and the key to this is the man himself. He is intelligent, open-minded and well-informed, but it’s his friendliness and warmth that impresses most. The man and his music are one.Jay JoCray (3)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.

Crayford is an extraordinary musician, but last week he pulled out something extra. This was about personal chemistry (or perhaps alchemy). It was largely down to him that the project was conceived and he certainly made the most of it. He is the New Zealand ‘Tui’ Jazz artist of the year, a respected international troubadour, a pioneer reaching beyond the stars. The CJC quartet gig was a satisfying and joyous occasion but there was even better to come. When I interviewed Rodriguez a few days later he and Crayford invited me to a private event; the mysterious duo gig: so here I was in this amazing space, the mirrored dance studio, an oasis hidden in deep suburbia.  As soon as they began playing the conversation deepened, each revealing new subtleties and wearing their hearts on the sleeves; … humanity. As far as I know, none of it was recorded and while that is sad, perhaps it is only right. Sometimes magic should be left well alone – left untrammelled, lest it changes like Schroedinger’s cat.Jay JoCray (4) 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.

When you look at the Jay Rodriguez discography or bio, it is no wonder he is so comfortable in such a variety of musical spaces. He started on saxophone as a child and soon came under the tutelage of the greats. His mentors along the way included Paquito D’ Rivera, Phil Woods, Sir Roland Hannah, Barry Harris, Kenny Werner, George Coleman, Joe Henderson, John Gilmore, Gil Goldstein and so it goes on. It reads like the history of Jazz. I can think of few players who have worked with both Doc Cheatham and John Zorn (yes he evidently played Cobra and has performed at the Knitting Factory). He is Grammy nominated and has guested on the Jimmy Fallon show.

 Music is a universal language, but its primal source is often overlooked. Scientists tell us that it is, the original and most profound form of communication; it is the lingua franca of our polyglot planet. All too often we focus on the scaffolding or the dialect; all too often we marvel at technical skills or frown at the lack thereof. The older I grow, the more I desire something different; the sound of the human spirit; communication straight from the heart. While Jay Rodriguez and Jonathan Crayford possess a grab bag of wizardry, they also transform notes into an unforgettable life experience. Long may this collaboration continue.

Rodriguez/Crayford Quartet: Jay Rodriguez (tenor saxophone, soprano saxophone, bass clarinet, Flute), Jonathan Crayford (Rhodes, electronics), Mostyn Cole (upright bass), Ron Samson (drums). 30th August 2017, CJC Creative Jazz Club, Thirsty Dog, Auckland.

Rodriguez/Crayford Duo: Jay Rodriguez (tenor saxophone, soprano saxophone, bass clarinet, flute) – Jonathan Crayford (piano). 1st September 2017, Grey Lynn.