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Creating musical contours of shifting sonic landscapes |
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WAYNE SHORTER QUARTET
Palais Theatre, March 5
WAYNE Shorter performed with a slightly altered version of his long-running quartet on his last tour here five years ago: Shorter, John Patitucci (on bass) and Brian Blade (drums) were joined by Jason Moran, filling in for regular pianist Danilo Perez.
My overriding memory of that encounter is of Shorter, Patitucci and Blade spinning in a freewheeling orbit, with Moran clinging on for dear life as the centrifugal force of the music pushed him ever outwards.
Last Friday, Shorter took the audience on another trip to distant galaxies - this time with all three of his decade-long collaborators (including Perez) in tow. While the 2005 concerts were fascinating, there is nothing more thrilling than watching four close collaborators who trust one another implicitly, and who can stride fearlessly into unknown places without losing contact with one another.
Friday's concert unfolded like a continuous suite, with no pauses between tunes. Actually, there were very few ''tunes'' as such.
Instead, there were references - some direct, some oblique - to recognisable melodies, themes and meters.
These references nestled within a sonic landscape whose contours were shifting, like desert sands.
Blade's drumming surged in waves that could build to a roar, then drop to an asymmetrical flutter, while Patitucci switched intuitively between keening arco bowing and vigorously plucked bass lines.
Perez's stabbing, suspenseful chords at the piano could dissolve unexpectedly into lyrical glissandi. Shorter himself played with striking economy, measuring each note to give it weight and meaning.
His concise, perfectly judged lines (on tenor and soprano saxophone) sounded unhurried, even when the rhythm section was pitching and tossing.
There was a sense that every phrase contained something essential, and yet eternally fresh.
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Blanc de Chine Showcases Braden-Rapp at APAP |
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January 18, 2010 Manhattan Local Music Examiner
Of the hundreds of artist showcases that took place in Manhattan last week as part of the annual Association of Performing Arts Presenters (APAP) conference, none was more novel than that by jazz saxophonist Don Braden and trumpeter Mark Rapp. Their Braden-Rapp: The Music of Billy Strayhorn album project was performed at the Hong Kong-based fashion retailer Blanc de Chine’s Fifth Avenue flagship store in a Sunday brunch program that combined the store’s clothing line’s philosophy with jazz.
“At one point I thought to myself, this couldn’t be a more perfect pairing,” says Taryn Kraimer Scher, Blanc de Chine’s marketing and PR manager, USA. “There is something about the ease and simplicity of jazz--though truly complex--that is completely parallel to what Blanc de Chine represents.”
Blanc de Chine (the name is French for “white of China” and refers to white Chinese porcelain) is represented by the Chinese yuan character, notes Scher, “which means ‘source of the river’: It’s all about going back to our roots, our heritage, the simplicity, the source--though at the same time it is truly complex.”
The design house, Scher continues, “is the first Chinese luxury brand that has made a serious effort in transforming traditional Chinese culture and design into modern lifestyle and the world of haute couture.”
By teaming up with Braden-Rapp, she adds, “we felt there were so many similarities in the feelings inspired by their sounds and the feelings inspired by our clothing. We both seek to create a Zen-like feeling of serenity, grounded in true ease and simplicity. And just like their music, if people think that Blanc de Chine is just another clothing line, they are missing the whole point!”
On The Strayhorn Project’s CD cover, Rapp is wearing Blanc de Chine’s classic Mandarin collar suit, while Braden has on a Blanc de Chine tux.
“Having a band associated with a high-end fashion store gives the listener and the presenters of music an instant identification on what kind of music we are playing,” says Rapp’s manager Gail Boyd or Gail Boyd Artist Management. “Don Braden and Mark Rapp are elegant. Jazz is often used to sell high-end products on television, i.e., John Coltrane’s music and image selling luxury cars, Diana Krall selling Rolex watches. Having Don and Mark associated with Blanc de Chine is an extraordinary opportunity for us to brand the band on their debut CD. It gives us the visual to say, ‘We are classy, we are young, but we already represent the kind of class and elegance expected of jazz musicians by the general public--and we are so good that a luxury line like Blanc de Chine has already decided that we can represent them!’”
At various APAP panels following Braden-Rapp’s performance at Blanc de Chine, “our showcase was used as an example of a new way to present jazz,” says Boyd. “The showcase stood out because it was not held in a smoky jazz club, or a sterile hotel ballroom, but among elegant fashions with food and beverages served. The association with Blanc de Chine will continue to grow as they intend to use us in their fashion shows and other co-branding ideas. I am anxious to talk to them about giving our CD to their customers with a Blanc de Chine logo on it.”
The event was a first for the store, which has worked with the classical artists Dan Zhu, Xiayan Wang and Jenny Koh, but not a jazz act.
“And we’ve never done an event like that before, where we hosted a performance with a group that was not fashion/shopping specific,” says Scher of the APAP-related showcase.
It was also the first in-store event at Blanc de Chine designed expressly for the artists. |
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John Clayton: Nomination, Not the Grammy, That Counts |
MOSCOW, Idaho – Bringing home a Grammy Award is seen by popular culture as the crème de la crème for artists. For John Clayton, who served as an arranger and played bass on this year's Grammy Award-winning "Yo-Yo Ma & Friends: Songs Of Joy And Peace," the pleasure comes from a less conspicuous part of the Grammys.
