The 2023 TD James Moody Jazz Festival took place from November 3 to 19 at the New Jersey Performing Arts Center (NJPAC) and a couple of other locations in Newark, NJ. This Festival has become established as one of the foremost jazz events in Northeastern United States. NJPAC presented a stellar lineup that included Steve Turre, Stefon Harris, Omara Portuondo, Gladys Knight, Take 6, Jon Batiste, and Cyrus Chestnut.
Dee Dee Bridgewater and Bill Charlap
Tony and Grammy Award-winning vocalist Dee Dee Bridgwater told the audience, “I cannot promise you anything. It’s in the hands of Mr. Charlap. Ladies and gentlemen, Mr. Bill Charlap!” The duo began with an insinuatingly charming “I’m Beginning to See the Light,” with both jazz stars shining brightly. Bill started the next song, “Caravan,” with some syncopated, pulsing piano, while Dee Dee sang and scatted with panache. Bridgewater is known for being quite fashionable on stage, and this evening was no exception. She looked very glamorous, wearing a sparkling black outfit and blinged-out eyeglasses. Grammy Award-winning pianist Bill Charlap was dressed much more conservatively, but his music was anything but conventional.
Dee Dee whispered something humorous to Bill that made him laugh, then said to the crowd, “I’m not sharing that. But if you heard it, good!” Next came a melancholy “Mood Indigo” during which Bridgewater effectively imitated a trombone and threw in a riff from “It Ain’t Necessarily So” that fit in seamlessly. “Honeysuckle Rose” followed, and their communication was great. Dee Dee whistled at one point, and she ended the song with a big closing, what she called “a P.T. Barnum finish.”
“In the Still of the Night” was a hauntingly beautiful and romantic duet with outstanding piano input from Charlap. Although the Victoria Theater is a large space, Dee Dee and Bill made it feel very intimate. It could easily have been a smoky jazz club in the 1950s. Part of the experience was how wonderfully cohesively the two musicians performed together, and they obviously have a great musical connection. Bridgewater said they don’t always know what they’re going to do, “But I hope these conversations are interesting to you.”
“Lush Life” was so atmospheric, and Dee Dee made each word sound meaningful. These two gifted artists commanded the room and cast a spell that transfixed the audience. Next, they performed a saucy “Love For Sale,” and Bridgewater sang the world-weary song with such pathos, that she seemed to be drawing on some personal history that she translated into this song. Charlap’s accompaniment was right on point, punctuating both the heartbreak and sultriness of this jazz classic. Dee Dee paused and joked that she was on a break and drank water while Bill began a whimsical introduction to “’S Wonderful.” This rendition from the Great American Songbook had an amusingly operatic finish! Bridgewater has a charismatic stage presence, and though she is a dedicated singer, she has a great sense of humor and doesn’t take herself too seriously.
“It Was Just One of Those Things” was a sprightly delight with some stellar interplay. The bluesy “Fine and Mellow” depicted a troubled affair, and Bill’s piano licks struck the right tone for Dee Dee’s gritty vocals. The song was red-hot, and Bridgewater cooled herself with a stylish fan. The set continued with a fiery scat/piano duet that was played at such a rapid pace, it took the crowd on a thrill ride. Near the end, Dee Dee broke into the theme from The Flintstones and finished with a comical “Th-th-th-that’s all, folks!” During a standing ovation, Bridgewater thanked everyone for coming and sang the praises of Bill Charlap’s talented hands. This show was an excellent start to the TD James Moody Jazz Festival.
Ranky Tanky With Very Special Guest Ms. Lisa Fischer
Ranky Tanky (a Gullah phrase for “get funky”) gave an inventive concert. Grammy Award-winning trumpeter/composer/vocalist Charleton Singleton said, “It’s a pleasure to be here.” The rest of Ranky Tanky joined him on stage – guitarist/vocalist Clay Ross, bassist Kevin Hamilton, drummer/percussionist Quentin Baxter, and vocalist Quiana Parler. They began with the danceable “That’s Alright,” featuring Quiana’s strong vocals. “Down In My Heart” was another toe tapper that had the audience clapping along.
The members of Ranky Tanky are lifelong friends and formed this group to highlight the unique jazz and West African-influenced Gullah music that originated in South Carolina. Charleton Singleton discussed the thrill of winning two Grammy Awards, then he introduced “One of the greatest voices of our time, Ms. Lisa Fischer!” Lisa, who has sung back-up for Luther Vandross, Chaka Khan, and the Rolling Stones before starting her own Grammy Award-winning solo career, was dressed to the nines in a signature hat and a draped black ensemble. She started with a minor-key, introspective “This Land Is Your Land” that became a plaintive protest song. Each musician contributed to the tune, and there was a powerful refrain of “We want freedom,” ending with Lisa and Quiana’s voices blending exquisitely, singing the patriotic “Oh say can you see?”
