Home » Jazz Articles » Live Review » 2013 Tri-C JazzFest: Cleveland, OH, April 19 - 27, 2013
2013 Tri-C JazzFest: Cleveland, OH, April 19 - 27, 2013

Cleveland, OH
April 19-April 27, 2013
There was a determined effort by Tri-C JazzFest Managing Director Terri Pontremoli to give this year's event more of a festival atmosphere than it has perhaps enjoyed in years past. For starters, many of the outlying venues, such as the East Cleveland library, a regular festival haunt, were scrapped in order to concentrate events downtown, with most concerts staged either in the grand theaters of Playhouse Square or on the Tri-C campus. Additionally, the first and second Saturday schedules (a third, one-show Saturday on May 4 was oddly set off from the rest of the festival by a week) were programmed to allow festival goers the opportunity to attend three shows in succession without leaving the confines of the Playhouse Square theater complex. Filler eventsQ&As with artists, concerts by local bands were also set up in a theater lobby to keep attendees engaged in between shows. These changes did add something of a new atmosphere, and certainly added convenience for those attending multiple shows, but it still seemed like people were coming out for individual shows and leaving. But maybe ticket sales will refute that observation.
Something that didn't change was the diversity of acts; the eclectic mix, as always, tried to cater to every niche of the jazz and jazz-like listening community of Greater Cleveland. Kicking off with a broadly appealing Friday night show by New Orleanians (and, apparently then, de facto jazzmen) singer

Aaron Neville
vocals
Dr. John
piano1940 - 2019

Robert Glasper
pianob.1978

Natalie Cole
vocals1950 - 2015

Michael Feinstein
piano and vocalsb.1956

Kenny Garrett
saxophone, altob.1960

Javon Jackson
saxophoneb.1965

Brian Simpson
keyboards
Orrin Evans
pianob.1975

Anat Cohen
clarinetb.1975

Bill Frisell
guitar, electricb.1951

Lionel Loueke
guitarb.1973

Joe Lovano
drumsb.1952

Dominick Farinacci
trumpetb.1983

Cecile McLorin Salvant
vocalsb.1989

Dexter Gordon
saxophone, tenor1923 - 1990
That first stacked Saturday kicked off with the Robert Glasper Experiment. Taking the stage after a short technical delay (the amiable Glasper seems always to face some kind of interference when performing in this town, be it from the sound system, the building, a clueless, noisy audience ...) with an altered lineup that retained only saxophonist/vocoderist

Casey Benjamin
saxophone1978 - 2024

With the altered words reverberating over the steady, funky beat laid down by drummer


Burniss Travis
bassThere was a more partisan reaction to Orrin Evans' set a few nights later, unless the front exits of the Tri-C Auditorium simply revealed departures more readily than the Ohio Theatre that hosted Glasper. The audience sent vocal affirmations reporting through the air, with the spent powder settling on the heads of those filing out after each number. Strange. Not, surely, a straight-ahead player, Evans also is no wild experimenter. So the love-it/hate-it response he garnered on this night was oddand unfortunate, since this trio's performance was the most engrossing of the festival.
Sticking largely to tunes from 2012's Flip the Script (Posi-Tone), Evans and his matesdrummer

Donald Edwards
drums
Ben Wolfe
bassb.1962

Through "Appointment in Milano," "Big Small" (a standout that opened on Wolfe's deep, thick tone, moved into piano-drum fury then to more avant terrors before finishing on single notes poked from the piano with an index finger), the anxiously melancholic "The Answer," the cinematic "When" (fed by Edwards' mallets and twisting its way through an emphatic, but never-inevitable course), and "Blessed One the Eternal Truth"a praise song lifted, through Evans' voice, in a manner that recalled

Al Hibbler
vocals1915 - 2001
While exploratory, Anat Cohen's set two nights laterplayed in the same Tri-C Auditorium along with Israel's Rimon School Jazz Ensemble, which featured the accomplished novelty of Tali Rubinstein on recorder and the fine, rhythmic complexity of Yogev Gabay on drumswasn't nearly as tight. But Cohen snaked admirably through the thumping mix of funk, blues and Israeli folk musican invigorating set of music composed, save for the closer, "Hello Dolly," entirely by the students.
Conversely, Frisell's Beautiful Dreamers set, on the second Saturday, April 27, weaved a mood-drenched tapestry, strung from American musical thread. Along with violist

Eyvind Kang
violab.1971

Rudy Royston
drums
Paul Motian
drums1931 - 2011
Lovano stuck around for a go at "Hot House" (a tune the saxophonist would call again a few hours later in his own set), and then departed as the trio closed with "Old Man River," a sense of the tragic and the spooky caught up in Frisell's melodic loops, and the tune automatically causing clips from the movie, The Great Flood (to which Frisell supplied the soundtrack), to replay through the heads of any audience member lucky enough to have caught the flick a few weeks earlier at the Cleveland International Film Festival.