"The most meaning comes from the initial nomination," said Clayton. "It's when people in the industry come forward to honor their own."
Clayton said that the initial nominations for a Grammy are put forth by specialists in a particular genre. "They look at quality and nuances within the genre, which may not be known by other types of artists. This specialized recognition brings us to the forefront of our peers," he said. "Nominations at this level are a special thing by people who know and love the music."
The Grammys are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. That's why Grammy Award nominations often include artists whose names are not as well known as Beyoncé, Lady Gaga or Kings of Leon.
Following the initial nomination process, the larger Recording Academy body selects the award recipients. "At that point, a rap artist could be choosing a gospel artist for a Grammy," said Clayton. "I'm not dismissing the Academy, but that's why the initial nomination is so meaningful."
And a momentous year it was for Clayton and his family. In addition to the nod for his work with Yo-Yo Ma, The Clayton Brothers Quintet, co-led by John's brother, Jeff Clayton, received a Grammy nomination for its album, "Brother to Brother." And his son, Gerald Clayton, received his first Grammy nomination for Best Improvised Jazz Solo with his interpretation of "All of You."
"It was Gerald's own trio album, and to have it nominated for a Grammy, specifically for his solo, was a wonderful nod," said Clayton. "It was really special to see my friends and family nominated this year."
He compares the nomination process to the adjudication process at the Lionel Hampton International Jazz Festival. "We want to acknowledge achievement and quality, not in relation to one's peers, but for what they have done with the music," he said.
Under Clayton's leadership, the festival has moved away from a competition process that awards first, second and third place, and seeks to honor achievement.
"We will never tell a person they are a second-place or a non-placed performer," Clayton said. "What does that do to the people we're telling these messages to? What if they actually believe it and lose their interest in their music?"
That is why the final outcome of the Grammy Awards doesn't hold a lot of weight for Clayton. "Any kind of recognition that's positive makes me feel good. But it would make me a hypocrite to be overly proud to receive a Grammy," he said. "I want to keep learning, keep finessing my art form, and likewise, fan that flame in other artists."
"The Lionel Hampton International Jazz Festival focuses on being a place that helps students learn to love jazz and keep it alive," he said. "We work with students to fine-tune their skills, and provide input and direction to help them solve problems and launch them to the next stage in the musical experience."
For 43 years at the University of Idaho, the Lionel Hampton International Jazz Festival has brought jazz masters together with elementary, junior high, high school and college students to share and celebrate this truly American art form. It has featured hundreds of musicians from around the world, including China, the Czech Republic, Portugal and Peru, as well as students from Canada, Japan, Russia and Kyrgyzstan. For more information, visit www.jazz.uidaho.edu.
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About the University of Idaho
Founded in 1889, the University of Idaho is the state’s flagship higher-education institution and its principal graduate education and research university, bringing insight and innovation to the state, the nation and the world. University researchers attract nearly $100 million in research grants and contracts each year; the University of Idaho is the only institution in the state to earn the prestigious Carnegie Foundation ranking for high research activity. The university’s student population includes first-generation college students and ethnically diverse scholars. Offering more than 130 degree options in 10 colleges, the university combines the strengths of a large university with the intimacy of small learning communities. The university is home to the Vandals, the 2009 Roady’s Humanitarian Bowl champions. For information, visit www.uidaho.edu.
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Danilo Perez Joins Gail Boyd Artist Management |
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Gail Boyd Artist Management is pleased to announce the addition of Grammy © Award-winning pianist Danilo Perez to its talented roster. In addition to being a highly accomplished pianist who plays with the Wayne Shorter Quartet as well as his own trio, Perez also is the artistic director for the Panama Jazz Festival, artistic advisor for the Mellon Jazz Up Close series, Ambassador of Goodwill for UNICEF, and is president of the the Danilo Perez Foundation which promotes Panamanian art and culture. Perez is also on the faculty of the New England Conservatory and the Berklee College of Music. We are thrilled to be able to offer another outstanding artist for your consideration! |
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Welcome to the Gail Boyd Artist Management website. I'm pleased to present my roster:
Please note that these artists are composers and educators. Thus, in addition to stellar performances, they are available for commissions, residencies, master classes, clinics, and pre and post-concert lectures. Take a moment and click on to the roster to get more details about each artist. The news section will keep you abreast of any late breaking stories. Each artist has a link to his or her website for even more details and photos.
Each artist also has an electronic press kit which can be accessed by e-mailing me and requesting the password. In that press kit, you will find high resolution photos which can be downloaded as well as biographical and press information. Full promotional packages can also be mailed to you upon request. Simply click the contact section and let me know who you might be interested in. Any other staff member of Gail Boyd Artist Management can also be reached by clicking that section.
I look forward to answering any questions you might have. When you get a chance, check out the Invisible Man section of this website. My son Arif Gursel has developed an urban/pop roster for artist management/development in addition to record production and other services. I hope you enjoy this site and I look forward to your feedback.
--Gail Boyd
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