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Kansas City's Online Journal of the Performing Arts

Beginning with an extended and breathy solo inspired by Charlie Parker’s “Parker’s Mood,” Joe Lovano soulfully introduced the 90-minute collage of pieces from his latest albums Bird Songs (2011) and Folk Art (2009). Lovano was animated and comfortable on stage, dancing while he joyfully played tenor and soprano saxophone. His improvisation was lively and creative, blending old-school homage with contemporary attitude in his interpretations of classic Parker melodies, his own compositions, and more. A natural leader for Us Five, the ensemble fed off his cues seamlessly, falling into complex rhythms and variable tempos with ease.

A major bonus of the evening was the mesmerizing bassist Esperanza Spalding, a rising star in the future of jazz and winner of Best New Artist at the 2011 Grammy Awards. The heartbeat of the ensemble, Spalding captivated the audience with her melodically organic solos and relaxed vibe. Her technique was spry and fluid, exploiting her instrument’s whole range with excellent intonation. Spalding played with such innovation and enthusiasm that at times it was difficult if not impossible to shift my focus away from her.

Pianist James Weidman presented stellar solos as well. A generally calm presence on stage, Weidman’s solos began with smooth lines and pleasant harmonies building to increasing intricacy and tension before finishing in satisfying and appropriate climaxes. His expert employment of appropriate dissonances in his features and peppering them throughout the evening was particularly surprising and effective.

Two drumsets could overwhelm a quintet, but this ensemble effortlessly incorporated the extra skins. Drummers Otis Brown III and Francisco Mela were different in style, highly attuned to each other, and never redundant. Their careful placement of percussive accents showed sensitivity to the other soloists was especially impressive. Brown and Mela’s combined solo on the final piece, the group’s version of Parker’s “Barbados,” proved to be a highlight of the concert.

The ensemble was at its strongest during the third and most exploratory set, a triptych of “Drum Song,” “Golden Horn,” and “Mystic.” The freedom of expression and improvisational prowess in this group was refreshing and never dull. Their ability to sit on a contented groove and snap instantly into erratic (yet remarkably coordinated) polyrhythms kept me on the edge of my seat. Lovano’s blend of traditional jazz, bebop, blues, abstract modernism, and even a touch of hip-hop—with his troupe of talented dynamos—create a stimulating style worth hearing live.

REVIEW:
American Jazz Museum: Jammin’ at the Gem Series
Joe Lovano and Us Five
Friday, October 21, 2011
Gem Theater
1615 E. 18^th Street, Kansas City, MO
For more information, visit http://www.americanjazzmuseum.org

Top Photo: Joe Lovano

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.