ILLINOIS
JACQUET BIG BAND
JVC Jazz Festival New York
Sylvia and Danny Kaye Playhouse
June 27, 2003
Rock and roll revivals, or, rather, doo wop and r’n’b
seem to the the mainstay of public teevee fundraising these
days. Would that there were an equivalent for the oldtimers
of jazz.
Saxophonist Illinois Jacquet put on a fine and fun show for
a joyously receptive audience of varied ages. Jacquet has
his own big band which, in themselves, were not particularly
interesting except when playing full tilt, but Jacquet’s
wit and the unnamed arranger were the heroes of the night.
The pieces were all delightfully short and concise, as if
they were being recorded for 78s, yet they played for a good
two hours plus two encores without intermission.
The horns, man, the horns. Sure, there was a bass and piano
and a young, happy, time-playing drummer with an unrelenting
grin and bobbing head, but the sonorities of the twelve horns,
not counting the leader’s own, were a real treat for
tired ears. The orchestration of the two altos, two tenors,
baritone sax, four trumpets, and three ‘bones had the
sonic effect of good chocolate truffles, dark and bittersweet,
and very little added sugar.
Players were singled out for some solos, and some played
hot and some by-the-number. The blond trombonist (I could
not get his name by press time) was the strongest player in
the band, subtle yet solid. Trumpeter Sean Jones was introduced
with enthusiasm by Jacquet, and ran an exciting solo. “A
young man from Youngstown, Ohio,” announced the leader.
“That’s in America.”
Jacquet’s getting-old, loss of memory schtick was sweet,
and left the audience in apt doubt how much was real and how
much was a put-on. He entered with a walking stick, in a bright
red valet jacket, and sat in a comfortable swivel chair, to
play and to conduct the band. Looking toward the band, with
brilliant timing, he’d ask, “What’s the
name of this?” or “I’m working under a handicap
tonight.” Pause. “I’m sober.” Switching
from tenor sax to alto, he warned, “these two don’t
get along,” telling of the instruments’ jealousies,
and indeed the alto gave him a lot of trouble starting up,
but that didn’t get him down.
Nor has his life, of which he told many happy stories, especially
of the other greats he’s worked with. “Some thieves
tried to steal my song ‘Don’t Go Away Mad.’
” He calls it “Black Velvet,” or was it
vice versa? Whichever title, it was a hauntingly gorgeous
melody with fascinating changes.
Jacquet’s
singing voice is ragged. He did a half-scat/half-moan in tribute
to Ella Fitzgerald which was warmly accurate, as well as growling
not-bad Armstrong imitation, but clearly to please the audience,
which delighted in it. To Jacquet’s credit, nothing
he did to play to his audience was tacky or mercenary.
He held out to
the end before taking on his career-making song, “Flying
Home,” a giant 1941 hit with Lionel Hampton’s
band from when Jacquet was nineteen. He knew it was on the
audience’s mind, and so he indulged them, saying, “We’re
going to do a short ‘Flying Home.’” Afterwards,
he smiles and said, “Those days are over.” Someone
in he audience pouted, “They are not!” Imagine
being asked to play the same tune every day since 1942. I
keep thinking of Joni Mitchell’s retort to an insistent
fan, saying “Did they ask Vincent Van Gogh to keep painting
‘Starry Night’”?
I highly recommend
Delmark’s new twenty-three track reissue of Illinois
Jacquet’s 1945-1947 Apollo Records discs, Jumpin’
at Apollo (DE-538), transferred in rich sound.
ILLINOIS JACQUET BIG BAND
Illinois Jacquet, leader, tenor and alto saxophones
Vincent Lardear, alto saxophone
Julius Tolentino, alto saxophone
Arthur Daniels, tenor saxophone
Jay Brandford alto saxophone
Tom Olin, baritone saxophone
Freddie Hendrix, trumpet
Sean Jones, trumpet
Carlos Abadie, trumpet
Aaron Flagg, trumpet
Reginald Cyntze, trombone
Danny Kirkhum, trombone
James Burton, trombone
Ed Stoute, piano
Marcus McLaurine, bass
Tony Leone, drums
www.festivalproductions.net
http://kayeplayhouse.hunter.cuny.edu.
www.delmark.com
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