The Cookers © Kevin R. Mason
The 2023 Charlie Parker Jazz Festival (CPJF) took place from August 20 to 27 throughout New York City. The FREE activities included a community cookout with bassist Endea Owens; Jazz In the Garden: Andrea Brachfeld Quartet in Association with The Jazz Foundation of America and Ariana’s List; Harlem Speaks: The Cookers Talk Bird with Keanna Faircloth at the National Jazz Museum of Harlem; Communal Ancestral Listening Session with Michael Mwenso at The New School; Dizzy’s Club Late Night Jam Session: Bruce Williams 4; and Jazz In the Garden: Sylvia Cuenca Organ Quartet featuring Eddie Henderson.
Thursday, August 24
On Thursday, August 24, two events were held at Hansborough Recreational Center in Harlem: The Paris is in Harlem Band featuring Antoine Roney and Spaceman Patterson and a film screening: Paris is in Harlem, in association with NYC Parks and The Jazz Foundation of America.
The Paris is in Harlem Band
Will Glass, Program Director of The Jazz Foundation of America welcomed the crowd and discussed the Foundation’s mission, one that includes helping musicians in need. Then Glass introduced the group with great praise. Tenor saxophonist/bandleader Antoine Roney has collaborated with his late brother, Wallace Roney, Donald Byrd, Clifford Jordan, Jacky Terrasson, Freddie Hubbard, Elvin Jones, and many more! Antoine was joined at Hansborough Recreation Center by William “Spaceman” Patterson on guitar, Jeremiah Edwards on bass, Jordan Young on alto sax, and Kojo Roney on drums.
The group jumped right into the music with a Wayne Shorter piece, “Backstage Sally,” recorded by Art Blakey & the Jazz Messengers in 1963 on their album Buhaina’s Delight. This number featured some impressive phrasing throughout the melody by the quintet, and it was a fine tribute to Shorter. They followed with Antoine Roney’s “A Breath of Seth Air” from Wallace Roney’s 1991 Seth Air album. Antoine mentioned that most of the band would be featured in the film that would follow their set, so they planned to play music from the movie. They moved into William “Spaceman” Patterson’s “E.D. (Eric Dolphy) Shuffle,” an intense, scintillating, avant garde number with cohesive interplay between the band members. The song went through several moods: introspective, driving, and swinging. It was like listening to part of a movie soundtrack that evoked many emotional notes. There was an especially moving guitar section where Spaceman Patterson really displayed his brilliance, followed by a great drum exhibition by Kojo Roney.
The group segued into the melody “Coast to Coast Society” by Jordan Young that featured a funky backbeat, and fantastic interaction between the artists. They followed with a lovely, minor-key piece, Spaceman Patterson’s “Moon Over Harlem,” that really tugged on the heartstrings. It was full of poignant sections that swept the audience along on a wave of emotions. Next came a blues/jazz/rock blend that not only had the band throwing down, but guitarist Spaceman Patterson also very effectively demonstrated his vocal talents. The final song of the concert was Kojo Roney and Antoine Roney’s up-tempo composition “SunRise/Laser Beam,” which included some free jazz elements within the improvisation and surreal components. All the artists added their own input, with Antoine’s sax phrases and Kojo’s drumming skills at the forefront of their conversation. This was a very compelling piece to end a fine show.
Film Screening: Paris is in Harlem
This 2022 independent film that premiered at the Slamdance Film Festival, was directed by Christina Kallas, and Josh Mandel and Christina Kallas were co-producers. As introduction to a short Q & A period before the film, Will Glass read the information from the Festival’s brochure, which stated the following: “Paris is in Harlem is a multi-character mosaic set in 2017, on the day that New York’s infamous Cabaret or “No Dancing” law was repealed after 98 years of institutional racism targeting musicians and business owners of color. It follows several characters through separate but intertwined storylines that converge one winter night…This film is about life and death, structured like the most freewheeling of American art forms – jazz – ultimately telling the story of a neighborhood, a city, and an America that will find a way to dance again.”