Fischer said she saw a lot of gorgeous silver foxes in the audience, and asked how long people had been married. Someone called out 48 years, and another couple topped that with 60 years! Lisa dedicated the next song to those who have survived the bad times along with the good, the days of loving, along with the days you couldn’t stand each other. “Wild Horses” had Fischer giving the crowd chills with her multi-octave voice. “You Can’t Judge a Book By the Cover” was a rollicking, fun number. Lisa danced sensuously on the next song, which had a driving, insistent beat, a wonderful bass interlude from Kevin Hamilton, and Charleton’s exquisite trumpet phrasing.
The staccato “Sometime” had Clay Ross’ fine guitar solo and more excellent trumpet improvisations from Singleton, followed by a passionate drum explosion from Quentin Baxter, while Quiana and Lisa sang with force and fervor. Singleton spoke about the importance of the Gullah community and how many contributions it has made to music. “This Village” was a tribute to the Gullah elders who are respected and revered, including Singleton’s 90 and 91-year-old parents. This moving ballad told the story of the community leaders keeping traditions going. The title track from their Grammy Award-winning CD Good Time was introduced with Ross’ guitar solo and vocals. This spirited piece really embraced the Gullah genre, and it segued into a deliciously down-and-dirty “Let the Good Times Roll” where Clay tore it up on his guitar, with Lisa and Quiana throwing down vocally, adding a fabulous coda.
“Shoo Lie Loo” had the audience singing in the background, while the group performed this authentic Gullah song with only a tambourine and washboard as back-up. Charleton added stellar vocals, and his Running Man dance delighted the crowd. “Imagine” was an emotional ballad sung by Fischer, who imbued even more meaning into this noted piece, and mesmerized the crowd with her scale-jumping virtuosity. The song morphed into “Come Together” that was unbelievably funky. Next came “Green Sally,” based on a children’s clapping chant, and the crowd stood up and did the hand gestures. After a big ovation, Lisa returned to the stage by herself to sing “How Can I Ease the Pain,” with only the audience singing as accompaniment. Such was the power and beauty of her voice that she enthralled the listeners on this hauntingly lovely encore. Ranky Tanky and Lisa Fischer really brought their “A” game to NJPAC! To keep abreast with Ranky Tanky’s activities, text “Ranky” to 66866, and to learn what Fischer is doing, go to: www.lisafischermusic.com.
The Abdullah Ibrahim Trio
South Africa-born pianist/composer and NEA Jazz Master Abdullah Ibrahim was joined by multi-instrumentalist Cleave Guyton and bassist Noah Jackson. They started with the mellow flute tones of Guyton and a relaxed bass solo by Jackson, then Abdullah played a beautifully pensive piano piece that was both subtle and moving. Ibrahim’s fingers traversed almost the entire keyboard, and the introspective nature of this song was perfect accompaniment to the cool autumn evening outside. If anyone was stressed coming into the concert, they surely calmed down after this meditative number’s aura of peacefulness. The trio moved into a surreal and enchanting song with Cleave leading on piccolo and Noah deftly employing his bass.
His musical cohorts left the stage for Abdullah to play a stirring composition alone that defied genres, with influences of jazz, blues, classical, and a touch of ragtime, riveting the crowd with his graceful playing that was like a warm musical hug. Next, Guyton and Jackson returned for some whimsical interplay between the two artists, followed by a heartfelt ballad that was a hybrid of classical and jazz. Then once again, Ibrahim took the stage alone for a magically spellbinding number. It was almost as though this concert was taking place in the intimacy of a living room; the ambiance was that personal.
The next song was a gorgeous, laid-back duet on bass and flute by Noah and Cleave that washed over the audience in restful waves. On the closing piece, Abdullah sang an a cappella chant that was so affecting, the crowd stood throughout the performance. A feeling of tranquility permeated the entire concert, and the trio gave a real gift of serenity to the listeners.
Dave Grusin: A Life in Music
NJPAC’s Prudential Theater presented “Dave Grusin: A Life in Music.” A recording of John Pizzarelli welcomed the audience, then Christian McBride came on stage and gave a shout-out to TD Bank for their continued sponsorship. McBride acknowledged Linda Moody, the woman who allowed them to name this Festival after her husband, and who gave James Moody so much happiness in his life.
