PDX Jazz Festival

Sketching ‘Volcano!’ at the museum

ArtsWatch Weekly: Big crowds & small artists take in the Portland Art Museum's big boom, March's new art & dance, a fresh film fest

ON SATURDAY I DROPPED BY THE PORTLAND ART MUSEUM to spend a little quality time with Volcano!, the sprawling exhibit designed to coincide with the 40th anniversary of the eruption of Mt. St. Helens. (The mountaintop blasted sky-high on May 18, 1980; the museum’s show closes on May 17, a day before the anniversary.) On a rainy afternoon the place was packed with curious or nostalgic visitors. Some came to revisit their experiences of one of the most memorable days in modern Pacific Northwest history. Some came eager to learn a little more about a cataclysmic event they didn’t live through themselves but knew was a Really Big Deal. And most seemed engaged: The crowd wasn’t just walking through quickly with a glance here and a glance there – people were studying the paintings and photographs, sometimes doubling back to take a closer look at something they’d already seen. One way or another, this show seemed a part of their lives.

Lucinda Parker, “The Seething Saint,” 2019, acrylic on canvas, in the exhibition “Volcano!” at the Portland Art Museum. Courtesy Lucinda Parker and Russo Lee Gallery

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ArtsWatch Weekly: Sheer poetry with Grabel and the fishing crew

Leanne Grabel and Breads & Roses, FisherPoets and the song of the sea. Plus the week's dance, drama, sight, and sound.


IT’S A BIG WEEK FOR POETS IN OREGON, and an especially big week for longtime Portland poet Leanne Grabel, who’s been named the winner of the second annual Soapstone Bread and Roses Award. The prize, given by the women’s literary organization Soapstone to honor a writer who has helped sustain the writing culture in Northwest Oregon and Southwest Washington, comes with a $1,000 award. It’ll be officially presented at a Soapstone board meeting on March 6, two days before International Women’s Day.

Portland poet Leanne Grabel, the 2020 Soapstone Bread and Roses Award winner. Photo courtesy Soapstone, Inc. 

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MusicWatch Weekly: global musical tour

Sounds from Africa, Japan, Ireland and more join jazz and classical music on Oregon stages

If America, or at least its government, seems a little crazy these days, and you can’t afford to skip the country, the week offers several opportunities for virtual world travel through music.

• PDX Jazz Festival’s irresistible double feature The Soul of Africa – Habib Koite + Bassekou Kouyate features two of the planet’s finest musicians from the musical hotbed of Mali. Kouyate has helped revive the centuries-old ngoni lute, the enchanting little plucked precursor to the banjo —adding strings, new approaches to picking, plucking, and note-bending, and incorporating influences from blues, rock, bluegrass, and jazz, perhaps partial compensation for his native Mali basically giving the West the blues (in a good way). He’s played with everyone from fellow griot Toumani Diabate to Taj Mahal to Bonnie Raitt, Bono, Bela Fleck, and Youssou N’Dour.

Habib Koite and Bassekou Kouyate team up at PDX Jazz Festival.

One of Mali’s most renowned musicians and one of the world’s great guitarists, Koite’s bubbling acoustic guitar-driven melodies and socially conscious lyrics won fans among Western pop stars like Raitt and in the 1980s and ‘90s made him one of Africa’s biggest crossover successes in the West. He’s continued to evolve, changing bands, styles and even instruments. But what hasn’t changed is Koite’s focus on contemporary issues (he sings in four languages, including English, about war, forced marriage, and female genital mutilation, but also happier subjects like soccer), melodic hooks, and gentle, pulsating groove.
Wednesday, Revolution Hall, Portland.

•  Lúnasa get us warmed up early for St. Paddy’s Day. The all-star Irish quintet  has reached the highest level of the Celtic music world, selling a quarter million records of vibrant Celtic instrumental folk music over the past two decades, and they keep the tradition current by adding original compositions and non traditional instrumentation (bass and guitar) to the classic mix of flute, whistles, uilleann pipes, and fiddle.

Wednesday, The Shedd, Eugene and Thursday, Alberta Rose Theatre, Portland

Ladysmith Black Mambazo performs in Eugene .

• The famous voices of South Africa’s multiple Grammy-winning choir Ladysmith Black Mambazo sing Zulu music from across their four-decade career, probably including cuts from their two latest Grammy nominated discs and their renowned collaborations with Paul Simon. Beyond their beautifully blended voices, the group’s shows are graced by their choreographed dance steps, colorful costumes, and enthusiasm for bridging the divide between artists and audiences. Read Bruce Browne’s ArtsWatch story about their last Oregon tour.
Tuesday, Aladdin Theater, Portland, and next Wednesday, The Shedd’s Jaqua Concert Hall, Eugene.

Oregon Koto-Kai’s annual concert is Sunday at Portland State University.

