Bake’s Blog: In The Pocket

What is Jazz?

Jazz means many different things to many different people. For some, the idea of what of jazz music is can be a vague, often mysterious and sometimes intimidating proposition. There is no one “definition” for what jazz is.  In fact, that definition could and would vary significantly depending on what musician, jazz enthusiast or other interested party you were to ask. However, we would like to share with you what our understanding of this great musical genre is and how that understanding is reflected in the kind of artists that we book here at Bake’s Place.

In our view, jazz is a common language, which is shared among jazz musicians throughout the world. It is based on specific harmonic and rhythmic theories that are standard to the art form and practiced universally. In kind, you can assemble a group of jazz musicians that have never met each other or played together before and utilizing this common language, they are collectively able perform a wonderful evening of outstanding music. The listener does not have to understand the language on a technical level in order to enjoy and appreciate the music. The magic is in witnessing what jazz musicians are able to create together, using the common denominator of jazz. In order to accomplish this, jazz musicians must be able to play with a high level of proficiency and authority. It could be said that jazz tunes are like snowflakes, and that no jazz song is ever performed the same way twice. Top-tier jazz musicians have such a depth of understanding of the music, that they can take a familiar song and present it in a way that is fresh and new, yet still recognizable. Thusly, there is an immediacy to jazz that combines with the artistry and skill of the musicians to create a listening experience that is unique, engaging and truly amazing. In this way, jazz differentiates itself from other genres of music.

Although we present all kinds of music here at Bake’s, our primary focus is on vocal jazz. Vocal jazz was the popular music of the 20’s, 30’s and 40’s and comprises what we know of today as “The Great American Songbook.”  Vocal jazz typically has a readily recognizable melody line as well as lyrics that speak directly to the heart and soul of the listener. Like instrumental jazz musicians, vocal jazz musicians push beyond the envelope of the established form to create something that again is new yet familiar. In a sense, they redefine what we know of as “the standards.” Jazz vocalists share the universal language of jazz with their instrumental colleagues and can also create knockout performances with musicians they’ve not previously played with. We believe that vocal jazz is accessible and enjoyable for all audiences and that it is especially intriguing for people that are unfamiliar with jazz and might be attending a jazz performance for the very first time.

We strongly believe that music is meditation; it gives us the opportunity to take a break from the chatter of our busy lives, slow down and replenish and restore. Defining jazz is not nearly as important as experiencing the joy of the music and allowing it to lift your spirit and speak to your heart. Simply put, jazz is to be enjoyed. We hope you will join us soon and see and hear for yourself.

Greta Matassa is not only my teacher and mentor but even more, she’s a dear friend. So it was great to be in the house at Bake’s last Friday for the release party for her new CD, I Wanna Be Loved. I was not surprised to see a packed house, when I arrived. The room was energized and there was a palpable sense of anticipation in the air. I chatted it up with Greta before the show, and she was upbeat and calm. Simply put, singing to an enthusiastic room is what Greta does best, and the intimacy of Bake’s provided the perfect environment for her. I knew it was going to be a great night.

I Wanna Be Loved is Greta’s first release on the Resonance label, and was produced by George Klabin, who Greta had previously collaborated with on the Rising Jazz Stars Concert series in Los Angeles. The CD’s debut charted nationally at #19 for airplay on jazz radio stations. This is impressive but no surprise. In my mind, it’s about time that everyone else gets in on Greta. We in the Northwest have been keeping her to ourselves for too long.

On the bandstand with Greta was her great band featuring Darin Clendenin on piano, Clipper Anderson on bass and Mark Ivester on drums. Greta opened the set with the first cut on the CD Broadway. The band came out swinging, and away we went. It should be noted that several of the arrangements on the CD, where masterfully crafted by the esteemed pianist Tamir Hendleman, who also played on several of the songs. Hendelman’s arrangements are dynamic, adventuresome and always seem to really groove, at least to my ears. I was particularly taken by the unison piano and bass lines that came up in several of the songs. The CD is (and thusly the evening was) a tasty assortment of many moods, grooves and stories, of which Greta effortlessly and brilliantly moves through. Many of the selections are contemporary ones (As Greta explained, “post 1965”) and thusly mark some new territory for Greta, as she has previously largely been focused on older music. No matter. One of my favorite songs of the evening was Chan’s Song, which was written by Herbie Hancock with lyrics by Stevie Wonder. This was a lush, musical sweep in 7/4, which Greta glided through with grace and ease. It made me want to be the keeper of someone’s “scared love”. You’ll See was another great moment. Greta’s delicate and breathy delivery held a poignancy that conveyed a bittersweet optimism. Greta’s longtime pianist and musical cohort Darin Clendenin did this particular arrangement. Oh, what a lovely job he did. I was also bowled over by Would You Believe?, a Cy Coleman tune. I’ve heard Greta sing this particular song on several occasions, and it gets me every time. I’m becoming increasingly enamored of Cy Coleman compositions, and Greta’s treatment of Would You Believe? only adds fuel to the fire. Hey Greta, can I get a chart?