William “Spaceman” Patterson said that music is the thread of the film, and that Antoine Roney brings something very important to music. Antoine talked about the film, how his son Kojo became involved, and he noted that director Christina Kallas hunted him and his son down for a couple of years! Jordan Young discussed how great it is to have Antoine living in Harlem, and he spoke about the vibrant jazz scene in New York. Kojo spoke of a myriad of emotions that he felt while doing the film, both stressful and exciting. Spaceman Patterson ended the Q & A session by saying, “Support live music,” and elaborated on the importance of people coming out to see musicians playing live to keep them working.
The film was a fascinating mélange of re-enactments of past events and vignettes that took place more recently. It told several different stories, including a policeman discussing active shootings with a group. All the sections had jazz interspersed throughout, including the subway, street musicians, and a jazz-loving Uber driver who used to own a nightclub, with a distracted passenger who is anxiously texting about a pending sexual harassment lawsuit. There was a multi-generational jazz combo, discussing what they wanted to play, with some disagreements that ensued. The film included the use of the “N” word by an Indian college professor to provoke thought and discussion in his students, and two teenage thieves get more from an encounter than they expected.
The iconic Harlem nightclub Paris Blues, which closed during the pandemic, and its founder/proprietor Samuel Hargress, Jr. (who died of Covid-19) were portrayed in the film, and all the various scenarios were brought together in the end. The cast included William “Spaceman” Patterson, Antoine Roney, and Kojo Roney, who all performed in the earlier concert, and vocalist/saxophonist Camille Thurman. The movie was a vivid, multi-layered blend of historical facts, with real and fictional characters involved in challenging conversations, culminating in a celebration of the repeal of the law that had discriminated against people of color for so many years.
Friday, August 25
On Friday evening, at Marcus Garvey Park, a great line-up of artists was presented, in association with Jazzmobile. Before the live concerts started on all three weekend days of the Festival, DJs from Uptown Vinyl Supreme played jazz sets on a sound system so excellent, it almost sounded like live musicians playing.
T.K. Blue
Robin Bell-Stevens, Director of Jazzmobile, talked about the history of the Charlie Parker Jazz Festival, and mentioned that Max Roach and Lou Donaldson played at the first CPJF in 1993. Bell-Stevens also mentioned that this is the 58th year of Jazzmobile concerts in New York City. Then, Robin introduced T.K. Blue (a.k.a. Talib Kibwe) with many accolades, noting that he has worked with Dizzy Gillespie and was Musical Director for Randy Weston. T.K. Blue was joined onstage by bassist Essiet Okon Essiet, drummer Willie Martinez, percussionist Roland Guerrero, pianist Benito Gonzalez, and Steve Turre on trombone and shells. T.K. said to the crowd, “I’m excited to be here tonight to play the music of Charlie Parker.” He spoke about being mentored by Jimmy Heath, who taught him all about Charlie Parker. Then, he introduced his band members, and the group launched into a Latin-inspired “Chi Chi” that was so beguiling, several people got up to dance. The next number, “Si Si,” was another entrancing Latin-themed piece that the band played in a very winning fashion, and it featured a magnetic bass solo by Essiet.
Next came a captivating song where Steve Turre blew a thrilling trombone solo and played the shells in such a great way that even more people got up to dance! T.K. talked about how much his mother influenced, helped, and encouraged him, then the band played “Blue Bird,” a mellow beauty with a swinging section in the middle that allowed all the players to show their virtuoso skills. Benito Gonzalez added an enthralling piano solo, followed by a fine sax riff by T.K. The group followed with a Calypso version of Charlie Parker’s “Barbados” that really seduced the crowd, and the front of the stage was filled with dancers. The band closed their sparkling set with the brilliantly played “Buzzy” that was a tribute to both Dizzy Gillespie and Charlie Parker. This bebop delight was the perfect end to a great set by these talented musicians.
Orrin Evans and the Captain Black Big Band Featuring Lisa Fischer & Bilal
Pianist Orrin Evans was joined by Todd Bashore on alto sax, drummer Mark Whitfield, Jr., bassist Luques Curtis, Bill McHenry on tenor sax, trumpeter Sean Jones, and trombonist David Gibson. The group started with an avant garde, fast-paced piece where they were immediately off to the races with this dazzling song that had a rousing crescendo. Orrin said, “This evening is all about flipping the script,” noting that the beauty is often found when you do flip the script.