• Led by one of the state’s global music treasures, Mitsuki Dazai, Oregon Koto-Kai annually showcases the performances of other masters of the koto, that most ravishing Japanese zither. This year’s So-Shun Koto Concert theme, “雪⽉月⾵風花”(Setsu Getsu Fu Ka or Snow, Moon, Wind, Flower perfectly describes this Oregon winter and also means the beauty of nature, which is the theme of most of the traditional compositions on the program. The show also features shamisen (three string lute) and ikebana flower arranging.
2 pm Sunday, Lincoln Recital Hall (Room 75), PSU, 1620 SW Park Ave. Portland.

JAZZ

PDX Jazz Festival concludes this week with another brilliant batch of improvisational masters. Read my ArtsWatch previews of Darrell Grant’s double bill with Terence Blanchard (whose E-Collective brings the funk, blues and R&B on their sizzling new album) and Portland Jazz Composers’ Thursday and Sunday From Maxville to Vanport shows.

• Stephan Crump busted out of his sideman role in Vijay Iyer’s acclaimed trio with his own, very different trio: his own acoustic bass, acoustic guitar and electric guitars (Liberty Ellman and Jamie Fox). Rosetta Trio’s 2005 debut earned ecstatic reviews, and although Crump has gone on to lead other bands, he keeps returning to Rosetta, including their brand new album Outliers. It’s easy to hear why: the unusual but versatile instrumentation allows intricate interplay, unweighted by drums or piano. At times floaty, at times funky, it’s a string band for the 21st century.
Friday. Disjecta, 8371 N Interstate Ave. Portland.

• Don’t wait for the inevitable posthumous tribute when you can still hear the real thing. Legendary bassist Stanley Clarke returns to the festival, this time bringing one of the music’s rising stars, LA keyboardist Cameron Graves (who has his own PDX Jazz Festival showcase), plus drummer Shariq Tucker. Best known for his contributions to ‘70s fusion pioneers Return to Forever, Clarke has ranged all over the field in various other projects, including funk, post-bop and more. His latest album includes everything from beatboxing to Bach. With youngsters Graves and Tucker aboard, expect even more contemporary sounds along with jazz-rock classics.
Friday, The Shedd, Eugene, and Sunday, Revolution Hall, Portland.

Bass boss Stanley Clarke plays Eugene and Portland.

The festival also continues its tribute trail with a quartet of contemporary saxophonists in the band Wide Angles, plus brass and strings celebrating the great Michael Brecker Saturday, a Grover Washington Jr. tribute led by Portland’s Eldon “T” Jones Friday, Toots Thielemans and Hank Mobley tributes Sunday, a couple of Blue Note label celebrations and much more, including some of our finest Oregon jazz artists. Check the whole wonderful lineup.

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Darrell Grant: jazz master and more

PDX Jazz Festival concert honors renowned Portland jazz pianist / composer who's improvised a creative life in music, teaching and activism

It’s a little ironic that composer and pianist Darrell Grant is receiving the 2019 Portland Jazz Master at this year’s PDX Jazz Festival. For while the jazz he’s played since arriving in 1996 certainly merits the city’s highest jazz honor, Grant has devoted much of his life here to breaking out of the narrow mold of “jazz musician.” Improvising a multifaceted career as teacher, mentor, activist, composer — and yes, jazz artist — Grant may be Portland’s most significant man of music.

“Darrell is a supremely gifted communicator across all media platforms, a gifted composer, educator and improviser, and an accomplished tennis player,” says PDX Jazz’s artistic director, Don Lucoff. “He embodies all that our Jazz Master lineage represents, a relentless searcher and action-oriented role model for our community to absorb and celebrate.”

Darrell Grant. Photo: Thomas Teal Midres.

Grant’s festival concert Thursday (a double bill with the great trumpeter/composer/bandleader/2019 Grammy Award winner Terence Blanchard) allows him to complete a circle by revisiting the music that put him on the jazz map a quarter-century ago.

Black Art

Growing up in Denver in the 1960s and ‘70s, Grant started classical piano lessons at age 7. Even then, he pushed against prescribed constraints, noodling improvised melodies while his elementary school band’s other pianist played the specified chords. Jazz soon called. “I think it was the freedom of it,” he remembers. Enchanted by classic jazz pianists from Nat Cole to Herbie Hancock, he joined a teenage all-star jazz band, won a scholarship to the Eastman School of Music in Rochester, New York, at age 17, then earned a master’s degree at University of Miami.

He headed to New York City and quickly rose in the city’s revitalized, competitive jazz scene, landing plum sideman gigs with famed singer Betty Carter and legendary drummer Tony Williams‘ quintet. In 1989, he recorded his major-label debut with the jazz-fusion group Current Events, which embraced funk, world music and other non-jazz influences.

