Chicago Jazzfest--Day 4
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Another Day
Day 4 of the 2023 Chicago Jazz Festival saw the end of a wonderful four-day run. Looking back over the long weekend, I am struck by the festival’s vibe. People were both relaxed and extremely friendly. For example, I spoke with bassist Kurt Schweitz following his set at the WDCB tent. I recalled last seeing him at the Jazz Gallery in New York City with Miguel Zenón eight or so years ago. I noted how disappointed I am every time I see Zenón because Schweitz isn’t playing bass in the then current configuration of Zenón’s band.
I also had a nice conversation on Saturday with guitarist Derek Duleba, who was performing with singer Devon Sandridge. Busy guy this weekend, with a wedding to play later that day, followed by his return to New York City, where he is studying at Juilliard under the tutelage of Wynton Marsalis. Eventually the conversation turned to the merits of various jazz clubs in New York City. Hopefully, I will see him sometime again at Dizzy’s or Smalls, or the Jazz Showcase.
Then there was Tatsu Aoki, who was handing out free copies of Francis Wong’s new album entitled Miyoshi Sketches. I offered him $20, but he refused. Wong and Aoki just want people to hear the music.
As everyone knows who was at Jazzfest on Sunday, it was hot. So at some point during the late afternoon, one of the guys managing the WDCB tent motioned me over. “Do you want a bottle of water? Head over there to the shade and sit for 10 minutes.” We’d seen each other all weekend, and he knew I was in constant motion, so he decided to exercise better judgment than me. Thanks.
Of course, there were the folks from the Chicago Department of Cultural Affairs and Special Events, as well as the women handling security for the Pritzker Pavilion’s media area. Everyone is always friendly and helpful.
I also had countless conversations with strangers, covering everything from jazz to photography; fortunately, no politics. Lest I not forget my photographer buddies in the pit. The team-team photo tradition is a sign of the camaraderie that exists among this group of photographers.
All of this made for a great weekend, particularly when the weather and music were factored into the mix.
As for the music:
Upon arriving today at Millennium Park, I headed directly to the WDCB Jazz Lounge to see who was playing. Paul Abella, on some sort of electronic beatbox, was offering a workshop on New Standards, presumably jazz ones. While I was there, Abella chose Fugazi’s Combination Lock as one of his new standards. An interesting choice given that Fugazi experimented by combining punk with reggae. As I headed to my next destination, I thought, “Well we aren’t in My Funny Valentine land anymore, which is not a criticism.
Next up was guitarist Tim Fitzgerald’s Full House at the Von Freeman Pavilion. I arrived at the end of their set, so I only heard the last number. Three horns and a guitar, with George Fludas on drums and Christian Dillingham on bass. Not a bad combination.
I then headed to the Harris Rooftop, where the members of Neon Wilderness were setting up. The musicians were all alums of the Jazz Institute’s Next Generation Jazz program. The big question is whether they took their name from Nelson Algren’s short story collection by the same name, or from the Verve song appearing on Urban Hymns? In any event, the group opened with a slower number that saw the two horns melding together a relatively slow beat. Eventually, the group opted for some Free Jazz. [As a side note, the program lists this group as playing at a later time, but the time stamp on my image files show that they played earlier in the day]
Paul Abella Playing New Standards, Including Fugazi's Combination Lock
Tim Fitzgerald Leading Full House
Marques Carroll on the Frontline With Tim Fitzgerald's Full House
The Big Cooker Outside of Wally's Creole Corner
Garret Munz on Saxophone With Neon Wilderness
Pianist Miles Richey With Neon Wilderness
But I needed to keep moving, so it was back to the Von Freeman Pavilion, where Christian Dillingham was back on stage, now leading his quartet. Before I saw the musicians, who were largely obscured by the crowd, I thought I heard the sounds of Dicky Dale or the Sufaris. That was Dave Miller on his candy-apple-red Gibson. Later in the set, Dillingham spoke about the band, pointing out that Miller brings an encyclopedic knowledge of guitar stylings to his playing, so the the surf riffs apparently were not out of character. Dillingham also singled out drummer Greg Artry for mention. He was having a grand-old time with his drum kit, flashing smiles and wildly swinging his arms. No surprise then when Dillingham noted that Artry has boundless reserves of energy, making him the caffeinated, wild man of the group. And I would be remiss, if I failed to note that Leland Simpson was the sax man, bringing both his alto and soprano saxophones to the mix. Simpson is a crowd favorite and a critic’s delight.