The concert started with a short video about pianist Dave Grusin where Quincy Jones said, “You have it or you don’t, and he definitely has it.” Marcus Miller talked about how great Grusin was at teamwork. Dave came on stage and played a superb solo ballad that changed tempo into an upbeat, exhilarating piece. Grusin said, “This is an incredible experience for me.”
Grusin introduced someone he has known for a long time – guitarist Lee Ritenour. They did a song from the film Mulholland Falls, that Dave composed the soundtrack for, and Ritenour joked that if you didn’t see the movie the weekend it came out, you missed it. Still, their performance was a thing of beauty.
Dave discussed doing the score for the film On Golden Pond, and how he was inspired by the scenery and the cinematography. Dave also ruminated about his late partner at GRP Records, Larry Rosen, and when they signed Jon Lucien. Next, he presented singer Will Downing, who amusingly grabbed someone’s camera to take a selfie, then he launched into a great “Yesterday” with audience participation.
Dave recalled Angela Bofill from the early days of GRP, then he brought out Jane Monheit to passionately sing Bofill’s “This Time I’ll Be Sweeter,” a delicious blast from the past. Ritenour introduced bassist Tom Kennedy and drummer Dave Weckl for Antônio Carlos Jobim’s “Amparo,” a thoughtful, minor-key musing. Next came a lilting contemporary jazz piece. Grusin announced trumpeter Randy Brecker and saxophonist Ernie Watts for the Latin-infused “Stone Flower.” Sometimes the band sounded like an entire orchestra, and there were stand-out solos from Watts and Brecker.
After an intermission, New York Voices – Darmon Meader, Peter Eldridge, Lauren Kinhan, and Kim Nazarian – did some fantastic vocalese on “Pretty Baby,” backed by pianist Sergio Salvatore. This group really lived up to their name, because their four-part harmony was extraordinary. They continued with the contemplative “Stolen Moments.” The group recalled starting out at GRP Records and said it was great to be a part of this event. Next came a fabulous re-imagining of Dave Brubeck’s “Blue Rondo à la Turk” with words written by Al Jarreau. This version of Brubeck’s iconic song had some amazing scatting that the crowd ate up!
Dave Grusin returned and said, “Wow, New York Voices!” He called them phenomenal and thanked them for being there. He discussed writing the score for the movie The Milagro Beanfield War, and how living part-time in New Mexico and absorbing the music that abounds there influenced his composition. He played an intensely beautiful solo piece from the soundtrack that was a joyful mixture of Mexican, jazz, and classical. Grusin quipped, “John Williams was busy that year, so I won the Oscar for that score.” Wayne Shorter’s “Footprints” had the full band back on stage, all at the top of their game.
Grusin met Patti Austin through Quincy Jones, in Paris, when she was six years old. Patti talked about her career, which has lasted 70 years, having started singing at four! She discussed “First Time Love,” a lyrical piece that Austin co-wrote with Grusin. Then, Dave recalled composing for the movie The Fabulous Baker Boys, and noted that the stars, brothers Jeff and Beau Bridges, are musicians in real life as well as in the film, and he had fun working with them. “Jack’s Theme” was so evocative, so perfect for a movie about music. The performance included great riffs from Grusin, Brecker, and Watts, ending with an exciting crescendo.
Introducing “It Might Be You” from the movie Tootsie, another film he wrote the soundtrack for, Grusin reminisced about the director Sidney Pollack and what a great life he had. Then he brought Patti Austin back and she joked, “What did you think, I was just going to sing one song, then leave you?” At the end of the piece, all the other vocalists joined Patti for an entrancing finish. After the group took a bow, Dave did a boogie groove with a touch of “It Might Be You,” and received a thunderous ovation for this star-studded tribute.
Christian McBride With Savion Glover One on One
At NJPAC’s Victoria Theater, Grammy Award-winning bassist Christian McBride (Artistic Advisor of Jazz Programming for NJPAC) and Tony Award winning tap dancer/choreographer Savion Glover were joined by saxophonist Jalin Shiver. Jalin is an alumnus of the TD Jazz For Teens program, and when he came on stage, he praised the opportunities he received from his participation in the organization. Savion and Christian were also accompanied by pianist/composer Isaiah J. Thompson, and the group started with a swinging number while Glover danced his feet off!
Then Christian and Savion sat down for a discussion. McBride called Glover “a living legend,” adding that he doesn’t use that word lightly. Savion said he is no longer concerned with time, only space. Christian recalled the roast for his 50th birthday, where Savion took part, then announced that the next day was coincidentally Glover’s 50th birthday. The discussion got deep on many subjects, including the importance of being an activist rather than conforming.
