Live Shows

While in NYC for the summer, I've been trying to check out as much of the scene as possible. I thought this would be a good place to vent about these shows.

Billy Hart Quartet: June 2nd, 2007 at the Village Vanguard w/ Mark Turner, Ben Street, and Ethan Iverson

This was the first show I saw in the city, the night after I arrived. The Vangaurd is definitely one of the best venues in which to see jazz in the city (if not one of the most expensive). Not only does it attract some of the best acts around, it doesn't get clogged up with too many mainstream acts like the Blue Note or Iridium. Also, the atmosphere and sound is great. This group is one of the hottest on the scene right now. From what I've heard, the group was formed collectively, but the younger members decided to name it after the veteran drummer. Iverson is mostly known for his work in The Bad Plus, and Street for his work with Kurt Rosenwinkel. Mark Turner is turning into a young veteran, having worked with artists such as Rosewinkel, Joshua Redman, Lee Konitz, John Pattitucci, James Moody and Ryan Kisor. Hart is definitely the true veteran in the group. He is one of those drummers that seems to turn up endlessly on albums old and new. It would be hard to name people in the business he hasn't worked with, but here is a short list of those he has: Miles Davis, Herbie Hancock, Wayne Shorter, McCoy Tyner, Stan Getz, John Scofield, Paul Bley, and Dave Holland. Hart's own albums have been solid efforts, but his most recent with this quartet is one of his most engaging. Their set began with an Iverson blues, Mellow B. The way the quartet manages to balance the tradition and contemporary playing is astounding. While you hear all that you would expect from a traditional blues, they are still managing to play as fresh and free as possible. Hart's rhythms are tight and loose at the same time. Street was especially on point. He displayed a fondness for vamps and his bass lines, like Hart's playing, were at once in the pocket and rhythmically free. Iverson and Turner were the chief soloists. Turner seems to be in constant study, his style ever-changing. His knowledge of the tradition is a basis for his incredibly modern harmony. Iverson, classically trained, never ceases to create a dramatic solo; he works particularly well interacting with Hart. The set was made up entirely of originals (some of which were based off standards, like Turner's new melody over "Giant Steps"), most of which were Hart's. The set's high point was definitely the first half, with the energy high. Slower tunes finished out the set, but not without a large amount of energy. The group interplay was the essence of the show. The quartet seems to connect on another level, and that's what makes this group one of the best on the scene.

7/10

Jacky Terrasson

Despite debate over it's significance, those who place in the top three of the Thelonious Monk Competition have oftentimes made a name for themselves afterwards. Previous winners alone include Ryan Kisor, Joshua Redman, Marcus Roberts, Eric Lewis, Seamus Blake, and that list doesn't include people who didn't win including Chris Potter, Eric Alexander, Jorge Rossy, Sam Yahel, Tim Warfield and Joey Defrancesco. But one winner who managed to slip by many people is Jacky Terrasson. Terrasson, a native of France, entered and won the 1993 competition, beating out other finalists including Peter Martin (previously of the Joshua Redman Quartet) and Edward Simon (Greg Osby, Bobby Watson, Terence Blanchard, Mark Turner, John Pattitucci). Since then however, Terrasson has maintained a relatively low profile on the American jazz scene. He worked early on with Ray Brown and alongside Brown in Art Farmer's quartet. Since then, he was seen semi-consistently in the groups of Wallace Roney, Leon Parker and Javon Jackson. He has known to be a fan of collaborations; releasing albums under his and another's name. Collaboraters have included Cassandra Wilson, Tom Harrell, Stefon Harris, and French classical flautist Emmanuel Pahud. But on his own, Jacky Terrasson has been one of the most creative, original and engaging pianists on the scene. Often compared to a modern Ahmad Jamal, Terrasson uses dynamics and backbeats to offer a fresh approach to the jazz trio. Since his debut he has utilized the trio of bassist Ugonna Okegwa and drummer Leon Parker on multiple albums including his eponymous debut, "Reach" (1994), "Alive" (1998) and "Lover Man". As early as "Reach", Terrasson had created a unique modern trio format, displaying his original style and compositions with more energy and dynamics than anyone else on the scene. His album "Smile" (2002) epitomizes his style and is one of the best piano contemporary piano trio albums I've heard. He just released a new album, "Mirror" (2007), which finds Terrasson leaving the trio behind to focus on his solo playing. Once again, he performs magnificently. If you ever have a chance to catch him live, do not pass it up. His show at the Village Vanguard in 2003 is one of the best jazz shows I've ever seen, and the best show I've ever seen at the Vanguard. This under appreciated pianist maintains a solid reputation in his native Europe, but deserves much more exposure here in the states. Enjoy these tracks.

Baby Plum (Terrasson), from "Reach" (1994)
Nardis (Davis), from "Smile" (2002)
You've Got a Friend (King), from "Mirror" (2007)

And this video of Terrasson playing with Art Farmer and Ray Brown