Vocalist Bilal came to the mic for an emotional ballad, “Kooks,” that was executed with a lot of feeling and excellent accompaniment by the band. Bilal told the crowd, “This is special for me,” then recalled how he and Orrin first got together when he was 14 years old, and Orrin spoke of his admiration for the young singer. Next was a percussive piece that included strong vocals by Bilal, and some fine harmony from the band.
Orrin said that he had recently played a gig with several singers, “But there was one who touched my soul…It is a pleasure and an honor to present Lisa Fischer!” Lisa has had an extraordinary career, both as a Grammy-winning solo artist, and as back-up singer for some of the biggest names in music, including Luther Vandross, The Rolling Stones, Sting, and Tina Turner. She came on stage wearing a striking outfit with a feather vest, topped by a statement hat. She tore into Nina Simone’s “Dambala” with uninhibited fervor. Fischer then asked, “Y’all doing good?…I’m going to be a 65-year old diva, God willing.” Someone called out that they wanted her hat, and she seemed very flattered. On her hit composition “How Can I Ease the Pain,” Lisa pulled out all the stops with her multi-octave voice, totally selling the story to the crowd! Before the Festival, Dianne Reeves had been announced as part of this group, but shortly before the event, Lisa appeared on the website. Although people were looking forward to seeing Reeves, Fischer thoroughly impressed the crowd with her virtuosity. With these two supremely talented jazz vocalists, you couldn’t go wrong with either one.
Lisa once again left it all on the stage on the sultry “Blues in the Night,” and the audience was blown away. Lisa called for applause for Dianne Reeves, then Orrin exclaimed, “Give it up for Lisa Fischer!” Evans said that he had spoken to Ms. Reeves and told her that they had gotten Fischer for the concert. Dianne replied, “Give her a big hug and kiss.” When Lisa performed “Dreams,” which has been recorded by Reeves, it was a loving tribute to Dianne, and Ms. Fischer did her proud, driving the audience wild. Then Orrin Evans discussed the importance of understanding people in your life, and recognizing the ones you need to hold on to, and the ones you need to let go. “I’m So Glad I Got to Know You” was in memory of the late drummer Lawrence Leathers, and Orrin said we lost him way too early. Evans then acknowledged that his 24th wedding anniversary was in a couple of days, so he gave a shout out to his wife and kids. He seemed a bit overcome by emotion, and said he was glad to be wearing sunglasses, “Since I don’t want to cry in front of you.” This was a beautifully, emotive set, and the crowd gave a heartfelt standing ovation at the end.
Saturday, August 26
The Kevin Oliver Jr. Trio
Before the main stage performances at Marcus Garvey Park’s Richard Rodgers Amphitheater, the National Jazz Museum in Harlem presented The Kevin Oliver Jr. Trio as part of their mission to introduce jazz fans to emerging young talent. With Atlanta roots, Kevin has been honing his alto sax skills since he was 11 years old. A Julliard graduate, Oliver was joined at CPJF by bassist Jayla Chee and drummer Gary Jones III, who both contributed to Kevin’s first album Oliver. The trio performed a melodic “Moon River” that was inspired by a version performed by Jon Batiste that they liked. They transitioned into an up-tempo section which allowed for each member to show their improvisational chops. Joey Calderazzo’s “The Mighty Sword” had the group swinging and Oliver added superbly nuanced solo accents. Chick Corea’s “Bud Powell” fit the trio like a glove. Jones pushed the pace in harmony with Chee’s perfect anchoring bass tones, while Oliver’s alto improvisations led the way. Festival fans truly appreciated their interpretation. The group also did Kevin’s original song, “Jokes On Me,” and the musicians ambitiously extended themselves and smoothly navigated into Kenny Garrett’s “Wayne’s Thang” from his Triology album. It was a winning set from these promising young artists.