Loueke's show, one of two festival concerts staged east of downtownthis, at the Museum of Contemporary Art's new uptown digs; the other the Gordon tribute held at Nighttown in Cleveland Heightsbrought surprise after surprise. Playing only material from his latest release, Heritage (Blue Note, 2012), but in trio with bassist

Michael Olatuja
bass
John Davis
drumsOver driving, rock-steady beats, Loueke employed blistering finger work and well-placed pedal effects to push the blues into the 22nd century, accelerating his lines at one point from loose,

John Lee Hooker
guitar1917 - 2001
Kenny Garrett's quintet turned in a powerfully memorable set, taking the Ohio Theatre stage after Glasper on the first Saturday. Playing five numbers from Seeds From the Underground (Mack Avenue, 2012) plus the crowd-pleasing closer, "Happy People," the saxophonist adopted the tone and posture of one conducting a ceremony (or revival, perhaps), as he paid tribute to his forbearers and his native Detroit. Whether on alto or soprano sax, his playing seemed a natural vocal extension of himself, and his band supplied the requisite tumult or swing. On a few occasions, Garrett motioned to the crowd to continue its applause as he kept the music going, but, otherwise, the performance came without artifice.
Javon Jackson, who played the following night at the Cleveland Heights jazz club, Nighttown, was likewise sincere in his playing, but offered few surprises in two straight-ahead sets with TCJF SoundWorks that featured tunes composed or associated with Dexter Gordon. Pianist

Chip Stephens
piano
Art Tatum
piano1909 - 1956

Howie Smith
saxophoneChris Anderson
trombone1926 - 2008

The festival always places a strong emphasis on local talent and on bringing back native Clevelanders who have made a strong national and international impact. Lovano, one of the greatest jazzers ever to come out of Cleveland, regularly fills a festival slot, as does Farinacci, a graduate of the Tri-C jazz program. Both used their stage time this year to highlight others. In a show billed as a celebration of his 60th birthday (which actually rolled around last December), Lovano appropriately made the event a family and friends affair, much as he did in an appearance on the eve of his 58th birthday at Nighttown.
Opening with his Us Five group (with Cleveland drummer

Jamey Haddad
percussionb.1952

Francisco Mela
drums
Judi Silvano
vocalsFrom here on out the cast of characters was in constant flux. Lovano conducted a few tenor battles with

Ernie Krivda
saxophoneb.1945

Albert Ayler
saxophone, tenor1936 - 1970

Oscar Pettiford
bass1922 - 1960

Greg Bandy
drumsb.1949

Kenny Davis
bassb.1961

Farinacci likewise charmed the natives. Mixing strong, well-articulated trumpet and flugelhorn lines with a well-oiled hometown standup routine (his 80-something "Nana" never escapes a callout and good-natured ribbing), the latter-day Rat Packer with a horn displayed not only supreme ease and confidence onstage, but took complete ownership of the situationa leader in the fullest sense. And while there was plenty of space for his own soloing, that featured maturely drawn musical arcs, he gave a lot of time over to others, as wellmost notably pianist

Aaron Diehl
piano
Cecile McLorin Salvant
vocalsb.1989
Farinacci, of course, is aware of the buzz McLorin Salvant has generated, and he featured her on half the tunes of his eight-song set. (She also figured in the final number, a jam session of sorts with local high-school students, guitarist Lucas Kadish and bassist Jamal Collins.) As it turns out, the buzz was perhaps too subdued. Salvant exercised a flamboyant actor's sensibility, her face morphing through a host of expressions as her voice effortlessly recalled the history of jazz singing.

Sarah Vaughan
vocals1924 - 1990

Ella Fitzgerald
vocals1917 - 1996

Betty Carter
vocals1929 - 1998

Abbey Lincoln
vocals1930 - 2010
Natalie Cole, on the festival's final night, stuck more to the scripted melodies. Gamely battling a cold (or allergies, perhaps) the singer didn't scrimp on delivering fan favorites over the course of 90-plus minutes of music (on top of an hour set from the

Clayton-Hamilton Jazz Orchestra
band / ensemble / orchestrab.1995

Nat King Cole
piano and vocals1919 - 1965

Etta James
vocals1938 - 2012
Photo Credit
All Photos: Matt Marshall
Tags
Live Reviews
Matt Marshall
United States
Ohio
Cleveland
Tri-C JazzFest Cleveland
Aaron Neville
Dr. John
Robert Glasper
Natalie Cole
Michael Feinstein
Kenny Garrett
Javon Jackson
Brian Simpson
Orrin Evans
Anat Cohen
Bill Frisell
Lionel Loueke
joe lovano
Dominick Farinacci
Cecile McLorin Salvant
Dexter Gordon
Casey Benjamin
Mark Colenburg
Burniss Travis
Donald Edwards
Ben Wolfe
Al Hibbler
Eyvind Kang
Rudy Royston
Paul Motian
Michael Olatuja
John Davis
John Lee Hooker
Chip Stephens
Art Tatum
Howie Smith
Chris Anderson
Jamey Haddad
Francisco Mela
Judi Silvano
Ernie Krivda
Albert Ayler
Oscar Pettiford
Eddie Baccus Sr.
Greg Bandy
Kenny Davis
Aaron Diehl
Sarah Vaughan
Ella Fitzgerald
Betty Carter
Abbey Lincoln
Clayton-Hamilton Jazz Orchestra
Nat
Etta James
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