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It’s pretty common these days to find jazz instrumentalists who were classically trained before beginning to improvise. Not Holly Hofmann. The Painesville-born flutist who will appear this weekend with the Cleveland Jazz Orchestra studied with the legendary Walter Mayhall at Youngstown State University and with former Cleveland Orchestra principal flutist Maurice Sharp at the Cleveland Institute of Music. But her first teacher was her father, Nelson.
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Dan Weiss talks a lot like he plays the drums. When I spoke with him about his Sunday concert at Bop Stop, his answers to my interview questions were short. To the point. Nothing wasted. Next question?
Yet forward momentum, essential for any drummer, is just one part of his game. Color, an original voice as a composer and a keen ear for texture are in there. They’re all present on Dedication (Cygnus Records), the stunning new release by Weiss’ longstanding trio with pianist Jacob Sacks and bassist Thomas Morgan.
Given his many musical associations with artists as diverse as the saxophonists Jon Irabagon and Lee Konitz, pianist Sylvie Courvoisier and vocalist/multi-instrumentalist Jen Shyu, it’s kind of amazing that he’s only appeared in Cleveland twice. The trio played Bop Stop in November 2019, and 19 months earlier he was at the Hingetown club with saxophonist Chris Potter band.
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Johnny Hodges is widely acknowledged as perhaps the preeminent alto saxophone player in the decades before Charlie Parker’s emergence. Yet unlike Parker, whose influence on saxophonists is apparent 68 years after his death, Hodges’ style is almost universally celebrated in print and online yet never heard on the bandstand.
Until now. Saxophonist Owen Broder is putting Hodges where he rightfully belongs: front and center with an ambitious recording project and a new band that swoops into BLU Jazz+ on Friday.
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You can’t blame bassist Noah Garabedian for hoping that the engagement Friday at Blu Jazz+ with his cooperative trio Ember will be a little less memorable than his last northeast Ohio visit. “Nobody was there,” Garabedian remembered.
It was Nov. 9, 2016, the day after the election.
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Right now, the northeast Ohio creative music scene is like the parent of a toddler walking barefoot in the dark trying to cross the room not knowing where the Legos might be. What will the size of audiences be like? What will they be willing to spend when inflation is eating away at buying power? How will ongoing health concerns play out?
For a multiday event at several venues, the peril increases. Still, if you’re looking for a music event that has bounce-back written all over it, Akron’s Rubber City Jazz and Blues Festival has to be the one.
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