The culmination of a semester of hard work and practice, the UMB Jazz Band’s concert on December 7 was not only a showcase for student talent but also an entertaining journey through the landscape of that varied and uniquely American musical genre we call Jazz. Expressing a sincere excitement at the chance to show their stuff, the band was cookin’; from toe-tapping ditties like “Señor Blues” to experimental works of improvisation to studies for solo piano, the Jazz Band offered up a full plate of tasty samplers drawn from Jazz’s eclectic cookbook.
Despite the snowy weather, a large crowd showed up to support the band; Snowden Auditorium was a little over three-quarters full by the time Peter Janson, a UMB Music professor and director of the Jazz Band took the stage to lead the group, who were all tastefully attired in black.
The show kicked off with a version of Count Basie’s “Blue and Sentimental”, which, despite its rather somber title, was a rousing, happy-go-lucky swing number. The song gave several of the performers a chance to introduce themselves musically. Paul Rogers and Colleen Rusconi traded off on vocal duties; the two sing well together, with enough similarity and enough difference in their approaches to create a pleasing sense of texture.
Both have strong, well-trained voices. Rogers’ full-bodied voice is well suited to the popular jazz style. Occasionally reminiscent of singers like Harry Connick, Jr., he has a crooner’s knack for showmanship that was played to full effect in his rendition of “Every Day I Have the Blues”. Rogers’ scat solos were a little erratic, but he convinced through sheer gusto, employing a truly stunning vocal range that can reach high into the upper register.
Rusconi’s style is more understated, breathier, with a classical sense of tonal control. Rusconi was shown to her best advantage in more dramatic and expressive pieces like Miles Davis’ “Nature Boy”–here played in a theatrical, melancholy cabaret style–and Thelonius Monk’s “‘Round Midnight”, songs which provided a steamy backdrop for her simultaneously bluesy and cool style.
Pianist Fadi Saba took the first solo of the night. Saba’s playing also expresses a classical sensibility. His performance stayed close to the melody, with subtle choices in variations and knowledge of the expressive power of musical space. His touch is refined, and, in context of the full band, seemed now and then a bit restrained; but, set free to work on his own, he showed himself to be a masterful musician capable of enchanting the audience with his combination of emotion and elegance. During his solo performance of Bill Evan’s “Only Child”–a piece that blurs the line between Jazz and Classical composition–there was hardly a whisper from the crowd. The performance not only showed Saba’s control of his instrument, it was a lesson in the sublime.
After an easy, breezy version of Antonio Carlos Jobim’s Latin Jazz piece “Wave”, the Jazz Band took second position to assist the members of the 480A Improvisation Class, who took center stage to perform an improvisational piece titled “Morning to Midnight”. With Professor David Patterson directing from the piano, the members of the class each took turns adding new ideas to the song, sending it off into various directions. The inclusion of four violins added a unique presence to the piece, which was by turns atmospheric, funky, tender and dissonant. A kind of tone poem symbolizing the passing of the day from sunup to sundown, the piece served also as an allegory for the creative process of music making, rising from silence and disconnected noises, running through a series of permutations riffing off each other, climaxing in a cacophony of sound, and gradually receding back to silence again.
One of the highlights of the evening was the artful playing of tenor saxophonist John Danany. Danany is one of those rare musicians who can truly speak the language of music, conversing through his instrument as casually and comfortably as one does with an old friend. He has a real grasp of solo structure, creating counter-melodies that riff around the base, expanding it without being cluttered or far-fetched; he is a performer with that magical ability to bring out the emotional core of a song. His horn works as an extension of his voice and he seems to know what he wants to say in advance: he thinks before he speaks and the effect is magical. His style seems influenced by be-bop; it is complex and energetic, and he plays with the unselfconsciousness of a real artist, where the music flows in tandem with thought and feeling. Every note goes where he aims it, and he always it aims it in the right direction, achieving maximum impact.
Which is not to say that the rest of the band was forgettable by any means. This was no amateur hour. There were 14 musicians in the Jazz Band that night, and each one brought something to the table. Overall the band showed a consistently admirable technical proficiency and a passionate involvement in the music. More importantly, they knew how to play as a group, how to make the real musical conversation that is the essence of jazz. All the players seemed alert and involved in each other’s playing, staying on the same wavelength and following the progression of each song as if they were one body–no small feat with a band this size. Although at times they came across as a little too studied, the sheer energy they generated, and the unwavering professionalism of their performances across the board, was impressive.
A word or two needs to be said about the contributions of drummer Shai Herman and bass player Justin Kleya who, although unfortunately not given a chance to shine in a solo spotlight, showed their expertise in laying down a solid bedrock for the other performer’s to groove on. The rhythm section is the blood of any band, and Herman and Kleya kept that blood pumping all night long, adding a little muscle too with punctuated rhythmic punches.
The band was at its best when it let itself go and trusted its unfailing sense of group dynamics to carry it. Kicked into gear by an aggressive, rock-style solo by guitarist Brendon Wood, the band hit Horace Silver’s Latin inflected “Señor Blues” hard and with an edginess that held been in reserve until this point. They should have let it out sooner; this was the most effective song they played all night, mainly because they allowed themselves to take more chances and indulge in the passion for music that they all so obviously felt. After the song, a beaming Peter Janson wiped his brow, saying, “And I’m not even playing. You should hear it from right up here.” The energy of the free-spirited performance affected everyone in the room.
The band kept up that energy and closed with a blistering rendition of Jo Zawinul’s “Birdland”. After the loud applause had died down, Janson invited the audience to join the band in the lobby for conversation and refreshments. I, unfortunately, could not stay, but after experiencing the hearty, spicy music cooked up by the Jazz Band, I left for home feeling energized and fully satisfied.