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In the band photo on the tray card of Force Majeure, (Delmark Records, 2014) a CD by Paul Giallorenzo‘s GitGo band, the leader stands front and center wearing a t-shirt bearing the image of the Great Lakes. After 30 years in Chicago, does the Long Island native consider himself a Midwest musician?
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Silent, Listening, Fred Hersch’s affecting new recording, begins with a moody cover of “Star Crossed Lovers,” an Ellington/Strayhorn composition that was also on Hersch’s first trio recording as a leader, Horizon (Concord Jazz,1985). But don’t read too much into the programming. In music and in life, Hersch, who will play a solo concert at the Treelawn Music Hall on Friday, takes things a day at a time.
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At Ari Hoenig’s website, you’ll find several items of apparel for sale. One of them is a t-shirt, black, of course, with a photo of Hoenig at the drum kit and the legend, “I’m not angry. That’s just my face!”
Intensity has been a hallmark of Hoenig’s career. For the New York Times in 2009, Ben Ratliff wrote, “Ari Hoenig has a slightly compulsive relationship with his drum set.” If you’ve seen him play, you’ll know what Ratliff meant, and if you haven’t, Hoenig’s weekend appearance at Bop Stop offers a fine introduction to his imaginative, highly interactive and yes, intensely committed style.
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Pianist Tamir Hendelman’s gifts as an accompanist have led to recording projects by some of the most iconic soloists of our time: Natalie Cole, Gladys Knight, Sir Paul McCartney and Barbra Streisand among them. Yet his Sunday’s concert at Bop Stop Sunday will present him with the challenge of accompanying a different sort of soloist: himself.
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Review: Dave Brubeck’s ‘Time OutTakes’ and Bill Evans ‘Live at Ronnie Scott’s,‘ PostGenre, 27 January, 2021
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