Akua Allrich and the Tribe
Sheila Anderson from WBGO 88.3 FM Radio’s Weekend Jazz Overnight show welcomed the crowd to the 31st CPJF and said, “Are you ready for incredible music?” Then she sang the praises of Akua Allrich and the Tribe. Pan-African jazz vocalist/composer Akua Allrich got down to business with her fellow musicians, keyboardist Sam Prather, bassist Kris Funn, and drummer Tyler Leak, beginning her set with some powerful vocals on “Rosie” from her recording Soul Singer. “Hard to Get” was a delightfully syncopated piece with a fine piano solo by Prather. “My Baby Just Cares for Me” was a charmingly swinging number with some insinuating bass notes by Funn.
“Please Don’t Let Me Be Misunderstood” was dedicated to Akua’s husband, and she really connected to the audience with this poignant tune, since most people have been misunderstood at one time or another, and they can certainly relate to the lyrics of this song. Then Allrich said, “We like to travel…Can we go to East Africa now?” She also asked the audience how many people spoke Swahili. When a few hands went up, she quipped, “If you hear anything wrong, don’t say a word!” “Malaika” was a spirited, upbeat piece that really had the audience going.
“Did I?” was a moving song about raising children, followed by “Black Orpheus,” which Akua introduced by saying, “We’re going to take it to Brazil. Is that okay?” She said she was going to sing it in Portuguese, adding once again that if anyone spoke that language and she sang anything wrong, just keep smiling. The song was so alluring that several couples got up to dance, while the whole band performed with marvelous musicianship. If Allrich made any linguistic mistakes, no one noticed, because her vocal execution was so good. The bluesy rendition of “I Can’t Stand the Rain” was played with great fervor, making it a superb finish to the first act of the day on the main stage.
Endea Owens & The Cookout
WBGO’s Sheila Anderson returned to the stage to introduce bassist Endea Owens and her group, The Cookout. Endea entered the stage in a blinged-out gold ensemble, joined by Louis Fouché on alto sax, Keith Brown on piano, singers J. Hoard and Shenel Johns, trumpeter Kris Johnson, and drummer C.V. Dashiell. Owens started with a saucy bass solo that really revved up the crowd. Most songs don’t begin with a bass solo, but Endea is so talented that her bass notes were electrifying. Then, the other band members jumped in and played Endea’s original, “Feel Good.” They followed up with “The Creator Has a Master Plan, that began with Shenel John’s strong, expressive vocals, accompanied by some gentle bass, piano, and drum riffs. J. Hoard added his own fine vocals, and at one point, he and Shenel did a great dueling duet.
The next piece had Endea and Shenel alone on the stage. Owens played an extended bass solo that garnered much applause, then Shenel sang “Sister (Miss Celie’s Blues)” so passionately that the two musicians commanded the stage! Endea said, “My favorite composer is someone who gives me strength every day…me!” The audience chuckled, and she talked about the importance of confidence. Owens encouraged everybody in the audience to touch their neighbor and say, “I believe in you.”
Next in the set was a rapid-fire number with some bebop elements and an excellent trumpet solo by Kris Johnson, outstanding sax input from Louis Fouché, along with magnificent interplay from the rest of the group, including an incendiary drum section from C.V Dashiell. They closed with the energetic, danceable “For the People,” dedicated to everyone in the audience. Endea said, “You could have been anywhere, but you’re here, listening to us.”
The Nduduzo Makhatini Trio
The African-inspired music of pianist Nduduzo Makhatini was hypnotic and included lovely ballads, swinging grooves, and interpretive songs that truly relaxed the crowd. Makhatini was joined by bassist Zwelakhe-Duma Bell le Pere and drummer Francisco Mela. Sometimes Nduduzo sang and chanted in iZulu, and although most of the audience did not understand the words, there was something soothing about his voice that washed over the listeners in waves of calmness. Since music is the universal language, this trio communicated exceptionally well with their gorgeous sounds. The solos by each musician were so enthralling, it was like the players cast a spell over the audience.
