[JPL] Frank Wess at the Vanguard Live Review by Zan Stewart

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In command
Thursday, May 01, 2008
BY ZAN STEWART
Star-Ledger Staff
JAZZ

NEW YORK -- After playing in Frank Wess' first set Tuesday at the Village
Vanguard, bassist Rufus Reid summed up what transpired. "You can't not have
fun if it's magic," he said.

Indeed, "magic" was the word that kept surfacing in one's mind during the
performance by the jazz tenor saxophone and flute great Wess, who is 86.
Everything, from the choice selections to their seemingly flawless,
consummately spirited presentations, felt just right. This was the epitome
of jazz with a swing-to-bop rhythmic feeling and melodic heart, arguably the
music's most captivating style.

Wess -- a major leaguer essentially via performances with Count Basie from
1953-1964 -- brought along a superb crew. Besides bass powerhouse Reid,
there was trumpeter Terrell Stafford and drummer Winard Harper -- all three
Garden Staters -- and guitarist Ilya Lushtak. Everyone contributed to the
delicious musical stew.

Not enough can be said about Wess, who after recent major health battles
played with the vigor of a man half his age. He sat on a red Naugahyde bar
stool, his eyes closed, his foot tapping, and issued an endless array of
persuasive, percolating thoughts with rich, personal tones. In a word, he
was commanding, and the close-to-full house rewarded him and his colleagues
with vociferous applause.

The leader's "Sara's Song," a medium groove minor blues drawn from the
highly recommended 2006 Lineage CD, "Hank and Frank," was an auspicious
opener. After Lushtak set things up with robust chords and beguiling lines
over a propulsive Harper and Reid beat, Wess on tenor and Stafford played
the riff-based theme.

Here, the saxophonist laid out his exuberant wares, all offered with a
hearty, buoyant sound that drew on two idols: swing era giants Lester Young
and Ben Webster. He played short, meaty ideas, and longer, complex ones. He
used a single repeated note to zealously ride Harper's boisterous, pliable
beat; he explored chords engagingly. It all boasted driving swing.

Stafford also prevailed, employing his bold sound, his rhythmic whammy, his
way of making a couple of notes or a long strand say a lot. Reid scored with
wrist-thick walking notes artistically arranged, and Harper dropped in
across-the-kit scrambles, snare press rolls with hi-hat and bass drum
accents, and more.

Wess revealed his capacity to play with vitality and invention at high speed
on Ellington's "Cottontail," with some ideas spinning around like a cat
chasing its tail, others starting briskly, then ending with two notes
spanked, still others simply high, emotive cries. Here, Harper was riveting,
starting his solo with varied brush swipes, then adding cymbals, then
shifting to sticks, and issuing some invigorating rim shots.

Stafford was warm and winning on "Old Folks," playing one fluid, lyrical
idea, then another. Lushtak sparked "When Lights are Low," with offered
dynamic chordal chunks.

Also heard: Wess' popping shuffle, "Estoril Sol," with a crafty
call-and-response horn theme; "Something Went Wrong," featuring the leader's
enticing flute; and Billy Strayhorn's timeless "Raincheck."

Wess' vibrant version of modern jazz continues at the Vanguard through
Sunday.

Zan Stewart is the Star-Ledger's jazz writer. He is also a musician who
occasionally performs at local clubs. He may be reached at
zstewart at starledger.com or (973) 324-9930.

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© 2008 NJ.com All Rights Reserved.

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