After a few numbers, I headed back to the WDCD Jazz Lounge, where I caught some of drummer Charles Heath set, but I couldn’t resist a quick trip to the Crown Fountain, which was just a short jaunt from the shaded listening space adjacent to the WDCD tent. With temperatures well into the upper Eighties, I knew there would be kids frolicking in the water and under the two spigots encased in the black monolithic screens. Little did I know that there would also be two adults cooling their heels under the cascading waterfall.
Christian Dillingham Leading His Quartet
Guitarist Dave Miller Bringing Some Dicky Dale to Christian Dillingham's Quartet
Leland Simpson (Soprano Sax) and Christian Dillingham (Bass)
Greg Artry Let's It All Out (Playing With The Christian Dillingham Quartet)
After an orange Gatorade, I headed back to the Von Freeman Pavilion for Petra’s Recession Seven. The band is lead by singer Petra van Nuis, and includes her husband, Andy Brown (Guitar), Art Davis (Trumpet), Bill Overton (Saxophone), Russ Phillips (Trombone), Don DeLorenzo (Bass), and Bob Rummage (Drums). This is Traditional Jazz at its best. I made a note: look for them around town as the leaves change color.
Petra van Nuis Singing With Petra's Recession Seven
Andy Brown Playing With Petra's Recession Seven
An Alligator Sausage Po' Boy From Wally's Creole Corner
Art Davis Blowing With Petra's Recession Seven
Tee-Shirts and a Lawn Chair
Relaxing and Eating Outside of The Von Freeman Pavilion
Russ Phillips on Trombone With Petra's Recession Seven
Sketching the Skyline as Jazz Wafts Through the Air
Charles Heath Playing at The WDCB’s Jazz Village
Taking a Break To Cool Off
Heading Back to the Pritzker Pavilion After Cooling Off
Came Prepared
By now it was time to head over to the Pritzker Pavilion for the evening performances. First up, the Pharez Whitted Quintet. Trumpeter Whitted is a Chicago-jazz scene veteran—he made his veteran status quite clear when he announced that his new status as a grandfather. As to expected, Whitted and company offered up an enjoyable set comprised of straight-ahead jazz and virtuosity, which included the jaunty Watusi Boogaloo, which included a strong trumpet solo. He also played another number rooted in bop, which I believe he referred to as the Lindy Bop.
Shooting Through the the Stands and Monitors (Homage to Saul Leiter): Kenny Phelps on Drums
Reflecting (Pharez Whitted)
The Claw Comes Down: Reggie Thomas With The Pharez Whitted Quintet
Bassist Jonathan Wood Playing With The Pharez Whitted Quintet
Playing the Last Notes of His Solo
Brought All the Necessities for an Evening of Jazz
Barbie Opting for ad Italian Muffaletta Sandwich
Following Whitted’s set, The Chicago Soul Jazz Collective took the stage with Dee Alexander. Our much beloved Dee always brings out the crowds. By the time Dee and her compatriots hit the stage, the great lawn was reaching capacity. I have seen Alexander in many configurations—including performances paying homage to Billie Holiday, another toying with Jimi Hendrix and James Brown, and still another featuring her mother’s favorite standards.
Today, Alexander and The Collective played songs written by bandleader and tenor saxophonist John Fournier during the pandemic. Alexander was a little more restrained (less vocalese) then usual, but that is just an observation; not a criticism. The band sounded terrific, with a warm sound enveloping Alexander’s vocals. But it is hard to keep Alexander down. On one number, she sang about racism, violence, and other plagues of the modern era. And she did so with passion. Never fear, she eventually snuck in some scat vocalizations.
The Great Lawn Nearing Capacity
Larry Brown, Jr. Playing With the Chicago Soul Jazz Collective
Dee Alexander With the Chicago Soul Jazz Collective
Keith Brooks Playing With the Chicago Soul Jazz Collective
Then it was time for the evening’s big surprise: Billy Valentine, who is best described as a journeyman singer, arranger, and composer. He did a stint with Young-Hold Unlimited; spent a year in Chicago as a field mouse in the Wiz; scored, together with his brother, an international hit during the Reagan years with Money’s Too Tight; and works in Hollywood as a song writer and TV soundtrack contributor.