They returned to music and dance, and the next song was a gently swaying “Someday My Prince Will Come,” with Savion tapping with an ease that belied his age. Christian and Isaiah gave him the perfect accompaniment, and the staccato sound of Glover’s tapping was like having another instrument on stage. Christian noted that Savion is continuing the legacy of people like Sandman Sims, Gregory & Maurice Hines, and Sammy Davis, Jr., and said that all those legendary dancers had touched Glover on the shoulder and passed the torch. Savion said he values his existence and appreciates everyone who influenced him, adding, “I recognize all who are responsible for who I am.” Glover also added, “This is not for the thinker, but the doer.”
Christian spoke of Isaiah J. Thompson being part of Jazz House Kids, a program that McBride and his wife, vocalist Melissa Walker, started together. He praised how seriously Isaiah approaches his piano playing and described him as “one of the baddest pianists on the scene.” Christian told the crowd that he was playing the legendary Ray Brown’s bass, so they were getting a look back at jazz history. Next came a smooth rendition of “Take The ‘A’ Train” had the band backing Savion’s cool moves that wowed the crowd so much that they started clapping right in the middle of the routine. Glover is poetry in motion, employing his whole body, not just his talented feet!
McBride said that although he is a jazz musician, he is also a big fan of James Brown and funk music. Savion’s expressive dancing to the funk the group played interpreted the music with great flair. Then Savion discussed working with Wayne Shorter at the Beacon Theater, remembering that Shorter was very chill at the rehearsal, telling him everything would be fine, adding, “See you at the gig.” Christian said he had a similar conversation with Shorter, where he was so laid-back, urging McBride to just go with the flow and they’d figure it out. The group followed with some old-school jazz, and Jalin, who had returned, did an excellent sax solo, while Glover danced like he was born with tap shoes on! When Christian asked Savion if he had anything else to say, Glover stated, “Express yourself. Potential is only here because you are here.” He also stressed the importance of imagination, especially for children. Near the end, suddenly Savion seemed talked out, and he gave a quick farewell to the crowd. Christian said he would play the dancer off, since he was clearly finished speaking. However, during the last song Glover did give voice to some stream-of-consciousness while he danced, as well as singing in a colorful, funky voice. This was a unique, fascinating, informative, and often freewheeling event with two of the best artists in their respective fields. It was quite a night!
The Sarah Vaughan International Jazz Vocal Competition – The SASSY Awards
The final event of the 2023 TD James Moody Jazz Festival was the Sarah Vaughan International Jazz Vocal Competition – The SASSY Awards. The SASSY Awards have become a real force to be reckoned with in the world of jazz, with past winners including Cyrille Aimée, Samara Joy, Jazzmeia Horn, Gabrielle Cavassa, and G. Thomas Allen. Runners-up like Nicole Zuraitis, Camille Thurman, and Sinne Eeg are also having thriving careers.
The judges for this competition were Christian McBride, Jane Monheit, record executive Al Pryor, and Lizz Wright. Madeleine Peyroux was originally scheduled to be a judge, but she became ill, and Patti Austin stepped in for Peyroux. WBGO Radio’s Pat Prescott was the host, and she said that this competition would have certainly made Sarah Vaughan proud. Pianist Sergio Salvatore was the Musical Director, joined by drummer Buddy Williams and bassist Gregory M. Jones. The five finalists were each introduced by a short video, followed by their three-song performance.
Ekep Nkwelle
Cameroonian American singer Ekep Nkwelle said the first jazz vocalist she was attracted to was Sarah Vaughan, and she noted that Vaughan is still influential and relevant to this day. Ekep started with a moving African-infused song, “All Africa” by Max Roach, with lyrics by Oscar Brown, that was originally sung by Abbey Lincoln. Nkwelle began singing a cappella, then the band joined her. Ekep spoke about the African Diaspora and their spirit of resilience when the blues originated. Duke Ellington’s “Solitude” was presented by Ekep with mellow excellence and a strong finish. She thanked the crowd for their warm welcome, and jumped into her third song, a sizzling blues piece where she got some enthusiastic audience participation while her voice soared!
Emma Smith
British-born vocalist Emma Smith comes from a musical family, and she feels most at home when performing improvisational music. She called Sarah Vaughan the most iconic and challenging influence, with a powerful legacy. She recalled the great experience of seeing Aretha Franklin at NJPAC 10 years ago, and she determined that one day she would perform there. So, this was a dream come true in front of her first American audience. Emma started with “But Not For Me,” scatting with ease. Charles Mingus was also a big influence on Smith, and she did a superb job on Mingus’ romantic ballad, “The Sound of Love.” She finished with her favorite Sarah Vaughan song, “I’m Gonna Live Till I Die” that was rendered with big energy and style.
