![]() The tune’s suppressed fury blossomed into sustained resilience and the encore, a New Orleans strut, added further healing balm. ![]() He dedicated the second set’s opener to Wayne Shorter – same method, different sound – eulogised his wife and, just before the finale, recalled a nasty encounter with his local police. The New Orleans-raised Scott is a charismatic performer who loves to chat. De este romance que perdura a través del tiempo, nacieron Isadora y Lorenzo, los dos únicos hijos del cantante. Hace 26 años, Chayanne contrajo matrimonio con la exreina de belleza y abogada venezolana Marilisa Maronese. The performance ended with a rocking riff straight out of Cream, but its narrative arc soon shifted gear. CIUDAD DE MÉXICO, marzo 9 (EL UNIVERSAL). Herbie Hancock’s pithily themed “The Eye of the Hurricane” came next, with a walking bass pulse and then an unsentimental ballad dedicated to Scott’s wife Isadora Mendez – she sang whispy soul vocals in the second set. And Stephens was equally astute, worrying at form and building short phrases to a peak of distorted power. On this solo, the mournful beginning ended pacily with a resilient sequence of high-note trills. His phrases reach deep into the complex harmonies that are his support and gather tension step by step. He whispers on ballads, but at full force he’s rounded and bright. Scott entered with a fanfare cue, the pace eased back and his first bleak notes seemed shrouded in black. Stephens joined in with three simple strums, thickened each chord and let the rhythm ride, anchored firmly by Kris Funn’s punchy double bass. A short, sharp count brought in a riff from the bass and a seethe of Corey Fonville’s drums set the pace. But it's an independent outfit under very independent direction, and hopefully it can reconvene often enough to grow.This two-set gig, part of the EFG London Jazz Festival, came at the end of a string of one-nighters and the band was fired-up from the start. He talked too much for a 90-minute set – a luggage-transit glitch had lost several instruments, and probably made a hole in this new group's planned repertoire. Mendez-Scott then returned for a patiently imploring R&B vocal embroidered by the soul-sax alto of Braxton Cook, and Ku-Klux Klan Police Department, with its tension between soft horn harmonies and urgent percussion, brought exhortatory fierceness and darkly insinuating low sounds from Scott. The reflectiveness of Thom Yorke's The Eraser brought a mix of windy swoops and flawlessly timed runs from Pinderhughes. The Latin-inflected twister Jihad Joe cruised for a while on the deft riffing of pianist Lawrence Fields, bassist Kris Funn and drummer Corey Fonville before the leader began swerving between flaring New Orleans-inspired outbursts and more cryptic, electric-Miles phrasing. It was from there that he talked to about the project, Harlem’s new cool, how getting engaged (he’ll wed Isadora Mendez in New Orleans next spring) has impacted his artistry and the. An intro of staccato motifs and rumbling percussion developed into an Afro-Latin pulse with tight flute-brass dialogues, and a slow soul-anthem, mimicked by the crowd. He opened with New Orleanian Love Song – inspired by stories of early collaborations between Native Americans and black slaves. Miles Davis, early New Orleans brass exhortations, Latin music, neo-soul and Radiohead all influence Scott, and his Jazz Cafe set cannily balanced all these and more.
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