Valentine’s set was delightfully enjoyable, but he traveled no new ground. He opened with Stevie Wonder’s You Haven’t Done Nothing, a political commentary directed toward President Richard Nixon. He also paid tribute to Curtis Mayfield, singing (if I recall correctly), We the People Who Are Darker Than Blue. Along the way, he covered Eddie Kendrick’s My People… Hold On. In keeping with the political and cultural overtones that ran throughout Valentine’s set, he also covered Gil Scott-Heron’s Home Is Where the Hatred Is and Lady Day and John Coltrane. Toward the end of his set, Valentine sang Money’s Too Tight, as well as War’s The World Is a Ghetto.
To his credit, Valentine heaped praise upon the backing musicians, Chicago’s very own Greg Ward (Saxophone), Julius Tucker (Piano), Matt Gold (Guitarist), Sam Jewell (Bass), and Junius Paul (Bass—as usual Paul was nattily attired, wearing a long yellowish-orange scarf draped over his lanky frame). Valentine was quite upfront, revealing that he needed a cheat sheet to remember each musician’s name, and that he had never met them until today. To their credit, Chicago’s finest were spot on. I assume they spent considerable time listening to Valentine’s new album, Billy Valentine & The Universal Truth, which is terrific recording if you are up for an updated take on the Seventies.
I was particularly enamored by Matt Gold. Despite being a disciple of modern jazz, the inner Gold has an obvious affinity for the likes of Steve Cropper and other guitarists who brought texture and fills to the era’s soul and R&B hits. His facial expressions and his superstar posture said it all. He was having a great time.
Valentine inadvertently revealed the difference between Jazzfest and Bluesfest audiences when he took a stroll along one of the stage’s wings. During Bluesfest, when a performer takes that walk, the audience usually leaps out of their seats, rushing the stage with arms reaching for the performer. Not tonight. The audience, although enjoying the performance, stayed put. Maybe it was the heat.
The Audience Enjoying the Music as the Sun Begins Its Journey Beneath the Horizon
A Fellow Photographer in the Pit
Billy Valentine Makes a Leisurely Entrance
Matt Gold Getting His Steve Cropper On
Singing That a Change is Going’ to Come
Greg Ward With Billy Valentine
Billy Valentine Taking on Gil Scott-Heron
An Seemingly Bemused Julius Tucker Watching Billy Valentine
Sam Jewell Keeping the Beat for Billy Valentine
The Always Nattily-Attired Junius Paul Playing Bass With Billy Valentine
Looking Up, From My Position Kneeling Below
The Sets Come Down Even Before the Last Applause
The Festival Remembers Jimmy Buffett During the Annual In Memoriam Reel
Following a short intermission, Juan Marcos González and the Afro-Cuban All Stars took the stage. The group is centered on three vocalists (González, Alberto Alberto, and Jose 'Pepito’ Gomez ), who danced throughout the three pieces I heard; there was lots of percussion, with Tony Allende on congas, Caleb Michel on timbales, Asley Rosell on bongos and cowbell, and Gliceria Abreu on percussion; and a solid horn section that included Frank Iraola and Tony Perigo on trumpet and flugelhorn, and Carlos Averoff Jr. on baritone saxophone and flute. Of particular note was Orlando Cardoso on piano, who played a wonderful solo. The group and González is particularly notable for their association with the Buena Vista Social Club and work with Ry Cooder in producing the famous sessions for that group.
Juan de Marcos González, of Buena Vista Social Club Fame, Leading the Afro-Cuban All Stars
Juan de Marcos González (C), Jose 'Pepito’ Gomez (L), and Alberto Alberto (R)
Jose 'Pepito’ Gomez Dances When Not Singing
A Relaxed Caleb Michel on Timbales
Tony Allende Working the Congas Without Taped Fingers
Orlando Cardoso Taking the Lead
I must admit, I left midway through the set. The band sounded just like I expected; they were perfect as the closing act on a long weekend. But by 8:20 PM, I was exhausted after spending at least 36 hours over the last four days in Millennium Park listening to and photographing jazz. I had a blast, but I had nothing left, which means this year’s Chicago Jazz Festival was a smashing success.
The Load Out: Until 2024, Back to the Clubs and Concert Halls
Copyright 2023, Jack B. Siegel, All Rights Reserved. Do Not Alter, Copy, Download, Display, Distribute, or Reproduce Without the Prior Written Consent of the Copyright Holder.