Then came his big breakthrough: Black Art. Named one of 1994’s top 10 jazz albums by The New York Times, it helped propel the Darrell Grant Quartet (which included fellow future stars drummer Brian Blade, bassist Christian McBride, and trumpeter Wallace Roney) and to jazz stardom while its leader was still in his early 30s. He’d eventually perform with several generations of jazz giants — Roy Haynes, Branford Marsalis, David Sanborn, Jack DeHohnette, Terence Blanchard, Art Farmer, and many more.

But as he’d done with those classical tunes as a child, Grant couldn’t stay on the prescribed path. When an unsolicited job offer to succeed the storied jazz pianist Andrew Hill on Portland State University’s music faculty unexpectedly arrived in 1996, Grant seized it.

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MusicWatch Weekly: jazz tributes

PDX Jazz Festival leads this week's Oregon music highlights

Today’s jazz is often about tributes to yesterday’s jazz, especially the post-bop through fusion music of the late 1950s through the ‘70s. It’s easy to understand why — that music is a pinnacle of human artistic achievement that still delights millions of us daily and nightly. But many of us worry that the worship of the old can crowd out development of the new, as happened for a century in classical music, which is still in recovery. Granted, unlike classical music, jazz by its nature is always new, encouraging musicians to update whatever they’re playing every time they take the stage. But as rock climbers know, it can be harder to really take the leap into the next phase of your art form when you’re still clutching the old approaches with one hand.

Christian Scott aTunde Adjuah

Thanks in part to the 80th anniversary of the revered Blue Note record label, plenty of worthy tributes ennoble the 2019 BIAMP PDX Jazz Festival. Fortunately its curators, chiefly artistic director Don Lucoff, have included some of today’s forward looking jazz artists too…

• … beginning with tonight’s opening concert featuring Christian Scott aTunde Adjuah at Portland’s Star Theater. The young composer/ trumpeter/ improviser/ producer/ instrument designer is one of the century’s most musically ambitious artists in any field. Scion of one of New Orleans’s most renowned musical families, he builds on jazz traditions and wins awards for his virtuosity, but looks forward artistically. His “Stretch Music” embraces a wide variety of artistic influences while remaining musically accessible to broad audiences. Scott’s landmark 2017 Centennial Trilogy addressed many of our most pressing social issues (anti-immigrant xenophobia, racism, demagoguery, gender bias) while still swinging, and he’s also contributed enormous amounts of work and creativity to youth education and other worthy causes, scored films, worked with musicians as varied as Thom Yorke, Prince, and McCoy Tyner, founded a music festival, and more. He’s a major part of jazz’s future.

The rest of the first week offers an impressively wide range of the varied music we foolishly try to lump into a single four-letter word: fine singers like Kendra Shank (who also plays a Broadway House concert in Eugene Sunday) and Veronica Swift (with fab pianist Benny Green), venerated masters like Pharoah Sanders, Harold Mabern and Patrice Rushen, rising stars including Aaron Diehl Trio, top current acts the Bad Plus, Steve Turre and Ralph Peterson, the Vanguard Jazz Orchestra (named after a holy shrine of the music) and so much more.

For all the starry national names though, maybe the most valuable part of the festival is the showcase it offers local jazz musicians who offer comparable, sometimes superior performances year round. Many of those shows are free, and the first week’s constellation of local stars shines particularly bright. Check it all out.

Chamber Music

Long before jazz emerged, a mythical Greek dude strummed a mean lyre. The ancient Greek myth of Orpheus, the musician who pursued his lost love to hell and almost all the way back, has been told and retold in songs, operas, musicals and more through the centuries. But it’s never been told like this. In Orpheus Unsung, a multimedia concert presented by Third Angle New Music couple of contemporary classical music stars team up to evoke the Orpheus story as a “wordless opera” with only electric guitar and drums.

One time California rocker turned Princeton prof and composer Steven Mackey has done as much as anyone to organically integrate electric guitar into contemporary classical music, while composer/drummer Jason Treuting’s band So Percussion is the country’s leading percussion ensemble, collaborating with everyone from Steve Reich to Matmos. Using multi-media visuals, looping and effects pedals, gongs, and other percussion, along with guitar and drum kit, they incorporate influences from classical to post-rock to various experimental genres to tell a story almost as old as music itself.
Wednesday and Thursday. Holocene, 1001 SE Morrison St.

Other notable chamber music events:

Portland Baroque Orchestra (really an ensemble this time, with lutenist John Lenti and violinist Monica Huggett, string ensemble and soprano Arwen Myers) play and sing wonderful English music by Locke, Purcell and Blow Friday at First Baptist Church.