Makhatini said, “It’s an honor to play this music.” He delved into a deep discussion of the meaning of music, how it is communicated, and how music has survived through improvisation. He noted that jazz was once banned in South Africa, yet somehow it still endured. He added, “African music can never be known, but it can be experienced.” After his discussion, the trio played a touching piece that was like a spiritual journey, highlighted by Francisco Mela’s vivid drumming, Zwelakhe-Duma Bell le Pere’s marvelous bass skills, and Makhatini’s gentle singing. The final song was a lovely, well-modulated tune that was very emotionally moving, leaving the crowd in an elevated mood.
The Cookers
The Cookers have been called a bebop supergroup, and listening to them, it is no exaggeration. The group was made up of alto saxophonist Donald “Big Chief” Harrison, trumpeter David Weiss, pianist George Cables, bassist Cecil McBee, drummer Billy Hart, trumpeter Eddie Henderson, and tenor saxophonist Billy Harper. Trumpeter David Weiss was heavily featured on the dramatic first song, Billy Harper’s “The Call of the Wild and Peaceful Heart,” with inspiring improvisations by the band.
Cecil McBee’s composition “Peacemaker” was filled to the brim with marvelous grooves by the musicians, with some stand-out bass licks from McBee, and splendid extended saxophone phrases by Billy Harper. Billy Harper’s “Croquet Ballet” was an affecting yet swinging number where the group performed at a very high level of expertise, both as individuals and together, with a great sax solo by Donald Harrison and a beguiling piano section by George Cables. The denouement on this piece was really beautiful. There wasn’t a lot of talking during this set, because it was jam-packed with great music, and the CPJF attendees enjoyed every note. This was the final set of the day, and they really closed Saturday out in style!
Sunday, August 27
On the final day, things moved downtown to Tompkins Square Park. It was a warm, gorgeous, sunny day. Once again, Uptown Vinyl were the DJs between the sets. WBGO Radio’s Brian Delp was the host for the day, and he noted that they were just steps away from Charlie Parker Plaza.
Michael Mayo
Talented vocalist/composer/arranger Michael Mayo’s set included songs from his CD, Bones, starting with the gorgeously mellow “20/20.” Mayo’s warm, evocative voice was the perfect match for the lovely weather, and the song was a balm for the spirit. He scatted in a vibrant and unique fashion, with the crowd chilling to the relaxing sounds. Michael’s band members were drummer Robin Baytas, keyboardist Andrew Freedman, and bassist Kyle Miles, and their subtle harmonies worked perfectly with Mayo’s vocals. Mayo started “You and You” with more of his unusual scatting, and it was a poignant tune about the importance of loving yourself before you can commit to someone else.
Michael has been living in New York since 2016, and within a week of moving there, he attended the CPJF, so this is a full-circle moment for him. Mayo is a multi-linguist, and he sang a wonderful Latin-infused song in either Spanish or Portuguese that added some international flair to the proceedings. Then Michael asked, “Any Stevie Wonder fans in the house?…This is one of my favorite Stevie Wonder songs.” The band put their own spin on “Creepin’” with Mayo’s insinuating vocals front and center. Not everyone can do justice to Stevie Wonder’s music, but this group certainly did! The band finished with “Just Friends” from Charlie Parker’s album Bird With Strings. It was a lovely ballad with a fine keyboard section by Andrew Freedman. When they finished, Brian Delp said, “What a way to start the final day of the Charlie Parker Jazz Festival!”
HERA Featuring Chelsea Baratz and Andromeda Turre
The female powerhouse group, HERA is comprised of saxophonist Chelsea Baratz, flautist Anne Drummond, keyboardist Arcoiris Sandoval, drummer Shirazette Tinnin, bassist Endea Owens, and vocals/percussion Andromeda Turre. Each of the musicians lead their own groups, so for this collaboration they passed the torch from one to the next. The set started with Andromeda Turre’s composition “Mantra,” which was sung winningly by Andromeda, with a fine solo by Sandoval, and exquisite harmony by the group. Next was the New York debut of Chelsea Baratz’s “Limerence Never Lasts,” a driving groove led by Baratz’s tenor phrases, with strong contributions from each of the artists.
Endea Owens’ “Where the Nubians Grow” is all about her hometown of Detroit, MI, and presented great solos by Andromeda Turre and Anne Drummond. After Drummond composed “I Am a Woman,” she told Turre that she felt there should be lyrics, so Andromeda wrote words for this anthem. The song was dedicated to all the women across the world who are struggling for their rights; even just the right to exist. Andromeda led the women in the crowd to sing along in her multi-octave voice.
