By ELGIN SMITH
One of today's brightest contemporary jazz saxophonists,
Jackson and his quartet kicked off the evening with "Four," a classic jazz standard written by Eddie "Cleanhead" Vinson (but best known for Miles Davis' rendition of the tune). The tempo was hot, and Jackson's initial solo was even hotter, with a sound that resembled John Coltrane and a fluidity that Charlie Parker could have appreciated. The surprisingly small crowd, which only filled one third of the Blue Room, applauded Jackson after his lengthy, blistering solo. Guitarist Henry Johnson then took his turn, demonstrating a non-picked style that sounded remarkably like Wes Montgomery.
After finishing up the most recognizable tune of the evening, the quartet shifted into an original composition of Jackson's, "Mr. Taylor." The group relaxed a bit with a medium tempo that allowed them to swing a bit. Jackson started things off with a solid solo, but Johnson's bluesy guitar work stood out as the tune's bright spot. Drummond played the last solo, a straight, almost march-style (see Art Blakey's "Blues March") that allowed him to show off a few tricks (including a one-handed solo stretch that got a few shouts from the audience).
The next piece was a bit surprising: a cover of the Black Eyed Peas' "Where Is The Love?"
I know what you're thinking; but, the instrumental treatment
of this song worked well. Starting off as a ballad, Jackson played
the melody with a basic, literal interpretation of the original. When
the solos began, however, the band shifted into a more soulful, funkier
groove, with a standout solo by bassist Corcoran Holt.
Jackson spoke at the microphone a few times throughout the
evening, crediting the names I mentioned above, as well as his "main
man," saxophone colossus Sonny Rollins. His sound on the ballad "My One
and Only Love" had a particularly Rollins-esque tone, and was probably
one of the best renditions I've heard.
The group then switched up the vibe completely, paying tribute to
Kansas City's Charlie Parker with "Confirmation." The tempo was a
little slower than Bird's classic recording, and the energy level
suffered because of it. Solos by Jackson and Johnson were solid, but
the tune drew out a bit too long during Drummond's solo.
The evening continued with a mix of alternating styles,including Wayne Shorter's "One By One," bossa nova ballad "Will You
Still Be Mine?", and Jackson's original composition "Mr. Jones." It was
obvious that these musicians were absolute professionals, and the
evening's only disappointment was that the attendance was a bit
lacking. Regardless, the group put on a solid show, and it would be a
shame for jazz fans to miss these virtuosos next time they're in Kansas
City.
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