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PDX Jazz Festival reviews: music and more

Regina Carter, Bill Frisell & Thomas Morgan, Luciana Souza, Tigran Hamasyan and young Portland visual artists were among the highlights of the annual celebration of jazz

by ANGELA ALLEN

From elite jazzers to startling up-and-comers, the 2018 Biamp PDX Jazz Festival spread the music around Portland Feb.15-25 with a 100-plus gigs, twice as many musicians, and a wide spread of venues and event prices, many free.

Following are some highlights, and trust me, I missed dozens of others worth talking up.

Poet-plus

Brazilian singer Luciana Souza has always been a poetic musician (listen to her version of “Waters of March”), but these days she champions poets with a dedicated CD, convinced that we need more of them in our presently dark world. Her newest undertaking, Word Strings, is a drummer-less project with skilled stand-up bassist Scott Colley and gonzo Brazilian guitarist Chico Pinheiro from Souza’s Sao Paulo hometown. The trio tested out some Word String pieces Feb. 17 at Revolution Hall in a not-quite-sold-out concert.

Luciana Souza performing at PDX Jazz. Photo: ©2018 Mark Sheldon.

Souza studied in the United States at Berklee College of Music and the New England Conservatory, but she grew up in a lively music-and-word-crazy Brazilian household. Her mother, Tereza Souza, is a poet/lyricist, and father Walter Santos, a singer. Her 81-year-old godfather, Hermeto Pascoal, is a Brazilian composer whose “Forro Brasil” she played toward the end of the hour. The DNA and cultural influences help her to carry on Brazilian music traditions, yet she is boundless and genre-less in her approach to her past and to her art.

Souza’s group put to music poetry by Leonard Cohen, Charles Simic, Edna St. Vincent Millay, Emily Dickinson and Elizabeth Bishop (who lived in Brazil), much of it with samba and bossa nova shades, some with original arrangements. Souza loves to play a little drums and timpani, but not too much. Her sidemen were masterful at making the most of her inviting, haunting, fluid lyrical singing; they could have been soloing much of the time — Colley and Pinheiro are so good in their own rights.

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MusicWatch Weekly: musical warming

PDX Jazz Festival, symphonic concerts, chamber music gems, and mixes of choral and opera music keep Oregon listeners warm this week

It’s a chilly week in Oregon, but there’s plenty of jazz, of both the hot and cool variety, to keep us warm. Read Angela Allen’s ArtsWatch’s preview of this year’s PDX Jazz Festival, check out the extensive calendar for the many fine concerts we haven’t the space to list here. On Wednesday at Mission Theater, Mostly Other People Do the Killing, one of jazz’s  most acclaimed rising young ensembles, combines avant garde improv, 21st century compositional approaches and jazz tradition with a sense of fun.

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That same night at Jack London Revue, Kandinsky Effect, takes a different approach to contemporary jazz. The French-American trio electronica meets jazz combo swirls funk grooves and rock beats with relaxed sax melodies.

If your tastes tilt more trad, catch legendary South African/New York bandleader Abdullah Ibrahim’s Ekaya ensemble also Wednesday, at Revolution Hall. No less than Nelson Mandela called the former Dollar Brand “South Africa’s Mozart,” and Duke Ellington thought enough of him to arrange his American record debut. He’s been blending African and American jazz influences ever since, and this ensemble, which includes cello and flute as well as more traditional jazz instruments, is one of the 83-year-old composer/pianist’s best.

On Thursday at Newmark Theater, an all star lineup of drummer Terri Lyne Carrington,saxophonist Ravi Coltrane, and Portland-native bassist Esperanza Spalding celebrate the great composer/pianist Geri Allen, who died last year. Portland’s own great jazz pianist/composer, Darrell Grant, opens with a solo tribute. Afterwards, check out yet another great Oregon original, multi instrumentalist George Colligan, leading another all star trio from his New York years with the great bassist/composer Buster Williams and drummer Lenny White. And for a nightcap, catch young Portland saxman/composer Ian Christensen’s quartet at Portland5’s Art Bar.

Esperanza Spalding performs in a tribute to Geri Allen. Photo: Andrea Mancini.

On Friday at Mission Theater, still more Portlanders (pianist Randy Porter, drummer Charlie Doggett and more) join another tribute show: soul jazz septet Under the Lake’s celebration of Houston’s groovy ‘70s band the Crusaders (earlier called Jazz Crusaders) featuring pianist Joe Sample. Also Friday: terrific pianist Marcus Roberts’s long-term trio with drummer Jason Marsalis and bassist Roland Guerin, double-billed with guitarist Russell Malone’s quartet at Newmark Theatre.

Another ‘70s-’80s plugged in jazz tribute follows Saturday at Revolution Hall with Miles Electric Band’s tribute to the visionary musician called jazz’s Picasso, Miles Davis, featuring members of his various electric ensembles including his nephew, drummer Vince Wilburn, Jr., Neville Bros/Rolling Stones bass great Darryl Jones, sax titan Antoine Roney and more.

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