Darynn Dean
Darynn Dean was first exposed to music by listening to the radio with her father. She said that Sarah Vaughan’s influence defined a style and an era. Darryn’s enthralling version of “I Didn’t Know What Time It Was” showed off her effortless scatting and had a lovely denouement. She told the crowd, “It’s been amazing to be here!” The next song, “The Good Life” is quite dear to her, and her beautifully introspective performance hit all the emotional notes. The band accompanied her, and all the finalists, with subtlety and precision. “Beautiful Love” is a song Darryn discovered while binging on Netflix. Her scatting was sprightly, bounding over several octaves, and this swinging piece was a hit with the listeners.
Tyreek McDole
Tyreek McDole grew up in a household filled with diverse music that included Afro-Cuban, pop, Wayne Shorter, and Louis Armstrong. He said, “When I think of Sarah Vaughan, I think of the highest level of musicianship.” Tyreek started with a lively rendition of “September in the Rain” performed in a warm, caressing voice, and his scatting had the crowd clapping along. He said, “I’m so thankful to be here; it’s a privilege.” Next was Billy Strayhorn’s “Lush Life,” one of the most difficult songs in jazz. McDole deftly demonstrated his excellent storytelling skills. Joe Williams was a big influence on Tyreek, and for his third song, he did some intricate scatting on “Every Day I Have the Blues” with enthusiastic audience participation.
Bianca Love
New Orleans native Bianca Love said the sounds of brass bands in the streets were her first musical influences. She said Sarah Vaughan’s voice resonated with something so special, that many people have modeled their singing after hers. “Her voice had wings, and she could fly when she sang.” Love started with “I Thought About You” scatting with aplomb. Then, she paid homage to Sarah Vaughan with an upbeat “The Man I Love” that was quite a departure from its usual format as ballad, but still very enjoyable. Billie Holiday’s “Fine and Mellow” was Bianca’s last number. After a profoundly difficult experience a couple of years ago, she wanted to turn it into something beautiful. So, she wrote a lovely verse that she added to this classic piece.
After an intermission, Pat Prescott said about the competition, “It never fails to renew our confidence in what lies ahead.” There were 281 entries in the contest, from 31 countries! Pat thanked TD Bank and WBGO, NJPAC’s John Schreiber, David Rodriguez, and all the people who participated in organizing this event. Next came a video tribute to “The Divine One” Sarah Vaughan that was narrated by Christian McBride. The video took a trip through her celebrated career, starting when she won the Apollo Amateur Contest where Billy Eckstine heard her and introduced her to Charlie Parker, Earl “Fatha” Hines, and Dizzy Gillespie. There were interviews with Roy Haynes, Joe Williams, and Dick Cavett, and clips of her many hits, including “Misty.” At the end, there was a quote from Ella Fitzgerald saying, “If you want to learn how to sing, listen to Sarah Vaughan.”
Prescott introduced President and CEO John Schreiber, who reminisced about working with Sarah Vaughan, and he thanked the audience for coming. He said that at this time in the world when everything is so fraught, it’s great to have this positive experience. Schreiber also talked about the talent of all the finalists and how he hears influences from past greats, while each finalist has their own sound. Schreiber then introduced 2021 SASSY Award winner, G. Thomas Allen to perform, and Allen showed off the outstanding falsetto and smooth voice that won him the competition.
Finally, after some tough deliberation, the judges returned to the stage to announce the winners and give out the awards. Third place was Ekep Nkwelle, second place was Darynn Dean, and the winner of the 2023 SASSY Awards was Tyreek McDole! Prescott thanked the band, thanked the audience for attending, and gave a final shout-out to Sarah Vaughan!
In Conclusion
The 2024 Festival will take place from November 7 to 24, with a line-up that includes Paquito D’Rivera and the New Jersey Symphony; The Tyshawn Sorey Trio featuring Aaron Diehl and Harish Raghavan; Davell Crawford; Madeleine Peyroux; Cindy Blackman Santana; John Pizzarelli & Catherine Russell: Billie & Blue Eyes; The 25th Anniversary of Jazz Vespers at Bethany held at NJPAC; Django Festival Allstars; Philip Bailey, Lisa Fischer, Dianne Reeves, and the Christian McBride Big Band; Tribute to Funk! With Bilal, Nona Hendryx, Christian McBride, Vernon Reid, and George Clinton; The Brandee Younger Trio; and The Sarah Vaughan International Jazz Vocal Competition. For more information, go to: https://www.njpac.org/series/james-moody-jazz-festival/.