Turre discussed how Charlie Parker influenced them all, and asked the audience to listen to some of his music when they got home that night. Shirazette Tinnin’s “Money Funk” was a deliciously down and dirty number that the women played for all they are worth! At the end of the song, Andromeda said, “We only have two minutes left, and we don’t have a two-minute song, so we are going to leave you wanting more.” Brian Delp called the group some of the greatest goddesses of jazz, and they certainly lived up to that description!
Something Else! Vincent Herring Septet
This was another supergroup, led by alto saxophonist Vincent Herring, who brought trumpeter Randy Brecker, drummer Jeff “Tain” Watts, tenor saxophonist James Carter, bassist Essiet Okon Essiet, keyboardist David Kikoski, and guitarist Paul Bollenback to the stage for a hard bop set, dedicated to several artists. The set started with Cedar Walton’s gem “I’m Not So Sure,” which was a forceful number that allowed the brass section to stretch, with stellar improvisational conversations from this icon-filled band. It included unified group harmony, punctuated by Watts’ extended solo that led to a fabulous crescendo.
Next, they slowed the pace a bit for a sultry number, Donald Byrd’s “Slow Drag,” where James Carter and Randy Brecker really showed off their chops, with the rest of the band offering wonderful support. They followed with an exciting piece that was played at an exhilarating pace, with David Kikoski’s keyboard prominently displayed, and James Carter’s tenor sax blowing up and down the scales with virtuosity on this explosive song. The packed crowd at Tompkins Square Park stood and cheered at the end of this performance!
The band continued with a swinging “’Round Midnight” and no surprise, with such gifted artists, the solos were once again superlative. The musical conversation between the musicians was absolutely seamless. Something Else! has recently released the album Soul Jazz recorded at Smoke Jazz Club. Brian Delp said that one of the advantages of this Festival was the opportunity to see a group of this caliber, including one of the greatest alto saxophonists in the world, Vincent Herring.
Charles McPherson with Terell Stafford
The last group of the day was certainly not the least. Brian Delp told the crowd that they’d be glad they stuck around. Saxophonist Charles McPherson graced the stage with trumpeter Terell Stafford, bassist David Wong, drummer Billy Drummond, and pianist Randy Porter. “Horizons,” from McPherson’s album of the same name, featured some exceptional sax runs from Charles on the scintillating piece. “Song of the Sphinx” had a wonderful introduction from Terell Stafford’s trumpet, followed by a marvelous sax interlude by McPherson. David Wong’s bass solo was a lovely addition to this energetic tune.
Charlie Parker’s “Old Folks” was a gentle, poignant ballad where the group played so cohesively, that they were able to present the audience with a beautiful experience. Charles hit some gorgeously piercing notes that hit the stratosphere, and there was a captivating piano solo by Porter. “Cherokee” started with Billy Drummond’s dynamic drumming, then each member of the group had their time in the spotlight. “Jumping Jacks” was the last performance of the day, and it was a beautifully calming piece where these seasoned virtuosos put a burnished sheen on the song. This final concert was the capper that sent the audience off with good vibes and a feeling of contentment that came from a full afternoon of fabulous music. Charlie “Bird” Parker would surely be thrilled to be remembered in such a fantastic jazz festival, named in his honor!
In Conclusion
The 2024 CPJF is upon us and will take place from August 21 to 25. The line-up will include the Christian McBride Big Band; The Wallace Roney Jr. Quartet; Carmen Lundy; Louis Hayes; Helen Sung Featuring Chris Potter; Ekep Nkwelle; Isaiah Collier & The Chosen Few; Alexis Lombre; Kurt Elling & Charlie Hunter’s SuperBlue with the HunterTones; DJ KulturedChild aka Angelika Beener; and A Max Roach Centennial Celebration: a film screening of Max Roach: The Drum Also Rises. For more information about upcoming CPJF events, go to: https://cityparksfoundation.org/charlieparker/.