Of course, there were many, many more great moments on Friday night. One fun romp was Nothing Like You, a Bob Dorough tune performed at lightning speed, alternating between 6/8 and 4/4. It was a thrilling ride, and in Greta’s words, “That one was kind of a workout. No place to breathe!” As always, Greta was in good form, and her banter with the audience was both comfortable and amusing. It was also informative, as she shared stories about the songs, explained why they were chosen for the CD, what the histories were, etc. In addition to doing songs from the CD, Greta opened up both sets for requests, something that her fans always love. The crowd went particularly ballistic for her balls-out bluesy God Bless the Child. In short, the woman sang her ass off. Although I always feel a little sheepish honing in on audience request time, I requested Goody, Goody. I’d seen Greta perform it at Bumbershoot a few years before, and it was one of my favorite musical moments that summer. I had a hankering to hear it again, and with a chuckle, “the G” as I like to call her, obliged. In a heartbeat, we had Greta singing her finest Ella and scatting like mad. Although the entire night was wonderful, it was in that precise moment that I was reminded of how hearing Greta sing is one of the greatest joys in my life. I felt happy to be there and happy to be celebrating my friend’s success.

It would be remiss of me if I failed to mention just how wonderfully this rhythm section played. Some of the arrangements were challenging to say the least, and the band delivered seamlessly. Each member of the band had his own shining moment, and I was blown away again and again all evening. Per usual, I was particularly taken by the breathtakingly beautiful sound that Clipper Anderson seems to magically and consistently produce. There is no bass player quite like him anywhere. I might add that both Darin and Clipper played on the new CD and that in addition to You’ll See, Darin did the arrangements for a couple of other songs on the disc.

Throughout the evolution of her musicianship, Greta left no stone unturned. She listened extensively to thousands of recordings, fine-tuned her focus on every single nuance and technique and assimilated the craft through extremely hard work and diligence. It has paid off nicely, and this new CD is yet another pinnacle in an impressive career. I hope and expect it will blast her into a larger listening arena. In her efforts to develop herself as the best vocalist that she could be, Greta turned to the masters of the jazz genre. Today, it can easily be said that she is now among them.

It was loads of fun to have New Orleans vocalist Cindy Scott in the house this past weekend. Cindy was making a swing through the Northwest and played at Bake’s on Saturday as part of our ongoing Visiting Songbird series.

Cindy opened the set with an easy swing: the Roger’s and Hart tune “You Took Advantage of Me”. Her voice was strong and full with a warm tone and a hint of her lovely southern accent. Her style was relaxed and accessible. Her knack for telling a story was immediately apparent. Cindy was joined by a knockout band: Randy Porter on piano, Paul Garbrielson on bass and John Bishop on drums. The synergy of vocalist and band was infectious, and together they took us on a musical ride that encompassed many moods, stories and grooves.

There were many great moments throughout the night. Among them was Cole Porter’s “Get Out of Town” which was a fun 6/8 romp with an Afro-Cuban feel. Another notable number was one of Cindy’s original compositions “Let This Love Last”, which had a sexy, contemporary groove and again, highlighted Cindy’s natural ability for storytelling. Cindy also had a particularly nice touch with her Brazilian selections, and she absolutely soared on Dori Caymmi’s composition “Obsession”.

It was only my second time to hear and see Portland pianist Randy Porter, who really knocked my socks off. He seems to fully embody any type of groove that an arrangement asks for, and his solos are hip, intelligent and beautiful. He has an uncanny ability to create a great sense of drama with the utmost of simplicity. I don’t know how he does it, but this guy can do anything. This no way diminishes the rest of the band either. Gabrielson and Bishop were spot on and happening. There couldn’t have been a better support trio.

