My idea of the perfect group is the piano trio; piano, bass and drums. I’ve always loved the piano, and will always be there when a great trip is in town.
Barry Harris
Detroit Jazz Festival (2006)
Always been a big fan of Barry Harris. He’s equally esteemed as both an educator and player, having nurtured hundreds of great musicians at home in Detroit, in New York and internationally. I love his records from the late 60’s such as Luminescence!, Bullseye! and Magnificent! (yes the exclamation marks are part of the titles). I’ve recorded one of my favourite Barry Harris compositions Sun Dance with the trio. This particular time I met Mr. Harris was at the Detroit Jazz Festival in 2006. Barry wasn’t playing on this occasion but was walking around the grounds of Hart Plaza when I noticed him meeting and embracing the great Gerald Wilson, whom I had seen perform earlier that day, and Wilson’s wife Josefina. I took a photo as it was something else to see two legends sharing a moment.
Barry Harris with Gerald and Josefina Wilson, two legends. Detroit (2006)
Cedar Walton
Detroit Jazz Festival (2002)
Cedar Walton was playing the 2002 Detroit Jazz Festival as part of a group named Legends of the Bandstand. The group included Louis Hayes, Curtis Fuller, Reggie Workman and David Fathead Newman. I don't normally go in for ‘all-star’-type bands as sometimes just because there’s great names on the marquee, it doesn’t always translate to great music. This was definitely an exception as the band roared out of the gate and through a great set which included Delilah, Arabia and a very soulful feature on Hard Times for Newman. If I remember correctly the set ended with Caravan, and I do recall Louis Hayes playing with fire and creativity, like someone half his age.
Herbie Hancock, Roy Hargrove and Dave Holland
Massey Hall, Toronto (2003)
Massey Hall in Toronto was the site of a historic jazz concert in 1953 featuring Charlie Parker, Dizzy, Max Roach, Bud Powell and Charles Mingus. The record which followed, with all its technical flaws and distribution dramas became steeped in jazz lore. Personally, it’s never been, to me, representative of anything close to the greatest work of any of these masters. But, I don’t say that in public :) It’s just great to know that all of them walked the same steps I walked in Toronto, and that they came together for the only time and it was recorded.
This concert was to celebrate the 50th anniversary of that event, happening exactly 50 years to the day. The band was Dave Holland, Herbie Hancock, Roy Hargrove, Kenny Garrett and Roy Haynes (there are not enough explatives). Among their set they played April in Paris (Kenny Garrett with rhythm if I remember), Night in Tunisia (in 6/4), and a stunning version of In the Still of the Night, my favourite Cole Porter tune, Roy Hargrove featured on that one. The balance of the show was comprised of be-bop standards, but mercifully, none played in a straight jazz-club-jam-night fashion. The music was abstract, and paid homage to the spirit of the music far better than any re-hashing of Bird licks.
After the Quintet played Hot House, Max Roach, by then quite unwell, took the stage to speak and play his famous 'Mr. Hi-hat’ solo. It was the most moving part of the evening, as Max was certainly feeling the effects of Alzheimer’s, although we showed him the respect he deserved as a master of the music. It was Max’s last public performance, and I was lucky enough to be there.
At a panel discussion the day before the concert, there was a meet and greet where I was able to get Herbie, Roy and Dave to sign the playbill (Roy Haynes and Kenny Garrett were not there), and I was quite happy to shake their hands and let them know how much their music, collectively and together has meant to me.
Kenny Barron
Montreal Bistro, Toronto (2003)
Kenny Barron played the terrific Montreal Bistro (now sadly closed) in 2003. Playing with Kenny were two legendary Toronto players, Dave Young on bass and Terry Clarke on drums. Terry Clarke is a huge influence on my playing and I always try to emulate his water-like time feel which seems to drift among the music rather than direct it. The band sounded lush and free, with the Torontonians a perfect match for Kenny’s wistful elegance.
Kenny sat down on the empty stool right next to me after the first set (I went for two evenings) and I asked Mr. Barron for his autograph on a napkin, as I had nothing else handy.
McCoy Tyner
Detroit Jazz Festival (1997)
McCoy Tyner played the Detroit Jazz Festival many times over the years. This time he was playing with an all-star big band. I remember I had seen Roland Hanna before the big band show and was anxiously waiting for Geri Allen later that evening. Anyway McCoy was doing a meet-and-greet and was only signing items purchased from the store. I purchased a second copy of my favourite Coltrane album, the one with Johnny Hartman.
Not the Detroit Jazz Festival performance, but how’s this for an all-star lineup! McCoy Tyner, Steve Turre, Wallace Roney, Donald Harrison, Eric Alexander, Charnett Moffett and the great Eric Gravatt, Toronto 2006.
George Shearing
Orchestra Hall, Detroit (1996)
I’ve always loved the ‘George Shearing Sound’, which is of course based on block chords tightly harmonised, with the vibes doubling the top and guitar doubling the bottom. It’s really a beautiful, unique sound. It was the Quintet’s recording of September in the Rain which made me aware of that beautiful tune, with Marge Hyams’ vibes sounding clear and bell-like and Denzil Best’s sublime brush work. This time Shearing was playing at Orchestra Hall in Detroit. I snuck up the stairway after the show where there were a few others waiting for an autograph. Mr. Shearing’s handler was taking charge, holding George’s hand so he knew where to sign and generally moving people along as quickly as possible. It was great to hear the Shearing Sound reverberate through Orchestra Hall.