Talented high school musicians show flare for teamwork and improv
GRAMMY.com
Chuck Crisafulli
Who are the hardest working musicians during GRAMMY Week? Certainly every nominee is busy in anticipation of a big night at the GRAMMY Awards, but for sheer stage time and number of performances delivered, nobody makes more music during GRAMMY Week than the Gibson/Baldwin GRAMMY Jazz Ensembles. The Ensembles, comprised of 30 extremely talented high school students drawn from 26 cities around the United States perform at nearly every GRAMMY-sponsored event leading up to GRAMMY night, and are even part of the entertainment at the GRAMMYs own after-party following the show.
Wednesday evening, at the Spaghettini Grill & Jazz Club in Seal Beach, Calif., the Ensembles headlined a GRAMMY night of their own, and presented some sizzling sets by all three groupings of their collective talent: the Gibson/Baldwin GRAMMY Jazz Combo, the Gibson/Baldwin GRAMMY Jazz Choir, and the Gibson/Baldwin GRAMMY Jazz Band. The evening was emceed by David Sears, Senior Director of Education Programs for the GRAMMY Foundation, who introduced the groups as "the best and the brightest of America's young musicians." Sears also took a moment early in the evening to acknowledge the parents of the Ensemble performers, many of whom had traveled hundreds of miles to be present at this first public performance by the groups. First on stage was the combo, a quartet composed of alto saxophonist Grace Kelly, pianist Emmet Cohen, stand-up bassist Greg Chaplin, and drummer Bryan Carter. Considering that the young musicians had just met on Saturday, they played with a remarkable ease and fluidity, swinging confidently through such standards as "But Not For Me" and "Caravan." It seemed startling at times that such accomplished music was flowing from the slight figures on stage — both Kelly and Cohen were fiercely adventurous improvisers, while Chaplin and Carter made for an inventive and sure-handed rhythm section.
The combo was joined mid-set by the evening's special guest, saxophonist Eric Marienthal, who led an expanded, sax-heavy lineup of the group through a ripping version of "Blue Water," the lead single from his recent album Just Around the Corner. Marienthal had reason to be tired — he'd come to the event straight off a plane after concert dates in Japan. But he was beaming with pride and pleasure as he swapped solo lines with the five young sax players on stage, and exuberantly worked them into a wild, six-way improv session that capped the set.
The Jazz Choir was up next, and ably reminded the audience that jazz has a vocal as well as instrumental dimension. The group of eight vocalists, under the direction of Dr. Ron McCurdy of the University of Southern California's Thornton School of Music, began with the swinging "Until I Met You" and a Manhattan Transfer vocal arrangement of Count Basie's "Corner Pocket." "I Love You," a hit ballad for Perry Como, was energized with some accomplished scat breaks by tenor Richard Saunders, and Marienthal and Kelly also joined the group to add sax counterpoint to the stunning vocal harmonies. Again, it was hard to believe these performers were working on a scant two days of rehearsals as they ranged from the delicate stylings of "Shadow Of Your Smile," to the funky rhythmic interplay of Quincy Jones' "We Be Doin' It" — which Dr. McCurdy helpfully translated to the audience as, "We're having a wonderful time." The group's set ended with a compelling tribute to Ella Fitzgerald, "Lady Be Good."
Last on stage was the Jazz Band, an 18-piece big band ensemble under the direction of Justin DiCioccio of the Manhattan School of Music. The group played with tremendous feel, power and unity, swinging capably through Duke Ellington's "C Jam Blues" as well as a punchy, big band arrangement of "O Sole Mio." The players had the range and talent to work a wide spectrum of jazz, bringing to life both the sound of classic Charlie Parker combos and the chordal textures of contemporary jazz. The famous Sonny Rollins–John Coltrane workout "Tenor Madness" was re-tooled as "Alto-Tenor Madness" to showcase the outstanding soloing of tenors Chad Lefkowitz-Brown and Adam Larson along with special guest Marienthal.
The evening came to a close with a fine, funky blast as the Jazz Band powered through Stevie Wonder's "Sir Duke" (in an arrangement by the GRAMMY Foundation's own David Sears). As the final notes hung in the air, one message was clear: If the level of talent in the Gibson/Baldwin GRAMMY Jazz Ensembles is any indication, the future of jazz is in very good hands