There is no mistaking that Cindy definitely possesses a southern sensibility, which is laid back, genteel and relaxed. Her between song banter expressed a warmth and authenticity that immediately resonated with me. (I’m an Oklahoma native, and it’s not often that I hear someone say, “Ya’ll”, at least not in these parts.) We spoke after the show, and I found her just as engaging and comfortable in a one on one conversation. I felt like I’d made a friend. Cindy Scott is a rock solid vocalist, who gives it all she’s got without pretense or artifice. She is the real deal, and what a pleasure it was to have her in the living room.

The other night I had the extraordinary opportunity to blow tunes, chat up and basically hang out with the amazing Patti Wicks. To the unfamiliar, Patti is a true wonder of a jazz pianist and vocalist. She honed her chops playing in jazz clubs in New York City and all over the East coast for over thirty years. She currently resides in Florida and is busier than ever. She recently played at Bake’s the last weekend of April. Patti and I had spoken over the phone a few times before she came to Seattle, so there was some sense of familiarity when we finally met in person. It was really a thrill to finally meet in the flesh. Patti is one hip and delightful lady. She’s full of spunk and humor and is instantaneously easy to be around. On Wednesday evenings, Craig has regular, informal sessions, where he sings and tries out new material during the dinner hour at the club. Patti was accompanying Craig on this particular Wednesday, and Craig was kind enough to invite me to sit in with them. Nich Anderson was there. Nich is the force behind the Seattle Jazz Vox concert series, and Patti was staying with him while she was in town.

Patti has a voice that is deep, raspy and beautiful. Her easy and conversational phrasing drew me in immediately. She knows her way around a lyric and she definitely knows how to tell a story. The first tune she played was “I’ve Got the World on A String”. She sang the form, soloed over the form, scatted a little and then launched into an extemporaneous romp all about her day: The trip to Safeway she took Nich, her choice of baked potato soup, which although small was enough to feed plenty and so on. And of course, these ad-libbed lyrics fit the form and melody perfectly. Oh my, Ms. Wicks has a wicked sense of humor. God, she was funny. I was enchanted.

Her playing was equally impressive and mind-blowing. She holds time like I’ve never seen before. She’s a human metronome. And she swings her tail off. Oh my, how she swings! Singing with her was just wonderful. She says she loves accompanying other vocalists, and I believe her. She made a really interesting bed for me and threw out many tasty touches. Perhaps even more notable, she left loads and loads of space. We hung way back. We took our time. Heaven! Musically-speaking, you couldn’t ask for a more generous or playful cohort. Patti is the real deal.

Afterwards, Patti, Nich, Craig and I sat at a table by the stage and talked for an hour or so. It was a memorable conversation. Patti had lots of great stories, and again, she was funny as she could be, The conversation turned slightly philosophical, and for some reason, we got on the subject of ballads. Patti is all about really communicating the lyric and singing from the heart. We talked about her conversational phrasing style. Occasionally, Patti would pop up to the piano to demonstrate a point or show us something hip. Her ease and flow were mesmerizing to me. And she was so much fun. She talked about accompanying different dance groups and demonstrated how she played with them. Obviously, the approach for Ballet Florida was radically different than for the Martha Graham Ensemble. I was completely charmed and thoroughly amused by this. She sat back down at the table. More philosophical musings. Patti seems to have little patience for musicians or artists who work too hard to impress or who go for virtuosity over authenticity. Patti is all about connection, humor and playing from the heart. At the end of the evening, Patti played us her arrangement of “Chopin’s Waltz in C# minor”. It was just lovely. There is no end to what this tiny and unassuming woman can do. Thank God for that.

My night with Patti Wicks was one of the most interesting and joyful experiences that I’ve had in a long, long time. I would love a chance to sing with her again someday. I certainly hope I’ve made a new friend. If nothing else, what a wonderful memory I will always have.

Patti Wicks is a highly regarded jazz pianist and vocalist and international recording artist. She spent over three decades playing in jazz clubs in New York City and also working the East Coast jazz circuit. She has several recordings in her discography and her CD “It’s a Good Day” received an Italian jazz award for the best jazz album in 2008. Patti currently resides in Florida and will be appearing at Bake’s Place this weekend with Seattle’s much beloved vocalist Greta Matassa. Patti and I spoke over the phone the other day. Here are a few bits and pieces from that conversation.

You just got back from a trip to New York City. What did you do there?
I played five nights at the Metropolitan Room, on 22nd between 5th and 6th. The room has only been open 2 or 3 years. I have a wonderful bassist I work with when I’m there. Linc Milliman. Great player.

