It was all irresistible beats and exhortations to have a good time and it hit like one long song. But lightning-quick horn stabs or lingering chords up front hit hard from trumpeter Julian Gosin, saxophonist Erion Williams and trombonists Corey Peyton and Paul Robertson. When they were ready, they threw down a chest-thumping beat you could feel in your feet and lifted up the spirit on brass blasts and rapping chants.Īt times, the music seemed to be all bottom, drummers Derrick Moss and Lumar LeBlanc locking on the pulse with Sousaphonist Manuel Perkins, Jr. She closed with a blues, engaging the crowd in a singalong that worked then she stuck around, dancing to the headlining Soul Rebels and obligingly taking selfies with fans who clustered next to the photo pit where she bopped with her band.Įverybody else managed quick soundchecks but the seven Soul Rebels took their time.
And she revisited the wistful vibe of earlier love songs in “If You’d Stay the Way I Dream About You,” setting up a sighting-on-the-subway thunderbolt love jolt into a torch-y what-if spiced with both a high, soft vocal climb and a low glide at the end.
In Betty Carter’s impatient, I’ve-had-it statement “Tight” and Abbey Lincoln’s philosophical “Straight Ahead,” she rode the feel as well as the words, belting midway through “Straight Ahead” before closing with a quiet croon. Then as the song, and her words, honored commitment, she pointed to each couple she acknowledged, plugging “40 years!” “20 years” into the lyrics. Before singing her own words to the late trumpeter Fats Navarro’s “Nostalgia,” she asked couples in the crowd to shout out how how long they’d been together. “Sweet Pumpkin” proposed marriage in shy hopefulness, then she echoed Nancy Wilson in the wistful, quiet “Guess Who I Saw Today.” An eloquent lyricist, she started Thelonious Monk’s “San Francisco Holiday” a cappella – she wrote its words – before her trio joined in: pianist John Thomas, drummer Evan Sherman and bassist Felix Moseholm.
SHOUT IT OUT MARCHING BAND HOW TO
She knows what her voice can do and how to use it. But she brought dazzling freshness both through the powerful beauty and reach of her voice and a precocious poise and presence. Both respect her elders – Sarah Vaughan, Carmen McRae, Nancy Wilson, Betty Carter, Thelonious Monk, Fats Navarro – as she did onstage Saturday. While she crowd-funded her debut album, classic-jazz label Verve will release her follow up Linger Awhile. Since graduating from SUNY Purchase last year, 21-year-old singer Samara Joy has blazed like a comet through the jazz skies. (I looked around for our own Brian Patneaude, a GIANT Brecker fan, but he must have been gigging elsewhere.) The longstanding (30 years) trio of pianist Greg Sankovich, bassist Aaron Germain and drummer Jon Krosnick added tenor sax ace Todd Dickow in what they originally thought would be live-shows-only acknowledgment of how now-departed giant Michael Brecker inspired every reed-man since he came up in the 1960s. Up next, Charged Particles from California went way more modern, to often-thrilling effect. After a peppy “Pick Yourself Up,” they picked up and left to happy applause. Broadwell arguably had the most fun, though, singing “My Little Red Top” and “Rhode Island” with humorous aplomb or digging into Stuff Smith’s violin fireworks number “Stuff It” with its tricky hesitation beat. The beat team of drummer Michael Benedict and bassist Pete Toigo set the groove, flexible and phat, while guitarist Mike Novakowski was everywhere, whether soloing imaginatively or chopping chords into the groove. Tanned, bearded alto saxophonist Leo Russo has the most miles on the clock and showed off the tastiest chops, soloing in “Joy Spring” with tender eloquence and sweet Paul Desmond-like tone. Singing and playing fleet, melodic fiddle, she brought out the swinging best in her veteran crew.
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