Sunday at DJF 2020

Who knew that watching live jazz on your computer, phone or television could be so satisfying? The virtual 2020 Detroit Jazz Festival proved any doubter all the way wrong. From the high definition video values from the Detroit Public Television and their live camera work to the exceptional audio mixes, the stream was a treat for eyes and ears. And — most of all — the gifted, dedicated Detroit jazz talent turned up to play. They gave it their all without the benefit of an enthusiastic audience to inspire. They found it in their hearts to swing and believe that thousands of listeners were loving it and applauding at home. Count me in among the thousands of believers!

While I took in most of the holiday weekend’s performances, I’ll focus on the Sunday evening sessions. Naima Shamborguer’s “Sisters Strings: Roots, Voice & Drums” received two performances at the festival. The first was part of the “Justice Suite” on opening night. On Sunday Ms. Shamborguer and her bandmates were able stretch out and showcase the virtuosity of each member on the Carhartt stage. Naima led with vocals and percussion. She was assisted by violinists Michelle May and Tia Amani Hanna, viola player Leslie DeShazor, cellist Jasmine James, pianist Pamela Wise, bassist Marion Hayden, drummer GayeLynn McKinney and percussionist Mahindi Masai. What chemistry, passion and energy they shared with us! Every song illustrated the joy of jazz collaboration. The entire show was compelling, but the last selection was especially spellbinding Naima’s original: “Music In The Air” from Naima’s lovely lyrics to Pam Wise’s delicate solo answered by flowing string choruses. This ensemble and this music are worthy of a national release.

Robert Hurst’s Black Current Jam was next on the Absopure Stage – keeping up the energy and enthusiasm. While Naima had a chorus of strings, bassist Robert Hurst had a hip vocal chorus improvising, clapping, dancing, grooving and moving to all the meanings of modern life expressed in Robert’s original melodies and rhythms. The duo of trumpeter Dwight Adams and saxophonist/clarinetist/flutist Rafael Statin traded musical ideas with the singers and the rhythm section: pianist Ian Finkelstein, conguero Pepe Espinosa and drummer Nate Wynn. This set had me off my seat and on my feet! Robert’s concern for our political situation resonated throughout the performance from the opening number, “1967” to “Afromatian” and “Egotistical Mystical.” The vocal trio of Jillian Hurst, Brennan Asante and Monica Blair pulled out all the stops for the closing numbers “Liberation Right Now!” and “Hey, It’s Detroit Day.” Hurst’s Current Jam concept gives us hope that jazz will live forever and lead the way in the search for human freedom and dignity.

Trumpeter Walter White always surprises. Delights abounded when he and an all-star big band took the JP Morgan Chase stage. Three sections each of trumpet, trombone and saxophones along with a tight rhythm section of Dave Taylor, vibes and percussion; Gary Schunk, piano; James Simonson, bass and Jeff Trudell, drums rounded out the stellar ensemble. What was unanticipated is that despite COVID-19 limitations, Walter White had just released a brilliant new recording: “BBXL” on his own label. Their Detroit Jazz Festival program included both the originals and covers on “BBXL.” What a treat to hear the fresh arrangements and joyous exchanges from sections soloists along with White’s searing high notes. My personal favorite moment from White and coterie was the original “Portus Apostoli.” This recalled a lilting 1960s European film theme. Walter and the band blazed on the final number, “Yo Conecto.” Walter connected with the camera, his bandmates and an international audience on this one.

We were returned to the Absopure stage for the visual and auditory treat of the Michael Jellick Sextet. Not only did the pianist and his expressive instrumental ensemble entertain, we viewed the enticing rhythmic movement of tap dancer Claudia Rahardjanoto. Michael first planned to present this unique show at the 2018 Detroit Jazz Festival. Rain nixed the appearance as it did again in 2019. With no rain in the Marriott Renaissance Hotel, Michael at long last shared this musical and terpsichorean vision. Michael and Claudia’s duet on Chick Corea’s tune “Spain” was playful and upbeat. Guitarist David Dunham contributed a lovely original, “Landmarks,” with ethereal echoes of hymns and chants. Jellick’s solo on “Landmarks” rang like crystal chimes over the plaintive melody. The sextet closed the night with “All Is Not Lost,” another original. As I took in the wafting air, I felt the healing power of music and thought, “Charlie Haden would have liked this song.” As you can tell, I liked it a lot. Lots to like from Michael Jellick. Let us hope he has many more opportunities to share his sextet concept.