You’re heading up here to the Northwest to play at Bake’s Place with Greta Matassa. Tell me about working with Greta.
I love working with her. She’s a wonderful singer and a great human being. We first worked together last October. We were both aware of each other but never had a chance to work together. Last fall, Nich Anderson had the idea that we should work together. We did one of his house concerts on Camano Island on a Friday night. That was great fun. Then we did Bake’s on that Saturday and Sunday. We had so much fun, we decided to do it again. We just hit it off. She’s a nifty lady and a wonderful singer. We just had a ball. I love to accompany singers. Over the years, I’ve worked with Anita O’Day, Rebecca Parris, Sheila Jordon, Carol Sloane….

Who were some of your influences?
As a pianist, my biggest influence, of course, was Bill Evans. I listen to mainly instrumentalists: Wayne Shorter, Miles, Cannonball Adderley, you know, all those jazz greats. That’s how I learned most of my musical repertoire was listening to them.

Are there any up and coming young jazz artists that you’re excited about?
There are some really nice ones. For pianists, I love Eldar. There’s also a young vibes player- Christian Tamburr that I met at a jazz club in Coco Beach. When he was 16, he would come in. His parents would bring him in. We had a jam session and he would come in and play. You could tell he was really something special.
What’s coming up for you?
My new CD “Dedicated To” that I recorded in Italy just came out. I recorded it with my Italian trio: Giovanni Sanguineti on bass and Giovanni Gullino on drums. Special guest was tenor player Scott Hamilton. I will be going to Italy in July to promote the CD. On May 8th and 9th, I will be in Michigan. On that Friday, I will be playing at the Firefly in Ann Arbor. On Saturday night, I will be playing a house concert for the Detroit Groove Society in the home of Andy and Diane Rossman. Paul Keller will be playing bass with me. Pete Siers is the drummer. On June 13th, I will be playing a concert at the Sanchez Concert Hall in Pacifica, CA in the Bay Area. I will be working with Ruth Davies, a great lady bass player out there.

Jackie Ryan was in the house this past weekend and oh what a magical time it was. Jackie played to packed and enthusiastic rooms both nights, and there was a palpable hum in the air even before the first downbeat. When Jackie took the stage, she said that she and the band would be taking us on a musical journey, and she delivered in spades. She kicked off the evening with a hard-swingin’ romp- “Welcome to the Club”, a tune that was recorded by Nat King Cole. And this was just the beginning! Jackie took us through a musical adventure that included a wonderful selection of great songs and a wide range of moods: hip, cool, beautiful and melancholy. She kept things swinging all night with such great songs as Let There Be Love, Destination Moon & You’d Be So Nice to Come Home To. Many of Jackie’s selections were arranged by the esteemed jazz pianist Tamir Hendleman and to this listener’s ear, had a specific groove accentuated by very hip bass lines. Jackie’s ballads were lovely and heartfelt and really drove home her natural knack for storytelling. You’ll See was particularly moving. Jackie also sang several Latin selections. Notable were Slow, Hot Wind by Henry Mancini and The Crossroads and Besame Mucho by Antonio Carlos Jobim. The latter, which was requested by an audience member, was stunningly passionate and riveting. It took my breath away.

Jackie’s voice is full and powerful. Her tone is lovely and has the slightest hint of an accent, a shade from her Latina heritage. Technically, she is flawless. However, Jackie’s strength as a performer runs much deeper than mere singing. She is warm and gracious and posses a great sense of humor. Her rendition of Baby, Do Something was delightful fun. Her between song banter included stories about the songs, appreciation for her audience and frequent homage to her band, which was a powerhouse trio featuring Randy Halberstadt on piano, Larry Hollaway on bass and Gary Hobbs on drums. The band delivered the goods all evening, and Jackie was very clearly pleased. “They grow ‘em good here in Washington”, she said. The music was energized, but the evening was very relaxed. Jackie made it feel like we were all old friends. She introduced a table of fans from Peru, Portugal and Panama and also sang “Happy Birthday” to a handful of guests that were celebrating. She also took the time to educate the audience, and asked Hobbs to talk about the “cajon”, which was the percussive box he utilized throughout the evening. (“Cajon” literally means “box” and is an Afro-Peruvian percussion instrument.) Two hours went by very quickly, and at the end of the evening, I couldn’t have felt more satisfied. Jackie Ryan is an outstanding vocalist and a truly charming performer. I was sad that the journey was over so soon.